Christa Ludwig |

Christa Ludwig ne adam wata

Ludwig na ɗaya daga cikin fitattun mawaƙa da mawaƙa na karnin da ya gabata. "Lokacin da kuke magana da Krista," in ji daya daga cikin masu sukar kasashen waje, "wannan mace mai laushi, mai kyau, ko da yaushe sanye da sabon salo da dandano mai ban sha'awa, wanda nan da nan ya zubar da jin daɗinta da dumin zuciya, ba za ku iya gane inda ba. A cikin abin da ya ɓoye ta wannan wasan kwaikwayo na ɓoye na hangen nesa na duniya yana ɓoye a cikin zuciya, yana ba ta damar jin bakin ciki mai zafi a cikin kwanciyar hankali na Schubert barcarolle, don juya waƙar Brahms da alama mai haske mai suna "Your Eyes" a cikin wata kalma mai ban sha'awa. bayyananta, ko kuma isar da duk yanke kauna da ɓacin rai na waƙar Mahler “Rayuwar Duniya”.

An haifi Christa Ludwig a Berlin a ranar 16 ga Maris, 1928 a cikin dangin fasaha. Mahaifinta Anton ya rera waka a gidajen wasan opera na Zurich, Breslau da Munich. Mahaifiyar Christa, Eugenia Besalla-Ludwig, ta fara aikinta a matsayin mezzo-soprano. Daga baya, ta yi a matsayin wasan soprano mai ban mamaki a kan matakai na yawancin wasan kwaikwayo na Turai.

“… Mahaifiyata, Evgenia Bezalla, ta rera Fidelio da Elektra, kuma sa’ad da nake yaro na sha’awarsu. Daga baya, na ce wa kaina: “Wata rana zan rera Fidelio in mutu,” in ji Ludwig. - Sa'an nan kuma ya zama abin ban mamaki a gare ni, tun a farkon aikina ina da, da rashin alheri, ba soprano ba, amma mezzo-soprano kuma babu wani babban rajista kwata-kwata. Ya ɗauki lokaci mai tsawo kafin in yi ƙarfin hali don ɗaukar rawar soprano mai ban mamaki. Wannan ya faru a cikin 1961-1962, bayan shekaru 16-17 akan mataki…

... Tun ina ɗan shekara huɗu ko biyar, kusan koyaushe ina halarta a duk darussan da mahaifiyata ke bayarwa. Tare da ni, sau da yawa nakan shiga tare da ɗalibai kowane bangare ko guntu daga ayyuka da yawa. Lokacin da ɗalibai suka gama darasi, na fara maimaita - don raira waƙa da wasa duk abin da na tuna.

Sai na fara ziyartar gidan wasan kwaikwayo, inda mahaifina yake da akwatinsa, don in ga wasan kwaikwayo lokacin da nake so. A matsayina na yarinya, na san sassa da yawa a zuciya kuma sau da yawa na zama irin "mai sukar gida". Ta iya, alal misali, ta gaya wa mahaifiyarta cewa a cikin irin wannan yanayin ta haɗu da kalmomi, kuma mahaifinta cewa ƙungiyar mawaƙa ba ta dace ba ko kuma hasken bai isa ba.

Yarinyar ta m damar iya yin komai bayyana kansu da wuri: riga a shekaru shida ta riga quite a fili deduced hadaddun sassa, sau da yawa raira waƙa duets tare da mahaifiyarta. Na dogon lokaci, mahaifiyarta ta kasance kawai malamin murya na Christa, kuma ba ta taɓa samun ilimin ilimi ba. “Ban samu damar yin karatu a gidan wakafi ba,” in ji mawaƙin. – A lokacin da yawancin masu fasaha na zamanina suka yi karatun kiɗa a cikin azuzuwan, don samun abin rayuwa, na fara yin wasa tun ina da shekaru 17, na fara yin wasan kwaikwayo, sannan a cikin wasan opera - sa'a, sun sami kyau sosai. murya a cikina , kuma na rera duk abin da aka ba ni - kowace rawa, idan yana da akalla layi ɗaya ko biyu.

A cikin hunturu na 1945/46 Christa ta fara halarta a cikin ƙananan kide-kide a birnin Giessen. Bayan samun nasararta ta farko, ta je wurin kallon wasan kwaikwayo a Frankfurt am Main Opera House. A cikin Satumba 1946, Ludwig ya zama soloist na wannan wasan kwaikwayo. Matsayinta na farko shine Orlovsky a cikin operetta Die Fledermaus Johann Strauss. Tsawon shekaru shida Krista tana rera waka a Frankfurt kusan sassa na musamman. Dalili? Matashin mawaƙin ba zai iya yin rubutu mai zurfi ba tare da cikakkiyar kwarin gwiwa: “Muryata ta tashi a hankali - kowane wata shida na ƙara rabin sautin. Idan ko da a Vienna Opera da farko ba ni da 'yan rubutu a cikin babban rajista, to, za ku iya tunanin abin da na fi a Frankfurt!

Amma aiki tuƙuru da jajircewa sun yi aikinsu. A cikin gidajen wasan opera na Darmstadt (1952-1954) da Hannover (1954-1955), a cikin yanayi uku kawai ta rera sassan tsakiya - Carmen, Eboli a Don Carlos, Amneris, Rosina, Cinderella, Dorabella a cikin Mozart's “Hakan ne Hanya Duk. Mata Suna Yi”. Ta yi rawar Wagnerian guda biyar lokaci guda - Ortrud, Waltraut, Frikk a Valkyrie, Venus a Tannhäuser da Kundry a Parsifal. Don haka Ludwig da tabbaci ya zama ɗaya daga cikin mawaƙan matasa masu hazaka na wasan opera na Jamus.

A cikin kaka na 1955, da singer sanya ta halarta a karon a kan mataki na Vienna Jihar Opera a matsayin Cherubino ( "Aure na Figaro"). VV Timokhin ya rubuta cewa: “A wannan shekarar, an rubuta opera a rubuce tare da halartar Krista Ludwig (wanda Karl Böhm ya gudanar), kuma wannan faifan na farko na matashiyar mawaƙi yana ba da ra'ayin sautin muryarta. a lokacin. Ludwig-Cherubino wata halitta ce mai ban mamaki a cikin fara'a, jin daɗi, wani nau'in sha'awar kuruciya. Muryar mai zane tana da kyau sosai a cikin timbre, amma har yanzu tana ɗan “bakin ciki”, a kowane hali, ƙasa da haske da wadata fiye da, alal misali, a cikin rikodin daga baya. A gefe guda kuma, ya dace da matsayin saurayin Mozart cikin ƙauna kuma yana ba da cikakkiyar rawar jiki da tausayi wanda shahararrun arias biyu na Cherubino suka cika. Shekaru da yawa, hoton Cherubino da Ludwig ya yi ya ƙawata ƙungiyar Viennese Mozart. Abokan haɗin gwiwar mawaƙin a cikin wannan wasan sune Elisabeth Schwarzkopf, Irmgard Seefried, Sena Yurinac, Erich Kunz. Sau da yawa opera Herbert Karajan ya gudanar da shi, wanda ya san Krista sosai tun lokacin yaro. Gaskiyar ita ce, a wani lokaci shi ne babban darektan gidan wasan kwaikwayo na City Opera a Aachen kuma a cikin wasanni da dama - Fidelio, The Flying Dutchman - Ludwig ya rera waƙa a ƙarƙashin jagorancinsa.

Babban nasarorin farko na mawaƙa a cikin manyan gidajen wasan opera na Turai da Amurka suna da alaƙa da sassan Cherubino, Dorabella da Octavian. Ta yi a cikin waɗannan rawar a La Scala (1960), Chicago Lyric Theatre (1959/60), da Metropolitan Opera (1959).

VV Timokhin ya lura: “Hanyar Krista Ludwig zuwa kololuwar ƙwararrun fasaha ba ta kasance da abubuwan da ba zato ba tsammani. Tare da kowace sabuwar rawar, wani lokacin ba tare da fahimta ba ga jama'a, mawaƙiyar ta ɗauki sabbin iyakokin fasaha don kanta, ta wadatar da palette ta kerawa. Tare da dukkan shaidu, masu sauraron Viennese, watakila, sun fahimci irin nau'in zane-zane Ludwig ya girma, a lokacin wasan kwaikwayo na Wagner's opera "Rienzi" a lokacin bikin kiɗa na 1960. Wannan wasan opera na farko na Wagnerian ba a yin shi a ko'ina a zamanin yau, kuma daga cikin mawakan akwai shahararrun mawaƙa Seth Swangholm da Paul Scheffler. Josef Kripe ne ya jagoranta. Amma jarumar maraice ita ce Christa Ludwig, wacce aka ba wa amanar Adriano. Rikodin ya adana wannan kyakkyawan aikin. Ana jin wuta ta cikin mai zane, ƙwazo da ƙarfin hasashe a cikin kowace magana, kuma muryar Ludwig da kanta tana cin nasara da wadata, dumi da taushin sautin murya. Bayan babban aria na Adriano, zauren ya ba wa matashin mawakin tsawa. Hoton ne wanda a cikinsa aka yi hasashe a cikin abubuwan da suka balaga a matakin da ta yi. Shekaru uku bayan haka, Ludwig ya sami lambar yabo mafi girma a Ostiriya - taken "Kammersangerin".

Ludwig ya sami shahara a duniya da farko a matsayin mawaƙin Wagnerian. Ba shi yiwuwa ba za a captivated ta Venus a Tannhäuser. Jarumar Krista tana cike da taushin mata da kuma waƙoƙin girmamawa. A lokaci guda kuma, Venus tana da babban iko, ƙarfi da iko.

A hanyoyi da yawa, wani hoton yana nuna hoton Venus - Kundry a Parsifal, musamman a wurin lalata Parsifal a cikin aiki na biyu.

“Lokaci ne da Karajan ya raba sassa daban-daban zuwa sassa, wanda mawaka daban-daban suka yi. Don haka ya kasance, alal misali, a cikin Waƙar Duniya. Kuma haka yake da Kundry. Elizabeth Hengen ita ce Kundry mai dabbanci da Kundry a mataki na uku, kuma ni ne "masu fushi" a mataki na biyu. Babu wani abu mai kyau game da shi, ba shakka. Ba ni da cikakkiyar masaniyar inda Kundry ta fito da kuma wacce ita ce. Amma bayan haka, na taka rawar duka. Hakanan yana ɗaya daga cikin matsayina na ƙarshe - tare da John Vickers. Parsifal nasa ya kasance ɗaya daga cikin abubuwan da suka fi ƙarfi a rayuwata.

Da farko, lokacin da Vickers ya bayyana a kan mataki, ya bayyana mutum marar motsi, kuma lokacin da ya fara waƙa: "Amortas, die Wunde", sai kawai na yi kuka, yana da ƙarfi sosai.

Tun daga farkon shekarun 60s, mawaƙin ya juya lokaci-lokaci zuwa matsayin Leonora a cikin Fidelio na Beethoven, wanda ya zama gwaninta na farko na ɗan wasan kwaikwayo na ƙwarewar soprano. Dukansu masu sauraro da masu suka sun ji sautin muryarta a cikin babban rajista - m, sonorous, mai haske.

Ludwig ya ce: "Fidelio ya kasance 'yaro mai wahala' a gare ni. - Na tuna wannan wasan kwaikwayon a Salzburg, na damu sosai a lokacin cewa mai sukar Viennese Franz Endler ya rubuta: "Muna yi mata fatan mu duka a maraice." Sai na yi tunani: “Ya yi gaskiya, ba zan ƙara rera wannan waƙar ba.” Wata rana, bayan shekaru uku, lokacin da nake New York, Birgit Nilsson ta karye hannunta kuma ta kasa rera waƙa Elektra. Kuma tun da ba al'ada ba ne a lokacin soke wasan kwaikwayo, darekta Rudolf Bing ya fito da wani abu cikin gaggawa. Na sami kira: “Ba za ku iya rera Fidelio gobe ba?” Na ji cewa ina cikin muryata, kuma na yi ƙarfin hali - Ba ni da cikakken lokaci don damuwa. Amma Bem ya damu matuka. Abin farin ciki, komai ya tafi sosai, kuma tare da lamiri mai tsabta na "mika wuya" wannan rawar.

Da alama an bude wani sabon fanni na fasaha a gaban mawakin. Duk da haka, babu ci gaba, saboda Ludwig yana jin tsoron rasa halayen sautin muryarta.

Hotunan da Ludwig ya ƙirƙira a cikin wasan kwaikwayo na Richard Strauss an san su sosai: Dyer a cikin wasan opera ta tatsuniyoyi The Woman Without a Shadow, the Composer in Ariadne auf Naxos, the Marshall in The Cavalier of the Roses. Bayan buga wannan rawar a cikin 1968 a Vienna, manema labarai sun rubuta: “Ludwig the Marshall wahayi ne na gaskiya na wasan kwaikwayon. Ta halicci ɗan adam mai ban mamaki, na mata, mai cike da fara'a, alheri da ɗabi'a na daraja. Marshall ta wani lokaci tana da ban tsoro, wani lokacin mai tunani da bakin ciki, amma babu inda mawakin ya fada cikin tunani. Rayuwa kanta da shayari, kuma lokacin da ta kasance ita kaɗai a kan mataki, kamar yadda a cikin wasan karshe na farko, sa'an nan tare da Bernstein sun yi abubuwan al'ajabi. Wataƙila, a duk tarihinta mai ban sha'awa a Vienna, wannan kiɗan ba ta taɓa yin sauti mai girma da ruhi ba. " Mawaƙin ya yi Marshall tare da babban nasara a Metropolitan Opera (1969), a Salzburg Festival (1969), a San Francisco Opera House (1971), a Chicago Lyric Theater (1973), a Grand Opera (1976 / 77).

Sau da yawa Ludwig ya yi a kan wasan opera da kuma wasan kwaikwayo a cikin kasashe da dama na duniya tare da mijinta, Walter Berry. Ludwig ya auri Vienna Opera soloist a 1957 kuma sun zauna tare har tsawon shekaru goma sha uku. Amma wasan kwaikwayo na haɗin gwiwa bai kawo musu gamsuwa ba. Ludwig ya tuna: “… ya ji tsoro, na ji tsoro, mun ɓata wa juna rai sosai. Yana da jijiyoyi masu lafiya, yana iya raira waƙa koyaushe, dariya, magana da sha da maraice - kuma bai taɓa rasa muryarsa ba. Yayin da ya ishe ni in juya hancina zuwa ga kofa a wani wuri - kuma na riga na yi hauka. Kuma lokacin da ya jimre da jin daɗinsa, ya huce - Na ƙara damuwa! Amma ba wannan ne ya sa muka rabu ba. Ba tare da hadin kai muka ci gaba ba, ban da juna."

A farkon aikinta na fasaha, Ludwig kusan ba ta rera waƙa a cikin kide-kide. Daga baya, ta ƙara yin hakan da yardar rai. A cikin wata hira da aka yi da shi a farkon 70s, mai zane ya ce: "Ina ƙoƙarin raba lokacina tsakanin wasan opera da zauren wasan kwaikwayo kusan daidai. Bugu da ƙari, a cikin 'yan shekarun nan na yi wasan opera kaɗan kaɗan kuma na ba da ƙarin kide-kide. Wannan yana faruwa ne saboda a gare ni in rera Carmen ko Amneris a karo na ɗari aiki ne mai ban sha'awa da ba shi da ban sha'awa fiye da shirya sabon shirin solo ko saduwa da ƙwararren shugaba a matakin wasan kwaikwayo.

Ludwig ya yi mulki a matakin wasan opera na duniya har zuwa tsakiyar 90s. Daya daga cikin fitattun mawakan da suka yi fice a zamaninmu ya yi rawar gani sosai a London, Paris, Milan, Hamburg, Copenhagen, Budapest, Lucerne, Athens, Stockholm, The Hague, New York, Chicago, Los Angeles, Cleveland, New Orleans. Ta yi wakokinta na ƙarshe a cikin 1994.