Bela Andreevna Rudenko |

Bela Rudenko

Daga cikin ayyukan ɗan wasan Latvia Leo Kokle, akwai hoto a cikin launuka masu launin shuɗi mai laushi waɗanda ke jan hankali ba da son rai ba. A kan kyakkyawar fuska, idanu daban-daban masu huda manya ne, launin ruwan kasa mai duhu, mai lura, tambaya da damuwa. Wannan hoto ne na jama'ar Artist na Tarayyar Soviet BA Rudenko. Leo Coquelet, mai zane-zane mai lura da tunani, ya sami nasarar kama babban abin da ya bambanta halinta - mata, laushi, lyricism kuma, a lokaci guda, natsuwa, kamewa, manufa. Haɗin irin wannan, da kallo na farko, siffofi masu cin karo da juna sun haifar da ƙasa mai albarka wanda gwaninta mai haske da asali ya girma…

Biography na singer ya fara a Odessa Conservatory, inda, a karkashin jagorancin ON Blagovidova, ta koyi sirrin farko na m m, dauki ta farko darussan rayuwa. Bela Rudenko mashawarci aka bambanta da delicacy da hankali hali ga vocalist, amma a lokaci guda, m. Ta bukaci cikakken sadaukarwa a cikin aiki, ikon ƙaddamar da komai na rayuwa zuwa hidimar gidan kayan gargajiya. Kuma a lokacin da matasa vocalist a shekarar 1957 ya zama mai nasara a VI World Festival na Democratic matasa da dalibai, samun lambar zinariya da kuma gayyatar zuwa concert wasanni a Moscow da kuma Leningrad tare da Tito Skipa, ta dauki shi a matsayin hanyar fita zuwa m hanya. , wanda ya wajabta da yawa.

Kowane maigidan na gaskiya yana da halin rashin natsuwa, rashin gamsuwa da abin da aka yi, a cikin kalma, wani abu da ke ƙarfafa tunani akai-akai da bincike mai ƙirƙira. Wannan shi ne daidai da m yanayi na Bela Andreevna. Bayan wasan kwaikwayo na gaba ko wasan kwaikwayo na gaba, kun haɗu da wani mai mahimmanci, mai haɗin gwiwa wanda aka tattara wanda ke jiran ƙima mai tsauri da gaskiya, ƙima wanda, watakila, zai ba da kuzari ga sabbin tunani da sabbin bincike. A cikin wannan tsari na bincike wanda ba ya ƙarewa, a cikin bincike akai-akai, ya ta'allaka ne da sirrin sabuntawa da samari na masu fasaha.

"Bela Rudenko ya girma daga matsayi zuwa matsayi, daga aiki zuwa aiki. Motsinta ya kasance a hankali - ba tare da tsalle-tsalle ba, amma ba tare da raguwa ba. Hawanta zuwa Olympus na kiɗa ya kasance a tsaye; Ba ta tashi da sauri ba, amma ta tashi, da taurin kai wajen cin nasara a kowace sabuwar jam'iyya, kuma shi ya sa manyan fasaharta da nasarorin da ta samu suna da sauki da kuma kwarin gwiwa, "in ji Farfesa V. Tolba game da mawakiyar.

A kan mataki, Bela Andreevna yana da ladabi da dabi'a, kuma wannan shine yadda ta yi nasara da masu sauraro, ta mayar da ita a matsayin abokiyar haɓakawa. Babu tasiri da kuma shigar da abubuwan da suke da dandano. Maimakon haka, farin ciki ne na tausayawa, yanayi na cikakken dogara. Duk abin da ke rayuwa fiye da karni daya, Rudenko koyaushe yana buɗe wa kansa da kuma wasu a matsayin sabon shafi a rayuwa, a matsayin wahayi.

Salon wasan kwaikwayo na mawaƙin yana haifar da ra'ayi na haske, dabi'a, kamar dai a yanzu, a wannan minti, ra'ayin mawallafin yana sake farfadowa a gaban idanunsu - a cikin firam ɗin filigree, a cikin dukkan asalinsa. A cikin repertoire na Rudenko akwai ɗaruruwan romances, kusan dukkanin opera opera coloratura, kuma ga kowane aiki ta sami hanyar da ta dace, daidai da tsarin sa da salo. Mawaƙin ya kasance daidai da batun ƙaƙƙarfan waƙoƙi, fentin su cikin sautuna masu laushi, da virtuoso, da ban mamaki, kiɗan ban mamaki.

Rudenko na farko shine Gilda daga Verdi's Rigoletto, wanda aka yi a Kyiv Shevchenko Opera da Ballet Theater. Wasan kwaikwayo na farko ya nuna cewa matashin mai zane yana da wayo yana jin duk asalin salon Verdi - bayyanarsa da filastik, faffadan numfashi na cantilena, bayyanar fashewar, bambancin canji. An kare shi da uba mai kulawa da ƙauna, matashin jarumi na Bela Rudenko yana dogara da butulci. Lokacin da ta fara bayyana a kan mataki - wariyar yara, haske, rashin tausayi - muna ganin cewa rayuwarta tana gudana a hankali, ba tare da shakka da damuwa ba. Amma da kyar da aka tsinkaya cikin tashin hankali wanda ta yi ƙoƙarin kiran mahaifinta zuwa ga gaskiya, mun fahimci cewa ko da a cikin wannan kwanciyar hankali ga actress Gilda ba kawai ɗan yaro ba ne, amma ɗan fursuna ne na son rai, kuma nishaɗinta shine kawai. hanyar gano sirrin mahaifiya, sirrin da ke rufe gidan.

Mawaƙin ya sami nasarar ba da daidaitaccen launi ga kowane jumlar kida na wasan kwaikwayo na Verdi. Nawa ikhlasi, farin ciki nan da nan yana sauti a cikin aria na Gilda cikin ƙauna! Kuma daga baya, lokacin da Gilda ta gane cewa ta kasance kawai wanda aka azabtar, mai zane ya nuna halinta da tsoro, rikicewa, amma ba karya ba. Bakin ciki, siriri, nan da nan ta balaga kuma ta tattara, ta dage da kai ga mutuwa.

Tun daga wasan kwaikwayo na farko, mawaƙin ya yi ƙoƙari don ƙirƙirar kowane hoto mai girma, bayyanar da farkon waƙar ta hanyar gwagwarmayar haruffa, zuwa nazarin kowane yanayi na rayuwa ta hanyar karo na sabani.

Musamman sha'awa ga artist shi ne aikin Natasha Rostova a cikin opera War da Aminci na Prokofiev. Wajibi ne a fahimci tunanin falsafar marubuci da mawaki kuma, bin shi daidai, a lokaci guda kuma dumi hoton tare da hangen nesa na kansa, halin kansa game da shi. Sake haifar da fitattun halayen jarumar Tolstoy, Rudenko ya saƙa waƙa mai haske da ruɗani mai raɗaɗi, yanayin soyayya da kuma mata na filastik cikin hadaddun da ba za a iya raba su ba. Muryarta, mai ban mamaki a cikin kyawunta da fara'a, ta bayyana gaba ɗaya mafi kusanci da motsin rai na Natasha.

A cikin aria, ariosos, duets, dumi da duhu, ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfar ƙaƙƙarfar ƙaƙƙarfar ƙaƙƙarfar ƙaho. Irin wannan kyawawan kaddarorin na yanayin mace za a jaddada Rudenko a cikin ayyukanta masu zuwa: Violetta (Verdi's La Traviata), Martha (Amaryar Tsar ta Rimsky-Korsakov), Glinka's Lyudmila.

Haskar hasashe game da yanayi na mataki, amsawar ƙwaƙƙwaran aiki nan take yana wadatar ba kawai ban mamaki ba, har ma da ƙwarewar muryar mawaƙi. Kuma rawar da take takawa a koyaushe tana jan hankali tare da gaskiya da iyawa.

Bela Rudenko yana da cikakkiyar kyauta mai ban sha'awa wanda ba dole ba ne ga mai fasaha - fasaha na reincarnation. Ta san yadda za ta “zauna” a mutane, ta san yadda za ta sha, kama rayuwa a cikin kowane irin sauye-sauye da bambance-bambancen ta domin daga baya ta bayyanar da ban mamaki da ban mamaki a cikin aikinta.

Kowane ɗayan sassan da Bela Rudenko ya shirya yana ko ta yaya soyayya ta hanya ta musamman. Mafi yawan jaruman ta sun haxu ne da tsafta da tsaftar ji, amma duk da haka dukkansu na asali ne kuma na musamman.

Bari mu tuna, alal misali, rawar da Rosina ta taka a cikin Rossini's The Barber of Seville - babu shakka daya daga cikin ayyukan mawaƙa mafi ban mamaki da abin tunawa. Rudenko yana farawa ne kawai sanannen cavatina, kuma tausayinmu ya riga ya kasance a gefen jarumar ta - mai shiga tsakani, rashin tausayi, mai basira.

"Ba ni da wani taimako..." Ta furta cikin zaƙi da raɗaɗi, da ƙyar dariyar da aka danne ta ke faɗin; "mai saukin zuciya..." - giggles suna watsewa kamar beads (ba ta da sauƙin zuciya, wannan ƙaramin imp!). “Kuma na yarda,” wata murya mai raɗaɗi ta yi gunaguni, kuma muka ji: “Kwarai, taɓa ni!”

“Amma” guda biyu a cikin cavatina halaye ne daban-daban guda biyu: “amma,” Rosina tana waƙa a hankali, “kuma wannan shine farkon dabara; kamar tana kallon makiyi mara ganuwa. Na biyu "amma" gajere ne kuma mai saurin walƙiya, kamar bugu. Rozina-Rudenko ba ta da tabbas ga kowa da kowa, amma yadda da kyau ta iya tsinkewa, yadda za ta lalata duk wanda ya yi mata tsangwama! Rosina ta kasance cike da rayuwa, abin dariya, tana jin daɗin yanayin da ake ciki kuma ta san sarai cewa za ta yi nasara, domin tana da manufa.

Bela Rudenko a kowace irin rawar da take takawa tana guje wa tarurrukan tarurruka da clichés. Tana neman alamun gaskiya a cikin kowane hoto mai kama da juna, tana ƙoƙarin kusantar da shi kamar yadda zai yiwu ga mai kallo na yau. Saboda haka, lokacin da ta yi aiki a bangaren Lyudmila, ya kasance mai ban sha'awa da gaske, duk da haka aiki mai wuyar gaske.

Shekarar 1971 ta kasance muhimmiyar ga Bela Andreevna, lokacin da aka shirya wasan opera Ruslan da Lyudmila don yin wasan kwaikwayo a Bolshoi Theatre na Tarayyar Soviet. Bela Rudenko ya kasance a lokacin soloist na Kyiv Theatre na Opera da Ballet mai suna TG Shevchenko. Filin wasan kwaikwayo na Bolshoi ya kasance sananne ga mawaƙin daga wasan kwaikwayo na yawon shakatawa. Muscovites sun tuna da ita Violetta, Rosina, Natasha. A wannan karon an gayyaci mai zane don shiga cikin samar da wasan opera na Glinka.

Yawancin maimaitawa, tarurruka tare da mashahuran mawaƙa na Bolshoi Theater, tare da masu gudanarwa sun girma a cikin ƙungiyar kirkira mai dumi.

An gudanar da wasan kwaikwayon ta hanyar fitaccen mashawarcin daraktan wasan opera B. Pokrovsky, wanda ya wadatar da almara, salon tatsuniyoyi na opera tare da nau'i da abubuwan yau da kullum. Nan take aka samu cikakkiyar fahimta tsakanin mawakin da darakta. Daraktan ya ba da shawarar cewa jarumar ta yi watsi da fassarar da aka saba yi a cikin fassarar hoton. Sabuwar Lyudmila ya kamata ya zama Pushkinian kuma a lokaci guda sosai na zamani. Ba mai girma ba, amma mai raye-raye, mai kuzari: mai wasa, jaruntaka, mai dabara, watakila ma da kyar. Wannan shi ne daidai yadda ta bayyana a gabanmu a cikin wasan kwaikwayo na Bela Rudenko, kuma mai zane-zane ya ɗauki sadaukarwa da mutunci a matsayin manyan siffofi a cikin halayen jarumar ta.

Ludmila tana da nata hali ga kowane ɗayan haruffa a cikin opera. Anan ta kwanta akan doguwar kujera cikin mafarkin tsafi, cikin rashin kulawa ta ture hannun Farlaf yana kai mata dundumi. Amma da wani ɓoye na murmushi, cikin wasa yana taɓa wanda aka aura da yatsunsa a baya - nan take, mai wucewa, amma ainihin taɓawa. Kyawawan sauye-sauye daga yanayi zuwa yanayi, haske da waƙa sun ba da gudummawa ga ƙirƙirar hoto mai sassauƙa da filastik. Yana da ban sha'awa cewa kafin Lyudmila Bela Rudenko ya koyi yadda za a yi sanannen ja da bowstring, mai zane ya horar da dogon lokaci har sai motsin hannunta ya zama kyakkyawa kuma a lokaci guda m.

An bayyana fara'a da kyawun halin Lyudmila tare da bayyananniyar haske a cikin wasan opera na uku. Daga cikin kyawawan lambuna na Chernomor, ta rera waƙar "Share-dolushka". Waƙar tana sauti mai laushi da sauƙi, kuma duk yanayin fantasy na fatalwa yana zuwa rayuwa. Rudenko ya dauki jarumarsa a waje da duniyar tatsuniya, kuma wannan waƙar yana haifar da tunanin furannin daji, na sararin Rasha. Lyudmila tana raira waƙa, kamar yadda yake, ita kaɗai tare da kanta, ta amince da yanayi tare da wahala da mafarkai. Tsayayyen muryarta tana jin dumi da taushin murya. Lyudmila yana da imani sosai, yana kusa da mu, yana ganin cewa ita ce ta zamani, maɗaukaki, rayuwa mai ƙauna, mai iya yin farin ciki da gaske, da gaba gaɗi shiga cikin yaƙi. Bela Andreevna ya gudanar da ƙirƙirar hoto mai zurfi, mai ban sha'awa kuma a lokaci guda mai kyan gani.

'Yan jarida da masu sauraro sun yaba da aikin mawakin. Ga abin da mai sukar A. Kandinsky ya rubuta game da ita bayan wasan kwaikwayo ("Soviet Music", 1972, No. 12): "A cikin simintin farko, shahararren mashahuran B. Rudenko (soloist na Kyiv State Academy Opera Theater) ya rera waka. Lyudmila. Akwai siffofi masu daraja a cikin rera waƙa da wasa - samartaka, sabo, jin daɗin kyan gani nan da nan. Hoton da ta ƙirƙira yana da abubuwa da yawa, cike da rayuwa. Lyudmila tana da fara'a, mai gaskiya, mai canzawa, kyakkyawa. Tare da gaske Slavic ikhlasi da zafi, da m "bankwana" kalmomi na cavatina kwarara, da "mara iyaka" waƙar aria daga na hudu yi numfashi da makamashi da girman kai ƙarfi da tsauta wa m sace ("Mad Wizard"). Rudenko kuma ya yi nasara a cikin halayen halayen jam'iyyar: slyly flirtatious roko, "Kada ku yi fushi, mai daraja baƙo", da kyau yi a cikin "magana" hanya, da sau uku jimloli na farko waƙa na cavatina ("... masoyi iyaye" ). Muryar mawaƙi tana gaggauce cikin sauƙi da sauƙi a cikin launi mafi wahala, ba tare da rasa fara'a a cikin su ba. Yana ɗaukar hankali tare da taushinsa, "gadon" na cantilena.

Tun 1972 Bela Rudenko ya zama soloist tare da Bolshoi Theater. Bangare na gaba, wanda aka haɗa da shi a cikin repertoire, shine Marta a cikin wasan opera na Rimsky-Korsakov The Tsar Bride. Ya kasance, kamar yadda yake, ci gaba da zane-zane na hotunan matan Rasha. Martha ita ce ta wasu hanyoyi magada Lyudmila - a cikin tsarkin tunaninta, cikin tawali'u, gaskiya da sadaukarwa. Amma idan Lyudmila tatsuniya ce daga matattu, to Marfa ita ce jarumar wasan kwaikwayo ta hankali, halayen tarihi. Kuma mawaƙin ba ya manta game da shi na minti ɗaya.

Ƙarfafa motsin rai, waƙa mai faɗi, farkon mawaƙa mai haske - duk abin da ke halayyar makarantar muryar Ukrainian da ƙaunataccen mawaƙa - duk wannan ya haɗu da siffar Martha ta halitta.

Marta ita ce siffar sadaukarwa. A cikin arshe na ƙarshe, lokacin da aka manta, ta juya zuwa Gryaznoy tare da kalmomin ƙauna, suna kiransa "Vanya ƙaunataccen", a cikin baƙin ciki ta ce: "Ku zo gobe, Vanya", duk abin da ya faru ya zama abin ban tausayi. Kuma duk da haka babu duhu ko kisa a cikinsa. Mai tausayi da rawar jiki Martha ta shuɗe, tana faɗin sauƙi da farin ciki tare da haske mai haske: "Kana da rai, Ivan Sergeyich," kuma Snow Maiden ya bayyana a gaban idanunta ba da gangan ba, tare da bakin ciki mai haske da shiru.

Wurin mutuwar Marfa Rudenko yana yin abin mamaki a hankali da ruhi, tare da babban fasaha. Ba tare da dalili ba, sa’ad da ta yi wa Martha’s aria a Meziko, masu bita sun rubuta game da sautin muryarta ta sama. Martha ba ta zagin kowa don mutuwarta, yanayin faɗuwar yana cike da wayewar lumana da tsabta.

Da farko, wani opera singer Bela Andreevna Rudenko san yadda za a yi aiki a cikin ɗakin repertoire tare da wannan babbar sha'awa, tare da cikakken sadaukar. Domin wasan kwaikwayo shirye-shirye a 1972, ta aka bayar da Jihar Prize na Tarayyar Soviet.

Kowane sabon shirye-shiryenta yana bambanta ta hanyar tunani mai zurfi. Mawaƙin yana kula da gina gadoji "marasa ganuwa" tsakanin waƙoƙin jama'a, Rashanci, Ukrainian da na ƙasashen waje da kiɗa na zamani. Ta mayar da martani ga duk wani sabon abu, wanda ya cancanci kulawa, kuma a cikin tsohuwar ta san yadda za a sami wani abu da ke kusa da ruhu da yanayin yau.

Amurka, Brazil, Mexico, Faransa, Sweden, Japan… Yanayin tafiye-tafiyen kirkire-kirkire na Bela Rudenko tare da wasannin kide kide yana da yawa sosai. Ta zaga kasar Japan sau shida. 'Yan jarida sun lura: "Idan kuna son jin yadda lu'ulu'u ke birgima a kan karammiski, ku saurari Bela Rudenko."

A cikin wannan juxtaposition mai ban sha'awa da ban sha'awa, na ga ƙima game da halayen mawaƙa don ƙirƙirar hoto mai gamsarwa da cikakkiyar hoto tare da ma'anar laconic, hoton da ke da komai kuma babu wuce gona da iri.

Ga abin da I. Strazhenkova ya rubuta game da Bela Andreevna Rudenko a cikin littafin Masters of the Bolshoi Theatre. "Gaskiya na babban fasaha kuma ana ɗaukarta a cikin waƙarta ta Bela Rudenko, sanannen mashahurin ƙwararrun murya da mataki, wanda ke da kyakkyawar soprano mai launi, yana da fasahar dizzying, wasan kwaikwayo, murya, kewayon katako… Babban abu a cikin ƙirar ƙirƙira. na Bela Rudenko ya kasance kuma ya kasance kyakkyawa na ciki, ɗan adam wanda ke haskaka fasahar wannan mawaƙi. "

Hankalin mai zane ya yi daidai da ma'ana. Aiki koyaushe yana ƙarƙashin takamaiman takamaiman tunani, bayyananne. A cikin sunanta, ta ki yarda da kayan ado masu ban sha'awa na aikin, ba ya son multicolor da variegation. Ayyukan Rudenko, a ganina, ya dace da fasaha na ikebana - don jaddada kyawawan furanni ɗaya, kana buƙatar watsar da wasu da yawa.

"Bela Rudenko 'yar soprano ce mai launi, amma kuma ta yi nasarar rera wasu sassa na ban mamaki, kuma wannan yana da ban sha'awa sosai… A cikin wasan kwaikwayonta, wurin wasan opera na Lucia na Donizetti "Lucia di Lammermoor" ya cika da irin wannan rayuwa da gaskiyar da ban taɓa ji ba. kafin” , - Arthur Bloomfield ya rubuta, mai bita ga ɗaya daga cikin jaridun San Francisco. Kuma Harriet Johnson a cikin labarin "Rudenko - wani rare coloratura" ya kira muryar mawaƙa "a fili kuma mai ban sha'awa, kamar sarewa da ke jin daɗin kunnuwanmu" ("New York Post").

Mawaƙin ya kwatanta kiɗan ɗakin da kyakkyawan lokacin: "Yana ba wa mai wasan damar tsayawa a wannan lokacin, ya riƙe numfashinsa, ya kalli kusurwoyin zuciyar ɗan adam, ya sha'awar mafi ƙasƙanci."

Ba tare da son rai ba, wasan kwaikwayon Bela Rudenko na soyayyar Cornelius "Sauti ɗaya" ya zo a hankali, wanda aka gina dukan ci gaban akan rubutu guda. Kuma nawa ne na alama, launukan murya zalla da mawaƙin ya kawo ga aikinsa! Abin da taushi mai ban mamaki kuma a lokaci guda cikar sauti, zagaye da dumi, wane nau'i na layi, daidaito na innation, gwanin bakin ciki, menene mafi yawan pianissimo!

Ba daidai ba ne cewa Bela Andreevna ya ce zane-zane na ɗakin ɗakin yana ba ta damar duba kusurwoyin da ke cikin zuciyar ɗan adam. Ita ma tana kusa da bukukuwan faɗuwar rana na Massenet's Sevillana, Cui's Bolero da kuma wasan kwaikwayo mai ban sha'awa na waƙoƙin Schumann da kuma soyayyar Rachmaninov.

Wasan opera tana jan hankalin mawaƙi tare da aiki mai aiki da sikeli. A cikin fasahar ɗakinta, ta juya zuwa ƙananan zane-zane masu launi na ruwa, tare da ladabi na girmamawa da zurfin ilimin halin dan Adam. A matsayin mai zanen wuri a cikin hotuna na yanayi, don haka mawaƙa a cikin shirye-shiryen wasan kwaikwayo yana ƙoƙari ya nuna mutum a cikin dukan wadata na rayuwarsa ta ruhaniya.

Kowane wasan kwaikwayo na Mawaƙin Jama'a na Tarayyar Soviet Bela Andreevna Rudenko ya bayyana wa masu sauraro duniya mai kyau da rikitarwa, cike da farin ciki da tunani, bakin ciki da damuwa - duniya mai sabani, mai ban sha'awa, mai ban sha'awa.

Ayyukan mawaƙa a kan wasan opera ko ɗakin ɗakin karatu - ko da yaushe mai tunani, ko da yaushe mai tsanani - ana iya kwatanta shi da aikin marubucin wasan kwaikwayo wanda ke neman ba kawai don fahimtar rayuwar mutane ba, amma har ma don wadata shi da fasaha.

Kuma idan wannan ya yi nasara, to, menene zai iya zama babban farin ciki ga mai zane, ga mai zane wanda ƙoƙarinsa don kamala, don cin nasara da sababbin kololuwa da binciken da aka yi akai-akai kuma ba za a iya tsayawa ba!

Source: Omelchuk L. Bela Rudenko. // Mawaƙa na Bolshoi Theatre na USSR. Hotuna goma sha ɗaya. – M.: Kiɗa, 1978. – p. 145-160.