Giovanni Mario |

Giovanni Mario

Ɗaya daga cikin mafi kyawun mawaƙa na karni na XNUMX, Mario yana da murya mai haske da cikakkiyar murya tare da katako mai laushi, da kida mara kyau, da kuma kyakkyawan ƙwarewar mataki. Ya kasance fitaccen ɗan wasan opera na waƙa.

An haifi Giovanni Mario (sunan gaske Giovanni Matteo de Candia) a ranar 18 ga Oktoba, 1810 a Cagliari, Sardinia. Da yake kasancewa ɗan kishin ƙasa mai kishin ƙasa kuma mai kishin fasaha daidai gwargwado, ya yi watsi da taken dangi da ƙasa a cikin ƙuruciyarsa, ya zama memba na ƙungiyar 'yanci ta ƙasa. A ƙarshe, an tilasta Giovanni ya tsere daga ƙasarsa ta Sardinia, wanda gendarmes suka bi shi.

A cikin Paris, Giacomo Meyerbeer ya ɗauke shi, wanda ya shirya shi don shigar da shi zuwa Conservatoire na Paris. A nan ya yi karatun waƙa tare da L. Popshar da M. Bordogna. Bayan kammala karatunsa daga ɗakin karatu, ƙididdigar matasa a ƙarƙashin sunan mai suna Mario ya fara yin wasan kwaikwayo.

A shawarar Meyerbeer, a 1838 ya yi babban rawa a cikin opera Robert Iblis a kan mataki na Grand Opera. Tun 1839, Mario yana rera waƙa tare da babban nasara a kan mataki na gidan wasan kwaikwayo na Italiyanci, ya zama dan wasa na farko na manyan ayyuka a cikin wasan kwaikwayo na Donizetti: Charles ("Linda di Chamouni", 1842), Ernesto ("Don Pasquale", 1843). .

A farkon 40s, Mario ya yi wasa a Ingila, inda ya rera waka a gidan wasan kwaikwayo na Covent Garden. Anan, rabon mawaƙa Giulia Grisi da Mario, waɗanda suka ƙaunaci juna, sun haɗa kai. Masu zane-zane a cikin soyayya sun kasance ba a raba su ba kawai a rayuwa ba, har ma a kan mataki.

Da sauri ya zama sananne, Mario ya yi tafiya a ko'ina cikin Turai, kuma ya ba da babban ɓangare na manyan kudadensa ga masu kishin Italiya.

AA Gozenpud ya rubuta: "Mario ya kasance mai zane-zane na al'adu na zamani," in ji AA Gozenpud - mutumin da ke da alaƙa da ra'ayoyin ci gaba na wannan zamani, kuma sama da duka ɗan kishin ƙasa mai zafi, Mazzini mai ra'ayi. Ba wai kawai Mario ya taimaka wa masu fafutukar neman ‘yancin kai na Italiya ba. Wani ɗan ƙasa mai zane-zane, ya fayyace jigon 'yanci a cikin aikinsa, kodayake yuwuwar hakan ta iyakance ne ta hanyar repertoire kuma, sama da duka, ta yanayin muryar: mawallafin waƙar yakan zama mai ƙauna a cikin opera. Jarumi ba fagensa bane. Heine, mai shaida ga wasan kwaikwayo na farko na Mario da Grisi, ya lura da nau'in waƙar kawai a cikin wasan kwaikwayon su. An rubuta bitarsa ​​a cikin 1842 kuma yana nuna bangare ɗaya na aikin mawaƙa.

Tabbas, waƙoƙin sun kasance kusa da Grisi da Mario daga baya, amma bai rufe dukkan fagagen wasan kwaikwayonsu ba. Roubini bai yi wasa a wasan operas na Meyerbeer da matashin Verdi ba, Rossini-Bellini-Donizetti triad ne suka tantance ɗanɗanonsa na ado. Mario wakilin wani zamani ne, kodayake Rubini ya rinjayi shi.

Fitaccen mai fassara na matsayin Edgar ("Lucia di Lammermoor"), Count Almaviva ("Barber na Seville"), Arthur ("Puritanes"), Nemorino ("Love Potion"), Ernesto ("Don Pasquale") da kuma da yawa wasu, shi da irin wannan fasaha ya yi Robert, Raoul da John a cikin operas na Meyerbeer, da Duke a Rigoletto, Manrico a Il trovatore, Alfred a La Traviata.

Dargomyzhsky, wanda ya ji Mario a cikin shekarun farko na wasan kwaikwayonsa a kan mataki, a cikin 1844 ya ce masu zuwa: "... Mario, mai kula da mafi kyawunsa, tare da murya mai dadi, sabo, amma ba karfi ba, yana da kyau sosai har ya tunatar da ni. yawa Rubini, wanda ya, duk da haka, , a fili neman koyi. Har yanzu bai gama aikin fasaha ba, amma na yi imanin cewa dole ne ya tashi sosai."

A cikin wannan shekarar, mawaƙin Rasha kuma mai sukar AN Serov ya rubuta: “Italiya suna da fiaskos da yawa a wannan lokacin sanyi kamar na Bolshoi Opera. Hakazalika jama'a sun koka matuka game da mawakan, inda kawai bambancinsu shi ne yadda wasu mawakan Italiyanci ba sa son rera waka, yayin da Faransawa ba za su iya waka ba. Ma'auratan ƙaunataccen dare na Italiyanci, Signor Mario da Signora Grisi, duk da haka, suna koyaushe a wurinsu a cikin zauren Vantadour kuma suna ɗauke da mu tare da kayan kwalliyar su zuwa mafi furen bazara, yayin da sanyi, dusar ƙanƙara da iska suka mamaye Paris, wasan kwaikwayo na piano ya tashi. muhawara a cikin majalisar wakilai da Poland. Haka ne, suna farin ciki, suna yin sihiri; Wasan opera na Italiya wani kurmi ne mai raira waƙa inda nake tserewa lokacin da lokacin sanyi ya sa ni hauka, lokacin da sanyin rayuwa ya zama abin da ba zai iya jurewa ba. A can, a cikin kusurwa mai dadi na akwatin da aka rufe rabin rabi, za ku sake dumi da kyau; Laya mai ban sha'awa za su juya gaskiya mai wuyar gaske zuwa waƙa, sha'awar za ta ɓace a cikin arabesques masu fure, kuma zuciya za ta sake yin murmushi. Abin farin ciki ne lokacin da Mario ya rera waƙa, kuma a cikin idanun Grisi sautin muryar dare a cikin ƙauna yana nunawa kamar sauti na bayyane. Abin farin ciki ne lokacin da Grisi ke rera waƙa, kuma yanayin tausayi na Mario da murmushin farin ciki ya buɗe cikin farin ciki cikin muryarta! Ma'aurata masu ban sha'awa! Wani mawaƙin Farisa wanda ya kira dare mai fure tsakanin tsuntsaye, kuma furen dare tsakanin furanni, a nan zai zama cikakkiyar rudani da rikicewa a kwatanta, domin duka, shi da ita, Mario da Grisi, suna haskakawa ba kawai tare da waƙa ba, har ma da tare da waƙa. kyau.

A cikin 1849-1853, Mario da matarsa ​​Giulia Grisi sun yi wasan kwaikwayo a mataki na Opera na Italiya a St. Petersburg. Ƙaƙwalwar katako mai ɗaukar hankali, ikhlasi da fara'a na sauti, a cewar mutanen zamani, sun burge masu sauraro. Abin burgewa da yadda Mario ya yi na sashen Arthur a cikin The Puritans, V. Botkin ya rubuta: “Muryar Mario ta kasance mafi yawan sautin cello mai laushi kamar bushewa, rashin ƙarfi sa’ad da suke tare da waƙarsa: wani irin zafi na lantarki yana gudana a ciki, wanda nan take. ya shiga cikin ku , da ni'ima yana gudana ta cikin jijiyoyi kuma yana kawo dukkan ji a cikin zurfin tunani; wannan ba bakin ciki ba ne, ba damuwa na tunani ba, ba sha'awar sha'awa ba ne, amma daidaitaccen motsin rai.

Kwarewar Mario ta ba shi damar isar da wasu ji tare da zurfin da ƙarfi iri ɗaya - ba kawai tausayi da raɗaɗi ba, har ma da fushi, fushi, yanke ƙauna. A cikin wurin la'anar a Lucia, mai zane, tare da jarumi, yana baƙin ciki, shakku da wahala. Serov ya rubuta game da yanayin ƙarshe: "Wannan gaskiya ce mai ban mamaki da aka kawo ƙarshenta." Tare da cikakkiyar gaskiya, Mario kuma yana gudanar da wurin taron Manrico tare da Leonora a Il trovatore, yana motsawa daga "rashin hankali, farin ciki na yara, manta da duk abin da ke cikin duniya", zuwa "mummunan zato, ga zarge-zarge mai ɗaci, zuwa sautin cikakkiyar yanke ƙauna. masoyi da aka watsar…" - "A nan shayari na gaskiya, wasan kwaikwayo na gaskiya," in ji Serov mai ban sha'awa.

Gozenpud ya ce: "Shi ɗan wasan kwaikwayo ne wanda ba a taɓa ganin irinsa na ɓangaren Arnold a William Tell ba. - A St. Petersburg, Tamberlik yakan rera shi, amma a cikin kide kide kide da wake-wake, inda uku daga wannan opera, da aka tsallake a cikin wasanni, sau da yawa sauti, Mario ya shiga ciki. "A cikin wasan kwaikwayonsa, kukan Arnold da tsawa"Alarmi!" ya cika, ya girgiza kuma ya zaburar da dukkan babban dakin taron.” Tare da wasan kwaikwayo mai ƙarfi, ya yi ɓangaren Raoul a cikin The Huguenots da Yahaya a cikin Annabi (Siege na Leiden), inda P. Viardot abokin tarayya ne.

Samun fara'a da ba kasafai ba, kyakkyawa, filasta, ikon sa kwat da wando, Mario a cikin kowane irin rawar da ya taka ya sake komawa cikin sabon hoto. Serov ya rubuta game da girman kai na Castilian na Mario-Ferdinand a cikin Favourite, game da sha'awar sa mai zurfi a cikin rawar da Lucia ta ƙaunataccen ƙauna, game da girman kai da ƙarfin hali na Raul. Kare mutunci da tsabta, Mario ya la'anci ma'ana, cynicism da voluptuousness. Kamar dai babu wani abu da ya canza a cikin fitowar jarumin, muryarsa ta yi kama da jan hankali, amma ga mai sauraren kallo, mai zane ya bayyana rashin tausayi da rashin tausayi na halin. Irin wannan shi ne Duke nasa a Rigoletto.

A nan mai rairayi ya halicci siffar mutum maras kyau, mai ban dariya, wanda kawai burinsa - jin dadi. Duke nasa ya tabbatar da hakkinsa na tsayawa sama da duk dokoki. Mario - Duke yana da muni tare da rashin komai na rai.

A. Stakhovich ya rubuta: “Dukkan shahararrun mashahuran da na ji bayan Mario a cikin wannan wasan opera, daga Tamberlik har zuwa Mazini… sun rera waƙa… a soyayya (na Duke) tare da roulades, nightingale trills da dabaru daban-daban waɗanda suka faranta wa masu sauraro rai… Tamberlik ya zubo. a cikin wannan aria, duk murna da jin dadin soja a cikin sa ran samun nasara cikin sauki. Ba haka ba ne Mario ya rera wannan waƙa, ko da hurdy-gurdies ne ya buga. A cikin waƙarsa, mutum zai iya jin amincewa da sarki, wanda ya lalatar da ƙaunar dukan kyawawan kyawawan ɗakinsa kuma ya cika da nasara ... Wannan waƙar ta yi sauti mai ban mamaki a cikin leɓun Mario a karo na ƙarshe, lokacin, kamar damisa. Ana azabtar da wanda aka azabtar, dan wasan ya yi ruri a kan gawar… Wannan lokacin a cikin wasan opera ya fi daukar hankalin Triboulet a cikin wasan kwaikwayo na Hugo. Amma wannan mummunan lokacin, wanda ke ba da dama ga baiwar gwanin fasaha a cikin rawar Rigoletto, yana cike da tsoro ga jama'a kuma, tare da waƙa ta baya ta Mario. Cikin natsuwa, kusan zubewa, muryarsa ta yi kara, a hankali a hankali a safiya ta waye - rana ta zo, kuma da yawa, da yawa irin wadannan ranaku za su biyo baya, kuma ba tare da hukunci ba, rashin kulawa, amma tare da nishaɗi marasa laifi, masu ɗaukaka. rayuwar “jarumin sarki” za ta gudana. Tabbas, lokacin da Mario ya rera wannan waƙar, bala'i… na yanayin ya sanyaya jinin Rigoletto da jama'a.

Da yake bayyana fasalin halayen halayen Mario a matsayin mawaƙa na romantic, mai sukar Otechestvennye Zapiski ya rubuta cewa "nasa ne na makarantar Rubini da Ivanov, babban abin da ke ciki shine ... tausayi, gaskiya, cantabile. Wannan tausayi yana da wasu asali na asali kuma mai ban sha'awa na nebula: a cikin sautin muryar Mario akwai abubuwa da yawa na soyayya waɗanda ke mamaye sautin Waldhorn - ingancin muryar ba shi da ƙima kuma yana farin ciki sosai. Rarraba gaba ɗaya halin masu kula da wannan makarantar, yana da babbar murya (ba ya damu da si-bemol na sama, kuma falsetto ya kai fa). Ɗaya daga cikin Rubini yana da sauye-sauyen da ba za a iya gani ba daga sautin kirji zuwa fistula; Daga cikin duk masu sauraron da aka ji bayansa, Mario ya matso kusa da sauran zuwa wannan kamala: falsetto ɗinsa cikakke ne, mai laushi, mai laushi da sauƙi don ba da kanta ga inuwar piano… … Fioritures na Mario da nassoshi na bravura suna da kyau, kamar duk mawaƙa da jama'ar Faransa suka koya… Duk waƙa tana cike da launi mai ban mamaki, bari ma mu ce Mario wani lokaci ma yana ɗauke da ita… .

Serov, wanda ya yaba da fasaha na Mario, ya lura da "basirar mai wasan kwaikwayo mai mahimmanci", "alheri, fara'a, sauƙi", dandano mai girma da kuma salon salo. Serov ya rubuta cewa Mario a cikin "Huguenots" ya nuna kansa "mafi kyawun zane-zane, wanda a halin yanzu ba shi da daidai"; musamman ya jaddada bayyaninsa na ban mamaki. "Irin wannan wasan kwaikwayon a matakin opera wani abu ne da ba a taɓa yin irinsa ba."

Mario ya ba da hankali sosai ga bangaren tsarawa, daidaiton tarihi na kayan ado. Don haka, ƙirƙirar hoton Duke, Mario ya kawo jarumin wasan opera kusa da yanayin wasan kwaikwayo na Victor Hugo. A cikin bayyanar, kayan shafa, kayan ado, mai zane ya sake haifar da siffofi na ainihin Francis I. A cewar Serov, hoton tarihi ne da aka farfado.

Duk da haka, ba kawai Mario ya yaba da daidaito na tarihi na kayan ado ba. Wani lamari mai ban sha'awa ya faru a lokacin samar da Annabi Meyerbeer a St. Petersburg a cikin 50s. A baya-bayan nan dai, guguwar neman sauyi ta mamaye nahiyar Turai. A cewar shirin na opera, mutuwar wani mayaudari da ya kuskura ya dora wa kansa rawani ya kamata ya nuna cewa irin wannan makoma tana jiran duk wanda ya keta madafun iko. Sarkin Rasha Nicholas I da kansa ya bi shirye-shiryen wasan kwaikwayon tare da kulawa ta musamman, yana mai da hankali har ma da cikakkun bayanai na kayan ado. Kambin da Yohanna ya sawa yana kan giciye. A. Rubinstein ya ce, bayan ya koma baya, sarkin ya juya ga mai wasan kwaikwayo (Mario) tare da bukatar cire kambi. Sa'an nan Nikolai Pavlovich ya karya giciye daga kambi kuma ya mayar da shi ga mawaƙa marar tushe. Gicciyen ba zai iya lulluɓe kan ɗan tawayen ba.

A cikin 1855/68, mawaƙin ya zagaya a Paris, London, Madrid, kuma a cikin 1872/73 ya ziyarci Amurka.

A cikin 1870, Mario ya yi wasa na ƙarshe a St. Petersburg, kuma ya bar mataki bayan shekaru uku.

Mario ya mutu a ranar 11 ga Disamba, 1883 a Roma.