Giovanni Battista Rubini |

Giovanni Battista Rubini

Daya daga cikin masana fasahar murya na karni na XNUMX, Panovka, ya rubuta game da Rubini: "Yana da murya mai ƙarfi da ƙarfin hali, amma yana da wannan bashi da yawa ga ƙarfin sauti kamar son sonority na rawar jiki, ga ƙarfe. timbre. A lokaci guda, muryarsa ta kasance na musamman na roba da tafi da gidanka, kamar soprano. Sauƙaƙe Roubini ya ɗauki bayanan soprano na sama kuma a lokaci guda amintacce kuma a sarari ya shiga ciki.

Amma ra'ayi game da singer VV Timokhin. "Da farko dai, mawaƙin ya faranta wa masu sauraro farin ciki da kyakkyawar murya mai faɗin gaske ( rijistar ƙirji daga "mi" na ƙaramin octave zuwa "si" na octave na farko), haske, tsabta da haskaka ayyukansa. Tare da fasaha mai girma, maigidan ya yi amfani da rajista na sama da ya ɓullo sosai (Rubini zai iya ɗaukar "fa" har ma da "gishiri" na octave na biyu). Ya koma falsetto ba don ɓoye duk wani gazawa a cikin "labaran ƙirji" ba, amma tare da kawai manufar "bambance-bambancen waƙoƙin ɗan adam ta hanyar bambance-bambance, yana bayyana mahimman inuwar ji da sha'awar," kamar yadda daya daga cikin sake dubawa ya nuna. "Ya kasance mai arziki, maras ƙarewa na sabon, tasiri mai ƙarfi." Muryar mawaƙi ta ci nasara tare da sassauƙa, mai daɗi, inuwa mai laushi, sauti, sauyi mai santsi daga rajista don yin rajista. Mai zanen yana da iyawar ban mamaki don jaddada bambance-bambance tsakanin forte da piano.

An haifi Giovanni Battista Rubini a ranar 7 ga Afrilu, 1795 a Romano a cikin dangin malamin kiɗa na gida. Lokacin yaro, bai nuna babban nasara a koyarwa ba kuma muryarsa ba ta sa masu sauraro farin ciki ba. Nazarin kiɗan Giovanni da kansu ba shi da tsari: organist na ɗaya daga cikin ƙauyuka mafi kusa ya ba shi darussa cikin jituwa da abun ciki.

Roubini ya fara ne a matsayin mawaƙa a majami'u da kuma ɗan wasan violin a cikin ƙungiyar makaɗa ta wasan kwaikwayo. Lokacin da yake da shekaru goma sha biyu, yaron ya zama mawaƙa a cikin gidan wasan kwaikwayo a Bergamo. Daga nan sai Rubini ya shiga cikin rukunin wani kamfani na opera mai balaguro, inda ya samu damar shiga tsaka mai wuya ta makarantar rayuwa. Domin samun abin rayuwa, Giovanni ya gudanar da rangadin kide-kide tare da dan wasan violin guda daya, amma babu abin da ya zo na ra'ayin. A cikin 1814, Pietro Generali ya ba shi halarta na farko a Pavia a cikin opera Tears of the Widow. Sa'an nan kuma ya bi gayyatar zuwa Brescia, zuwa bikin 1815, sa'an nan kuma zuwa Venice, zuwa sanannen gidan wasan kwaikwayo na San Moise. Ba da da ewa da singer shiga yarjejeniya tare da iko impresario Domenico Barbaia. Ya taimaka Rubini ya shiga cikin wasan kwaikwayo na wasan kwaikwayo na Neapolitan "Fiorentini". Giovanni ya yarda da farin ciki - bayan haka, irin wannan kwangilar ya ba da izini, a tsakanin sauran abubuwa, don yin nazari tare da manyan mawaƙa a Italiya.

Da farko, matashin singer ya kusan ɓacewa a cikin ƙungiyar basirar ƙungiyar Barbaia. Har ma Giovanni ya amince da rage albashi. Amma juriya da karatu tare da sanannen tenor Andrea Nozari taka rawa, kuma nan da nan Rubini ya zama daya daga cikin manyan kayan ado na Neapolitan opera.

Domin shekaru takwas na gaba, da singer yi tare da babban nasara a kan matakai na Roma, Naples, Palermo. Yanzu Barbaia, don ci gaba da Rubini, ya tafi don ƙara kuɗin mawaƙa.

Ranar 6 ga Oktoba, 1825, Roubini ya fara halarta a birnin Paris. A Opera na Italiya, ya fara rera waƙa a Cinderella, sannan a cikin Lady of the Lake da Othello.

Matsayin Otello Rossini na musamman ya sake rubutawa don Rubini - bayan haka, ya samo asali ne bisa ƙananan muryar Nozari. A cikin wannan rawar, mai rairayi ya nuna ikonsa don haskaka wasu lokuta dalla-dalla dalla-dalla, don ba da cikakken hoto mai ban mamaki da gaskiya.

Tare da irin baƙin ciki, tare da irin zafin zuciya da kishi ya ji rauni, mawaƙin ya shafe yanayin tashin hankali na ƙarshe na wasan kwaikwayo na uku tare da Desdemona! "Tsarin wannan duet ya ƙare a cikin wani tsari mai rikitarwa da tsayi: a nan za mu iya godiya ga dukan fasaha, duk zurfin jin dadin Rubini. Zai yi kama da cewa duk wani alheri a cikin waƙa, cike da sha'awa, ya kamata ya kwantar da aikinsa - ya juya akasin haka. Roubini ya sami damar ba da ƙarfi sosai, jin daɗi mai ban mamaki ga roulade mara mahimmanci, wanda wannan roulade ya firgita sosai… masu sauraro, ”ya rubuta daga cikin mutanen zamaninsa bayan wasan kwaikwayon mai zane a Othello.

Jama'ar Faransa baki ɗaya sun amince da ɗan wasan Italiyanci a matsayin "Sarkin Tenors". Bayan watanni shida na nasara a Paris, Rubini ya koma ƙasarsa. Bayan yi a Naples da Milan, da singer tafi Vienna.

Nasarorin farko na mawaƙin suna da alaƙa da wasan kwaikwayo a wasan operas na Rossini. Zai zama alama cewa salon mawaƙi yana da kyau, cike da rayuwa, kuzari, yanayi, mafi kyau duka ya dace da halin gwanintar mai fasaha.

Amma Rubini ya ci nasara da tsayinsa tare da haɗin gwiwar wani mawaki na Italiya, Vincenzo Bellini. Matashin mawakin ya buɗe masa sabuwar duniya mai ban sha'awa. A gefe guda kuma, mawakin da kansa ya ba da gudummawa sosai wajen karrama Bellini, kasancewar shi ne mai magana da hankali kan manufarsa kuma mai fassara waƙarsa mara misaltuwa.

A karon farko Bellini da Rubini sun hadu yayin da suke shirye-shiryen fara wasan opera The Pirate. Ga abin da F. Pastura ya rubuta: “… Tare da Giovanni Rubini, ya yanke shawarar ɗauka da gaske, kuma ba haka ba ne saboda mawaƙin soloist dole ne ya rera taken taken Gualtiero, mawaƙin ya so ya koya masa yadda za a ɗauko ainihin hoton da ya dace. ya yi zane a cikin waƙarsa. Kuma dole ne ya yi aiki tukuru, domin Rubini kawai ya so ya rera bangarensa ne, kuma Bellini ya dage cewa shi ma ya taka rawarsa. Wani tunani kawai game da fitar da sauti, game da samar da murya da sauran dabaru na fasaha na murya, ɗayan ya nemi ya mayar da shi mai fassara. Rubini dan wasa ne kawai, amma Bellini yana son mawaƙin ya zama, da farko, ainihin hali, "kama da sha'awa."

Count Barbeau ya ga ɗaya daga cikin rigima da yawa tsakanin marubuci da ɗan wasan kwaikwayo. Rubini ya zo Bellini don ya sake gwada layin muryarsa a cikin duet na Gualtiero da Imogen. Yin la'akari da abin da Barbeau ya ce, a fili ya kasance duet daga aikin farko. Kuma da musanya na sauki phrases, bã tãre da wani vocal embellishments, amma tsananin agitated, bai sami wani echo a cikin ran da singer, wanda aka saba da al'ada lambobi, wani lokacin mafi wuya, amma lalle ne tasiri.

Sau da yawa sun shiga cikin wannan guntu guda ɗaya, amma maigidan ya kasa fahimtar abin da mawaƙin yake bukata, kuma bai bi shawararsa ba. A ƙarshe Bellini ya daina haƙuri.

– Kai jaki ne! ya bayyana ba tare da kunya ba ga Rubini kuma ya bayyana: “Ba ka sanya wani jin daɗi a cikin rera waƙa!” Anan, a cikin wannan yanayin, zaku iya girgiza duk gidan wasan kwaikwayo, kuma kuna sanyi kuma ba ku da rai!

Rubini yayi shiru a rude. Bellini, da ya natsu, ya yi magana a hankali:

– Dear Rubini, me kuke tunani, wanene kai – Rubini ko Gualtiero?

“Na fahimci komai,” in ji mawaƙin, “amma ba zan iya yin kamar mai yanke ƙauna ba ko kuma in yi fushi da fushi.

Mawaƙi ne kaɗai zai iya ba da irin wannan amsar, ba ɗan wasan kwaikwayo na gaske ba. Duk da haka, Bellini ya fahimci cewa idan ya sami nasarar shawo kan Rubini, zai yi nasara sau biyu - shi da mai wasan kwaikwayo. Kuma ya yi ƙoƙari na ƙarshe: shi da kansa ya rera ɓangaren tenor, yana yin ta yadda ya so. Ba shi da wata murya ta musamman, amma ya san yadda za a saka a cikinta ainihin jin daɗin da ya taimaka wajen haifar da waƙar Gualtiero mai wahala, wanda ya zargi Imogen don rashin aminci: “Pietosa al padre, e rueco si cruda eri intanto.” (“Kun ji tausayin mahaifinku, amma kun kasance marasa tausayi tare da ni.”) A cikin wannan cantilena mai baƙin ciki, an bayyana zuciyar ɗan fashin teku mai ƙauna da ƙauna.

A karshe, Rubini ya ji abin da mawakin yake so daga gare shi, kuma, kwatsam ya kama shi, ya kara da muryarsa mai ban mamaki a cikin wakar Bellini, wanda a yanzu ya nuna irin wahalhalun da babu wanda ya taba ji.

A farkon Gualtiero's cavatina "A tsakiyar hadari" da Rubini ya yi ya haifar da guguwar tafi. Bellini ya rubuta cewa: "Abin da ya sa ba zai yiwu a bayyana shi ba, ya kara da cewa ya tashi daga wurin zamansa "har sau goma don gode wa masu sauraro." Roubini, yana bin shawarar marubucin, ya yi nasa ɓangaren "allahntaka ba tare da fayyace ba, kuma waƙar ta kasance mai ban mamaki da bayyanawa tare da dukan sauƙi, tare da dukan faɗin rai." Tun daga wannan maraice, sunan Rubini ya kasance har abada tare da wannan sanannen waƙar, don haka mawaƙin ya sami damar isar da sahihanci. Florimo zai rubuta daga baya: "Duk wanda bai ji Rubini a cikin wannan wasan opera ba zai iya fahimtar yadda waƙar Bellini za ta iya burgewa..."

Kuma bayan duet na jaruman da ba su da kyau, wanda Bellini ya koya wa Rubini yin wasa da muryarsa mai rauni, ya haifar da irin wannan guguwar tafawa a cikin zauren.

A 1831, a farko a Milan na wani opera, La sonnambula na Bellini, taliya, Amina, buga da naturalness da kuma tunanin ikon Rubini yi, ya fara kuka a gaban masu sauraro.

Rubini ya yi abubuwa da yawa don inganta aikin wani mawaki, Gaetano Donizetti. Donizetti ya sami babbar nasara ta farko a cikin 1830 tare da wasan opera Anne Boleyn. A farkon, Rubini ya rera babban sashi. Tare da aria daga wasan kwaikwayo na biyu, mawaƙin ya yi farin ciki sosai. "Duk wanda bai ji wannan babban mai fasaha ba a cikin wannan labarin, mai cike da alheri, mafarki da sha'awar, [ba zai iya yin tunani game da ikon yin waƙa," in ji mawallafin kiɗa a wancan zamanin. Rubini yana da yawa ga shaharar operas Donizetti Lucia di Lammermoor da Lucrezia Borgia.

Bayan kwantiragin Rubini da Barbaia ya ƙare a shekara ta 1831, ya shafe shekaru goma sha biyu yana wasa da ƙungiyar opera ta Italiya, yana yin wasan kwaikwayo a Paris a cikin hunturu da kuma a London a lokacin rani.

A 1843, Roubini ya yi tafiya tare da Franz Liszt zuwa Holland da Jamus. A Berlin, mai zane ya rera waka a Opera na Italiya. Ayyukansa sun haifar da jin dadi na gaske.

A cikin wannan bazara, ɗan wasan Italiyanci ya isa St. Petersburg. Da farko ya yi a St. Petersburg da Moscow, sa'an nan kuma ya sake rera waka a St. Anan, a cikin ginin gidan wasan kwaikwayo na Bolshoi, ya nuna kansa, yana wasa a cikin duk girmansa a Othello, The Pirate, La sonnambula, The Puritans, Lucia di Lammermoor.

Ga abin da VV Timokhin: "Mai girma nasara da aka sa ran da artist a Lucia: masu sauraro da aka m zuwa ga core, da kuma a zahiri dukan masu sauraro ba zai iya taimaka kuka, sauraron sanannen" la'ana scene "daga na biyu aiki na wasan opera. "Pirate", wanda ya shirya 'yan shekaru kafin zuwan Rubini tare da halartar mawaƙa na Jamusanci, bai jawo hankalin masu kida na St. da kansa ya zama duka virtuoso da ba a taɓa gani ba kuma mawaƙi ne wanda ya burge masu sauraro sosai, a cewar mutanen zamani "tare da jin daɗi da jin daɗi mai daɗi…".

Kafin Rubini, babu wani ɗan wasan opera a Rasha da ya ta da irin wannan jin daɗi. Hankalin na musamman na masu sauraro na Rasha ya sa Roubini ya zo kasarmu a cikin kaka na wannan shekarar. A wannan karon P. Viardo-Garcia da A. Tamburini sun zo tare da shi.

A cikin kakar 1844/45, babban mawaki ya yi bankwana da wasan opera. Saboda haka, Rubini bai kula da muryarsa ba kuma ya rera waƙa kamar yadda yake a cikin mafi kyawun shekarunsa. Aikin wasan kwaikwayo na mai zane ya ƙare a St. Petersburg a cikin "Sleepwalker".