Giacomo Meyerbeer |
Giacomo Meyerbeer
Makomar J. Meyerbeer, babban mawaƙin opera na ƙarni na XNUMX. – ya juya cikin farin ciki. Ba dole ba ne ya sami abin rayuwa, kamar yadda WA Mozart, F. Schubert, M. Mussorgsky da sauran masu fasaha suka yi, saboda an haife shi a cikin dangin babban ma'aikacin banki na Berlin. Bai kare hakkinsa na kerawa ba a lokacin ƙuruciyarsa - iyayensa, mutane masu haske waɗanda suke ƙauna da fahimtar fasaha, sun yi duk abin da ya sa 'ya'yansu suka sami ilimi mafi kyau. Mafi kyawun malamai a Berlin sun cusa musu ɗanɗanon adabi, tarihi, da harsuna. Meyerbeer ya ƙware a Faransanci da Italiyanci, ya san Girkanci, Latin, Ibrananci. 'Yan'uwan Giacomo kuma sun kasance masu kyauta: Wilhelm daga baya ya zama sanannen masanin ilmin taurari, ƙane, wanda ya mutu da wuri, mawaƙi ne mai basira, marubucin bala'i na Struensee, wanda Meyerbeer ya rubuta waƙa.
Giacomo, babban ’yan’uwa, ya fara nazarin kiɗan tun yana ɗan shekara 5. Bayan da ya sami ci gaba mai girma, yana ɗan shekara 9 ya yi a wani taron jama’a tare da wasan kwaikwayo na Mozart’s Concerto a D ƙarami. Shahararren M. Clementi ya zama malaminsa, kuma sanannen organist da theorist Abbot Vogler daga Darmstadt, bayan ya saurari ƙaramin Meyerbeer, ya ba shi shawarar ya yi nazarin counterpoint da fugue tare da ɗalibinsa A. Weber. Daga baya, Vogler da kansa ya gayyaci Meyerbeer zuwa Darmstadt (1811), inda dalibai daga ko'ina cikin Jamus suka zo wurin shahararren malamin. A can Meyerbeer ya zama abokai tare da KM Weber, marubucin nan gaba na The Magic Shooter da Euryanta.
Daga cikin gwaje-gwaje masu zaman kansu na farko na Meyerbeer akwai cantata "Allah da yanayi" da operas 2: "Rantsuwar Jephtha" akan labarin Littafi Mai Tsarki (1812) da kuma mai ban dariya, a kan shirin tatsuniya daga "Dare Dubu da Daya" , "Mai watsa shiri da Bako" (1813). An gudanar da wasan kwaikwayo a Munich da Stuttgart kuma ba a yi nasara ba. Masu suka sun zargi mawaƙin don bushewa da rashin kyautar waƙa. Weber ya ta'azantar da abokinsa da ya mutu, kuma ƙwararren A. Salieri ya shawarce shi da ya tafi Italiya don ya gane alheri da kyan waƙa daga manyan mashawarta.
Meyerbeer ya shafe shekaru da yawa a Italiya (1816-24). Kiɗa na G. Rossini yana mulki a kan matakan wasan kwaikwayo na Italiyanci, wasan kwaikwayo na farko na operas Tancred da Barber na Seville sun yi nasara. Meyerbeer yayi ƙoƙari ya koyi sabon salon rubutu. A Padua, Turin, Venice, Milan, an shirya sabbin operas ɗinsa - Romilda da Constanza (1817), Semiramide Gane (1819), Emma na Resburg (1819), Margherita na Anjou (1820), Exile daga Grenada (1822) da, A ƙarshe, wasan opera mafi ɗaukar hankali na waɗannan shekarun, The Crusader in Egypt (1824). Yana da nasara ba kawai a Turai ba, har ma a cikin Amurka, a Brazil, wasu abubuwan da aka samo daga gare ta sun zama sananne.
"Ba na so in yi koyi da Rossini," Meyerbeer ya ce kuma da alama yana ba da kansa, "kuma ya rubuta cikin Italiyanci, kamar yadda suke faɗa, amma dole ne in rubuta haka ... saboda sha'awa ta ciki." Lallai, da yawa daga cikin abokan mawaƙin Jamusanci - kuma da farko Weber - ba su yi maraba da wannan kwatancen Italiyanci ba. Nasarar ƙaƙƙarfan nasarar wasan operas na Italiyanci na Meyerbeer a Jamus bai sa mawaƙan sanyin gwiwa ba. Yana da sabon burin: Paris - babbar cibiyar siyasa da al'adu a wancan lokacin. A cikin 1824, Meyerbeer ba wanda ya gayyace shi zuwa Paris ba face maestro Rossini, wanda bai yi zargin cewa yana ɗaukar mataki mai halakarwa ga shahararsa ba. Har ma yana ba da gudummawa ga samar da Crusader (1825), yana ba da goyon baya ga matashin mawaki. A cikin 1827, Meyerbeer ya koma Paris, inda ya sami gidansa na biyu kuma inda shaharar duniya ta zo masa.
a cikin Paris a ƙarshen 1820s. rayuwar siyasa da fasaha mai ban tsoro. Juyin juya halin bourgeois na 1830 yana gabatowa. Burgeoisie mai sassaucin ra'ayi a hankali yana shirya ruwa na Bourbons. Sunan Napoleon yana kewaye da almara na soyayya. Tunanin gurguzu na utopian yana yaduwa. Matashi V. Hugo a cikin sanannen gabatarwar wasan kwaikwayo "Cromwell" yana shelar ra'ayoyin sabon salon fasaha - romanticism. A cikin wasan kwaikwayo na kiɗa, tare da operas na E. Megul da L. Cherubini, ayyukan G. Spontini sun shahara sosai. Hotunan tsohuwar Romawa da ya halitta a cikin zukatan Faransanci suna da wani abu da ya dace da jarumawan zamanin Napoleon. Akwai wasan operas na ban dariya na G. Rossini, F. Boildieu, F. Aubert. G. Berlioz ya rubuta sabuwar fasaharsa ta Fantastic Symphony. Marubuta masu ci gaba daga wasu ƙasashe sun zo Paris - L. Berne, G. Heine. Meyerbeer yana lura da rayuwar Paris a hankali, yana hulɗar fasaha da kasuwanci, yana halartar wasan kwaikwayo na wasan kwaikwayo, daga cikinsu akwai manyan ayyuka biyu na wasan opera na soyayya - Aubert's The Mute from Portici (Fenella) (1828) da Rossini's William Tell (1829). Mahimmanci shine taron mawaƙin tare da mawallafin librettist E. Scribe na gaba, ƙwararren masanin wasan kwaikwayo da ɗanɗanon jama'a, ƙwararren gwaninta. Sakamakon haɗin gwiwar su shine wasan opera na soyayya Robert Iblis (1831), wanda ya kasance babban nasara. Bambance-bambance masu haske, aikin raye-raye, lambobi masu ban sha'awa, sautin kade-kade - duk wannan ya zama halayen sauran operas na Meyerbeer.
Farkon nasara na The Huguenots (1836) a ƙarshe ya murkushe duk abokan hamayyarsa. Sunan Meyerbeer kuma ya shiga ƙasarsa - Jamus. A 1842, Sarkin Prussian Friedrich Wilhelm IV ya gayyace shi zuwa Berlin a matsayin babban darektan kiɗa. A Opera na Berlin, Meyerbeer ya karɓi R. Wagner don samar da Flying Dutchman (mawallafin ya jagoranci), ya gayyaci Berlioz, Liszt, G. Marschner zuwa Berlin, yana sha'awar kiɗan M. Glinka kuma ya yi uku daga Ivan Susanin. . Hakanan, Glinka ya rubuta: “Meyerbeer ne ya jagoranci ƙungiyar mawaƙa, amma dole ne mu yarda cewa shi ƙwararren mawaƙi ne a kowane fanni.” Don Berlin, mawaƙin ya rubuta opera Camp a Silesia (babban ɓangaren sanannen J. Lind ne ya yi), a cikin Paris, Annabi (1849), Tauraron Arewa (1854), Dinora (1859) an shirya su. Wasan opera ta ƙarshe ta Meyerbeer, Matar Afirka, ta ga matakin shekara guda bayan mutuwarsa, a 1865.
A cikin mafi kyawun ayyukansa na mataki, Meyerbeer ya bayyana a matsayin babban mashawarci. Hazaka mai daraja ta farko, musamman a fagen kade-kade da wake-wake, ba a hana shi daga abokan hamayyarsa R. Schumann da R. Wagner ba. Ƙwararrun mawaƙa na virtuoso yana ba shi damar cimma mafi kyawun hotuna masu ban mamaki da tasiri mai ban mamaki (wani yanayi a cikin babban coci, wani lamari na mafarki, bikin nadin sarauta a cikin opera Annabi, ko keɓe takuba a cikin Huguenots). Babu ƙarancin fasaha da kuma mallakin talakawan mawaƙa. Tasirin aikin Meyerbeer ya samu ta hanyar yawancin mutanen zamaninsa, ciki har da Wagner a cikin operas Rienzi, The Flying Dutchman, da wani bangare a Tannhäuser. Ma'abota zamani kuma sun sami sha'awar yanayin siyasa na wasan kwaikwayo na Meyerbeer. A cikin makircin tarihi na yaudara, sun ga gwagwarmayar ra'ayoyin yau. Mawaƙin ya sami nasarar jin zamanin a hankali. Heine, wanda ya ƙwazo game da aikin Meyerbeer, ya rubuta: “Mutum ne na lokacinsa, da kuma lokacinsa, wanda ko da yaushe ya san yadda za a zaɓe mutanensa, ya ɗaga shi da ƙarfi ga garkuwa kuma ya bayyana ikonsa.”
E. Illeva
Abubuwan da aka tsara:
wasan kwaikwayo – Rantsuwa da Jephtha (Rantsuwar Jephtas, Jephtas Gelübde, 1812, Munich), Mai masaukin baki da baƙo, ko wasa (Wirth und Gast oder Aus Scherz Ernst, 1813, Stuttgart; ƙarƙashin taken Halifa Biyu, Die beyden Kalifen, 1814, 1820) ”, Vienna; karkashin sunan Alimelek, 1814, Prague da Vienna), Ƙofar Brandenburg (Das Brandenburger Tor, 1815, ba dindindin ba), Bachelor daga Salamanca (Le bachelier de Salamanque, 1815 (?), ba a gama ba), Student from Strasbourg (L'etudiant de Strasbourg, 1816 (?), Ba a gama ba), Robert da Elisa (1817, Palermo), Romilda da Constanta (melodrama, 1819, Padua), Gane Semiramis (Semiramide riconsciuta, 1819, tr. "Reggio", Turin), Emma na Resburg (1820, tr “San Benedetto”, Venice; a ƙarƙashin sunan Emma Lester, ko Muryar Lamiri, Emma von Leicester oder Die Stimme des Gewissens, 1820, Dresden), Margaret na Anjou (1821, tr “ La Scala”, Milan), Almanzor (1822, bai gama ba), Exile daga Grenada (L'esule di Granada, 1824, tr “La Scala”, Milan), Crusader a Masar (Il). crociato in Egitto, 1825, tr Fenich e”, Venice), Ines di Castro, ko Pedro na Portugal (Ines di Castro o sia Pietro di Portogallo, melodrama, 1831, ba a gama ba), Robert Iblis (Robert le Diable, 1835, “Sarki. Academy of Music and Dance, Paris), Huguenots (Les Huguenots, 1836, post. 1843, ibid; a Rasha karkashin sunan Guelphs da Ghibellines), Kotun Idi a Ferrara (Das Hoffest von Ferrara, wani festive yi ga kotun Carnival costumed Ball, 1844, Royal Palace, Berlin), Camp a Silesia (Ein Feldlager a Schlesien, 1846, "King. Spectacle", Berlin), Noema, ko Tuba (Nolma ou Le tuba, 1849, bai ƙare ba). Le prophète, 1854, King's Academy of Music and Dance, Paris; a Rasha a karkashin sunan The Siege of Ghent, sa'an nan John na Leiden), Northern Star (L'étoile du nord, 1854, Opera Comic, Paris); ya yi amfani da kiɗa na opera Camp a Silesia), Judith (1859, bai ƙare ba.), Ploermel gafara (Le pardon de Ploërmel, wanda ake kira Treasure Seeker, Le chercheur du tresor; wanda ake kira Dinora, ko Hajji zuwa Ploermel, Dinorah oder). Die Wallfahrt nach Ploermel; 1864, tr Opera Comic, Paris), Afirka (asalin suna Vasco da Gama, 1865, post. XNUMX, Grand Opera, Steam izh); divertissement – Ketare kogin, ko Mace Mai Kishi (Lepass de la riviere ou La femme jalouse; kuma ana kiranta Mai kamun kifi da Milkmaid, ko yawan surutu saboda Kiss, 1810, tr “Sarkin kallo”, Berlin) ; bakance – Allah da yanayi (Gott und die Natur, 1811); don makada - Tattakin biki zuwa nadin sarautar William I (1861) da sauransu; kujeru – Zabura 91 (1853), Stabat Mater, Miserere, Te Deum, zabura, waƙoƙin waƙar soloists da mawaƙa (ba a buga ba); don murya da piano - St. 40 songs, romances, ballads (a kan ayoyi na IV Goethe, G. Heine, L. Relshtab, E. Deschamps, M. Bera, da dai sauransu); kiɗa don wasan kwaikwayo na wasan kwaikwayo, ciki har da Struenze (wasan kwaikwayo na M. Behr, 1846, Berlin), Youth of Goethe (La jeunesse de Goethe, wasan kwaikwayo na A. Blaze de Bury, 1859, ba a buga ba).
