Anatoly Ivanovich Orfenov |

Anatoly Orfenov

Dan kasar Rasha Anatoly Ivanovich Orfenov an haife shi a shekara ta 1908 a cikin dangin wani firist a ƙauyen Sushki, lardin Ryazan, wanda ba shi da nisa da garin Kasimov, tsohuwar dukiyar sarakunan Tatar. Iyalin sun haifi 'ya'ya takwas. Kowa ya rera waka. Amma Anatoly shi ne kadai, duk da dukan matsaloli, wanda ya zama kwararren singer. Mawakin ya ce: “Muna zaune da fitulun kananzir, ba mu da wani nishaɗi, sau ɗaya kawai a shekara, a lokacin Kirsimeti, ana yin wasan kwaikwayo. Muna da gramophone da muka fara a lokacin hutu, kuma na saurari bayanan Sobinov, Sobinov ya kasance mai zane na fi so, ina so in koya daga wurinsa, ina so in yi koyi da shi. Shin saurayin zai iya tunanin cewa a cikin 'yan shekaru kadan zai yi sa'a don ganin Sobinov, don yin aiki tare da shi a cikin sassan opera na farko.

Mahaifin iyali ya mutu a shekara ta 1920, kuma a karkashin sabon tsarin mulki, 'ya'yan limaman coci ba za su iya dogara ga ilimi mafi girma ba.

A 1928, Orfenov isa a Moscow, da kuma wasu tanadin Allah ya gudanar ya shiga biyu fasaha makarantu a lokaci daya - pedagogical da yamma music (yanzu Ippolitov-Ivanov Academy). Ya yi karatu vocals a cikin aji na talented malami Aleksandr Akimovich Pogorelsky, wani mabiyi na Italiyanci bel canto makaranta (Pogorelsky ne dalibi na Camillo Everardi), da kuma Anatoly Orfenov ya isa ga wannan stock na sana'a ilmi ga sauran rayuwarsa. Samuwar matasa singer ya faru a lokacin wani m sabuntawa na opera mataki, a lokacin da studio motsi ya zama tartsatsi, adawa da kanta ga Semi-official ilimi shugabanci na jihar sinimomi. Duk da haka, a cikin hanji na wannan Bolshoi da Mariinsky akwai wani fayyace remelting na tsohon hadisai. Sabbin ayoyin na ƙarni na farko na masu mallakar Soviet, jagorancin Kozlovsky da Lemeshev, sun canza abin da ke cikin rawar "lyric tenor", yayin da a St. Orfenov, wanda ya shiga cikin m rayuwa, daga farkon matakai gudanar da ba a rasa a cikin irin wadannan sunayen, saboda mu gwarzo yana da wani m sirri hadaddun, wani mutum palette na bayyana nufin, don haka "mutumin da ba janar magana".

Da farko, a 1933, ya iya shiga cikin ƙungiyar mawaƙa na Opera Theatre-Studio karkashin jagorancin KS Stanislavsky (studio da aka located a cikin gidan Stanislavsky a Leontievsky Lane, daga baya ya koma Bolshaya Dmitrovka zuwa tsohon gabatarwa na operetta). Iyalin suna da addini sosai, kakata ta ƙi duk wata rayuwa ta duniya, kuma Anatoly ya ɓoye wa mahaifiyarsa na dogon lokaci cewa yana aiki a gidan wasan kwaikwayo. Lokacin da ya ba da rahoton haka, ta yi mamaki: "Me ya sa a cikin mawaƙa?" Babban mai gyara na Rasha Stanislavsky da kuma babban tenor na kasar Rasha Sobinov, wanda ya daina raira waƙa kuma ya kasance mashawarcin murya a Studio, ya lura da wani dogon da kyau saurayi daga mawaƙa, kula ba kawai ga wannan murya. amma kuma ga himma da ladabin mai shi. Don haka Orfenov ya zama Lensky a cikin shahararren wasan kwaikwayo na Stanislavsky; a cikin Afrilu 1935, maigidan da kansa ya gabatar da shi ga wasan kwaikwayon, a cikin sauran sababbin masu yin wasan kwaikwayo. (Mafi kyawun lokuta na makomar fasaha za su ci gaba da haɗa su tare da hoton Lensky - farkon a Branch of the Bolshoi Theater, sa'an nan kuma a kan babban mataki na Bolshoi). Leonid Vitalievich ya rubuta wa Konstantin Sergeevich: "Na umarci Orfenov, wanda ke da murya mai kyau, ya shirya Lensky cikin gaggawa, sai dai Ernesto daga Don Pasquale. Kuma daga baya: "Ya ba ni Orfen Lensky a nan, kuma da kyau." Stanislavsky ya ba da lokaci mai yawa da hankali ga mai halarta na farko, kamar yadda aka nuna ta kwafin karatun da kuma abubuwan tunawa da mai zane da kansa: "Konstantin Sergeevich ya yi magana da ni tsawon sa'o'i. Game da me? Game da matakai na farko a kan mataki, game da jin dadi na a cikin wannan ko waccan rawar, game da ayyuka da ayyukan jiki wanda tabbas ya kawo cikin ma'auni na rawar, game da sakin tsokoki, game da xa'a na dan wasan kwaikwayo a rayuwa. kuma a kan mataki. Babban aikin ilimi ne, kuma ina godiya ga malamina da dukan zuciyata.

Yin aiki tare da manyan masanan fasahar Rasha a ƙarshe sun kafa halayen fasaha na mai zane. Orfenov da sauri ya dauki babban matsayi a cikin ƙungiyar Stanislavsky Opera House. Halin yanayi, ikhlasi da saukin halinsa a kan fage ya burge masu sauraro. Bai taba zama "mai rikodin sauti mai dadi", sautin bai taba zama ƙarshen kansa ga mawaƙa ba. Orfenov ko da yaushe ya zo daga music da kalmar betrothed zuwa gare shi, a cikin wannan ƙungiya ya nemi ban mamaki kulli na aikinsa. Domin shekaru da yawa Stanislavsky renon ra'ayin shirya Verdi ta Rigoletto, kuma a 1937-38. sun yi karo takwas. Duk da haka, saboda dalilai da dama (ciki har da, tabbas, waɗanda Bulgakov ya rubuta game da a cikin wani grotesquely allegorical nau'i a The Theater Novel), aiki a kan samar da aka dakatar, da kuma yi da aka saki bayan mutuwar Stanislavsky a karkashin jagorancin Meyerhold. , babban darektan gidan wasan kwaikwayo a wancan lokacin. Ta yaya mai ban sha'awa da aikin "Rigoletto" ya kasance za a iya yanke hukunci daga abubuwan tunawa na Anatoly Orfenov "Mataki na Farko", wanda aka buga a cikin mujallar "Soviet Music" (1963, No. 1).

Ya yi ƙoƙari ya nuna a kan mataki "rayuwar ruhun ɗan adam" ... Yana da mahimmanci a gare shi ya nuna gwagwarmayar "walakantacce da zagi" - Gilda da Rigoletto, fiye da ba da mamaki ga masu sauraro tare da dozin kyawawan bayanai na sama. mawaƙa da ƙawa na shimfidar wuri… Ya ba da zaɓuɓɓuka biyu don hoton Duke. Odin wani ɗan leƙen asiri ne wanda a zahiri ya yi kama da Francis I, wanda V. Hugo ya zana a cikin wasan kwaikwayo The King Amuses da kansa. Ɗayan kyakkyawan saurayi ne, kyakkyawa, mai sha'awar Countess Ceprano, Gilda mai sauƙi, da Maddalena.

A cikin hoto na farko, lokacin da aka ɗaga labule, Duke yana zaune a kan babban veranda na castle a teburin, a cikin ma'anar Konstantin Sergeevich, "layi" tare da mata ... Menene zai iya zama da wahala ga matashin mawaƙa wanda ya fi wuya. ba shi da kwarewar mataki, yadda za a tsaya a tsakiyar mataki kuma ku rera abin da ake kira "aria tare da safofin hannu," wato, ballad na Duke? A Stanislavsky's, Duke ya rera ballad kamar waƙar sha. Konstantin Sergeevich ya ba ni cikakken jerin ayyuka na jiki, ko, watakila, zai fi kyau a ce, ayyuka na jiki: tafiya a kusa da tebur, gilashin gilashi tare da mata. Ya bukaci in sami lokaci don yin musanyar kallo da kowannen su yayin wasan ball. Ta wannan hanyar, ya kare mai zane daga "vooids" a cikin rawar. Babu lokacin yin tunani game da "sautin", game da jama'a.

Wani sabon abu na Stanislavsky a farkon wasan shine wurin Duke Rigoletto yana bulala da bulala, bayan ya “zagi” Count Ceprano… Imani da shi ke da wuya, kuma a cikin bita da kulli da yawa na fadi mata.

A cikin aiki na biyu a lokacin duet, Gilda ta ɓoye bayan taga gidan mahaifinta, kuma aikin da Stanislavsky ya kafa don Duke shine ya jawo ta daga wurin, ko aƙalla ya sa ta duba ta taga. Duke yana da furannin furanni da ke ɓoye a ƙarƙashin mayafinsa. Fure ɗaya a lokaci ɗaya, yana ba su Gilda ta taga. (Shahararren hoton da taga yana cikin duk tarihin wasan opera - A.Kh.). A mataki na uku Stanislavsky ya so ya nuna Duke a matsayin mutum na lokaci da yanayi. Lokacin da kotuna suka gaya wa Duke cewa "yarinyar tana cikin fadar ku" (samfurin ya kasance a cikin fassarar Rashanci wanda ya bambanta da wanda aka yarda da shi - A.Kh.), ya canza gaba daya, ya rera wani aria, kusan ba a taɓa yin shi ba. a gidajen wasan kwaikwayo. Wannan aria yana da matukar wahala, kuma ko da yake babu bayanan da suka fi karfin octave na biyu a cikinsa, amma yana da matukar damuwa a cikin tessitura.

Tare da Stanislavsky, wanda ya yi yaƙi da operatic vampuca, Orfenov kuma ya yi sassan Lykov a cikin Bride Tsar, Mai Tsarki Fool a Boris Godunov, Almaviva a cikin Barber na Seville, da Bakhshi a cikin Lev Stepanov's Darvaz Gorge. Kuma ba zai taba barin gidan wasan kwaikwayo ba idan Stanislavsky bai mutu ba. Bayan mutuwar Konstantin Sergeevich ya fara hade tare da Nemirovich-Danchenko Theater (waɗannan su ne biyu mabanbanta gidan wasan kwaikwayo, da kuma irony na rabo shi ne cewa an haɗa su). A cikin wannan "damuwa" lokaci Orfenov, wanda ya riga ya cancanta artist na RSFSR, dauki bangare a cikin wasu daga cikin zamanin-yin productions na Nemirovich, raira waƙa Paris a cikin "Beautiful Elena" (wannan yi, sa'a, da aka rubuta a rediyo a 1948. ), amma duk da haka a cikin ruhu shi Stanislav na gaskiya ne. Saboda haka, ya miƙa mulki a 1942 daga Stanislavsky da Nemirovich-Danchenko Theater zuwa Bolshoi da aka ƙaddara da rabo kanta. Ko da yake Sergei Yakovlevich Lemeshev a cikin littafinsa "Hanyar Art" ya bayyana ra'ayin cewa fitattun mawaƙa (kamar Pechkovsky da kansa) sun bar Stanislavsky saboda jin dadi da kuma bege na inganta ƙwarewar murya a cikin sararin samaniya. A cikin yanayin Orfenov, a fili, wannan ba gaskiya bane.

M rashin gamsuwa a farkon 40s tilasta shi ya "kashe yunwa" "a gefe", da kuma a cikin 1940/41 kakar Orfenov m hadin gwiwa tare da Jihar Opera gungu na Tarayyar Soviet karkashin jagorancin IS Kozlovsky. Mafi yawan "Turai" a cikin ruhi na zamanin Soviet ya damu da ra'ayoyin wasan opera a cikin wasan kwaikwayo (a yau waɗannan ra'ayoyin sun sami tasiri mai tasiri a yammacin yamma a cikin nau'i na abin da ake kira Semi-staged). , "Semi-performances" ba tare da shimfidar wuri da kayayyaki ba, amma tare da yin hulɗar aiki) kuma a matsayin darekta, ya shirya shirye-shiryen Werther, Orpheus, Pagliatsev, Mozart da Salieri, Arkas 'Katerina da Lysenko's Natalka-Poltavka. "Mun yi mafarkin gano wani sabon nau'i na wasan opera, wanda tushensa zai zama sauti, kuma ba abin kallo ba," Ivan Semenovich ya tuna da yawa daga baya. A farkon, Kozlovsky kansa ya rera manyan sassan, amma a nan gaba yana buƙatar taimako. Don haka Anatoly Orfenov ya rera waƙa na kwarjini na Werther sau bakwai, da Mozart da Beppo a cikin Pagliacci (Serenade Harlequin dole ne ya zama sau 2-3). An gudanar da wasan kwaikwayo a cikin Babban Hall na Conservatory, Gidan Masanan Kimiyya, Gidan Tsakiya na Mawaƙa da Harabar. Kash, kasancewar ƙungiyar ta kasance ɗan gajeren lokaci.

Soja 1942. Jamusawa suna zuwa. Harin bam. Damuwa. Babban ma'aikata na Bolshoi Theater aka kwashe zuwa Kuibyshev. Kuma a Moscow a yau suna yin wasan kwaikwayo na farko, gobe suna yin wasan opera har zuwa ƙarshe. A cikin irin wannan m lokaci Orfenov fara gayyace zuwa Bolshoi: na farko ga daya lokaci, kadan daga baya, a matsayin wani ɓangare na troupe. M, neman kansa, daga lokacin Stanislavsky ya iya gane duk mafi kyau daga abokansa a kan mataki. Kuma akwai wanda zai gane shi - dukan zinariya arsenal na Rasha vocals aka sa'an nan a cikin aiki tsari, karkashin jagorancin Obukhova, Barsova, Maksakova, Reizen, Pirogov da Khanaev. A cikin shekaru 13 na hidima a Bolshoi Orfenov ya sami damar yin aiki tare da manyan masu gudanarwa hudu: Samuil Samosud, Ariy Pazovsky, Nikolai Golovanov da Alexander Melik-Pashaev. Abin baƙin ciki, amma zamanin yau ba zai iya yin alfahari da irin wannan girma da ɗaukaka ba.

Tare da abokan aikinsa guda biyu mafi kusa, lyric tenors Solomon Khromchenko da Pavel Chekin Orfenov dauki layin "na biyu echelon" a cikin gidan wasan kwaikwayo na matsayi nan da nan bayan Kozlovsky da Lemeshev. Waɗannan abokan hamayya biyu sun ji daɗin ƙauna mai ban sha'awa ta gaske, mai iyaka da bautar gumaka. Ya isa a tuna da mummunan fadace-fadacen wasan kwaikwayo tsakanin sojojin "Kazlovites" da "Lemeshists" don tunanin yadda yake da wuya a rasa hasara kuma, haka ma, don ɗaukar wuri mai dacewa a cikin wannan mahallin tenor ga kowane sabon mawaƙa na irin wannan. rawar. Kuma gaskiyar cewa yanayin fasaha na Orfenov ya kasance kusa da ruhu ga masu gaskiya, "Yesenin" farkon fasahar Lemeshev bai buƙaci shaida ta musamman ba, da kuma cewa tare da girmamawa ya ci jarrabawar kwatankwacin da ba zai iya yiwuwa ba tare da masu bautar gumaka. Ee, ba a cika ba da shirye-shiryen farko ba, kuma an yi wasan kwaikwayo tare da kasancewar Stalin ko da ƙasa da sau da yawa. Amma ku ko da yaushe maraba don raira waƙa ta maye (diary na artist ya cika da bayanin kula "Maimakon Kozlovsky", "Maimakon Lemeshev. Ya ruwaito a karfe 4 na yamma"; Lemeshev Orfenov wanda ya fi yawan inshora). Littattafan Orfenov, wanda mai zane ya rubuta sharhi game da kowane wasan kwaikwayonsa, bazai zama babban darajar wallafe-wallafe ba, amma sun kasance wani takarda mai mahimmanci na zamanin - muna da damar ba kawai don jin abin da ake nufi da zama a cikin "na biyu ba". jere" kuma a lokaci guda sami gamsuwa daga aikinsa, amma, mafi mahimmanci, don gabatar da rayuwar Bolshoi Theatre daga 1942 zuwa 1955, ba a cikin fareti-official view ba, amma daga ra'ayi na talakawa aiki. kwanaki. Sun rubuta game da farko a Pravda kuma sun ba Stalin Prizes a gare su, amma shi ne na biyu ko na uku simintin gyaran kafa wanda ya goyi bayan al'ada aiki na wasanni a cikin post-fire lokaci. Shi ne kawai irin wannan abin dogara da m ma'aikaci na Bolshoi cewa Anatoly Ivanovich Orfenov ya kasance.

Gaskiya ne, ya kuma sami lambar yabo ta Stalin - don Vasek a cikin Smetana's The Bartered Bride. Wasa ce ta almara ta Boris Pokrovsky da Kirill Kondrashin a cikin fassarar Rashanci ta Sergei Mikhalkov. An yi aikin ne a cikin 1948 don girmama bikin cika shekaru 30 na Jamhuriyar Czechoslovak, amma ya zama ɗaya daga cikin fitattun barkwanci da jama'a suka yi kuma ya daɗe a cikin repertoire na shekaru da yawa. Shaidun gani da ido da yawa sun yi la'akari da babban hoton Vashek a matsayin kololuwa a cikin tarihin kirkirar mai zane. "Vashek yana da wannan girman halin da ke cin amanar hikimar kirkire-kirkire na marubucin hoton matakin - ɗan wasan kwaikwayo. Vashek Orfenova shine hoton da aka yi da hankali da wayo. The sosai physiological shortcomings na hali (stuttering, wauta) da aka yi ado a kan mataki a cikin tufafi na soyayya, m da kuma fara'a "(BA Pokrovsky).

Orfenov aka dauke da wani gwani a cikin yammacin Turai repertoire, wanda aka yawanci yi a reshe, don haka ya zama mafi sau da yawa ya raira waƙa a can, a cikin ginin Solodovnikovsky Theater a kan Bolshaya Dmitrovka (inda Mamontov Opera da Zimin Opera sun kasance a can. A cikin karni na 19-20, kuma yanzu yana aiki "Moscow Operatta"). Mai alheri da fara'a, duk da rashin mutuncin fushinsa, Duke nasa ne a Rigoletto. Gallant Count Almaviva ya haskaka tare da gyare-gyare da fasaha a cikin Barber na Seville (a cikin wannan opera, mai wuya ga kowane mai biyan kuɗi, Orfenov ya kafa wani nau'i na rikodin sirri - ya rera shi sau 107). Matsayin Alfred a La Traviata an gina shi akan bambance-bambance: saurayi mai kunya cikin ƙauna ya juya ya zama mutum mai kishi wanda ya makantar da fushi da fushi, kuma a ƙarshen wasan opera ya bayyana a matsayin mutum mai ƙauna da tuba. Repertoire na Faransa ya wakilci Faust da Aubert's comic opera Fra Diavolo (bangaren taken a cikin wannan wasan kwaikwayon shine aikin ƙarshe a cikin gidan wasan kwaikwayo na Lemeshev, kamar yadda na Orfenov - rawar lyrical na carabinieri Lorenzo). Ya rera Mozart's Don Ottavio a Don Giovanni da Beethoven's Jacquino a cikin sanannen samar da Fidelio tare da Galina Vishnevskaya.

Hoton hotuna na Rasha na Orfenov an buɗe shi daidai da Lensky. Muryar mawaƙin, wacce ke da tattausan ƙulli, a sarari, laushi da elasticity na sauti, daidai yake da hoton matashin jarumin waƙa. Lensky nasa an bambanta shi da wani hadadden rauni na musamman, rashin tsaro daga guguwar duniya. Wani abin mamaki shine hoton wawa mai tsarki a cikin "Boris Godunov". A cikin wannan gagarumin wasan kwaikwayon na Baratov-Golovanov-Fyodorovsky, Anatoly Ivanovich ya rera waka a gaban Stalin a karo na farko a rayuwarsa a 1947. Ɗaya daga cikin abubuwan "m" na rayuwar fasaha kuma an haɗa shi da wannan samarwa - wata rana, a lokacin Rigoletto. , An sanar da Orfenov cewa a ƙarshen wasan opera ya kamata ya zo daga reshe a kan babban mataki (minti 5 na tafiya) kuma ya raira waƙa mai tsarki. Tare da wannan wasan kwaikwayon ne a ranar 9 ga Oktoba, 1968, ƙungiyar wasan kwaikwayo ta Bolshoi ta yi bikin cika shekaru 60 na mawaƙin da kuma bikin 35th ranar tunawa da ayyukansa na kere-kere. Gennady Rozhdestvensky, wanda ya gudanar da wannan maraice, ya rubuta a cikin "littafin aiki": "Rayuwar ƙwararru!" Kuma dan wasan kwaikwayo na Boris Alexander Vedernikov ya lura: Orfenov yana da dukiya mafi daraja ga mai zane-zane - ma'anar rabo. Wawansa mai tsarki alama ce ta lamiri na mutane, kamar yadda mawallafin ya ɗauka.

Orfenov ya bayyana sau 70 a cikin siffar Sinodal a cikin Demon, wasan opera wanda yanzu ya zama mai ban mamaki, kuma a wannan lokacin yana daya daga cikin mafi yawan abin da ya faru. Babban nasara ga mai zane kuma shine irin waɗannan bukukuwa kamar Baƙon Indiya a Sadko da Tsar Berendey a Snegurochka. Kuma mataimakin versa, bisa ga singer da kansa, Bayan a cikin "Ruslan da Lyudmila", Vladimir Igorevich a "Prince Igor" da kuma Gritsko a "Sorochinsky Fair" bai bar wani haske alama (da artist yi la'akari da rawar da yaron a Mussorgsky ta opera). da farko "rauni", tun lokacin aikin farko a cikin wannan wasan kwaikwayon, zubar da jini ya faru a cikin ligament). Halin Rasha kawai wanda ya bar mawaƙa ba shi da sha'awa shine Lykov a cikin Bride Tsar - ya rubuta a cikin diary: "Ba na son Lykov." A bayyane yake, shiga cikin wasan kwaikwayo na Soviet bai tayar da sha'awar mai zane ba, duk da haka, kusan bai shiga cikin su ba a cikin Bolshoi, ban da wasan opera na Kabalevsky na kwana ɗaya "A ƙarƙashin Moscow" (matashi Muscovite Vasily), wasan opera na yara Krasev " Morozko" (Kakan) da kuma Muradeli's opera "Babban Abota".

Tare da jama'a da kasa, gwarzonmu bai tsira daga guguwar tarihi ba. Ranar 7 ga Nuwamba, 1947, wani babban wasan kwaikwayo na wasan opera na Vano Muradeli na Babban Abota ya faru a gidan wasan kwaikwayo na Bolshoi, wanda Anatoly Orfenov ya yi wani ɓangare na makiyayi Dzhemal. Abin da ya faru na gaba, kowa ya san - ƙaƙƙarfan doka na kwamitin tsakiya na CPSU. Me ya sa ainihin wannan wasan opera mara lahani gabaɗaya ya zama sigina don farkon sabuwar tsanantawa na “masu ƙima” Shostakovich da Prokofiev wani ɗan ƙanƙara ne na yare. Yaren Orfenov ba abin mamaki bane: ya kasance babban dan gwagwarmayar zamantakewa, mataimakin majalisar wakilai na yanki, kuma a lokaci guda, duk rayuwarsa ya ci gaba da bangaskiya ga Allah, ya tafi coci a fili kuma ya ki yarda. shiga jam'iyyar gurguzu. Abin mamaki ba a shuka shi ba.

Bayan mutuwar Stalin, an shirya tsaftataccen tsaftacewa a gidan wasan kwaikwayo - an fara canjin zamani na wucin gadi. Kuma Anatoly Orfenov ya kasance daya daga cikin na farko da aka bai wa fahimtar cewa lokaci ya yi don babban fensho, ko da yake a 1955 da artist ne kawai 47. Nan da nan ya nemi murabus. Irin wannan shi ne ainihin dukiyarsa - don barin nan da nan daga inda ba a maraba da shi ba.

Haɗin kai tare da Rediyo ya fara tare da Orfenov baya a cikin 40s - muryarsa ta zama abin mamaki "radiogenic" kuma ya dace da rikodi. A wannan lokacin ba shine lokaci mafi haske ga ƙasar ba, lokacin da farfagandar kama-karya ta yi yawa, lokacin da iskar ta cika da jawaban cin mutunci na babban mai zargi a gwaji na ƙirƙira, watsa shirye-shiryen kiɗa ba ta taƙaice kawai ga jerin gwanon masu kishi da waƙoƙin Stalin ba. , amma inganta high classics. Yana jin sauti na sa'o'i da yawa a rana, duka akan rikodi da watsa shirye-shirye daga ɗakunan studio da wuraren wasan kwaikwayo. Shekaru 50 sun shiga tarihin Rediyo a matsayin mafi kyawun ranar wasan opera - a cikin waɗannan shekarun ne aka yi rikodin tarin opera na zinari na asusun rediyo. Baya ga sanannun maki, yawancin ayyukan opera da aka manta da su da wuya an sake haifuwa, irin su Pan Voyevoda na Rimsky-Korsakov, Voyevoda na Tchaikovsky da Oprichnik. Dangane da mahimmancin fasaha, ƙungiyar murya ta Rediyo, idan tana ƙasa da gidan wasan kwaikwayo na Bolshoi, ya kasance kaɗan. Sunayen Zara Dolukhanova, Natalia Rozhdestvenskaya, Deborah Pantofel-Nechetskaya, Nadezhda Kazantseva, Georgy Vinogradov, Vladimir Bunchikov sun kasance a bakin kowa. Halin kirkire-kirkire da yanayin dan Adam a gidan rediyon na wancan shekarun ya kasance na kwarai. Babban matakin ƙwararrun ƙwararru, ɗanɗano mara kyau, ƙwarewar repertoire, inganci da hankali na ma'aikata, jin daɗin jama'a da taimakon juna suna ci gaba da jin daɗin shekaru masu yawa bayan haka, lokacin da duk wannan ya ƙare. Ayyuka a cikin Rediyo, inda Orfenov ba kawai soloist ba ne, amma har ma da darektan fasaha na ƙungiyar murya, ya zama mai ban sha'awa sosai. Bugu da kari, da yawa hannun jari rikodin, a cikin abin da Anatoly Ivanovich ya nuna mafi kyau halaye na muryarsa, ya gabatar a cikin aikace-aikace na jama'a kide kide kide na operas na Rediyo a cikin Hall of ginshikan na House of Ƙungiyoyin. Abin baƙin cikin shine, a yau wannan tarin kiɗan da aka yi rikodin ya zama mafi kyawun wuri kuma yana kwance mataccen nauyi - zamanin cinyewa ya gabatar da fifikon kiɗan daban-daban a gaba.

Anatoly Orfenov kuma an san shi sosai a matsayin mai wasan kwaikwayo. Ya yi nasara musamman a cikin waƙoƙin muryar Rasha. Rikodi na shekaru daban-daban yana nuna salon launi na mawaƙi kuma, a lokaci guda, ikon isar da ɓoyayyen wasan kwaikwayo na subtext. Ayyukan Orfenov a cikin nau'in ɗakin yana bambanta da al'adu da dandano mai ban sha'awa. palette na mawaƙin na ma'anar bayyanawa yana da wadata - daga kusan ethereal mezza voce da cantilena bayyananne zuwa ƙarshen bayyanawa. A cikin tarihin 1947-1952. Asalin salo na kowane mawaki ana isar da shi daidai. Ƙwararren gyare-gyare na Glinka's romances yana tare da sauƙi na gaskiya na Gurilev's romances (Shahararren Bell, wanda aka gabatar akan wannan faifan, na iya zama ma'auni don wasan kwaikwayo na ɗakin kiɗa na zamanin Glinka). A Dargomyzhsky Orfenov musamman son romances "Abin da ke cikin sunana zuwa gare ku" da "Na mutu da farin ciki", wanda ya fassara a matsayin dabara m zane-zane. A cikin romances na Rimsky-Korsakov, singer ya fara tunanin fara tunanin zurfin tunani. Rachmaninov's monologue "A dare a cikin lambuna" sauti mai ma'ana da ban mamaki. Babban sha'awa shine rikodin romance na Taneyev da Tcherepnin, waɗanda ba a taɓa jin kiɗan su a cikin kide-kide ba.

Kalmomin soyayya na Taneyev suna da halaye da launuka masu ban sha'awa. Mawaƙin ya sami damar ɗaukar sauye-sauye na dabara a cikin ƙananan inuwa a cikin yanayin jarumin waƙa. Tunani da ji suna cike da sautin iska na dare na bazara ko kuma guguwa mai ɗanɗano kaɗan na ƙwallon (kamar yadda a cikin sanannen soyayya dangane da waƙoƙin Y. Polonsky "Mask"). Tunani a kan ɗakin fasaha na Tcherepnin, Academician Boris Asafiev ya jawo hankali ga tasiri na makarantar Rimsky-Korsakov da kuma Faransanci impressionism ("gravitation zuwa kama da ra'ayi na yanayi, zuwa iska, zuwa ga launi, zuwa ga nuances na haske da inuwa"). . A cikin sha'anin soyayya dangane da waqoqin Tyutchev, ana gane waɗannan fasalulluka a cikin kyawawan launi na jituwa da rubutu, cikin cikakkun bayanai, musamman a ɓangaren piano. Rikodi na soyayya na Rasha da Orfenov ya yi tare da ɗan wasan pian David Gaklin kyakkyawan misali ne na haɗa kiɗan ɗaki.

A 1950, Anatoly Orfenov fara koyarwa a Gnessin Institute. Ya kasance malami mai kulawa da fahimta. Bai taba sanyawa ba, bai tilasta yin koyi ba, amma duk lokacin da ya ci gaba daga keɓantacce da iyawar kowane ɗalibi. Ko da yake babu ɗayansu da ya zama babban mawaƙa kuma bai yi sana'ar duniya ba, amma nawa ne abokin farfesa Orfenov ya iya gyara muryoyin - sau da yawa ana ba shi marasa bege ko waɗanda ba a ɗauke su zuwa azuzuwan su ta wasu manyan malamai masu kishi ba. . Daga cikin dalibansa ba kawai tenors, amma kuma basses (Tenor Yuri Speransky, wanda ya yi aiki a daban-daban sinimomi na Tarayyar Soviet, yanzu ya jagoranci sashen na opera horo a Gnessin Academy). Akwai 'yan mata muryoyin, kuma daga cikinsu akwai 'yar fari Lyudmila, wanda daga baya ya zama soloist na Bolshoi Theater Choir. Ikon Orfenov a matsayin malami a ƙarshe ya zama na duniya. Aikin koyarwa na kasashen waje na dogon lokaci (kusan shekaru goma) ya fara a kasar Sin kuma ya ci gaba a wuraren ajiyar Alkahira da Bratislava.

A 1963, na farko da komawa zuwa Bolshoi gidan wasan kwaikwayo ya faru, inda Anatoly Ivanovich ya kula da opera troupe na shekaru 6 - wadannan su ne shekarun da La Scala ya fara zo, da kuma Bolshoi yawon shakatawa a Milan, a lokacin da nan gaba taurari (Obraztsova. Atlantov , Nestrenko, Mazurok, Kasrashvili, Sinyavskaya, Piavko). Bisa ga tunanin masu fasaha da yawa, babu irin wannan ƙungiya mai ban mamaki. Orfenov ko da yaushe ya san yadda za a dauki matsayi na "zinariya ma'ana" tsakanin gudanarwa da soloists, uba ya goyi bayan mawaƙa, musamman ma matasa, tare da shawara mai kyau. A cikin 60s da 70s, ikon a cikin Bolshoi Theater canza sake, da kuma dukan darektan, shugaban Chulaki da Anastasiev, tafi. A 1980, lokacin da Anatoly Ivanovich ya dawo daga Czechoslovakia, nan da nan aka kira shi Bolshoi. A 1985, ya yi ritaya saboda rashin lafiya. Ya mutu a shekarar 1987. An binne shi a makabartar Vagankovsky.

Muna da muryarsa. Akwai diaries, articles da littattafai (daga cikinsu akwai "Sobinov ta m hanya", kazalika da tarin m hotuna na matasa soloists na Bolshoi "Youth, bege, nasarori"). Abubuwan tunawa masu kyau na zamani da abokai sun kasance, suna shaida cewa Anatoly Orfenov mutum ne tare da Allah a cikin ransa.

Andrey Khripin