Dietrich Fischer-Dieskau |

Dietrich Fischer-Dieskau

Mawaƙin Bajamushe Fischer-Dieskau an bambanta shi da kyau ta hanyar dabarar ɗaiɗaikun ɗaiɗaikun ɗaiɗaikun ɗaiɗaikun wasan kwaikwayo da waƙoƙi daban-daban. Ƙaƙƙarfan muryarsa ta ba shi damar yin kusan kowane shiri, don yin kusan kowane ɓangaren opera da aka yi niyya don baritone.

Ya yi ayyuka da mawaƙa daban-daban kamar Bach, Gluck, Schubert, Berg, Wolf, Schoenberg, Britten, Henze.

An haifi Dietrich Fischer-Dieskau a ranar 28 ga Mayu, 1925 a Berlin. Mawaƙin da kansa ya tuna: “… mahaifina yana ɗaya daga cikin masu shirya wasan kwaikwayo na makarantar sakandare, inda, abin takaici, ɗalibai masu hannu da shuni ne kawai aka ba su damar kallon wasan kwaikwayo na gargajiya, sauraron wasan kwaikwayo da kide-kide don kuɗi kaɗan. Nan da nan duk abin da na gani a wurin ya shiga aiki a cikin raina, sha'awar ta taso a cikina na in shigar da shi nan da nan: Na maimaita tatsuniyoyi da fage gaba ɗaya da babbar murya tare da hauka, sau da yawa ban fahimci ma'anar kalmomin da aka faɗa ba.

Na dauki lokaci mai tsawo ina takurawa bayin dake kicin tare da karanto fortissimo dina, daga karshe ta tashi tana daukar lissafi.

Koyaya, tun ina ɗan shekara goma sha uku na san manyan ayyukan kiɗan daidai gwargwado - musamman godiya ga rikodin gramophone. A tsakiyar XNUMXs, faifai masu ban sha'awa sun bayyana, waɗanda a yanzu ana sake yin rikodin su akan rikodin dogon wasa. Na bawa dan wasan gaba daya bisa bukatar kaina.

An gudanar da maraice na kiɗa a cikin gidan iyaye, wanda matashin Dietrich ya kasance babban hali. Anan har ma ya shirya "Free Gunner" na Weber, ta yin amfani da rikodin gramophone don rakiyar kiɗa. Wannan ya bai wa masana tarihin rayuwar nan gaba dalilin raha da cewa tun daga lokacin ya ƙara sha'awar yin rikodin sauti ta taso.

Dietrich ba shi da shakka cewa zai ba da kansa ga kiɗa. Amma menene ainihin? A makarantar sakandare, ya yi Schubert's Winter Road a makaranta. Haka nan kuma sana’ar madugu ta ja hankalinsa. Sau ɗaya, yana ɗan shekara goma sha ɗaya, Dietrich ya tafi tare da iyayensa zuwa wurin shakatawa kuma ya taka rawar gani a gasar jagorar mai son. Ko watakila ya fi zama mawaƙa? Ci gaban da ya samu a matsayin dan wasan pian shima ya burge sosai. Amma ba haka kawai ba. Kimiyyar kiɗan ma ta ja hankalinsa! A ƙarshen makaranta, ya shirya ƙaƙƙarfan maƙala akan Bach's cantata Phoebus da Pan.

Ƙaunar waƙa ta ɗauka. Fischer-Dieskau ya tafi karatu a sashin murya na babbar makarantar kiɗa a Berlin. Yaƙin duniya na biyu ya barke kuma aka sa shi soja; bayan watanni da dama na shiri, aka tura su gaba. Duk da haka, ra'ayin Hitler na mulkin duniya bai ja hankalin matashin ba.

A shekara ta 1945, Dietrich ya kasance a wani sansanin fursuna kusa da birnin Rimini na Italiya. A cikin waɗannan yanayi ba na yau da kullun ba, wasan sa na farko na fasaha ya faru. Wata rana, bayanan zagayowar Schubert "Mace Mai Kyau" ta kama idonsa. Nan da nan ya koyi zagayowar kuma ba da daɗewa ba ya yi magana da fursunonin a wani mataki na wucin gadi.

Komawa Berlin, Fischer-Dieskau ya ci gaba da karatunsa: yana ɗaukar darussa daga G. Weissenborn, yana haɓaka fasahar muryarsa, yana shirya waƙarsa.

Ya fara aikinsa a matsayin ƙwararren mawaƙi ba zato ba tsammani, bayan ya yi rikodin "Tafiya na hunturu" na Schubert a kan tef. Sa’ad da wannan rikodin ya yi sauti wata rana a rediyo, wasiƙu sun yi ruwan sama daga ko’ina suna neman a maimaita. Ana watsa shirin kusan kowace rana tsawon watanni da dama. Kuma Dietrich, a halin yanzu, yana rikodin duk sababbin ayyukan - Bach, Schumann, Brahms. A cikin ɗakin studio, shugaban cibiyar Opera na West Berlin City, G. Titjen, shi ma ya ji. Ya je kusa da matashin mai zane kuma ya ce da gaske: “A cikin makonni huɗu za ku rera waƙa a farkon fim ɗin Don Carlos na Marquis Pozu!”

Bayan haka, Fischer-Dieskau ya fara aikin opera ne a shekarar 1948. Duk shekara yakan inganta fasaharsa. An cika rubutunsa da sabbin ayyuka. Tun daga nan, ya rera sassa da dama a cikin ayyukan Mozart, Verdi, Wagner, Rossini, Gounod, Richard Strauss da sauransu. A cikin marigayi 50s, da artist taka rawa a karon farko a cikin opera Tchaikovsky Eugene Onegin.

Ɗayan rawar da mawaƙin ya fi so shi ne matsayin Macbeth a cikin wasan opera na Verdi: "A cikin wasan kwaikwayo na, Macbeth ya kasance kato mai farin jini, jinkirin, mai hankali, mai budewa ga sihirin mayu, daga baya yana ƙoƙari don tashin hankali da sunan mulki. buri da nadama sun cinye. Ganin takobin ya tashi ne saboda dalili ɗaya kawai: an haife shi ne daga sha'awar kaina na kashe, wanda ya shawo kan dukkan ji, an yi monologue a cikin hanyar karantawa har sai da kuka a ƙarshe. Sa'an nan, a cikin rada, na ce "Babu duka," kamar dai wadannan kalmomi da aka mumbled da wani laifi smerd, wani biyayya bawa ga sanyi, mai son iko mata da farka. A cikin kyakkyawan D-flat manyan aria, ran sarkin da aka zaɓe ya yi kama da malala cikin waƙoƙin duhu, yana halaka kansa ga halaka. An maye gurbin tsoro, fushi, tsoro kusan ba tare da sauye-sauye ba - wannan shine inda ake buƙatar numfashi mai faɗi don ainihin cantilena na Italiyanci, wadata mai ban sha'awa don karatun karatun, wani mummunan yanayi na Nordic ya zurfafa cikin kansa, tashin hankali don isar da cikakken nauyin kisa. yana shafar - wannan shine inda aka sami damar yin wasan "wasan kwaikwayo na duniya".

Ba kowane mawaƙi ne ya yi ɗokin yin ɗokin ƙwaƙƙwaran operas ta mawaƙa na ƙarni na XNUMX ba. Anan, daga cikin mafi kyawun nasarorin da Fischer-Dieskau ya samu shine fassarar jam'iyyun tsakiya a cikin wasan kwaikwayo na Painter Matisse na P. Hindemith da Wozzeck na A. Berg. Yana shiga cikin farkon sabbin ayyukan H.-V. Henze, M. Tippett, W. Fortner. Hakazalika, yana samun nasara daidai gwargwado a fagen waka da jarumtaka, ban dariya da ban mamaki.

Fischer-Dieskau ya ce: “Sa’ad da ya isa Amsterdam, Ebert ya bayyana a ɗakina a otal ɗina, kuma ya soma gunaguni game da matsalolin madugun da aka san shi, sun ce, kamfanoni na rikodi suna tunawa da shi ba da daɗewa ba, darektocin wasan kwaikwayo ba sa cika alkawuransu a aikace.

Ebert ya yarda cewa na fi dacewa in shiga abin da ake kira operas matsala. A cikin wannan tunanin, babban jagoran gidan wasan kwaikwayo, Richard Kraus ya ƙarfafa shi. Wannan na ƙarshe ya fara aiwatar da abubuwan da ba a yarda da su ba, mafi kyau a faɗi kusan manta, Ferruccio Busoni's opera Doctor Faust, da kuma koyon aikin take, mai aiki, babban masanin wasan kwaikwayo, abokin Kraus Wolf Völker, an haɗa ni a matsayin “waje. director". Helmut Melchert, mawaƙin ɗan wasan kwaikwayo daga Hamburg, an gayyace shi don yin rawar Mephisto. Nasarar da aka yi na farko ya sa ya yiwu a sake maimaita wasan kwaikwayon sau goma sha hudu a cikin yanayi biyu.

Wata maraice a cikin akwatin daraktan ya zauna Igor Stravinsky, a baya abokin adawar Busoni; bayan kammala wasan, sai ya dawo fagen daga. Bayan kaurin ruwan tabarau na gilashin sa, zazzafan idanuwansa na sha'awa. Stravinsky ya ce:

“Ban san cewa Busoni hazikin mawaki ne ba! Yau daya ce daga cikin mafi mahimmancin maraice na opera a gare ni."

Domin duk tsananin aikin Fischer-Dieskau akan wasan opera, wani bangare ne na rayuwarsa ta fasaha. A matsayinka na mai mulki, yana ba ta watanni biyu kawai na hunturu, yana yawon shakatawa a cikin manyan gidajen wasan kwaikwayo a Turai, kuma yana shiga cikin wasan kwaikwayo na opera a bukukuwa a Salzburg, Bayreuth, Edinburgh a lokacin rani. Sauran lokacin mawaƙin na cikin waƙar chamber ne.

Babban sashin wakokin kide-kide na Fischer-Dieskau shine wakokin mawakan soyayya. A gaskiya ma, dukan tarihin waƙar Jamus - daga Schubert zuwa Mahler, Wolf da Richard Strauss - an kama shi a cikin shirye-shiryensa. Ya kasance ba kawai mai fassarar da ba a taɓa gani ba na yawancin shahararrun ayyukan, amma kuma ya kira zuwa sabuwar rayuwa, ya ba masu sauraro sababbin ayyuka na Beethoven, Schubert, Schumann, Brahms, wanda ya kusan bace daga aikin wasan kwaikwayo. Kuma da yawa masu hazaka sun bi hanyar da aka bude musu.

Duk wannan tekun na kiɗan da shi ya rubuta a cikin bayanan. Duka dangane da yawa da ingancin rikodi, Fischer-Dieskau tabbas yana ɗaya daga cikin wurare na farko a duniya. Yana rera waƙa a cikin ɗakin studio tare da wannan alhakin kuma tare da irin wannan zafin ƙirƙira wanda yake fita ga jama'a. Sauraron faifan nasa, yana da wuya a kawar da ra'ayin cewa mai yin waƙa yana yi muku waƙa, yana wani wuri a nan.

Mafarkin zama madugu bai bar shi ba, kuma a shekarar 1973 ya dauki sandar madugu. Bayan haka, masu son kiɗan sun sami damar sanin yadda ya rubuta wasu ayyukan ban mamaki.

A cikin 1977, masu sauraron Soviet sun iya ganin kansu da fasaha na Fischer-Dieskau. A Moscow, tare da Svyatoslav Richter, ya yi waƙoƙin Schubert da Wolf. Mawaƙi Sergei Yakovenko, yana ba da ra'ayoyinsa masu ban sha'awa, ya jaddada cewa: "Mawaƙin, a ra'ayinmu, kamar dai ya narke cikin ka'idodin makarantun muryar Jamus da Italiyanci guda ɗaya ... Lauyi da laushi na sauti, rashin sautin makogwaro, zurfin numfashi. daidaitawa na rikodin murya - duk waɗannan fasalulluka , halayen mafi kyawun mashawarcin Italiyanci, kuma suna cikin salon muryar Fischer-Dieskau. Ƙara zuwa wannan ƙananan gradations a cikin furcin kalmar, kayan aikin kimiyyar sauti, gwanintar pianissimo, kuma muna samun kusan abin ƙira don aiwatar da kiɗan operatic, da ɗakin, da cantata-oratorio.

Wani mafarki na Fischer-Dieskau bai kasance bai cika ba. Ko da yake bai zama ƙwararren masanin kiɗa ba, amma ya rubuta littattafai masu hazaƙa game da waƙar Jamus, game da al'adun muryar ƙaunataccensa Schubert.