Anna Yakovlevna Petrova-Vorobieva |
Anna Petrova-Vorobieva
Ba dadewa ba, kawai shekaru goma sha uku, aikin Anna Yakovlevna Petrova-Vorobyeva ya kasance. Amma ko da waɗannan shekarun sun isa rubuta sunanta a cikin tarihin fasahar Rasha a cikin haruffan zinariya.
“… Tana da murya mai ban mamaki, kyakkyawa da ƙarfi da ba kasafai ba, katako mai “karami” da faffadan kewayon (kwakwalwa biyu da rabi, daga “F” ƙarami zuwa “B-flat” octave na biyu), yanayi mai ƙarfi mai ƙarfi. , ya mallaki dabarar murya ta virtuoso,” in ji Pruzhansky. "A kowane bangare, mawaƙin ya yi ƙoƙari don cimma cikakkiyar murya da haɗin kai."
Daya daga cikin wadanda suka yi zamani da mawakiyar ta rubuta: “Za ta fito ne kawai, yanzu za ku ga wata babbar jaruma kuma fitacciyar mawakiya. A wannan lokacin, kowane motsinta, kowane sashe, kowane ma'auni yana cike da rayuwa, ji, motsin fasaha. Muryarta ta sihiri, wasanta na kirkire-kirkire daidai yake nema a cikin zuciyar kowane mai son sanyi da zafi.
An haifi Anna Yakovlevna Vorobieva a ranar 14 ga Fabrairu, 1817 a St. Ta sauke karatu daga St. Petersburg Theatre School. Da farko ta yi karatu a ajin ballet na Sh. Didlo, sannan a cikin ajin mawaka na A. Sapienza da G. Lomakin. Daga baya, Anna ta inganta fasahar murya a ƙarƙashin jagorancin K. Kavos da M. Glinka.
A cikin 1833, yayin da har yanzu take ɗalibi a makarantar wasan kwaikwayo, Anna ta fara fitowa a dandalin wasan opera tare da ƙaramin ɓangaren Pipo a cikin Rossini's The Thieving Magpie. Nan da nan Connoisseurs sun lura da fitattun iyawar muryarta: contralto ba kasafai cikin ƙarfi da kyau ba, fasaha mai kyau, bayyana waƙa. Daga baya, da matasa singer yi a matsayin Ritta ("Tsampa, teku robber, ko Marble Bride").
A wannan lokacin, matakin daular kusan an ba da shi ga wasan opera na Italiyanci, kuma matashin mawaƙin ba zai iya bayyana ƙwarewarta sosai ba. Duk da nasarar da ta samu, bayan kammala karatunsa daga kwaleji, an nada Anna da darektan gidan wasan kwaikwayo na Imperial A. Gedeonov zuwa ƙungiyar mawaƙa ta St. Petersburg Opera. A wannan lokacin Vorobyeva dauki bangare a cikin wasan kwaikwayo, Vaudeville, daban-daban divertissement, yi a cikin kide-kide tare da wasan kwaikwayo na Mutanen Espanya aria da romances. Sai kawai godiya ga kokarin K. Cavos, wanda ya yaba da murya da basirar matasa masu zane-zane, ta sami damar yin wasan kwaikwayo a ranar 30 ga Janairu, 1835 a matsayin Arzache, bayan haka ta shiga cikin wani soloist na Opera na St. Petersburg. .
Da ya zama soloist Vorobieva ya fara ƙware da repertoire "belkanto" - yafi operas na Rossini da Bellini. Amma sai wani al'amari ya faru wanda ya canza mata makomarta ba zato ba tsammani. Mikhail Ivanovich Glinka, wanda ya fara aiki a kan wasan opera na farko, ya bambanta biyu daga cikin mawaƙa da yawa na wasan opera na Rasha tare da kallon da ba a sani ba da kuma shiga cikin mawallafin, kuma ya zaɓe su don yin manyan sassa na wasan opera na gaba. Kuma ba kawai zaɓaɓɓu ba, har ma ya fara shirya su don cika aikin da ya dace.
“Masu fasaha sun yi wasa tare da ni da ƙwazo,” daga baya ya tuna. "Petrova (sa'an nan har yanzu Vorobyova), ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren ne, koyaushe ta nemi in rera mata kowane sabon kiɗa sau biyu, a karo na uku ta riga ta rera kalmomi da kiɗan da kyau kuma ta san zuciya…
Sha'awar mawaƙin ga waƙar Glinka ya ƙaru. A bayyane, ko a lokacin marubucin ya gamsu da nasarar da ta samu. A kowane hali, a ƙarshen lokacin rani na 1836, ya riga ya rubuta uku tare da ƙungiyar mawaƙa, "Ah, ba a gare ni ba, matalauta, iska mai tashin hankali," a cikin kalmominsa, "la'akari da hanyoyi da basirar Madam Vorobyeva."
Ranar 8 ga Afrilu, 1836, mawaƙin ya yi aiki a matsayin bawa a cikin wasan kwaikwayo "Moldavian Gypsy, ko Zinariya da Dagger" na K. Bakhturin, inda a farkon hoto na uku ta yi wani aria tare da mawaƙa na mace wanda Glinka ya rubuta.
Ba da da ewa ba a farkon wasan opera na farko na Glinka, mai tarihi na kiɗan Rasha, ya faru. VV Stasov ya rubuta da yawa daga baya:
A ranar 27 ga Nuwamba, 1836, an ba da wasan opera na Glinka “Susanin” a karon farko…
Ayyukan Susanin sun kasance jerin bukukuwa na Glinka, amma kuma ga manyan 'yan wasan biyu: Osip Afanasyevich Petrov, wanda ya taka rawar Susanin, da Anna Yakovlevna Vorobyeva, wanda ya taka rawar Vanya. Wannan na ƙarshe har yanzu yarinya ce ƙarama, shekara ɗaya kawai ba ta zuwa makarantar wasan kwaikwayo kuma har sai da Susanin ta bayyana ta yanke hukuncin yin rarrafe a cikin ƙungiyar mawaƙa, duk da muryarta mai ban mamaki da iyawa. Tun daga farkon wasan opera, waɗannan mawakan biyu sun kai ga girman wasan kwaikwayo, wanda har zuwa lokacin babu wani daga cikin masu wasan opera ɗinmu da ya kai. A wannan lokacin, muryar Petrov ta sami duk ci gabanta kuma ta zama kyakkyawa, "bass mai ƙarfi" wanda Glinka yayi magana a cikin Bayanan kula. Muryar Vorobieva ta kasance daya daga cikin mafi ban mamaki, ban mamaki contraltos a duk Turai: girma, kyakkyawa, ƙarfi, taushi - duk abin da ke cikin shi ya ba mai sauraro mamaki kuma ya yi masa aiki tare da fara'a. Amma halayen fasaha na duka masu fasaha sun bar nisa a bayan cikakkiyar muryoyin su.
Mai ban sha'awa, mai zurfi, ji na gaske, mai iya isa ga pathos masu ban mamaki, sauƙi da gaskiya, ardor - abin da nan da nan ya sanya Petrov da Vorobyova a matsayi na farko a cikin masu wasan kwaikwayon mu kuma ya sa jama'ar Rasha su shiga cikin taron jama'a zuwa wasan kwaikwayo na "Ivan Susanin". Nan da nan Glinka da kansa ya yaba da duk darajar waɗannan ƴan wasan biyu kuma cikin tausayawa suka ɗauki karatunsu na fasaha. Yana da sauƙi a yi tunanin yadda ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun mawaƙa ba zato ba tsammani suka zama shugabansu, mashawarta da malami.
Jim kadan bayan wannan wasan kwaikwayon, a 1837, Anna Yakovlevna Vorobyeva ya zama matar Petrov. Glinka ya ba wa sababbin ma'aurata kyauta mafi tsada, mara tsada. Ga yadda ita kanta mai zanen ta bayyana hakan a cikin tarihinta:
"A cikin Satumba, Osip Afanasyevich ya damu sosai game da ra'ayin abin da za a ba shi a matsayin fa'ida da aka tsara don ranar 18 ga Oktoba. A lokacin rani, a lokacin bikin aure, ya manta da wannan rana gaba ɗaya. A wancan zamanin ... kowane mai zane ya kula da tsara wasan kwaikwayon da kansa, amma idan bai fito da wani sabon abu ba, amma ba ya son ba da tsohuwar, to ya yi kasada gaba daya ya rasa aikin fa'ida (wanda na yi amfani da shi). da zarar dandana kan kaina), waɗannan su ne dokoki a lokacin. Ranar 18 ga Oktoba ba ta da nisa, dole ne mu yanke shawara a kan wani abu. Fassara ta wannan hanyar, mun kai ga ƙarshe: Glinka zai yarda ya ƙara wani yanayi na Vanya a cikin opera ɗinsa. A cikin Dokar 3, Susanin ya aika Vanya zuwa kotun gidan, don haka zai yiwu a ƙara yadda Vanya ke gudana a can?
Miji na nan da nan ya tafi Nestor Vasilyevich Kukolnik don ya gaya mana ra'ayinmu. Dan tsana ya saurara sosai, kuma ya ce: “Ka zo, ɗan’uwa, da yamma, Misha zai kasance tare da ni yau, kuma za mu yi magana.” Da karfe 8 na yamma, Osip Afanasyevich ya tafi can. Yana shiga, yaga Glinka na zaune a piano yana huci wani abu, dan tsana yana zagaya daki yana murza wani abu. Ya bayyana cewa Puppeteer ya riga ya yi wani shiri don sabon yanayin, kalmomin sun kusan shirye, kuma Glinka yana wasa da fantasy. Dukansu biyu sun kama wannan ra'ayi tare da jin dadi kuma sun karfafa Osip Afanasyevich cewa matakin zai kasance a shirye kafin Oktoba 18th.
Washegari, da ƙarfe 9 na safe, an ji kira mai ƙarfi; Har yanzu ban tashi ba, to, ina tunanin, wane ne ya zo da wuri? Nan take wani ya buga kofar dakina, sai naji muryar Glinka:
– Lady, tashi da sauri, na kawo sabuwar aria!
Cikin mintuna goma na shirya. Ina fita, kuma Glinka ya riga ya zauna a piano kuma yana nunawa Osip Afanasyevich wani sabon yanayi. Mutum zai iya tunanin mamakin da na ji lokacin da na ji ta kuma na gamsu cewa matakin ya kusan shirye gaba daya, watau duk recitatives, andante and allegro. Na daskare. Yaushe ya sami lokacin rubuta shi? Jiya muna maganarta! "To, Mikhail Ivanovich," in ce, "kai mai sihiri ne kawai." Sai kawai ya yi murmushi ya ce da ni:
– Ni, uwargida, na kawo miki wani daftarin aiki, domin kina iya gwada shi da murya da kuma ko an rubuta shi da kyau.
Na raira waƙa kuma na sami wannan a hankali da murya. Bayan haka, ya tafi, amma ya yi alkawari zai aika da aria nan da nan, kuma zai shirya dandalin a farkon Oktoba. A ranar 18 ga Oktoba, aikin Osip Afanasyevich ya yi amfani da shi shine wasan opera A Life for the Tsar tare da ƙarin yanayin, wanda ya kasance babban nasara; da yawa sun kira marubuci kuma mai yin wasan kwaikwayo. Tun daga wannan lokacin, wannan ƙarin fage ya zama wani ɓangare na opera, kuma a cikin wannan tsari ana yin shi har yau.
Shekaru da yawa sun shude, kuma mawakiyar mai godiya ta iya godiya sosai ga mai kyautata mata. Ya faru ne a cikin 1842, a cikin kwanakin Nuwamba, lokacin da aka fara yin wasan opera Ruslan da Lyudmila a St. Petersburg. A farko da kuma a karo na biyu, saboda rashin lafiya Anna Yakovlevna, wani ɓangare na Ratmir aka yi da matasa da kuma m singer Petrova, sunansa. Ta rera waƙa a cikin tsoro, kuma ta fuskoki da yawa saboda wannan dalili an karɓi wasan opera cikin sanyi. Glinka ta rubuta a cikin littafinta na Notes cewa: "Babbar Petrova ta fito a wasan kwaikwayo na uku, ta yi wasan kwaikwayo na uku da ƙwazo da ta faranta wa masu sauraro rai. An yi ta yawo mai ƙarfi da tsayi, tare da kirana da farko, sannan Petrova. An ci gaba da yin kiraye-kirayen don wasanni 17… ”Mun kara da cewa, a cewar jaridu na wancan lokacin, wani lokacin mawaƙin yakan tilasta wa mawaƙan haɓaka aria na Ratmir sau uku.
VV Stasov ne ya rubuta
"Babban rawar da ta taka, a lokacin aikinta na shekaru 10, daga 1835 zuwa 1845, sun kasance a cikin operas masu zuwa: Ivan Susanin, Ruslan da Lyudmila - Glinka; "Semiramide", "Tancred", "Count Ori", "Magi Barayi" - Rossini; "Montagues da Capulets", "Norma" - Bellini; "Siege na Calais" - Donizetti; "Teobaldo da Isolina" - Morlacchi; "Tsampa" - Herold. A cikin 1840, ta, tare da sanannen, ƙwararren Italiyanci taliya, sun yi "Montagues da Capuleti" kuma sun jagoranci masu sauraro cikin farin ciki maras misaltuwa tare da sha'awarta, mai ban sha'awa na ɓangaren Romeo. A cikin wannan shekarar ta raira waƙa tare da kamala iri ɗaya da sha'awar ɓangaren Teobaldo a cikin Teobaldo e Isolina na Morlacchi, wanda a cikin libretto ya yi kama da Montagues da Capulets. Game da na farko na waɗannan wasan kwaikwayo guda biyu, Kukolnik ya rubuta a cikin jaridar Khudozhestvennaya Gazeta cewa: “Ka faɗa mini, daga wanne ne Teobaldo ya karɓi sauƙi mai ban mamaki da gaskiyar wasan? Iyakar mafi girman nau'in kawai ana ba da damar yin la'akari da iyakar kyawawan abubuwa tare da gabatar da wahayi guda ɗaya, kuma, yana jan hankalin wasu, an ɗauke su da kansu, suna jure wa ƙarshen haɓakar sha'awa, da ƙarfin murya, da kaɗan. inuwar rawar.
Waƙar Opera ita ce maƙiyin gesticulation. Babu wani ɗan wasan kwaikwayo wanda ba zai zama aƙalla ɗan ban dariya a opera ba. Ms. Petrova a wannan batun ta ba da mamaki. Ba wai kawai abin ban dariya ba ne, akasin haka, duk abin da ke cikinta yana da kyau, mai ƙarfi, bayyanawa, kuma mafi mahimmanci, gaskiya, gaskiya! ..
Amma, ba tare da wata shakka ba, daga cikin dukkan ayyukan ƙwararrun ma'aurata masu fasaha, waɗanda suka fi fice ta fuskar ƙarfi da gaskiyar launi na tarihi, cikin zurfin ji da gaskiya, cikin sauƙi da gaskiya mara misaltuwa, sune rawar da suka taka a cikin manyan ƙasashe biyu na Glinka. wasan operas. A nan ba su taba samun abokan hamayya ba sai yanzu.”
Duk abin da Vorobyeva ya raira waƙa ya la'anta a cikin ta mai daraja na farko. Mawallafin ya yi sassan Italiyanci na virtuoso ta yadda aka kwatanta ta da shahararrun mawaƙa - Alboni da Polina Viardo-Garcia. A shekara ta 1840, ta yi waƙa tare da J. Pasta, ba tare da yin hasarar fasaha ga shahararren mawaki ba.
Kyakkyawar aikin mawaƙa ya zama gajere. Saboda yawan nauyin muryar da masu kula da gidan wasan kwaikwayo suka tilasta wa mawakin yin wasan kwaikwayo na maza, ta rasa muryarta. Wannan ya faru bayan wasan kwaikwayo na baritone part Richard ("The Puritans"). Saboda haka a 1846 dole ne ta bar mataki, ko da yake bisa hukuma Vorobyova-Petrova aka jera a cikin opera troupe na gidan wasan kwaikwayo har 1850.
Gaskiya ne, ta ci gaba da rera waƙa a cikin salon gyara gashi da kuma a cikin gida, har yanzu tana faranta wa masu sauraro jin daɗin kiɗan ta. Petrova-Vorobyeva ya shahara saboda ayyukanta na soyayya ta Glinka, Dargomyzhsky, Mussorgsky. 'Yar'uwar Glinka, LI Shestakova ta tuna cewa, lokacin da ta fara jin labarin Marayu na Mussorgsky, wanda Petrova ya yi, "da farko ta yi mamaki, sannan ta fashe da kuka don ta kasa samun nutsuwa na dogon lokaci. Ba shi yiwuwa a kwatanta yadda Anna Yakovlevna ya rera waka, ko kuma ya bayyana; dole ne mutum ya ji abin da mai hazaka zai iya yi, ko da kuwa gaba daya ya rasa muryarsa kuma ya riga ya tsufa.
Ƙari ga haka, ta taka rawar gani sosai a cikin nasarar ƙirƙira na mijinta. Petrov yana da yawa ga ɗanɗanonta mara kyau, da dabarar fahimtar fasaha.
Mussorgsky sadaukar da singer Marfa ta song "A Baby Ya fito" daga opera "Khovanshchina" (1873) da "Lullaby" (No. 1) daga sake zagayowar "Songs da Dances na Mutuwa" (1875). Aikin mawaƙa ya kasance mai godiya sosai daga A. Verstovsky, T. Shevchenko. Mai zane Karl Bryullov, a 1840, ya ji muryar mawaƙa, ya yi farin ciki kuma, bisa ga ikirari, "ba zai iya tsayayya da hawaye ba...".
Mawakin ya rasu a ranar 26 ga Afrilu, 1901.
"Menene Petrova ya yi, ta yaya ta cancanci irin wannan dogon tunani mai kyau a cikin duniyar mu ta kiɗa, wanda ya ga mawaƙa da masu fasaha da yawa waɗanda suka ba da lokaci mai tsawo ga fasaha fiye da marigayi Vorobyova? ya rubuta jaridar Musical ta Rasha a lokacin. – Kuma ga abin da: A.Ya. Vorobyova tare da mijinta, Marigayi mawaƙa-mai zane-zane OA Petrov, sun kasance na farko da ƙwararrun masu wasan kwaikwayo na manyan sassan biyu na Glinka na farko na wasan opera na Rasha Life for Tsar - Vanya da Susanin; DA I. Petrova ya kasance a lokaci guda na biyu kuma daya daga cikin masu fasaha na rawar da Ratmir ya taka a Glinka's Ruslan da Lyudmila.
