Adriana da Leonora Baroni, Georgina, Maupin (Leonora Baroni) |

Leonora Baroni

Farkon prima donnas

Yaushe prima donnas ya bayyana? Bayan bayyanar opera, ba shakka, amma wannan ba yana nufin ko kaɗan ba a lokaci guda. Wannan lakabin ya sami haƙƙin zama ɗan ƙasa a daidai lokacin da rikice-rikice da canjin tarihin wasan opera ke gudana tun daga shekara ta farko, kuma ainihin nau'in wannan nau'in fasahar an haife shi a wani yanayi na daban fiye da ƙwararrun ƴan wasan da suka wakilci ta. "Daphne" na Jacopo Peri, wasan kwaikwayo na farko wanda ya cika da ruhin ɗan adam na d ¯ a kuma ya cancanci sunan wasan opera, ya faru a ƙarshen karni na 1597. Ko da ainihin kwanan wata da aka sani - shekara XNUMX. An ba da wasan kwaikwayon a cikin gidan Florentine aristocrat Jacopo Corsi, matakin ya kasance zauren liyafar talakawa. Babu labule ko kayan ado. Amma duk da haka, wannan kwanan wata alama ce ta juyi juyi a tarihin kiɗa da wasan kwaikwayo.

Kusan shekaru ashirin Florentines masu ilimi - ciki har da mawaƙin kiɗa Count Bardi, mawaƙa Rinuccini da Cabriera, mawaƙa Peri, Caccini, Marco di Gagliano, da mahaifin babban masanin falaki Vincenzo Galilei - sun yi mamakin yadda za a daidaita babban. wasan kwaikwayo na tsohon Helenawa zuwa sabon salon bukatun. Sun gamsu cewa a kan mataki na gargajiya Athens, bala'i na Aeschylus da Sophocles ba kawai karanta da kuma buga, amma kuma rera waƙa. yaya? Har yanzu ya zama abin asiri. A cikin "Tattaunawa" da ta zo mana, Galileo ya zayyana ra'ayinsa a cikin kalmar "Oratio harmoniae domina absoluta" (Magana ita ce cikakkiyar farka na jituwa - lat.). Ya kasance babban kalubale ga babban al'adun Renaissance polyphony, wanda ya kai tsayin daka a cikin aikin Palestine. Mahimmancinta shine kalmar tana nutsewa cikin sarƙaƙƙiya mai sarƙaƙƙiya, a cikin ƙwararren saƙar layukan kiɗa. Menene tasirin tambura, wanda shine ruhin kowane wasan kwaikwayo, idan ba za a iya fahimtar kalma ɗaya na abubuwan da ke faruwa a kan dandalin ba?

Ba abin mamaki ba ne cewa an yi ƙoƙari da yawa don sanya kiɗa a hidimar ayyukan ban mamaki. Don kada masu sauraro su gaji, an haɗa wani aikin ban mamaki mai tsananin gaske tare da abubuwan da aka sanya na kiɗan da aka haɗa a cikin wuraren da ba su dace ba, raye-raye zuwa tara da ƙura na masks da aka saki, wasan ban dariya tare da ƙungiyar mawaƙa da canzones, har ma da duka comedies-madrigals a ciki. wanda kungiyar mawakan tayi tambayoyi tare da basu amsa. Ƙaunar wasan kwaikwayo, abin rufe fuska, da ban mamaki da, na ƙarshe amma ba kalla ba, kiɗa ne ya tsara hakan. Amma son zuciya na Italiyawa, waɗanda suke ƙaunar kiɗa da wasan kwaikwayo kamar ba sauran mutane, sun jagoranci hanyar zagaye zuwa fitowar wasan opera. Gaskiya ne, fitowar wasan kwaikwayo na kiɗa, wannan mawallafin opera, yana yiwuwa ne kawai a ƙarƙashin yanayi mafi mahimmanci - kiɗa mai kyau, don haka jin dadi ga kunne, dole ne a tilasta shi a mayar da shi a matsayin rawar da za ta kasance tare da murya ɗaya da aka ware daga polyphonic. bambance-bambance, mai iya furta kalmomi, da irin waɗannan Yana iya zama muryar mutum kawai.

Ba shi da wuya a yi tunanin irin mamakin da masu sauraro suka fuskanta a farkon wasannin opera: muryoyin ƴan wasan sun daina nutsewa cikin sautin kiɗa, kamar yadda ya faru a cikin madrigals da suka fi so, villaellas da frottolas. Sabanin haka, masu yin wasan kwaikwayon sun bayyana a fili rubutun sashinsu, kawai dogara ga goyon bayan ƙungiyar makaɗa, don masu sauraro su fahimci kowace kalma kuma su iya bin ci gaban aikin a kan mataki. Jama'a, a gefe guda, sun ƙunshi mutane masu ilimi, mafi daidai, na zaɓaɓɓu, waɗanda ke cikin manyan al'umma - ga masu mulki da patricians - daga wanda mutum zai iya tsammanin fahimtar sababbin abubuwa. Duk da haka, muryoyi masu mahimmanci ba su daɗe suna zuwa ba: sun yi Allah wadai da "karatun mai ban sha'awa", sun fusata da gaskiyar cewa ta mayar da kiɗa zuwa bango, kuma sun koka da rashin ta da hawaye masu zafi. Da sallamar da suka yi, domin nishadantar da ’yan kallo, an gabatar da madrigals da ritornellos a cikin wasan kwaikwayon, kuma an kawata wurin da wani kaman na bayan fage don rayarwa. Duk da haka wasan kwaikwayo na kiɗa na Florentine ya kasance abin kallo ga masu hankali da masu fada aji.

Don haka, a cikin irin waɗannan yanayi, prima donnas (ko duk abin da ake kiran su a lokacin?) zai iya zama ungozoma a lokacin haihuwar opera? Ya bayyana cewa mata sun taka muhimmiyar rawa a wannan sana’a tun daga farko. Ko da mawaƙa. Giulio Caccini, wanda shi kansa mawaƙi ne kuma mawallafin wasan kwaikwayo na kiɗa, yana da 'ya'ya mata hudu, kuma dukansu sun yi kida, rera waƙa, suna buga kida iri-iri. Mafi iyawa a cikinsu, Francesca, wanda ake yi wa lakabi da Cecchina, ya rubuta opera Ruggiero. Wannan bai yi mamakin mutanen zamani ba - duk "virtuosos", kamar yadda ake kira mawaƙa a lokacin, dole ne su sami ilimin kiɗa. A bakin kofa na karni na XNUMX, an dauki Vittoria Arkilei a matsayin sarauniya a cikinsu. Aristocratic Florence ya yaba mata a matsayin mai shelar sabon salon fasaha. Watakila a ciki ne mutum ya nemi samfurin prima donna.

A lokacin rani na shekara ta 1610, wata matashiya ƴan ƙasar Nepoli ta bayyana a birnin da ya zama matattarar wasan opera. An san Adriana Basile a ƙasarta a matsayin siren murya kuma ta sami tagomashin kotun Spain. Ta zo Florence bisa gayyata na mawaƙinta na kiɗa. Ainihin me ta rera, ba mu sani ba. Amma ba shakka ba operas ba, wanda ba a san ta ba a lokacin, kodayake shaharar Ariadne na Claudio Monteverdi ya kai kudancin Italiya, kuma Basile ya yi shahararren Aria - Kofin Ariadne. Watakila wasan kwaikwayon nata ya haɗa da madrigals, kalmomin da ɗan'uwanta ya rubuta su, da kuma kiɗan, musamman na Adriana, wanda ubangidansa ne kuma mai sha'awarta, Cardinal Ferdinand Gonzaga mai shekaru ashirin da haihuwa daga dangin Italiya mai daraja wanda ya yi mulki a Mantua. Amma wani abu kuma yana da mahimmanci a gare mu: Adriana Basile ya rufe Vittoria Arcilei. Da me? Murya, fasahar wasan kwaikwayo? Ba shi yiwuwa, saboda kamar yadda za mu iya tunanin, Florentine music masoya suna da mafi girma bukatun. Amma Arkilei, ko da yake ƙarami kuma mara kyau, ta ci gaba da kasancewa a kan mataki tare da girman kai, kamar yadda ya dace da mace ta al'umma ta gaskiya. Adriana Basile wani al'amari ne: ta sha'awar masu sauraro ba kawai tare da rera waƙa da kunna guitar ba, har ma da kyawawan gashi mai launin shuɗi a kan baƙar fata, idanun Neapolitan zalla, adadi mai kyau, fara'a na mata, wanda ta yi amfani da shi sosai.

Ganawar da ke tsakanin Arkileia da kyakkyawar Adriana, wacce ta ƙare cikin nasara ta sha'awa a kan ruhi (hasken sa ya kai mu cikin kauri na ƙarni), ya taka muhimmiyar rawa a cikin waɗannan shekarun da suka wuce lokacin da aka haifi prima donna na farko. A wurin shimfiɗar jariri na opera na Florentine, kusa da fantasy mara kyau, akwai dalili da ƙwarewa. Ba su isa ba don yin wasan opera da babban halayensa - "virtuoso" - mai yiwuwa; Anan an buƙaci ƙarin ƙarfin ƙirƙira guda biyu - gwanin ƙirƙira kiɗan (Claudio Monteverdi ya zama shi) da eros. Florentines sun 'yantar da muryar ɗan adam daga ƙarni na ƙasƙanci ga kiɗa. Tun daga farkon, babbar muryar mace ta bayyana pathos a cikin ainihin ma'anarta - wato, wahalar da ke tattare da bala'in soyayya. Ta yaya Daphne, Eurydice da Ariadne, ba tare da ƙarewa ba a wancan lokacin, za su taɓa masu sauraronsu in ba haka ba ta hanyar abubuwan soyayyar da ke tattare da duk mutane ba tare da wani bambanci ba, waɗanda aka watsa ga masu sauraro kawai idan kalmar waƙa ta yi daidai da duka bayyanar. mawaki? Sai bayan da rashin hankali ya rinjayi hankali, kuma wahala a kan mataki da rashin tsinkayar aikin ya haifar da yanayi mai kyau ga duk abin da ke faruwa na opera, sa'a ya tashi don bayyanar da actress, wanda muna da 'yancin kiran sunan opera. first prima donna.

Tun asali ta kasance mace mai ban sha'awa wacce ta yi wasa a gaban masu sauraro daidai gwargwado. Sai kawai a cikin yanayi na alatu marar iyaka, yanayin da ke cikinta ita kaɗai ya haifar - yanayi na sha'awar jima'i, sha'awar jima'i da mace kamar haka, kuma ba don ƙwararrun ƙwararrun ƙwararru kamar Arkileya ba. Da farko, babu irin wannan yanayi, duk da ƙawa na Medici ducal kotun, ba a Florence tare da aesthetic connoisseurs na opera, ko a Paparoma Rome, inda castrati ya dade maye gurbin mata da kuma fitar da su daga mataki, kuma ko ma a karkashin opera. Kudancin sama na Naples, kamar dai ya dace da waƙa. An halicce shi a cikin Mantua, wani ƙaramin gari a arewacin Italiya, wanda ya zama mazaunin sarakuna masu iko, kuma daga baya a babban birnin duniya - a Venice.

Kyakkyawar Adriana Basile, da aka ambata a sama, ta zo Florence a cikin hanyar wucewa: ta auri wani ɗan Venetian mai suna Muzio Baroni, ta tafi tare da shi zuwa kotun Duke na Mantua. Na ƙarshe, Vincenzo Gonzaga, ya kasance mutum mai ban sha'awa wanda ba shi da daidai a cikin sarakunan Baroque na farko. Mallake kayyakin da ba su da kima, da manyan biranen birni suka matse ta kowane bangare, a kullum cikin barazanar kai hari daga Parma da ke yaki saboda gadon, Gonzaga bai ji dadin tasirin siyasa ba, amma ya biya shi diyya ta hanyar taka muhimmiyar rawa a fagen al'adu. . Yaƙin neman zaɓe guda uku akan Turkawa, wanda shi ɗan sabiyya ne, ya shiga cikin nasa, har sai da ya kamu da cutar gout a sansanin Hungarian, ya tabbatar masa da cewa zuba jarin miliyoyinsa ga mawaƙa, mawaƙa da masu fasaha ya fi riba. mafi mahimmanci, mafi daɗi fiye da sojoji, yaƙin neman zaɓe da kagara.

Duke mai buri ya yi mafarkin an san shi a matsayin babban majiɓincin muses a Italiya. Kyakykyawan farin gashi, ya kasance mai doki ga ɓawon ƙashinsa, ƙwararren mashi ne da doki, wanda bai hana shi buga garaya da tsara madrigals masu hazaka ba, duk da sha'awa. Ta hanyar ƙoƙarinsa ne aka saki girman kai na Italiya, mawaƙin Torquato Tasso, daga gidan sufi a Ferrara, inda aka ajiye shi a cikin mahaukata. Rubens ya kasance mai zanen kotu; Claudio Monteverdi ya rayu shekaru ashirin da biyu a kotun Vincenzo, a nan ya rubuta "Orpheus" da "Ariadne".

Art da eros sun kasance ɓangarorin elixir na rayuwa waɗanda suka ƙarfafa wannan mai son rayuwa mai daɗi. Alas, a cikin soyayya ya nuna mafi muni dandano fiye da a art. An san cewa da zarar ya yi ritaya incognito da dare tare da wata yarinya zuwa kabad na wani gidan abinci, a ƙofar da wani mai kashe haya ya jira ya jira, a ƙarshe, bisa kuskure, ya jefa wuƙarsa cikin wata. Idan a lokaci guda kuma an rera waƙar Duke na Mantua, me ya sa ba za ku so irin wannan yanayin da aka sake bugawa a cikin shahararren wasan opera na Verdi ba? Mawaƙa sun kasance masu son duke musamman. Ya sayi ɗaya daga cikinsu, Caterina Martinelli, a Roma kuma ya ba da ita a matsayin koyan horo ga mawaƙin kotu Monteverdi - 'yan mata sun kasance kayan abinci mai daɗi musamman ga tsohuwar kayan abinci. Katerina ba ta iya jurewa a Orpheus, amma tana da shekaru goma sha biyar an ɗauke ta da wani m mutuwa.

Yanzu Vincenzo yana da ido a kan "siren daga gangaren Posillipo," Adriana Baroni na Naples. Jita-jita game da kyawunta da basirar waƙa sun isa arewacin Italiya. Adriana, duk da haka, tun da ya ji labarin duke a Naples, kada ku kasance wawa, ya yanke shawarar sayar da kyawunta da fasaha kamar yadda zai yiwu.

Ba kowa ba ne ya yarda cewa Baroni ta cancanci lambar girmamawa ta farko prima donna, amma abin da ba za ka iya ƙaryata ta ba shi ne, a cikin wannan hali dabi'arta bai bambanta da dabi'un abin kunya na mashahuran prima donnas na zamanin opera ba. Ta hanyar iliminta na mata, ta ki yarda da shawarwari masu kyau na Duke, ta gabatar da shawarwarin da suka fi dacewa da ita, ta koma ga taimakon masu shiga tsakani, wanda ɗan'uwan Duke ya taka muhimmiyar rawa. Ya kasance mafi mahimmanci saboda mai martaba mai shekaru ashirin, wanda ya rike mukamin Cardinal a Roma, ya kasance kan duga-dugan soyayya da Adrian. A ƙarshe, mawaƙin ya ba da sharuɗɗanta, ciki har da wani sashi wanda, don kiyaye mutuncinta a matsayin matar aure, an ƙulla cewa ba za ta shiga sabis ɗin ba na mashahuran Don Juan ba, amma na matarsa, wanda, duk da haka. ta dade da cire ta daga aikin aurenta. Bisa ga al'adar Neapolitan mai kyau, Adriana ta kawo dukan iyalinta tare da ita a matsayin abin da aka makala - mijinta, mahaifiyarta, 'ya'yanta, ɗan'uwa, 'yar'uwarta - har ma da bayi. Tashi daga Naples ya yi kama da bikin kotu - taron jama'a sun taru a kusa da manyan kaya, suna murna da ganin mawaƙin da suka fi so, ana jin albarkar makiyaya na ruhaniya kowane lokaci da lokaci.

A cikin Mantua, an yi maraba da kwarjini daidai gwargwado. Godiya ga Adriana Baroni, kide-kide a kotun Duke sun sami sabon haske. Ko da m Monteverdi ya yaba da baiwa na virtuoso, wanda a fili ya kasance mai hazaka inganta. Gaskiya ne, an gwada Florentines a cikin kowane yanayi da zai yiwu a iyakance duk waɗannan fasahohin da ke daurayar saƙo - tsoffin tsohuwar drama ta tsohuwar ɗakunan kwaikwayo. Babban Caccini da kansa, wanda akwai mawaƙa kaɗan daga cikinsu, ya yi gargaɗi game da ƙawata fiye da kima. Menene amfanin?! Abin sha'awa da waƙar waƙa, waɗanda ke neman fantsama bayan karatun, ba da daɗewa ba suka shiga cikin wasan kwaikwayo na kida a cikin nau'i na aria, kuma wasan kwaikwayo na wasan kwaikwayo ya buɗe irin wannan kyakkyawar dabi'a mai ban mamaki kamar Baroni tare da damar da ya fi dacewa don ba masu sauraro mamaki tare da trill, bambancin da sauran na'urorin irin wannan.

Dole ne a ɗauka cewa, kasancewa a kotun Mantua, Adriana ba zai yiwu ba ta iya kiyaye tsabtarta na dogon lokaci. Mijinta, bayan ya sami rashin jin daɗi, nan da nan aka aika shi a matsayin manaja zuwa wani yanki mai nisa na Duke, kuma ita da kanta, ta raba makomar magabata, ta haifi ɗa Vincenzo. Ba da daɗewa ba, Duke ya mutu, kuma Monteverdi ya yi bankwana da Mantua kuma ya koma Venice. Wannan ya kawo ƙarshen zamanin fasaha a Mantua, wanda Adriana ya samu har yanzu. Ba da daɗewa ba kafin isowarta, Vincenzo ya gina nasa gidan wasan kwaikwayo na katako don samar da Ariadne ta Monteverdi, wanda, tare da taimakon igiyoyi da na'urorin inji, an yi sauye-sauye masu ban mamaki a kan mataki. Auren diyar sarkin yana tafe, kuma wasan opera ne zai zama abin burgewa a wannan bikin. Kazalika ya lashe skudi miliyan biyu. Don kwatantawa, bari mu ce Monteverdi, mafi kyawun mawaƙa na wancan lokacin, ya karɓi scuds hamsin a wata, kuma Adrian kusan ɗari biyu. Ko da a lokacin, prima donnas sun kasance masu daraja fiye da marubutan ayyukan da suka yi.

Bayan mutuwar duke, kotun alfarma na majiɓinci, tare da wasan opera da harem, sun faɗi gaba ɗaya a ƙarƙashin nauyin miliyoyin bashi. A cikin 1630, landsknechts na daular General Aldringen - 'yan fashi da masu kone-kone - sun ƙare daga birnin. Tarin Vincenzo, rubuce-rubucen rubuce-rubucen da suka fi daraja ta Monteverdi sun mutu a cikin wuta - kawai yanayin kuka nata ya tsira daga Ariadne. Kagara na farko na wasan opera ya koma kango mai bakin ciki. Abin baƙin ciki da ya faru ya nuna duk siffofi da sabani na wannan hadadden tsarin fasaha a farkon matakin ci gaba: ɓarna da haske, a gefe guda, da cikakkiyar fatara, a daya hannun, kuma mafi mahimmanci, yanayi mai cike da lalata, ba tare da wannan ba. ba opera kanta ko prima donna ba zasu iya wanzuwa. .

Yanzu Adriana Baroni ya bayyana a Venice. Jamhuriyar San Marco ta zama magajin kida na Mantua, amma mafi dimokiradiyya da yanke hukunci, sabili da haka yana da tasiri mafi girma akan makomar opera. Kuma ba wai kawai saboda, har zuwa mutuwarsa ta kusa, Monteverdi shine jagoran babban coci kuma ya kirkiro manyan ayyukan kiɗa. Venice a kanta ta buɗe kyawawan dama don haɓaka wasan kwaikwayo na kiɗa. Har yanzu tana ɗaya daga cikin jihohi mafi ƙarfi a Italiya, tare da babban birni mai arziƙi wanda ke tare da nasarorin siyasa tare da abubuwan jin daɗi da ba a taɓa gani ba. Ƙaunar abin rufe fuska, don reincarnation, ya ba da fara'a mai ban mamaki ba kawai ga bikin Venetian ba.

Yin wasan kwaikwayo da kida ya zama yanayi na biyu na masu fara'a. Bugu da ƙari, ba kawai masu arziki sun shiga cikin nishaɗi irin wannan ba. Venice jumhuriya ce, ko da yake ta zama ta aristocrat, amma dukan jihar suna rayuwa a kan kasuwanci, wanda ke nufin cewa ƙananan al'umma ba za a iya cire su daga fasaha ba. Mawakin ya zama gwani a gidan wasan kwaikwayo, jama'a sun sami damar yin amfani da shi. Daga yanzu, operas na Honor da Cavalli ba a saurare su ba, amma waɗanda suka biya kuɗin shiga. Opera, wadda ta kasance wasan motsa jiki na ducal a Mantua, ya zama kasuwanci mai riba.

A cikin 1637, dangin Al'arshi na patrician sun gina gidan wasan opera na farko a San Cassiano. Ya bambanta sosai da palazzo na gargajiya tare da wasan kwaikwayo na amphitheater, kamar, alal misali, Teatro Olimpico a Vicenza, wanda ya rayu har yau. Sabon ginin, na kamanni daban-daban, ya cika bukatun opera da manufar jama'a. An raba dandalin da masu kallo da labule, wanda a halin yanzu ya boye musu abubuwan al'ajabi na shimfidar wuri. Jama'a na zaune a cikin rumfuna a kan benci na katako, kuma manyan mutane suna zaune a cikin akwatunan da majiɓintan sukan yi hayar ga kowa da kowa. Lojin wani daki ne mai zurfi mai zurfi inda rayuwar duniya ke ci gaba da tafiya. A nan, ba wai ’yan fim ne kawai aka yi ta tafi da su ba, amma ana yawan shirya ranakun soyayya a asirce. An fara haɓaka wasan opera na gaske a Venice. A ƙarshen karni na XNUMX, an gina aƙalla gidajen wasan kwaikwayo goma sha takwas a nan. Sun bunƙasa, sa'an nan kuma suka fada cikin lalacewa, sa'an nan kuma suka shiga hannun sababbin masu mallakar kuma sun sake farfadowa - duk abin ya dogara ne akan shahararren wasan kwaikwayo da kuma sha'awar taurari na wasan opera.

Fasaha na waƙa da sauri ta sami fasali na manyan al'adu. An yarda gaba ɗaya cewa kalmar "coloratura" an gabatar da ita cikin amfani da kiɗa ta wurin mawakin Venetian Pietro Andrea Ciani. Hanyoyin Virtuoso - trills, ma'auni, da dai sauransu - yin ado da babban waƙar, sun ji daɗin kunne. Bayanan da mawaƙin Romawa Domenico Mazzocchi ya haɗa a cikin 1630 ga ɗalibansa ya shaida yadda ake buƙatun mawakan opera. “Na farko. Da safe. Sa'a guda na koyan sassa na opera masu wahala, sa'a guda na koyo trills, da dai sauransu, sa'a guda na motsa jiki, sa'a guda na karatun, sa'a guda na sauti a gaban madubi don samun matsayi mai dacewa da salon kiɗa. Na biyu. Bayan abincin rana. Ka'idar rabin sa'a, madaidaicin rabin sa'a, wallafe-wallafen rabin sa'a. Sauran ranan an sadaukar da su don tsara canzonettes, motets ko zabura.

Bisa ga dukkan alamu, kasancewar duniya da cikar irin wannan ilimin bai bar abin da ake so ba. An haifar da shi ta hanyar larura mai tsanani, saboda an tilasta wa matasa mawaƙa suyi gasa da castrati, wanda aka jefa a lokacin ƙuruciya. Ta wurin dokar Paparoma, an hana matan Romawa yin wasan kwaikwayo a kan fage, kuma mazan da aka hana su zama mazaje sun ɗauki matsayinsu. Ta hanyar rera waƙa, mazan sun ƙera kasawa don matakin wasan opera na wani nau'in kitse mai duhu. Namijin soprano na wucin gadi (ko alto) yana da kewayo mafi girma fiye da muryar mace ta halitta; babu wani haske na mata ko ɗumi a cikinsa, amma akwai ƙarfi saboda ƙirji mai ƙarfi. Za ku ce - rashin ɗabi'a, marar ɗanɗano, rashin ɗabi'a ... Amma da farko wasan opera ya zama kamar rashin ɗabi'a, mai ɗanɗano da lalata. Babu wata adawa da ta taimaka: har zuwa ƙarshen karni na 1601, wanda aka nuna ta hanyar kiran Rousseau na komawa yanayi, rabin-mutum ya mamaye fagen wasan kwaikwayo a Turai. Ikklisiya ta rufe ido ga gaskiyar cewa an sake cika mawakan cocin daga tushe guda, ko da yake ana ganin hakan abin zargi ne. A cikin XNUMX, na farko castrato-sopranist ya bayyana a cikin cocin Paparoma, ta hanyar, fasto.

Daga baya, castrati, kamar sarakunan opera na gaskiya, an shafa su da zinare. Daya daga cikin shahararrun - Caffarelli, wanda ya rayu a karkashin Louis XV, ya sami damar siyan duchy gabaɗaya tare da kuɗinsa, kuma sanannen Farinelli yana karɓar francs dubu hamsin a shekara daga Sarki Philip V na Spain don kawai nishadantarwa ga sarki gasara a kullun. da hudu opera aria.

Amma duk da haka, ko ta yaya aka lalatar da castrati, prima donna bai tsaya a cikin inuwa ba. Tana da iko a hannunta, wanda za ta iya amfani da shi tare da taimakon hanyoyin doka na opera - ikon mace. Muryarta ta yi ƙara a cikin ingantaccen salo mai salo wanda ke taɓa kowane mutum - ƙauna, ƙiyayya, kishi, buri, wahala. A kewaye da almara, siffa na mawaƙi sanye da alatu riguna shi ne abin da ya fi mayar da hankali a kan sha'awar al'umma wanda maza ne suka tsara ɗabi'a. Bari masu daraja da wuya su jure kasancewar mawaƙa na asali mai sauƙi - 'ya'yan itace da aka haramta, kamar yadda kuka sani, yana da dadi koyaushe. Duk da cewa an kulle hanyoyin da za a bi don hana shiga cikin akwatunan masu duhu, amma soyayya ta mamaye duk wani cikas. Bayan haka, abu ne mai ban sha'awa don samun abin sha'awar duniya! Shekaru aru-aru, opera ta kasance tushen mafarkin soyayya godiya ga prima donnas waɗanda suka kwatanta da kyau da taurarin Hollywood na zamani domin suna iya yin abubuwa da yawa.

A cikin shekaru masu rikice-rikice na kafa opera, an rasa alamun Adriana Baroni. Bayan barin Mantua, ta bayyana a yanzu a Milan, sannan a Venice. Yana rera manyan rawar a cikin wasan kwaikwayo na Francesco Cavalli, wanda ya shahara a wancan zamanin. Mawaƙin ya yi fice sosai, don haka Adriana ya bayyana akan mataki sau da yawa. Mawaƙa suna ɗaukaka kyakkyawar Baroni a cikin waƙoƙin sonnets, ƴan uwanta mata kuma suna yin sana'a a kan fitaccen mawakin. Tsohuwar Adriana ta ci gaba da faranta wa masu sha'awar gwaninta rai. Ga yadda mawaƙin Cardinal Richelieu, Pater Mogard, ya kwatanta idyll na iyalin Baroni: “Mahaifiya (Adriana) ta buga garaya, diya ɗaya ta buga garaya, ta biyu kuma (Leonora) ta buga theorbo. Wasan kide-kide na muryoyi uku da kayan kida guda uku sun faranta min rai sosai har na ga kamar ba na mutu ba ne, amma ina tare da mala'iku.

A ƙarshe ta bar mataki, kyakkyawar Adriana ta rubuta littafi da za a iya kiransa abin tunawa ga ɗaukaka. Kuma, wanda a lokacin ya kasance babban rarity, an buga shi a Venice a ƙarƙashin sunan "Theatre of Glory Signora Adriana Basile." Baya ga abubuwan tunawa, tana kunshe da kasidun da mawaka da mawaka suka shimfida a gindin diwancin wasan kwaikwayo.

An sake haifar da ɗaukakar Adriana cikin namanta da jininta - a cikin 'yarta Leonora. Latterarshen har ma ya zarce mahaifiyarta, kodayake Adriana har yanzu ya kasance na farko a fagen wasan opera. Leonora Baroni ta mamaye Venetian, Florentines da Romawa, a cikin madawwamin birni ta hadu da babban Bature Milton, wanda ya rera ta a cikin daya daga cikin almara. Masu sha'awarta sun haɗa da jakadan Faransa a Roma, Giulio Mazzarino. Bayan da ya zama babban mai yanke hukunci kan makomar Faransa a matsayin Cardinal Mazarin, ya gayyaci Leonora tare da tawagar mawakan Italiya zuwa Paris domin Faransawa su ji daɗin bel canto. A tsakiyar karni na XNUMXth (mawallafin Jean-Baptiste Lully da Moliere a lokacin sun kasance masanan hankali), kotun Faransa ta fara sauraron wasan opera na Italiya tare da halartar babban "virtuoso" da castrato. Don haka daukakar prima donna ta ketare iyakokin jihohi kuma ta zama batun fitar da kayayyaki na kasa. Uban Mogar guda ɗaya, yana yabon fasahar Leonora Baroni a Roma, musamman ya yaba da ikonta na fitar da sautin don yin bambance-bambance tsakanin nau'ikan chromatic da haɓakawa, wanda alama ce ta musamman zurfin ilimin kiɗan Leonora. Ba mamaki ta, a tsakanin sauran abubuwa, ta buga viola da theorbo.

Ta bin misalin mahaifiyarta, ta bi hanyar nasara, amma wasan opera ya ci gaba, shaharar Leonora ya fi mahaifiyarta girma, ya wuce Venice kuma ya bazu ko'ina cikin Italiya. An kuma kewaye ta da ado, an sadaukar da wakoki a cikin Latin, Girkanci, Italiyanci, Faransanci da Mutanen Espanya, wanda aka buga a cikin tarin mawaƙa don Glory of Signora Leonora Baroni.

An san ta, tare da Margherita Bertolazzi, a matsayin mafi girman virtuoso na farkon heyday na opera Italiya. Da alama hassada da batanci sun mamaye rayuwarta. Babu wani abu da ya faru. Rikici, rashin daidaituwa da rashin daidaituwa wanda daga baya ya zama na al'ada ga prima donnas, yin la'akari da bayanin da ya zo mana, ba su kasance a cikin sarakunan farko na vocals ba. Yana da wuya a ce dalili. Ko dai a Venice, Florence da Roma a lokacin Baroque na farko, duk da ƙishirwa don jin daɗi, ɗabi'a mai tsauri har yanzu sun yi nasara, ko kuma akwai 'yan kyawawan halaye, kuma waɗanda ba su fahimci girman ƙarfinsu ba. Sai kawai bayan da opera ya canza bayyanar a karo na uku a karkashin sultry rana Naples, da aria da capo, da kuma bayan shi da super-sophisticated murya cikakken kafa kanta a cikin tsohon wasan kwaikwayo na musica, na farko kasada, karuwai da masu laifi. bayyana a cikin 'yan wasan kwaikwayo-mawaƙa.

Kyakkyawan aiki, alal misali, Julia de Caro, 'yar mai dafa abinci da mawaƙa mai yawo, wacce ta zama 'yar titi. Ta yi nasarar jagorantar gidan wasan opera. Bayan da alama ta kashe mijinta na farko kuma ta auri ɗa namiji, an zage ta kuma an haramta ta. Dole ne ta ɓoye, tabbas ba tare da komai ba, kuma ta kasance cikin duhu har sauran kwanakinta.

Ruhun Neapolitan na yaudara, amma a cikin matakan siyasa da na jihohi, ya mamaye dukan tarihin Georgina, daya daga cikin mafi girma a cikin farkon prima donnas na farkon Baroque. Sa’ad da take Roma, Paparoman bai yarda da ita ba kuma an yi mata barazanar kama ta. Ta gudu zuwa Sweden, a karkashin inuwar 'yar Gustavus Adolf, Sarauniya Christina. Ko da a lokacin, duk hanyoyi sun kasance a buɗe don adored prima donnas a Turai! Christina tana da irin wannan rauni ga opera cewa ba za a gafartawa ba a yi shiru game da ita. Bayan ta yi watsi da kursiyin, ta koma Katolika, ta koma Roma, kuma ta hanyar ƙoƙarinta ne kawai aka ba mata damar yin wasan kwaikwayo a gidan wasan kwaikwayo na farko a Tordinon. Haramcin Paparoma bai yi tsayayya da fara'a na prima donnas ba, kuma ta yaya zai kasance in ba haka ba idan wani Cardinal da kansa ya taimaka wa 'yan wasan kwaikwayo, sanye da tufafin maza, su yi tsalle a kan mataki, da sauran - Rospigliosi, daga baya Paparoma Clement IX, ya rubuta wakoki. zuwa Leonora Baroni da shirya wasan kwaikwayo.

Bayan mutuwar Sarauniya Christina, Georgina ta sake bayyana a cikin manyan jiga-jigan siyasa. Ta zama farka na Neapolitan Viceroy Medinaceli, wanda, ba tare da kuɗi ba, ya ba da kyautar wasan opera. Amma ba da daɗewa ba aka kore shi, dole ne ya gudu zuwa Spain tare da Georgina. Sannan ya sake tashi, a wannan karon ya hau kujerar minista, amma sakamakon makirci da makarkashiya aka jefa shi cikin kurkuku, inda ya mutu. Amma lokacin da sa'a ta juya baya ga Medinaceli, Georgina ta nuna halin hali wanda tun daga lokacin ake la'akari da irin nau'in prima donnas: aminci! A baya dai ta yi tarayya da masoyinta da hazakar dukiya da daukaka, amma yanzu ta raba talauci da shi, ita da kanta ta tafi gidan yari, amma bayan wani lokaci aka sake ta, ta koma Italiya ta zauna lafiya a Roma har zuwa karshen kwanakinta. .

Ƙaddamar da guguwa mafi girma ta jira prima donna a kan ƙasa na Faransa, a gaban bangon bango na gidan wasan kwaikwayo na kotu a babban birnin duniya - Paris. Bayan rabin karni fiye da Italiya, ya ji sha'awar wasan opera, amma sai al'adar prima donna ta kai matsayin da ba a taba gani ba a can. Majagaba na gidan wasan kwaikwayo na Faransa sun kasance Cardinal da ’yan majalisa guda biyu: Richelieu, wanda ya tallafa wa bala’i na ƙasa kuma da kansa Corneille, da Mazarin, wanda ya kawo wasan opera na Italiya zuwa Faransa, kuma ya taimaka wa Faransawa su tashi tsaye. Ballet ya daɗe yana jin daɗin kotun, amma bala'i na raye-raye - opera - ya sami cikakkiyar amincewa ne kawai a ƙarƙashin Louis XIV. A cikin mulkinsa, Bafaranshe Bafaranshe, Jean-Baptiste Lully, tsohon mai dafa abinci, ɗan rawa da violin, ya zama mawaƙin kotu mai tasiri wanda ya rubuta bala'o'in kiɗa na ban tausayi. Tun daga 1669, an nuna bala'o'i na raye-raye tare da raye-raye na wajibi a gidan wasan opera na jama'a, wanda ake kira Royal Academy of Music.

Laurels na farkon babban prima donna na Faransa na Martha le Rochois ne. Tana da magabata na kwarai - Hilaire le Puy, amma a karkashinta har yanzu wasan opera bai yi kama da sigar karshe ba. Le Puy ta sami babbar daraja - ta shiga cikin wasan kwaikwayo wanda sarki da kansa ya yi rawa Bamasare. Martha le Rochois ba ta da kyau ko kaɗan. Masu zamani suna kwatanta ta a matsayin mace mai rauni, tare da hannaye masu tsananin fata, waɗanda aka tilasta mata rufe da dogayen safar hannu. Amma ta ƙware sosai a kan babban salon ɗabi'a a kan mataki, wanda in ba tare da abin da tsohon bala'i na Lully ba zai iya wanzuwa. Martha le Rochois ta sami ɗaukaka ta musamman daga Armida, wadda ta gigita masu sauraro tare da rera waƙa da yanayinta. Jarumar dai ta zama abin alfaharin kasa. Sai dai tana da shekaru 48 ta bar fagen wasan, inda ta samu matsayi a matsayin malamin murya da kuma fansho na tsawon rayuwa na francs dubu. Le Rochois ya rayu cikin nutsuwa, rayuwa mai mutuntawa, mai tunawa da taurarin wasan kwaikwayo na zamani, kuma ya mutu a 1728 yana da shekaru saba'in da takwas. Yana da ma da wuya a yarda cewa abokan hamayyarta sun kasance manyan mashahuran gwanaye guda biyu kamar Dematin da Maupin. Wannan yana nuna cewa ba shi yiwuwa a kusanci duk prima donnas tare da ma'auni iri ɗaya. An sani game da Dematin cewa ta jefar da kwalban lefi a fuskar wata kyakkyawar budurwa, wacce ake ganin ta fi kyau, kuma darektan opera, wanda ya wuce ta wajen rabon ayyukan, ya kusa kashe ta da hannu. na mai kisa haya. Tana kishin nasarar Roshua, Moreau da wani, ta kusa aika su duka zuwa duniya ta gaba, amma "ba a shirya gubar a kan lokaci ba, kuma marasa tausayi sun tsira daga mutuwa." Amma ga Archbishop na Paris, wanda ya yaudare ta tare da wata mace, duk da haka ta "yi nasarar zame guba mai saurin aiki, ta yadda ba da daɗewa ba ya mutu a cikin gidansa na jin daɗi."

Amma duk wannan yana kama da wasan yara idan aka kwatanta da abubuwan ban mamaki na Maupin. Wani lokaci suna kama da mahaukaciyar duniyar Dumas 'Musketeers Uku, tare da bambanci, duk da haka, cewa idan tarihin rayuwar Maupin ya kasance a cikin wani labari, za a gane shi a matsayin 'ya'yan itace na hasashe mai arziki na marubucin.

Ba a san asalinta ba, an tabbatar da cewa an haife ta a shekara ta 1673 a birnin Paris kuma wata yarinya ta yi tsalle don ta auri jami'in. Lokacin da aka canjawa wuri Monsieur Maupin zuwa hidima a larduna, yana da rashin sanin yakamata ya bar matarsa ​​a Paris. Da yake ta kasance mai son sana'o'in maza ne kawai, ta fara daukar darasi na shinge, nan da nan ta fara soyayya da matashin malaminta. Masoyan sun gudu zuwa Marseilles, kuma Maupin ya canza zuwa tufafin mutum, kuma ba kawai don kare lafiyar da ba a iya gane shi ba: mai yiwuwa, ta yi magana game da sha'awar soyayyar jima'i, har yanzu ba a sani ba. Kuma lokacin da wata yarinya ta ƙaunaci wannan saurayi na ƙarya, Maupin da farko ya yi mata ba'a, amma ba da daɗewa ba jima'i na jima'i ya zama sha'awarta. A halin yanzu, bayan da suka yi almubazzaranci da duk kuɗin da suke da shi, wasu ma’auratan da suka gudu sun gano cewa waƙa na iya samun abin rayuwa har ma da shiga ƙungiyar opera ta gida. Anan Maupin, wanda ke yin kama da Monsieur d'Aubigny, yana soyayya da wata yarinya daga babbar al'ummar Marseille. Hakika iyayenta ba sa son jin labarin auren diyarsu da wani dan wasan barkwanci mai ban dariya kuma don kare lafiyar su suna boye ta a gidan sufi.

Rahoton masu rubuta tarihin rayuwar Maupin game da makomarta na gaba za a iya ɗauka bisa ga ra'ayin mutum bisa bangaskiya ko kuma a jingina shi ga ƙwararrun tunanin marubuta. Hakanan yana yiwuwa su kasance 'ya'yan ci gabanta - Ilhamar Maupin da ba ta dace ba ta nuna cewa mummunan suna wani lokaci ana iya juyar da su cikin sauƙi zuwa kuɗi. Don haka, mun koyi cewa Maupin, a wannan lokacin a cikin siffar mace, yana shiga gidan sufi ɗaya don ya kasance kusa da ƙaunataccenta, kuma yana jira lokaci mai kyau don tserewa. Wannan shi ne abin da ya kasance idan tsohuwar uwargida ta mutu. Ana zargin Maupin ya tono gawar ta ya ajiye ta a kan gadon masoyinsa. Bugu da ari, yanayin ya zama mafi laifi: Maupin ya kunna wuta, tsoro ya tashi, kuma a cikin tashin hankali, ta gudu tare da yarinyar. Duk da haka, an gano laifin, an mayar da yarinyar ga iyayenta, kuma an kama Maupin, an gurfanar da shi a gaban kotu kuma an yanke masa hukuncin kisa. Amma ta ko ta yaya ta yi nasarar tserewa, bayan haka an rasa alamunta na ɗan lokaci - a fili, ta yi rayuwa marar kyau kuma ta fi son zama a wuri ɗaya.

A Paris, ta sami damar nuna kanta ga Lully. An san gwaninta, maestro yana horar da ita, kuma cikin kankanin lokaci ta fara fitowa a Royal Academy da sunanta na gaske. Ta yi a cikin opera na Lully Cadmus et Hermione, ta ci Paris, mawaƙa na rera tauraro mai tasowa. Kyawunta na ban mamaki, yanayinta da hazaka na halitta suna jan hankalin masu sauraro. Ta yi nasara musamman a matsayin maza, wanda ba abin mamaki ba ne idan aka yi la'akari da sha'awarta. Amma Paris mai karimci tana kula da su da kyau. Wannan ga alama yana da ban mamaki musamman idan muka tuna cewa, ba kamar sauran wuraren fasahar wasan kwaikwayo a Faransa ba, ba a taɓa barin castrati ya shiga filin wasa ba. Suna ƙoƙarin kada su shiga cikin matashin prima donna. Bayan sun taba samun sabani da abokin aikinta, wani mawaki mai suna Dumesnil, sai ta nemi gafara daga gare shi, kuma ba ta karbe su ba, sai ta afkawa wani matashi mai lafiya da hannu da sauri, har bai samu lokacin lumshe ido ba. Ba wai kawai ta doke shi ba, har ma ta kwashe snuffbox da agogo, wanda daga baya ya zama shaida mai mahimmanci. Lokacin da washegari wannan talakan ya fara bayyanawa abokansa cewa raunukan da ya samu sakamakon harin 'yan bindiga ne, Maupin cikin nasara ta sanar da cewa wannan aikin hannunta ne kuma, don ƙarin lallashi, ta jefa abubuwa a ƙafafu. wanda aka azabtar.

Amma ba haka kawai ba. Da zarar ta fito a wurin walimar, kuma a cikin rigar mutum. Rigima ta barke tsakaninta da daya daga cikin baqin, Maupin ya kalubalance shi da fada. Sun yi fafatawa da bindigogi. Mopan ya juya ya zama mai harbi mai dabara kuma ya murkushe hannun abokin gaba. Bugu da ƙari, ya ji rauni, ya kuma fuskanci lalacewar ɗabi'a: al'amarin ya sami talla, yana ƙusa ɗan'uwan talaka har abada a kan ginshiƙi: mace ta ci shi! Wani lamari mai ban mamaki ya faru a wani ƙwallo mai ban mamaki - a can Maupin a cikin lambun fada ya yi yaƙi da takuba tare da manyan mutane uku a lokaci ɗaya. A cewar wasu rahotanni, ta kashe daya daga cikinsu, a cewar wasu - duka ukun. Ba zai yiwu a dakatar da abin kunya ba, hukumomin shari'a sun yi sha'awar su, kuma Maupin ya nemi sababbin matakai. Kasancewa a Faransa yana da haɗari, a fili, sannan mun sadu da ita tuni a Brussels, inda aka yarda da ita a matsayin tauraro na opera. Ta ƙaunaci Elector Maximilian na Bavaria kuma ya zama uwargidansa, wanda ba ya hana ta wahala daga rashin jin daɗi ga yarinyar har ma ta yi ƙoƙari ta ɗora hannun kanta. Amma mai zaɓe yana da sabon abin sha'awa, kuma shi - mutum mai daraja - ya aika Maupin francs dubu arba'in na diyya. Maupin a fusace ya jefa jaka da kudi a kan manzo kuma ya shayar da masu zabe da kalmomi na karshe. Wani abin kunya ya sake taso, ba za ta iya zama a Brussels ba. Ta gwada sa'arta a Spain, amma tana zamewa ƙasa zuwa ƙasan al'umma kuma ta zama baiwa ga ƙwaƙƙwaran ƙima. Ta bace na dogon lokaci - ta tashi kuma ta shiga gabaɗaya - ƙoƙarin sake cin nasara a matakin Paris, wanda ta sami nasara da yawa. Kuma lalle ne - an gafarta wa prima donna mai haske don dukan zunubanta, ta sami sabon dama. Amma, kash, ita ba daya bace. Rayuwar rugujewar rayuwa ba ta kasance a banza gare ta ba. A wajen talatin da biyu ko talatin da hudu ne aka tilasta mata barin fagen daga. Rayuwar ta na gaba, natsuwa da wadataccen abinci, ba ta da sha'awa. Dutsen mai aman wuta ya fita!

Akwai ƴan ingantattun bayanai game da tafarki na rayuwar wannan matar, kuma wannan ba wani keɓantacce ba ne. Haka nan, hatta sunayen wadanda suka kafa wata sabuwar fasahar fasaha, wadanda suka yi aiki a fagen wasan opera a farkon bayyanar prima donnas, suna nutsewa cikin magriba ko cikin duhun kaddara. Amma ba shi da mahimmanci ko tarihin rayuwar Maupin gaskiya ne na tarihi ko almara. Babban abu shi ne cewa yana magana ne game da shirye-shiryen al'umma don dangana duk waɗannan halaye ga kowane mahimmanci na prima donna kuma la'akari da jima'i, sha'awar jima'i, jima'i, da dai sauransu a matsayin wani ɓangare na mahimmanci na operatic gaskiya a matsayin matakin fara'a.

K. Khonolka (fassarar - R. Solodovnyk, A. Katsura)