本文以中国作曲家唐建平创作的歌剧《这里的黎明静悄悄》为研究对象,探讨其对鲍里斯·瓦西里耶夫经典中篇小说情节的音乐转译特征。文章对文学原作的戏剧结构与歌剧的音乐呈现进行比照分析,论证该歌剧作为独立艺术文本,与原著小说、同名影视及舞台改编作品(尤其是莫尔恰诺夫的歌剧与罗斯托茨基的电影)存在显著差异。其中最核心的差异,在于原作的体裁转型,使戏剧叙事由现实主义转向浪漫主义。瓦西里耶夫抒情戏剧式的中篇小说结构、罗斯托茨基凝练内敛的电影剧本,经编剧与作曲家重新阐释,最终整合为兼具宏大英雄史诗性与抒情戏剧性的舞台作品。这一处理使歌剧形成四种风格体裁的交织对话,分别承继了19世纪歌剧语言传统、20世纪部分歌剧剧场风格、俄罗斯民族乐派与苏联歌曲文化传统。论文阐明该作品在当代中俄文化交流中的重要价值,界定其在当代审美主流中的位置,并提出该歌剧在一定程度上体现出“元现代主义”(metamodernism)艺术特征。

This article examines the opera The Dawns Here Are Quiet by the renowned Chinese composer TANG Jianping (b. 1955), focusing on its specific approach to adapting the plot of Boris Vasilyev's famous novella. The study draws parallels between the dramaturgy of the literary source and its musical realization. It argues that the opera constitutes an independent artistic text, substantially different not only from its literary basis but also from cinematic and theatrical interpretations, notably the opera by K. Molchanov and the film by S. Rostotsky. The most significant distinction is identified as a genre transformation of the original work, which shifts the vector of the drama from realism toward romantic drama. The form of B. Vasilyev's lyrical-dramatic novella and the essentially chamber, laconic cinematic script by S. Rostotsky were reinterpreted by the librettist and composer through the lens of synthesizing grand heroic-epic and lyrical-dramatic spectacle. This circumstance facilitated the interaction of four stylistically distinct genre spheres, which relate to the traditions of 19th-century operatic language, aspects of 20th-century operatic theatre, the Russian national school, and the song culture of the Soviet era. The work's significant value in the context of contemporary Chinese and Russian culture is highlighted. Furthermore, its position within the contemporary aesthetic mainstream is defined. In particular, the hypothesis is advanced that the opera reflects features of metamodernism.