Gaetano Donizetti (Gaetano Donizetti) |

Gaetano donizetti

Waƙoƙin Donizetti suna jin daɗin duniya tare da fara'a na wasa. Hein

Donizetti ƙwararren ƙwararren ci gaba ne wanda ya gano abubuwan da ke cikin Renaissance. G. Mazzini

Kiɗa Donizetti mai ban mamaki, kyakkyawa, ban mamaki! V. Bellini

G. Donizetti - wakilin makarantar opera na Italiyanci, gunki na bel canto - ya bayyana a sararin opera na Italiya a lokacin da "Bellini ke mutuwa kuma Rossini ya yi shiru." Ma'abucin kyautar waƙar da ba ta ƙarewa, basirar waƙa mai zurfi da kuma ma'anar wasan kwaikwayo, Donizetti ya kirkiro wasan kwaikwayo na 74, wanda ya bayyana fadi da bambancin basirar mawakinsa. Ayyukan opera Donizetti sun bambanta sosai a nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau' wọn hatta ha] ha ha ha hawa), aikin wasan kwaikwayo na Donizetti ya bambanta, waɗannan su ne zamantakewa-psychological melodramas ("Linda di Chamouni" - 1842, "Gemma di Vergi" - 1834), wasan kwaikwayo na tarihi da na jaruntaka ("Velisario" - 1836, "Siege na Calais" - 1836, "Torquato Tasso" - 1833, "Mary Stuart" - 1835, "Marina Faliero" - 1835), wasan kwaikwayo na lyric-dramatic ("Lucia di Lammermoor" - 1835, "The Favorite" - 1840, "Maria Di Rogan" - 1843), ban tausayi melodramas ("Lucretia Borgia" - 1833, "Anne Boleyn" - 1830). Musamman nau'ikan wasan operas da aka rubuta a cikin nau'in buffa, wasan kwaikwayo na kiɗa ("Castle of the Invalids" - 1826, "New Pursonyak" - 1828, "Crazy by Order" - 1830), wasan kwaikwayo na ban dariya ("Love's Potion" - 1832, "Don Pasquale" - 1843), wasan kwaikwayo na wasan kwaikwayo tare da tattaunawa ta tattaunawa ('yar Regiment - 1840, Rita - wanda aka yi a 1860) da kuma wasan kwaikwayo na buffa daidai (Gwamnan cikin wahala - 1824, The Night Bell - 1836).

Wasan operas na Donizetti su ne 'ya'yan itatuwa na aikin da mawaƙin ya yi na musamman akan kiɗa da kuma libretto. Da yake shi mawaƙi ne mai ilimi sosai, ya yi amfani da ayyukan V. Hugo, A. Dumas-father, V. Scott, J. Byron da E. Scribe, shi da kansa ya yi ƙoƙari ya rubuta libretto, kuma ya tsara waƙoƙin ban dariya daidai.

A cikin opera aiki na Donizetti, lokuta biyu za a iya bambanta da sharadi. A cikin ayyukan farko (1818-30), tasirin G. Rossini yana da hankali sosai. Ko da yake operas ɗin ba su da daidaito a cikin abun ciki, fasaha da kuma bayyanar da keɓaɓɓen marubucin, a cikinsu Donizetti ya bayyana a matsayin babban mawallafin waƙa. Lokacin balagagge na mawaƙa ya faɗi akan 30s - farkon rabin 40s. A wannan lokacin, yana ƙirƙirar zane-zanen fasaha waɗanda suka shiga tarihin kiɗa. Irin wannan su ne "koyaushe sabo, ko da yaushe m" (A. Serov) opera "Love Potion"; "daya daga cikin mafi kyawun lu'u-lu'u na wasan opera na Italiya" (G. Donati-Petteni) "Don Pasquale"; "Lucia di Lammermoor", inda Donizetti ya bayyana duk dabarar abubuwan da suka shafi tunanin mutum mai ƙauna (De Valori).

Ƙarfin aikin mawaƙi yana da ban mamaki da gaske: "Sauƙin abin da Donizetti ya tsara kiɗa, ikon iya kama tunanin kiɗa da sauri, ya sa ya yiwu a kwatanta tsarin aikinsa tare da 'ya'yan itace na dabi'a na furanni na furanni" (Donati- Petteni). Hakanan cikin sauƙi, marubucin ya ƙware salo daban-daban da nau'ikan wasan opera na ƙasa. Ban da wasan operas, Donizetti ya rubuta oratorios, cantatas, symphonies, quartets, quintets, ruhi da vocal complements.

A zahiri, rayuwar Donizetti ta zama kamar ci gaba da nasara. Hasali ma ba haka lamarin yake ba. Mawaƙin ya rubuta: “An ɓoye haihuna a asirce, domin an haife ni ne a ƙarƙashin ƙasa, a cikin ginshiƙin Kogin Borgo, inda hasken rana bai taɓa shiga ba.” Iyayen Donizetti talakawa ne: mahaifinsa mai tsaro ne, mahaifiyarsa masaƙa ce. Lokacin da yake da shekaru 9, Gaetano ya shiga Makarantar Kiɗa ta Simon Mayr Charitable Music kuma ya zama mafi kyawun ɗalibi a can. Yana da shekaru 14, ya koma Bologna, inda ya yi karatu a Lyceum of Music tare da S. Mattei. An fara bayyana fitattun iyawar Gaetano a jarrabawar a cikin 1817, inda aka gudanar da ayyukan wasan kwaikwayo da cantata. Ko a Lyceum, Donizetti ya rubuta operas 3: Pygmalion, Olympias da The Wrath of Achilles, kuma a cikin 1818 an yi nasarar shirya wasan opera Enrico, Count of Burgundy a Venice. Duk da nasarar wasan opera, lokaci ne mai wuyar gaske a cikin rayuwar mawaki: kwangilar yin waƙa ba za a iya kammala ba, dangin suna buƙatar taimakon kuɗi, kuma waɗanda ke kusa da shi ba su fahimce shi ba. Simon Mayr ya shirya Donizetti ya yi yarjejeniya da Opera na Rome don shirya opera Zoraida na Granata. Samfurin ya yi nasara, amma sukar da ta faɗo a kan matashin mawaki ya kasance mai wulaƙanci. Amma wannan bai karya Donizetti ba, amma kawai ya ƙarfafa ƙarfinsa a ƙoƙarin inganta ƙwarewarsa. Amma rashin sa’a ya biyo baya: na farko ɗan mawaƙin ya mutu, sai iyayensa, matarsa ​​ƙaunatacce Virginia, wadda ba ta kai shekara 30 ba: “Ni kaɗai ne a duniya, kuma ina da rai!” Donizetti ya rubuta cikin bege. Art ya cece shi daga kashe kansa. Gayyata zuwa Paris ta biyo baya ba da jimawa ba. A can ya rubuta wani romantic, m, "'Yar Regiment", wani m "Fi so". Duk waɗannan ayyukan biyu, da kuma masanin ilimin Polievkt, an karɓi su da farin ciki. Wasan opera na ƙarshe na Donizetti shine Catarina Cornaro. An shirya shi a Vienna, inda a cikin 1842 Donizetti ya sami lakabin mawakin kotun Austrian. Bayan 1844, rashin lafiya na tunanin mutum ya tilasta Donizetti ya daina yin rubutun kuma ya haifar da mutuwarsa.

Sana'ar Donizetti, wacce ke wakiltar salon waƙa na ado, na halitta ne kuma na halitta. "Donizetti ya shafe dukkan farin ciki da baƙin ciki, damuwa da damuwa, dukan burin talakawa na ƙauna da kyau, sa'an nan kuma ya bayyana su a cikin kyawawan waƙoƙin da ke rayuwa a cikin zuciyar mutane" (Donati-Petteni).

M. Dvorkina

• opera Italiya bayan Rossini: aikin Bellini da Donizetti →

Dan iyayen matalauta, ya sami malami na farko da mai taimako a cikin mutum na Mayr, sannan ya yi karatu a Bologna Musical Lyceum karkashin jagorancin Padre Mattei. A cikin 1818, an yi wasan opera na farko, Enrico, Count of Burgundy, a Venice. A 1828 ya auri mawaƙa da pianist Virginia Vasselli. A cikin 1830, an shirya wasan opera Anna Boleyn da nasara a gidan wasan kwaikwayo na Carcano a Milan. A Naples, yana riƙe da mukamin darektan wasan kwaikwayo da kuma matsayin malami a ɗakin ajiyar kaya, yayin da ake girmamawa sosai; Duk da haka, a 1838, Mercadante ya zama darektan Conservatory. Wannan babban rauni ne ga mawakin. Bayan mutuwar iyayensa, 'ya'yansa uku da matarsa, ya (duk da labarun soyayya da yawa) ya kasance shi kaɗai, lafiyarsa ta girgiza, ciki har da aikin ban mamaki, titanic. Daga baya ya zama marubuci kuma darektan kide-kide na sirri a Kotun Vienna, ya sake bayyana babban damarsa. A 1845 ya yi rashin lafiya mai tsanani.

“An haife ni a cikin magudanar ruwa ta Borgo can ƙarƙashin ƙasa: hasken haske bai taɓa shiga cikin ɗakin ajiya ba, inda na sauko daga matakala. Kuma, kamar mujiya, yana tashi daga cikin gida, koyaushe ina ɗauka a cikin kaina ko dai munanan halaye ko farin ciki. Waɗannan kalmomi na Donizetti ne, wanda don haka yana so ya ƙayyade asalinsa, makomarsa, wanda ke da alaƙa da haɗarin haɗari na yanayi, wanda, duk da haka, bai hana shi yin musanyar mahimmanci ba, har ma da mummunan makirci da ɓarna a cikin aikinsa na opera tare da ban dariya da gaskiya. makirce-makircen. "Lokacin da aka haifi kida mai ban dariya a cikin kaina, Ina jin motsi mai ban sha'awa a gefen hagu, lokacin da mai tsanani, Ina jin irin wannan hakowa a hannun dama," mawallafin ya yi jayayya da rashin daidaituwa, kamar dai yana so ya nuna yadda sauƙi ra'ayoyin suka taso a ciki. hankalinsa. . “Kin san takena? Mai sauri! Wataƙila wannan bai cancanci amincewa ba, amma abin da na yi da kyau koyaushe ana yin shi da sauri, ”ya rubuta wa Giacomo Sacchero, ɗaya daga cikin masu fafutukarsa, kuma sakamakon, kodayake ba koyaushe ba, ya tabbatar da ingancin wannan magana. Carlo Parmentola ya rubuta daidai: “Rashin daidaituwar rubuce-rubucen Donizetti yanzu wuri ne na kowa don zargi, da kuma ayyukansa na kirkire-kirkire, waɗanda galibi ana neman dalilansa domin a ko da yaushe yakan sa shi a ƙarshe. Duk da haka, gaskiyar ta kasance cewa ko da a matsayin dalibi a Bologna, lokacin da babu abin da ya yi gaggawar shi, ya yi aiki da zafin jiki kuma ya ci gaba da aiki a daidai wannan taki ko da lokacin da ya sami wadata, ya rabu da bukatar ci gaba da rubutawa. Wataƙila wannan buƙatar ci gaba da ƙirƙira, ba tare da la’akari da yanayin waje ba, a farashi na raunana ikon sarrafa ɗanɗano, ya kasance wata alama ce ta halin rashin kwanciyar hankali a matsayin mawaƙin soyayya. Kuma, ba shakka, ya kasance ɗaya daga cikin mawaƙa waɗanda, bayan barin ikon Rossini, sun ƙara gamsuwa da buƙatar bin canje-canje a dandano.

Piero Mioli ya rubuta cewa: "Sama da shekaru goma ana bayyana hazakar Donizetti a cikin 'yanci da banbance-banbance a cikin wasannin opera masu tsanani, masu tsanani da ban dariya daidai da fiye da rabin karni na wasan opera na Italiya, wanda aka kera a wancan lokacin. a cikin siffar Rossini maras kyau, yayin da aka fara daga 30s XNUMXs, samarwa a cikin nau'i mai mahimmanci yana samun fa'ida mai yawa, kamar yadda, duk da haka, ana buƙatar wannan ta hanyar zamani mai zuwa na romanticism da kuma misali na irin wannan zamani kamar Bellini, wanda ya kasance. idan gidan wasan kwaikwayo na Rossini ya kafa kansa a Italiya a cikin shekaru na biyu da na uku na karni na XNUMX, idan gidan wasan kwaikwayo na Verdi ya ci gaba a cikin na biyar, na huɗu na Donizetti ne.

Kasancewa da wannan mahimmin matsayi, Donizetti, tare da halayensa na 'yancin yin wahayi, ya garzaya zuwa yanayin abubuwan da suka faru na gaskiya, wanda ya ba da irin wannan damar, yantar da su, idan ya cancanta, daga haƙiƙa da abubuwan da ake bukata na jerin abubuwan ban mamaki. Binciken zazzabi da mawakin ya yi ya sa ya fifita wasan karshe na jerin opera a matsayin gaskiya daya tilo don fahimtar makircin. Wannan sha'awar gaskiya ce a lokaci guda ciyar da wahayinsa mai ban dariya, godiya ga wanda, ƙirƙirar caricatures da caricatures, ya zama marubuci mafi girma na wasan kwaikwayo na kiɗa bayan Rossini, kuma ya ƙaddara lokacinsa a lokacin balagagge zuwa shirye-shiryen ban dariya wanda aka nuna ba kawai ta hanyar baƙin ciki ba. , amma ta tausasawa da mutuntaka. . A cewar Francesco Attardi, "opera buffa ya kasance a cikin lokacin Romantic mai daidaitawa, gwaji mai zurfi da gaske na kyakkyawan buri na melodrama na karni na sha tara. Opera buffa shine, kamar dai, ɗayan ɓangaren tsabar kudin, yana ƙarfafa mu muyi ƙarin tunani game da opera seria. idan da rahoto ne kan tsarin zamantakewar bourgeois.

Babban gadon Donizetti, wanda har yanzu yana jiran karramawar da ya dace, ya cancanci a tantance gabaɗaya cewa irin wannan hukuma a fagen nazarin aikin mawaƙa kamar yadda Guglielmo Barblan ya ba ta: “Yaushe muhimmancin fasaha na Donizetti zai bayyana a gare mu? Tunanin da aka rigaya ya yi masa nauyi fiye da karni guda ya gabatar da shi a matsayin mai fasaha, ko da yake haziƙi ne, amma ya ɗauke shi ta wurin haskensa mai ban mamaki a kan dukkan matsaloli don ya mika wuya ga ikon wani ɗan gajeren lokaci. Saurin kallon wasan kwaikwayo na Donizetti dozin bakwai, nasarar farfadowar zamani na wasan kwaikwayo da aka manta sun tabbatar, akasin haka, cewa idan a wasu lokuta irin wannan ra'ayi ba zai zama son zuciya ba, to a cikin manyan ayyukansa… alhakin aikin da aka damka masa da kuma leƙen asiri a al'adun Turai, wanda a fili ya gane hanyar da za ta motsa mu melodrama daga sauƙaƙan matsayi wanda ya ba shi lardi, wanda aka ƙaryata shi "al'ada" .

G. Marchesi (E. Greceanii ya fassara)

Abubuwan da aka tsara:

wasan kwaikwayo (74), ciki har da hauka (Una Follia, 1818, Venice), Talakawa masu yawo virtuosos (I piccoli virtuosi ambulanti, 1819, Bergamo), Peter the Great, Tsar na Rasha, ko kafinta na Livonian (Pietro il grande Czar delle Russie o Il). Falegname di Livonia, 1819, Venice), Rural bikin aure (Le Nozze a villa, 1820-21, Mantua, Carnival), Zoraida Pomegranate (1822, wasan kwaikwayo "Argentina", Rome), Chiara da Serafina, ko Pirates (1822, gidan wasan kwaikwayo " La Scala”, Milan), Happy delusion (Il fortunato inganno, 1823, gidan wasan kwaikwayo “Nuovo”, Naples), Gwamna cikin wahala (L'Ajo nell'imbarazzo, wanda aka fi sani da Don Gregorio, 1824, gidan wasan kwaikwayo “Valle”, Rome) , Castle of the Invalids (Il Castello degli invalidi, 1826, Carolino Theatre, Palermo), Watanni Takwas a cikin Sa'o'i Biyu, ko Exiles a Siberiya (Otto mesi in due ore, ossia Gli Esiliati a Siberiya, 1827, Nuovo Theater, Naples), Alina, Sarauniya na Golconda (Alina regina di Golconda, 1828, Carlo Felice gidan wasan kwaikwayo, Genoa), Pariah (1829, San Carlo Theater, Naples), Elizabeth a cikin Castle Kenilw orth (Elisabetta al castello di Kenilworth, wanda kuma ake kira. Kenilworth Castle, bisa ga labari na W. Scott, 1829, ibid.), Anne Boleyn (1830, Carcano Theater, Milan), Hugo, Count of Paris (1832, La Scala Theater, Milan), Love Potion (L'Elisir) d'amore, 1832, Canobbiana Theater, Milan), Parisina (bayan J. Byron, 1833, Pergola Theatre, Florence), Torquato Tasso (1833, Valle Theater, Rome), Lucrezia Borgia (dangane da wasan kwaikwayo na wannan sunan V). Hugo, 1833, La Scala Theatre, Milan), Marino Faliero (dangane da wasan kwaikwayo na wannan sunan ta J. Byron, 1835, Italiyanci Theatre, Paris), Mary Stuart (1835, La Scala Theatre, Milan), Lucia di Lammermoor (dangane da labari na W. Scott "The Lammermoor Bride", 1835, San Carlo Theatre, Naples), Belisarius (1836, Fenice Theater, Venice), Siege na Calais (L'Assedio di Calais, 1836, gidan wasan kwaikwayo "San Carlo, Naples), Pia de'Tolomei (1837, Apollo Theater, Venice), Robert Devereux, ko Earl na Essex (1837, San Carlo Theater, Naples), Maria Di Rudenz (1838, gidan wasan kwaikwayo "Fenice, Venice). ), Diyar Rejiment(La fille du régiment, 1840, Opera Comique, Paris), Shahidai (Les Martyrs, sabon bugu na Polyeuctus, dangane da bala'i ta P. Corneille, 1840, Grand Opera Theater, Paris), Favorite (1840, ibid. ), Adelia, ko 'yar Archer (Adelia, game da La figlia dell'arciere, 1841, gidan wasan kwaikwayo "Apollo, Rome), Linda di Chamouni (1842, Kärntnertorteatr, Vienna), Don Pasquale (1843, Italiyanci gidan wasan kwaikwayo, Paris) , Maria di Rohan (Maria dl Rohan a kan Il conte di Chalais, 1843, Kärntnertorteatr), Vienna), Don Sebastian na Portugal (1843, Grand Opera Theatre, Paris), Caterina Cornaro (1844, San Carlo Theater, Naples) da sauransu; 3 oriya, 28 cantata, 16 wasan kwaikwayo, 19 quartets, 3 quintets, kiɗan coci, ayyukan murya da yawa.