Taliya Giuditta |

Taliya Giuditta

Rave reviews game da Giuditta Pasta, wanda VV Stasov ya kira "kyakkyawan Italiyanci", shafukan wasan kwaikwayo na wasan kwaikwayo daga kasashe daban-daban na Turai sun cika. Kuma wannan ba abin mamaki ba ne, domin Taliya na ɗaya daga cikin fitattun jaruman mawaƙa a zamaninta. An kira ta "daya tilo", "mara iya". Bellini ya ce game da Taliya: “Tana rera waƙa don hawaye su ɓata idanuwanta; Har ta sa ni kuka.

Shahararriyar mai sukar Faransa Castile-Blaz ta rubuta: “Wacece wannan boka mai murya mai cike da hazaka da hazaka, tana yin abubuwan samari na Rossini da ƙarfi da jan hankali iri ɗaya, da kuma arias na tsohuwar makaranta mai girma da sauƙi? Wanene, sanye da kayan yaƙin jarumi da kayan ado na sarauniya, ya bayyana gare mu a yanzu a matsayin ƙaunataccen ƙaunataccen Othello, yanzu a matsayin jarumi na Syracuse? Wanene ya haɗu da basirar virtuoso da mai bala'i a cikin irin wannan jituwa mai ban mamaki, mai ban sha'awa tare da wasan da ke cike da kuzari, dabi'a da jin dadi, har ma da iya kasancewa da rashin sha'awar sautunan melodic? Wanene ya fi sha'awar mu tare da darajar dabi'arsa mai daraja - biyayya ga dokokin tsattsauran ra'ayi da kuma kyan gani mai kyau, da jituwa tare da fara'a na muryar sihiri? Wane ne ya mamaye fagen waka sau biyu, yana haifar da ruɗi da hassada, yana cika ruhi da sha'awa mai girma da azabar jin daɗi? Wannan taliya ce… Ta san kowa da kowa, kuma sunanta yana jan hankalin masu son kiɗan ban mamaki.

An haifi Giuditta Pasta (née Negri) a ranar 9 ga Afrilu, 1798 a Sartano, kusa da Milan. Tuni a lokacin yaro, ta yi nasarar karatu a karkashin jagorancin Bartolomeo Lotti. Lokacin da Giuditta tana da shekaru goma sha biyar, ta shiga cikin Conservatory Milan. Anan Pasta yayi karatu tare da Bonifacio Asiolo na tsawon shekaru biyu. Amma ƙaunar gidan opera ta yi nasara. Giuditta, yana barin ɗakin ajiya, ya fara shiga cikin wasan kwaikwayo mai son. Sannan ta shiga matakin ƙwararru, tana yin wasan Brescia, Parma da Livorno.

Fitowarta ta farko a matakin ƙwararru ba ta yi nasara ba. A shekara ta 1816, ta yanke shawarar cinye jama'ar waje kuma ta tafi Paris. Ayyukanta a Opera na Italiya, inda Catalani ya yi sarauta a lokacin, ba a lura da su ba. A wannan shekarar, taliya, tare da mijinta Giuseppe, mawaƙa, ya yi tafiya zuwa London. A cikin Janairu 1817, ta rera waƙa a karon farko a gidan wasan kwaikwayo na Royal a Cimarosa's Penélope. Amma wannan ko sauran operas ba su kawo mata nasara ba.

Amma gazawa kawai ta zuga Giuditta. "Bayan ya koma ƙasarsa," in ji VV Timokhin, - tare da taimakon malamin Giuseppe Scappa, ta fara aiki da muryarta tare da tsayin daka na musamman, ƙoƙarin ba shi matsakaicin haske da motsi, don cimma daidaito na sauti, ba tare da barin ba. a lokaci guda bincike mai ɗorewa na ban mamaki gefen sassan opera.

Kuma aikinta bai kasance a banza ba - tun daga 1818, mai kallo zai iya ganin sabon Taliya, yana shirye ya ci Turai tare da fasaharta. Ayyukanta a Venice, Rome da Milan sun yi nasara. A cikin kaka na 1821, Parisians saurare da babban sha'awa ga singer. Amma, watakila, farkon sabon zamani - "zamanin Taliya" - shine gagarumin aikinta a Verona a 1822.

"Muryar mai fasaha, rawar jiki da sha'awar, wanda aka bambanta da ƙarfi na musamman da kuma yawan sauti, haɗe tare da kyakkyawan fasaha da wasan kwaikwayo mai rai, ya ba da tasiri sosai," in ji VV Timokhin. - Jim kadan bayan komawa Paris, Taliya ta zama mawaƙa ta farko a lokacinta…

… Da zaran masu sauraro sun shagala daga waɗannan kwatancen kuma suka fara bin ci gaban aikin a kan dandamali, inda ba su ga mai zane iri ɗaya ba tare da hanyoyin wasan kwaikwayo na yau da kullun, kawai canza sutura ɗaya zuwa wani, amma jarumi Tancred mai zafi. Rossini's Tancred), babban Medea ("Medea" na Cherubini), mai tausasawa Romeo ("Romeo da Juliet" na Zingarelli), har ma da ƙwararrun 'yan mazan jiya sun nuna farin cikin su.

Tare da musamman tabawa da kuma lyricism, Taliya ta yi wani ɓangare na Desdemona (Othello na Rossini), wanda ta sake komawa akai-akai, a duk lokacin da yin gagarumin canje-canje da ya shaida wa singer ta m kai ga inganta, ta sha'awar zurfin fahimta da kuma gaskiya isar da halin. na jarumar Shakespeare.

Babban mawaƙin ɗan shekara sittin mai ban tausayi Francois Joseph Talma, wanda ya ji mawaƙin, ya ce. “Madam kin cika burina, burina. Kuna da sirrin da na ci gaba da nema ba tare da tsayawa ba tun farkon aikin wasan kwaikwayo na, tun lokacin da na yi la'akari da ikon taɓa zukata babban burin fasaha.

Daga 1824 taliya kuma an yi a Landan na tsawon shekaru uku. A babban birnin Ingila, Giuditta ya sami masu sha'awar sha'awa da yawa kamar a Faransa.

Domin shekaru hudu da singer zauna a soloist tare da Italian Opera a Paris. Sai dai an samu sabani da shahararren mawaki kuma darektan gidan wasan kwaikwayo, Gioacchino Rossini, wanda a cikin wasan opera da dama ta yi nasara sosai. An tilasta wa taliya a 1827 barin babban birnin Faransa.

Godiya ga wannan taron, yawancin masu sauraron kasashen waje sun sami damar sanin fasahar Taliya. A ƙarshe, a farkon 30s, Italiya ta gane mai zane a matsayin mawaƙa na farko na ban mamaki na lokacinta. Cikakken nasara yana jiran Giuditta a Trieste, Bologna, Verona, Milan.

Wani shahararren mawaki, Vincenzo Bellini, ya zama mai sha'awar basirar mai zane. A cikin nata, Bellini ya sami ƙwararren ɗan wasan kwaikwayo na Norma da Amina a cikin operas Norma da La sonnambula. Duk da yawan masu shakka, Taliya, wadda ta ƙirƙira wa kanta suna ta hanyar fassara jarumtaka a cikin ayyukan wasan kwaikwayo na Rossini, ta yi nasarar faɗi ma'anar kalmarta a cikin fassarar salon salon salon Bellini.

A lokacin rani na 1833, da singer ziyarci London tare da Bellini. Giuditta Pasta ta yi fice a Norma. Nasarar da ta samu a wannan matsayi ya zarce a dukkan ayyukan da mawakiyar ta yi a baya. Sha'awar jama'a ba ta da iyaka. Mijinta, Giuseppe Pasta, ya rubuta wa surukarsa cewa: “Na gode wa Laporte don ya ba da ƙarin horo, kuma godiya ga gaskiyar cewa Bellini da kansa ya jagoranci ƙungiyar mawaƙa da ƙungiyar mawaƙa, an shirya wasan opera kamar babu. sauran labaran Italiyanci a London, don haka nasararta ta wuce duk tsammanin Giuditta da fatan Bellini. A yayin da ake gudanar da wasan, “an zubar da hawaye da yawa, kuma an yi ta tafi na ban mamaki a wasan na biyu. Giuditta ta zama kamar ta sake dawowa gaba ɗaya a matsayin jarumar ta kuma ta rera waƙa da irin wannan sha'awar, wanda kawai za ta iya yin hakan lokacin da wani dalili na musamman ya sa ta yin hakan. A cikin wannan wasiƙar zuwa ga mahaifiyar Giuditta, Pasta Bellini ta tabbatar a cikin rubutun duk abin da mijinta ya ce: "Jiya Giuditta ta faranta wa duk wanda ya halarta a gidan wasan kwaikwayo da hawaye, ban taba ganinta mai girma ba, mai ban mamaki, mai ban sha'awa ..."

A cikin 1833/34, taliya ta sake rera waƙa a Paris - a Othello, La sonnambula da Anne Boleyn. "A karon farko, jama'a sun ji cewa mai zane ba zai daɗe a kan mataki ba tare da lalata babban sunanta," in ji VV Timokhin. - Muryarta ta ɓace sosai, ta rasa tsohon sabo da ƙarfinta, rashin tabbas ya zama marar tabbas, abubuwan ɗaiɗaikun mutane, kuma wani lokacin duka jam'iyyar, Taliya sau da yawa suna rera rabin sautin, ko ma sautin ƙasa. Amma a matsayinta na 'yar wasan kwaikwayo, ta ci gaba da ingantawa. Mutanen Paris sun fi burge su da fasahar kwaikwayi, wanda mai zanen ya kware, da kuma yadda ta ke ba da lallashi na ban mamaki da ta yi ta isar da halayen tausasawa, fara'a Amina da kuma babbar mace, mai ban tausayi Anne Boleyn.

A shekara ta 1837, taliya, bayan ya yi wasa a Ingila, ya yi ritaya na ɗan lokaci daga ayyukan mataki kuma yana rayuwa galibi a cikin gidansa na ƙauyen da ke gabar Tekun Como. Komawa cikin 1827, Giuditta ya saya a Blevio, a wani ɗan ƙaramin wuri a wancan gefen tafkin, Villa Rhoda, wanda ya taɓa kasancewa na hamshaƙin attajiri, Empress Josephine, matar Napoleon ta farko. Kawun mawaƙin, Injiniya Ferranti, ya ba da shawarar siyan villa a mayar da shi. Rani na gaba, Taliya ta riga ta zo wurin don hutawa. Villa Roda da gaske yanki ne na aljanna, "ni'ima", kamar yadda Milanese suka saba fada a lokacin. An yi layi akan facade da farin marmara a cikin tsayayyen salo na gargajiya, gidan ya tsaya a bakin tafkin. Shahararrun mawakan opera da opera sun yi ta tururuwa daga ko'ina a Italiya da kuma daga ketare don ba da shaida da kansu game da mutunta gwanintarsu na farko a Turai.

Mutane da yawa sun riga sun yi amfani da ra'ayin cewa singer daga karshe ya bar mataki, amma a cikin 1840/41 kakar, taliya sake yawon shakatawa. A wannan lokacin ta ziyarci Vienna, Berlin, Warsaw kuma ta gana da liyafar ban mamaki a ko'ina. Sa'an nan kuma akwai ta wasan kwaikwayo a Rasha: a St. Petersburg (Nuwamba 1840) da kuma a Moscow (Janairu-Fabrairu 1841). Tabbas, a wannan lokacin damar taliya a matsayin mawaƙa ba ta da iyaka, amma jaridun Rasha ba za su iya yin kasala ba wajen lura da kyawawan halayenta na wasan kwaikwayo, bayyana ra'ayoyinsu da jin daɗin wasan.

Abin sha'awa, yawon shakatawa a Rasha ba shine na ƙarshe a cikin rayuwar mawaƙa ba. Bayan shekaru goma kacal, ta ƙarshe ta ƙare aikinta mai ban sha'awa, inda ta yi a London a 1850 tare da ɗaya daga cikin ɗaliban da ta fi so a cikin opera.

Taliya ta mutu bayan shekaru goma sha biyar a gidanta a Blavio a ranar 1 ga Afrilu, 1865.

Daga cikin ayyuka da dama na Taliya, sukar ta keɓe ta na ban mamaki da ban mamaki, kamar su Norma, Medea, Boleyn, Tancred, Desdemona. Taliya ta yi mafi kyawun sassanta tare da girma na musamman, nutsuwa, filastik. "A cikin waɗannan ayyukan, Taliya alheri ce kanta," in ji ɗaya daga cikin masu sukar. "Salon wasanta, yanayin fuskarta, motsin zuciyarta suna da matuƙar daraja, na halitta, kyakkyawa wanda kowane hoton ya burge ta a cikin kanta, yanayin fuskarta mai kaifi yana buga duk wani motsin muryarta...". Duk da haka, taliya, 'yar wasan kwaikwayo mai ban mamaki, ba ta taɓa mamaye Pasta mawaƙin ba: "ba ta taɓa mantawa da wasa ba don yin waƙa," ta gaskanta cewa "mawaƙin ya kamata ya guji ƙara yawan motsin jiki wanda ke tsoma baki tare da waƙa kuma kawai ya lalata shi."

Ba shi yiwuwa a sha'awar furci da sha'awar waƙar Taliya. Ɗaya daga cikin waɗannan masu sauraron ya zama marubuci Stendhal: “Barin wasan kwaikwayon tare da halartar Taliya, mun gigice, ba mu iya tuna wani abu da ke cike da zurfin jin da mawaƙin ya burge mu. Ba shi da amfani a yi ƙoƙarin bayar da cikakken bayani game da ra'ayi mai ƙarfi da ban mamaki. Yana da wuya a ce nan take menene sirrin tasirinsa ga jama'a. Babu wani abu mai ban mamaki a cikin sautin muryar Taliya; ba ma game da motsinsa na musamman da ƙananan ƙarar sa ba ne; Abinda kawai take sha'awa da burgewa shine saukin waka, fitowa daga zuciya, sha'awa da tabawa cikin ma'auni biyu hatta masu kallon da suka yi kuka tsawon rayuwarsu kawai saboda kudi ko umarni.