The multimodal nature of texts to music involves the complex interaction of verbal, auditory, in some cases visual and other components, which determines the functioning of the textual unity. In this regard, the translation of multimodal texts, and in particular the translation of opera librettos, puts forward special requirements for the translator, due to which even the knowledge of the subject area, terminology and style of the source text is not always sufficient to achieve high quality translation. Based on the analysis of the translation principles of one of the most prominent translators of opera librettos Viktor Kolomiitsov (1868-1936) and his translated texts, the article aims to determine the basic requirements to the translation of libretto as a multimodal text, combining the verbal and auditory components in the text unity. It also aims to answer the research question: what exactly is the special feature of multimodal text translation focused on auditory mode, and in case of opera libretto translations - what resources can be used to perform the translation? The material for the study included the texts to L. Beethoven and R. Wagner’s works and their translations. The comparative analysis of V. Kolomiytsov’s translations and several other translators’ approaches allowed us to confirm the assumption about the complexity of auditory multimodal texts translation, identify the main problems of libretto translation, and demonstrate different translation solutions in the transfer of the rhythmic logic of the source text, its syntactic features, alliteration and vocabulary. The procedure of text analysis involved elements of philological and comparative analyses of translations, as well as statistical calculations. It was revealed that the connection of the verbal component with the melodic line, its accents and rhythm predetermines the structure of the text to vocal works. For the translator, this means additional limitations, which are quite difficult to overcome. Equirhythmic translation correlated with music is one of the most difficult types of translation, in which preservation of “form” (rhyme, meter, number of syllables, coincidence of accents, etc.) plays an important role and predetermines the quality of auditory multimodal text translation.

The paper considers the analysis of translatological trilingualism which is essential for cross-cultural exchange and translation studies. Today trilingualism is perceived as a form of multilingualism that includes a mechanism for formation and development of a language personality. The paper presents the accumulated experience of trilingual educational techniques in Russia and abroad, which was starkly demonstrated by I. Alexeeva, as well as the perspectives of their implementation into the educational process. Trilingualism is considered as a complex phenomenon that includes anthropological, social and linguistic, as well as social and cultural components. The aspect of cultures which implies the phased existence of the same text in three linguistic substances, as well as translation of literary works aimed at transfer of the works of fiction from one language to another through an intermediary language. Concurrently, the special attention is paid to the Russian language and its productive role as a cultural mediator in translation of the world literature to the languages of the peoples of Russia, which has not been thoroughly studied yet. The intermediary results of the research were presented by A. Boyarkina. The paper reveals perspectives for application of the trilingual model in order to expand the translatological functions of the artificial intelligence. The Master's programme in "Translation Theory, Cross-Cultural and Cross-Lingual Communication" implemented at Kazan Federal University, revealed by S. Takhtarova, the head of the programme, and K. Prosyukova, the coordinator of the programme, as well as other educational programmes in St. Petersburg and Almaty, carefully analysed by I. Alexeeva and A. Boyarkina, are the successful examples of trilingualism as an educational tool. To sum up, it is concluded that the interaction of three languages is able to create the effective educational environment that ensures the exchange of cultures and transmits cultural values, as well as linguistic and translation skills, formed on the basis of other two languages.

В статье впервые подробно рассматривается корреспонденция Леопольда Моцарта, ее лингвостилистические и текстуальные особенности. Фрагменты писем отца Вольфганга Амадея публиковались практически во всех биографиях композитора, но даже небольшая подборка полных текстов писем из первого путешествия в Италию в переводе автора статьи (девять текстов, датированных периодом с 14 декабря 1769 года по 27 марта 1770 года) позволяет подвергнуть сомнению устойчивые представления об отце Вольфганга Амадея Моцарта. Круг тем, манера подачи материала и особенный авторский стиль писем рисуют неожиданно многогранную, динамичную, неординарную личность Леопольда, раскрывают его философские и эстетические воззрения. Эпистолярный стиль отца в целом демонстрирует практически полное сходство со стилем Вольфганга Амадея Моцарта, что позволяет сделать предположение, что сын в основном заимствовал его от отца, так и оставшегося незаметным в тени гения. The article first examines in detail the correspondence of Leopold Mozart, its linguistic and textual features. Fragments of letters from the father of Wolfgang Amadeus Mozart were published practically in every biography of the composer, but even a small selection of complete texts from letters from the first trip to Italy, translated by the author of this article (nine texts from 14.12.1769 to 27.03.1770) allows to question the commonly upheld perception of Wolfgang Amadeus Mozart’s father. The range of topics, the manner in which the material is presented, and the particular writing style in his letters show Leopold’s unexpectedly multifaceted, dynamic, unordinary personality, reveal his philosophical and aesthetic views, and on the whole show almost a complete resemblance to the epistolary style of Wolfgang Amadeus Mozart, which suggests that the son basically borrowed it from his father, who remained unnoted in the shadow of the genius.