Beniamino Gigli |

Beniamino gigli

Puccini. "Sheka". "E lucevan le stelle" (Beniamino Gigli)

Muryar da ba za a manta da ita ba

Muna gayyatar ku zuwa ga "kwandon littattafai". Yau za mu yi magana game da Beniamino Gigli (1890-1957) da littafinsa "Memoirs" (1957). An buga shi a cikin Rashanci a cikin 1964 ta gidan wallafe-wallafen Muzyka kuma ya daɗe da zama ƙarancin littafi. A halin yanzu, gidan wallafe-wallafen kiɗa "Classics-XXI" yana shirya don saki sabon (faɗaɗɗen da ƙari) na waɗannan abubuwan tunawa tare da sharhi ta E. Tsodokov. Littafin zai sami sabon lakabi, "Ba na so in zauna a inuwar Caruso." Muna ba masu karatu labarin gabatarwa ga wannan bugu.

Kusan kusan rabin karni, Beniamino Gigli, mai ban mamaki, wanda ya sanya zukatan dubban mutane a kowane lungu na duniya, a dakunan kide kide da wake-wake, da gidajen wasan kwaikwayo, da masu sauraron rediyo, ya mutu. Kamar Caruso, za ka iya ce game da shi - wani almara mawaƙa. Menene ma'anar almara? Wannan shi ne lokacin da ake jin sunan mawakin, hatta mutanen da ke da nisa da fasaha su ka yi ta kai ga fahimtar juna da nuna sha’awa (ko da yake watakila ba su taba saurare shi ba). Amma akwai wasu ƙwararrun ƴan haya a lokacin Gigli - Martinelli, Pertile, Skipa, Lazaro, Til, Lauri-Volpi, Fleta… wasu masu son kiɗa ko ƙwararrun za su ƙara cikin jerin abubuwan da ya fi so. Kowannensu yana da kyau a hanyarsa, kuma a wasu wasannin ya sami nasara, watakila ma fiye da Gigli. Amma a cikin jerin "labari", inda irin sunayen kamar Chaliapin, Ruffo, Callas, Del Monaco (An riga an tattauna Caruso), ba su! Menene ya ba Gigli damar shiga cikin wannan "ƙungiyar manyan mutane", wannan Areyopagus mai rera waƙa?

Tambayar ba ta da sauƙi kamar yadda ake gani. Mu yi kokarin amsa shi. A haƙiƙa, akwai, kamar dai, abubuwa biyu na kowane labarin nasara, ɗaukaka. Ɗaya shine albarkatun ciki na mutum, iyawarsa, halayen halayensa; ɗayan - yanayi na waje wanda ya ba da gudummawa ga cimma burin. Manufar mai zane iri ɗaya ce - don cimma nasara. Kuma kowane mahalicci yana sanya shi (in ba don rarrabuwa ba), ko da a cikin hankali ne, domin ƙirƙira wata dabara ce ta bayyana kai, yayin da bayyanar da kai na buƙatar samun nasara, fahimta a ɓangaren al'umma, ko kuma aƙalla sashinta mai haske.

Bari mu fara da yanayi na waje. Sun fifita mawaƙa a hawansa zuwa Olympus. Daya daga cikinsu, m isa, ya ta'allaka ne a cikin wani "rashin" kyautar murya (a cewar masana da yawa, kuma daga cikinsu akwai sanannen mai suna Lauri-Volpi, wanda za mu ambata daga baya) - muryar mawaƙa, hanyar cire sauti. sosai kama Karuzov's. Wannan ya sa ya yiwu ga Lauri-Volpi, a cikin sanannun littafinsa "Vocal Parallels", har ma ya shiga Gigli a cikin jerin "epigons" na babban Italiyanci. Kada mu yanke hukunci tsantsan ga abokin aiki-kishiyoyinsu, bangarancinsa a fahimta. Amma bayan haka, mawaƙin da kansa ya ji wannan alaƙa da magabata, musamman ya ji shi bayan rikodin farko a rayuwarsa: “Ba abin mamaki ba ne a zauna shiru a cikin kujera kuma ku saurari muryar ku. Amma wani abu kuma ya ƙara buge ni - nan da nan na lura da kamannin muryata mai ban mamaki da wanda na ji a jiya, lokacin da suka buga rikodin tare da rikodin Caruso. Wadannan halaye na muryar matashin dan wasan sun jawo hankalinsa da kuma karfafa sha'awarsa, kuma akwai wani yanayi mai ban tsoro: a farkon rayuwa, kafin ya kai hamsin, Caruso ya mutu. Duk masoyan murya sun yi asara. Wanene zai ɗauki matsayinsa - "launi" da aka bari dole ne wani ya shagaltar da shi! Gigli a wannan lokacin yana ci gaba da karuwa, yanzu ya samu nasarar fara aikinsa a cikin gidan wasan kwaikwayon "Metropolitan". A dabi'a, idanu sun juya gare shi. Dole ne a kara da cewa a nan cewa tunanin tunanin jama'a na Amurka, tare da sha'awar "wasanni" don sanya duk abin da ke cikin wurinsa da kuma ƙayyade mafi kyau, kuma ya taka muhimmiyar rawa a cikin wannan al'amari (da kyau, gaskiyar cewa mafi kyawun duniya shine mafi kyau a duniya. lalle ne a cikin soloists na "su" wasan kwaikwayo , ya tafi ba tare da faɗi ba).

Wani babban abu na waje a cikin babban nasara shine saurin haɓakar fina-finai masu sauti da rediyo. Fim ɗin Gigli mai ban sha'awa na halarta a karon a cikin fim ɗin 1935 Ka manta da ni (tare da waƙar suna iri ɗaya ta Ernesto de Curtis) ya nuna farkon jerin fina-finai tare da halartar sa, wanda babu shakka ya taka muhimmiyar rawa wajen ƙirƙirar shaharar duniya. Mawakin ya kuma kasance a sahun gaba wajen watsa shirye-shiryen rediyo na operas (1931) - watakila daya daga cikin ayyukan da suka fi samun nasara a masana'antar al'adun {asar Amirka, wanda nan da nan ya canza wasan opera daga nau'in wasan kwaikwayo na ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun mutane.

Tare da duk abubuwan da ke sama, kwata-kwata ba na so in raina cancantar Gigli da hazaka, wanda za a tattauna yanzu. Adalci kawai yana buƙatar bayyana gaskiyar da ba za a iya jayayya ba cewa ko da wace baiwa ce, musamman a fagen wasan kwaikwayo tare da ɗan gajeren lokaci na kasancewa "a nan da yanzu", ba zai yuwu a zama "almara" ba tare da ƙarin hanyoyin shiga cikin wayewar jama'a ba.

Bari mu ba da haraji, a ƙarshe, ga Gigli kansa, ga kyautar waƙarsa ta ban mamaki. Yana da matukar wahala a ce wani sabon abu dangane da wannan batu. Kalmomi da yawa, ayyuka da yawa. Paradox shine watakila mafi kyawun abu game da shi shine Lauri-Volpi, wanda ya kasance mai tsauri tare da shi (a hanya, a cikin littafinsa game da mawaƙa, wanda aka riga aka ambata a farkon labarin, Gigli ya ba da ƙarin sarari. fiye da Caruso). Bayan haka, ƙwararrun ƙwararru (wanda Lauri-Volpi ke da shi sosai) koyaushe yana kawar da duk wani son zuciya. Kuma a nan, bayan tattaunawa game da falsetto da "vocal sobs" na mai zane, manyan ikirari sun biyo baya: "Abin ban mamaki mai kyau canza launi na bayanin kula na tsakiya, kimiyyar sauti na halitta, waƙar kiɗa ...", "A cikin Maris" da "La" Gioconda”… ba mawaƙi ɗaya da ya wuce ta a ma'anar filastik, kyakkyawa da daidaiton layin sauti.

Gigli ya sami nasarar nemo hazaka mai hazaka tsakanin ingantaccen aikin kida da fasaha mara lahani na rubutun marubucin da kuma ma'aunin yin yanci da sauƙi wanda bai jure wa mai sauraro ba, yana haifar da tasirin "a yanzu da nan" na aikin haɗin gwiwa da ke gudana. halitta tsakanin mawaki da mawaki. Komawa "zuwa ga mai sauraro", a zahiri bai taba ketare wannan layin mai hatsari ba wanda ya raba fasaha ta gaske, "mai sauki" daga yaudara da na farko. Wataƙila wani abu na narcissism ya kasance a cikin waƙarsa, amma a cikin iyakoki masu ma'ana, wannan ba zunubi bane. Ƙaunar mai zane ga abin da kuma yadda yake aikatawa ana watsa shi ga jama'a kuma yana taimakawa wajen samar da yanayi na catharsis.

Siffar kidan Gigli ta rera ma an yi dalla-dalla da yawa. Legato mai ban sha'awa, sautin shafa a cikin mezza voce - duk wannan sananne ne. Zan ƙara ƙarin sifa guda ɗaya kawai: ikon shigar da sauti, wanda mawaƙi, kamar yadda yake, “kunna” lokacin da ya zama dole don haɓaka wasan kwaikwayon. A lokaci guda kuma, ba ya buƙatar yin amfani da tilastawa, ihu, ana yin wannan ta wata hanya mai ban mamaki, ba tare da ƙoƙari na gani ba, amma yana haifar da jin dadi da kuma sauti.

Dole ne a keɓe 'yan kalmomi zuwa ƙwazon Gigli. Yawan wasan kwaikwayo (har ma a lokacin hutu, lokacin da mawaƙin ya ba da kide-kide na sadaka) yana da ban mamaki. Hakanan ya zama ɗaya daga cikin abubuwan nasara. Don wannan dole ne mu ƙara kamun kai wajen fahimtar iyawar mutum, wanda ba koyaushe ake saba wa mawaƙa ba. A shafukan littafin za ka iya karanta game da halin da singer ga repertoire. Don haka, alal misali, a cikin 1937 kawai mai zane ya yanke shawarar yin matsayin Radamès (Aida), a 1939 a matsayin Manrico (Il Trovatore). Gabaɗaya, jujjuyawarsa daga waƙar waƙoƙi zalla zuwa mafi ban mamaki, ko kuma halinsa na yin (ko kuma baya yin) repertoire na Rossini ana iya ɗaukarsa misalan ƙwararrun kima da kai. Duk da haka, wannan baya nufin cewa rubutun nasa ya iyakance. Nawa ne za su yi alfahari da sassa sittin da aka yi (Pavarotti, alal misali, yana da ƙasa da talatin)? Daga cikin mafi kyau: Faust (Mephistopheles ta Boito), Enzo (La Gioconda ta Ponchielli), Lionel (Marta ta Flotova), Andre Chenier a cikin opera na Giordano na wannan sunan, Des Grieux a cikin Manon Lescaut na Puccini, Cavaradossi a Tosca da sauransu da yawa. sauran.

Ba daidai ba ne a taɓa batun - Gigli ɗan wasan kwaikwayo ne. Yawancin masu zamani sun lura cewa fasaha mai ban mamaki ta kasance mai rauni a cikin basirar mawakin. Wataƙila wannan haka ne. Amma abin farin ciki, fasahar rera waƙa, ko da ta opera, ita ce fasahar kiɗan farko. Kuma waɗannan abubuwan lura waɗanda ke yiwuwa kuma waɗanda ba makawa ga mutanen zamani game da wasan kwaikwayon Gigli, halayensa sun shafe mu, masu sauraron rikodinsa, zuwa ƙarami.

Babu buƙatar gabatar da tarihin mawaƙa a cikin wannan labarin gabatarwa. Gigli da kansa yayi wannan dalla-dalla a cikin abubuwan tunawa. Ba ma'ana ba ne a yi tsokaci a kan yawancin maganganunsa na zahiri game da fasahar murya, tun da al'amarin a hankali ne, kuma duk abin da za a iya adawa da wannan shi ma zai zama na zahiri.

Na tabbata cewa karanta waɗannan abubuwan tunawa zai kawo farin ciki na gaske ga mai karatu. Zai wuce rayuwar babban mashawarci a cikin kowane nau'insa: daga ƙaramin ƙauyen lardi a Recanati zuwa ƙwaƙƙwaran farko a babban birni, daga tarurruka tare da masunta na Italiya masu sauƙi zuwa liyafar tare da kambin rawanin. Sha'awa mara sha'awa za ta haifar da abubuwan da ba a haɗa su a cikin bugu na baya ba don dalilai na akida - rayuwar kiɗan Italiya a lokacin yakin duniya na biyu da cikakkun bayanai na tarurruka tare da Hitler, Mussolini da mafi girman matsayi na Reich na Uku. An kammala littafin da gutsutsutsu daga abubuwan tunawa da 'yar mawakiyar, Rina Gigli, da aka buga a karon farko cikin harshen Rashanci.

E. Tsodokov

Ya yi karatu a Academy of Santa Cecilia a Rome (1911-1914) karkashin Antonio Cotogni da Enrico Rosati. Wanda ya ci Gasar Waƙa ta Duniya a Parma (1914). A wannan shekarar ya fara halarta a Rovigo a matsayin Enzo (La Gioconda na Ponchielli). A farkon aikinsa, ya yi aiki a Genoa, Bologna, Palermo, Naples, Rome ("Manon Lescaut", "Tosca", "Fiyayyen"). A cikin 1918, a gayyatar Arturo Toscanini, ya fara halarta a La Scala as Faust (Mephistopheles by Boito). A cikin 1919 ya rera waƙa tare da babban nasara a gidan wasan kwaikwayo na Colon part of Gennaro a Donizetti's Lucrezia Borgia. Daga 1920 zuwa 1932 ya yi a Metropolitan Opera (ya fara halarta a karon a matsayin Faust a Mephistopheles). Tun 1930 ya yi ta maimaitawa a Covent Garden. Ya yi sashin Radamès a farkon lokacin bikin Baths na Caracalla (1937). A cikin 1940 ya yi a Donizetti's da wuya ya yi Polieuctus (La Scala).

Daukakar Gigli ta kawo wasan kwaikwayon sassan tenor. Daga cikin mafi kyau akwai Nemorino a cikin L'elisir d'amore, Cavaradossi a Tosca, Andre Chenier a cikin opera na Giordano mai suna iri ɗaya. Sai kawai a cikin rabin na biyu na 1930s Gigli ya fara yin wasu ayyuka masu ban mamaki: Radamès (1937), Manrico (1939). A cikin littafinsa na memoirs, Gigli musamman ya nuna cewa tsananin zabi na repertoire, wanda ya dace da muryar muryarsa, ya haifar da irin wannan dogon lokaci da nasara, wanda ya ƙare kawai a 1955. Mawaƙin ya yi aiki a cikin fina-finai ("Giuseppe Verdi"). , 1938; "Pagliacci", 1943; "Kai, farin ciki na", "Voice a cikin zuciyarka" da sauransu). Mawallafin tarihin (1943). Rikodi sun haɗa da Radamès (wanda Serafin, EMI ya gudanar), Rudolf (wanda U. Berrettoni, Nimbus ya yi), Turridou (wanda marubucin Nimbus ya gudanar).

E. Allenova