Amelita Galli-Curci |

Amelita Galli-Curci

“Waƙa ita ce buƙata ta, rayuwata. Idan na tsinci kaina a tsibirin hamada, zan yi waƙa a can ma… Mutumin da ya hau tudun dutse bai ga kololuwar da yake sama ba, ba shi da makoma. Ba zan taba yarda in kasance a wurinsa ba. Waɗannan kalmomi ba kawai kyakkyawan sanarwa ba ne, amma ainihin shirin aiki ne wanda ya jagoranci fitacciyar mawaƙin Italiya Galli-Curci a duk tsawon aikinta na kere-kere.

“Kowane tsara yawanci wani babban mawaƙin coloratura ne ke mulkinsa. Zamaninmu za su zabi Galli-Curci a matsayin sarauniyar waka…” in ji Dilpel.

An haifi Amelita Galli-Curci a ranar 18 ga Nuwamba, 1882 a Milan, a cikin dangin ɗan kasuwa mai wadata Enrico Galli. Iyalin sun ƙarfafa sha'awar yarinyar a cikin kiɗa. Wannan abu ne mai fahimta - bayan haka, kakanta ya kasance jagora, kuma kakarta ta taba samun soprano mai launi mai launi. Tana da shekaru biyar, yarinyar ta fara buga piano. Tun tana shekara bakwai, Amelita tana zuwa gidan wasan opera akai-akai, wanda ya zama mata tushen mafi kyawun ra'ayi.

Yarinyar da ke son raira waƙa ta yi mafarkin zama sananne a matsayin mawaƙa, kuma iyayenta sun so su ga Amelita a matsayin mai wasan pian. Ta shiga Milan Conservatory, inda ta yi karatun piano tare da Farfesa Vincenzo Appiani. A 1905, ta sauke karatu daga Conservatory tare da lambar zinariya, kuma nan da nan ya zama sanannen malamin piano. Duk da haka, bayan da ta ji babban ɗan wasan pian Ferruccio Busoni, Amelita ta gane da haushi cewa ba za ta taɓa samun irin wannan ƙwarewar ba.

Pietro Mascagni, marubucin shahararren wasan opera Rural Honor ne ya yanke shawarar makomarta. Jin yadda Amelita, tare da kanta a kan piano, ta rera waƙar Elvira's aria daga wasan opera na Bellini "Puritanes", mawakiyar ta ce: "Amelita! Akwai ƙwararrun ƴan pian da yawa, amma yaya da wuya a ji mawaƙi na gaske!. Ee, za ku zama babban mai fasaha. Amma ba dan piano ba, a'a, mawaƙa!"

Haka abin ya faru. Bayan shekaru biyu na nazarin kai, wani mai gudanar da wasan opera ya tantance gwanintar Amelita. Bayan sauraron aikinta na aria daga aiki na biyu na Rigoletto, ya ba da shawarar Galli ga darektan gidan wasan opera a Trani, wanda ke Milan. Don haka ta samu halarta ta farko a gidan wasan kwaikwayo na wani karamin gari. Sashe na farko - Gilda a cikin "Rigoletto" - ya kawo mawaƙan matashin nasara mai ban sha'awa kuma ya buɗe wa sauran, mafi kyawun al'amuran Italiya. Matsayin Gilda tun daga lokacin ya zama abin ado na repertoire.

A cikin Afrilu 1908, ta riga ta kasance a Roma - a karon farko ta yi a kan mataki na Costanzi Theatre. A cikin rawar Bettina, jarumar wasan opera mai ban dariya na Bizet Don Procolio, Galli-Curci ta nuna kanta ba kawai a matsayin mawaƙi mai kyau ba, har ma a matsayin ɗan wasan kwaikwayo mai basira. A lokacin, mai zane ya auri mai zane L. Curci.

Amma don samun nasara ta gaske, Amelita har yanzu dole ne ta sami "ƙwaƙwalwa" a ƙasashen waje. Mawakin ya yi wasa a kakar 1908/09 a Masar, sannan a shekarar 1910 ya ziyarci Argentina da Uruguay.

Ta koma Italiya a matsayin fitacciyar mawakiya. Milan ta "Dal Verme" musamman gayyace ta zuwa ga rawar da Gilda, da kuma Neapolitan "San Carlo" (1911) shaida babban gwaninta na Galli-Curci a "La Sonnambula".

Bayan wani yawon shakatawa na artist, a lokacin rani na 1912, a Kudancin Amirka (Argentina, Brazil, Uruguay, Chile), shi ne bi da bi na m nasarori a Turin, Roma. A cikin jaridu, suna tunawa da rawar da mawakin ya yi a baya a nan, sun rubuta: “Galli-Curci ya dawo a matsayin cikakken mai fasaha.”

A cikin kakar 1913/14, mai zane yana waka a gidan wasan kwaikwayo na Real Madrid. La sonnambula, Puritani, Rigoletto, The Barber of Seville ya kawo mata nasarar da ba a taba samu ba a tarihin wannan gidan wasan opera.

A cikin Fabrairu 1914, a matsayin wani ɓangare na ƙungiyar opera ta Italiya Galli-Curci, ya isa St. Petersburg. A cikin babban birnin kasar Rasha, a karon farko, ta rera sassan Juliet (Romeo da Juliet na Gounod) da Filina (Thomas' Mignon). A cikin operas biyu, abokin tarayya shine LV Sobinov. Anan ga yadda aka bayyana fassarar jarumar wasan opera Tom da mawakin ya yi a cikin jaridun babban birnin kasar: “Galli-Curci ya bayyana ga fitacciyar Filina. Kyakkyawar muryarta, kidanta da fasaha mai kyau sun ba ta damar gabatar da sashin Filina a gaba. Ta rera waƙar polonaise da kyau, wanda ƙarshensa, bisa ga buƙatun jama'a, ta sake maimaitawa, ta ɗauki sau biyu "fa" maki uku. A kan mataki, tana jagorantar rawar cikin wayo da sabo."

Amma kambin nasararta na Rasha shine La Traviata. Jaridar Novoye Vremya ta rubuta: “Galli-Curci ɗaya ne daga cikin Violettas da St. Petersburg bai daɗe ba. Ba ta da kyau a fagen wasa da mawaƙa. Ta raira waƙa da Aria na farko aiki tare da ban mamaki virtuosity da kuma, a hanya, ƙare shi da irin wannan cadenza mai rikitarwa, wanda ba mu ji daga ko dai Sembrich ko Boronat: wani abu mai ban mamaki kuma a lokaci guda dazzlingly kyau. Ta kasance babban nasara. ”…

Bayan sake bayyana a ƙasarta ta haihuwa, mawaƙin yana raira waƙa tare da abokan tarayya masu ƙarfi: matashin ƙwararren ɗan wasa Tito Skipa da sanannen baritone Titta Ruffo. A lokacin rani na 1915, a gidan wasan kwaikwayo na Colon a Buenos Aires, ta rera waka tare da almara Caruso a Lucia. "Babban nasara na Galli-Curci da Caruso!", "Galli-Curci ita ce jarumar maraice!", "Mafi ƙarancin mawaƙa" - wannan shine yadda masu sukar gida suka ɗauki wannan taron.

Ranar 18 ga Nuwamba, 1916, Galli-Curci ta fara halarta a Chicago. Bayan "Caro note" masu sauraro sun fashe cikin firgita na mintuna goma sha biyar da ba a taba gani ba. Kuma a cikin sauran wasanni - "Lucia", "La Traviata", "Romeo da Juliet" - da singer aka samu kamar yadda dumi. "Mafi Girman Mawaƙin Coloratura Tun Daga Patti", "Muryar Fabulous" wasu ne daga cikin kanun labarai a jaridun Amurka. Chicago ta biyo bayan nasara a New York.

A cikin littafin "Vocal Parallels" na sanannen mawaƙa Giacomo Lauri-Volpi mun karanta: "Ga marubucin waɗannan layi, Galli-Curci aboki ne kuma, a wata hanya, uwargida a lokacin wasan farko na Rigoletto, wanda ya faru a cikin farkon Janairu 1923 a kan mataki na Metropolitan Theater ". Daga baya, marubucin ya yi waƙa tare da ita fiye da sau ɗaya a Rigoletto da kuma a cikin Barber na Seville, Lucia, La Traviata, Massenet's Manon. Amma ra'ayi daga wasan kwaikwayo na farko ya kasance har abada. Ana tunawa da muryar mawaƙin a matsayin mai tashi, abin mamaki a cikin launi iri-iri, ɗan matte, amma mai taushin hali, kwanciyar hankali. Babu ko ɗaya "yaro" ko bayanin kula. Maganar aikin ƙarshe na "A can, a sama, tare da mahaifiyata ƙaunatacce ..." an tuna da shi a matsayin wani nau'i na mu'ujiza na murya - an busa sarewa maimakon murya.

A cikin kaka na 1924, Galli-Curci ya yi a cikin fiye da ashirin biranen Ingila. Wasan kide-kide na farko da mawakin ya yi a babban dakin taro na Albert Hall ya yi matukar burge 'yan kallo. "Mai sihiri na Galli-Curci", "Na zo, na rera - kuma na ci nasara!", "Galli-Curci ya ci London!" – ban sha’awa ya rubuta jaridu na gida.

Galli-Curci ba ta ɗaure kanta da kwangiloli na dogon lokaci tare da kowane gidan wasan opera guda ɗaya ba, ta fi son yawon shakatawa. Sai kawai bayan 1924 singer ya ba ta karshe zabi ga Metropolitan Opera. A matsayinka na mai mulki, taurarin opera (musamman a wancan lokacin) sun biya kulawa ta biyu kawai ga matakin wasan kwaikwayo. Ga Galli-Curci, waɗannan fage biyu ne gaba ɗaya daidai gwargwado na kerawa na fasaha. Bugu da ƙari, a cikin shekaru, ayyukan kide-kide har ma sun fara mamaye matakin wasan kwaikwayo. Kuma bayan da ta yi bankwana da wasan opera a shekarar 1930, ta ci gaba da ba da kide-kide a kasashe da dama na tsawon shekaru da dama, kuma a ko'ina ta samu nasara tare da mafi yawan jama'a, saboda a cikin dakin ajiyar kayan fasahar Amelita Galli-Curci an bambanta da sauki da fara'a. , tsabta, dimokuradiyya mai jan hankali.

"Babu masu sauraro marasa ra'ayi, kuna yin shi da kanku," in ji mawaƙin. A lokaci guda, Galli-Curci bai taɓa ba da kyauta ga abubuwan da ba su da kyau ko kuma munanan salon sa - manyan nasarorin da ɗan wasan ya samu nasara ce ta fasaha da gaskiya.

Tare da rashin haƙuri mai ban mamaki, tana ƙaura daga wannan ƙasa zuwa waccan, kuma shahararta tana haɓaka tare da kowane wasan kwaikwayo, tare da kowane kide kide. Hanyoyin yawon shakatawa nata suna tafiya ba kawai ta manyan ƙasashen Turai da Amurka ba. An saurare ta a birane da yawa a Asiya, Afirka, Australia da Kudancin Amirka. Ta yi a cikin tsibirin Pacific, ta sami lokaci don yin rikodin rikodin.

"Muryar ta," in ji masanin kiɗan VV Timokhin, daidai da kyau duka a cikin coloratura da cantilena, kamar sautin sarewa na sihiri, wanda aka ci nasara da taushin hali da tsabta. Daga kalmomin farko da mai zane ya rera, masu sauraro sun sha'awar sautin motsi da santsi da ke gudana tare da sauƙi mai ban mamaki… Daidai ma, sautin filastik ya yi wa mai zane hidima azaman abu mai ban sha'awa don ƙirƙirar hotuna iri-iri masu cike da filigree…

… Galli-Curci a matsayin mawaƙin coloratura, wataƙila, ba ta san daidai da ita ba.

Madaidaicin ma, sautin filastik ya yi wa mai zane hidima azaman abu mai ban sha'awa don ƙirƙirar hotuna masu girma dabam dabam. Babu wanda ya yi tare da irin wannan kayan aiki na kayan aiki a cikin aria "Sempre libera" ("Don zama 'yanci, zama rashin kulawa") daga "La Traviata", a cikin arias na Dinora ko Lucia kuma tare da irin wannan haske - cadenzas a cikin guda "Sempre libera" ko a cikin "Waltz Juliet," kuma shi ke nan ba tare da wata 'yar tashin hankali (ko da mafi girma bayanin kula ba ya haifar da ra'ayi na musamman high), wanda zai iya ba masu sauraro da fasaha matsaloli na sung lambar.

Sana'ar Galli-Curci ya sa mutanen zamanin su tuna da kyawawan halaye na ƙarni na 1914 kuma sun ce ko da mawaƙan da suka yi aiki a zamanin “zamanan zinare” na bel canto ba za su iya tunanin mai fassara mafi kyawun ayyukansu ba. "Idan Bellini da kansa ya ji irin wannan mawaƙa mai ban mamaki kamar Galli-Curci, da ya yaba mata har abada," in ji jaridar Barcelona El Progreso a cikin XNUMX bayan wasan kwaikwayo na La sonnambula da Puritani. Wannan bita na masu sukar Mutanen Espanya, waɗanda ba tare da jin ƙai ba suka “fashe” a kan yawancin fitattun fitattun muryoyin duniya, yana da nuni sosai. "Galli-Curci yana kusa da cikar kamala kamar yadda zai yiwu," in ji shekaru biyu bayan shahararriyar prima na Amurka donna Geraldine Farrar (kyakkyawan mai yin rawar Gilda, Juliet da Mimi), bayan sauraron Lucia di Lammermoor a Opera na Chicago. .

An bambanta mawaƙin ta hanyar babban repertoire. Kodayake ya dogara ne akan kiɗan opera na Italiyanci - ayyukan Bellini, Rossini, Donizetti, Verdi, Leoncavallo, Puccini - kuma ya yi fice a cikin wasan operas ta mawakan Faransa - Meyerbeer, Bizet, Gounod, Thomas, Massenet, Delibes. Don wannan dole ne mu ƙara da superbly yi matsayin Sophie a cikin R. Strauss ta Der Rosenkavalier da rawar da Sarauniya Shemakhan a Rimsky-Korsakov ta Golden Cockerel.

Mai zanen ya ce: “Ayyukan sarauniya ba ta wuce rabin sa’a ba, amma wane rabin sa’a ne! A cikin dan kankanin lokaci mawakin yana fuskantar matsaloli iri-iri na murya, da dai sauransu, ta yadda ko tsoffin mawakan ba za su zo da su ba.

A cikin bazara da bazara na 1935, mawaƙin ya zagaya Indiya, Burma da Japan. Wadancan kasashe ne na karshe da ta yi waka. Galli-Curci ya janye daga ayyukan kide-kide na wani dan lokaci saboda mummunar cutar makogwaro da ke buƙatar sa hannun tiyata.

A lokacin rani na 1936, bayan m karatu, da singer koma ba kawai a cikin concert mataki, amma kuma zuwa opera mataki. Amma bata dade ba. Wasan karshe na Galli-Curci ya faru ne a kakar 1937/38. Bayan haka, a ƙarshe ta yi ritaya kuma ta yi ritaya zuwa gidanta a La Jolla (California).

Mawakin ya rasu a ranar 26 ga Nuwamba, 1963.