Giulia Grisi |

Giulia Grisi

F. Koni ya rubuta: “Giulia Grisi ita ce ’yar wasan kwaikwayo mafi girma a zamaninmu; tana da ƙarfi, resonant, soprano mai kuzari… tare da wannan ikon muryar tana haɗa cikar ban mamaki da taushin sauti, shafa da fara'a kunne. Korar muryarta mai sassauƙa da biyayya zuwa kamala, tana wasa da wahalhalu, ko kuma, ba ta san su ba. A ban mamaki tsarki da evenness na vocalization, da rare aminci na innation da gaske m ladabi na kayan ado da ta yi amfani da moderately, ba ta raira waƙa mai ban mamaki fara'a ... Tare da duk waɗannan kayan kayan aikin, Grisi ya haɗu da mafi mahimmanci halaye: dumin rai, a kullum tana ɗumamar waƙarta, wani yanayi mai ban mamaki mai ban mamaki, wanda aka bayyana a cikin waƙa da kuma cikin wasa, da fasaha mai kyau, wanda ko da yaushe yana nuna tasirinta na halitta kuma ba ya ƙyale wuce gona da iri. V. Botkin ya sake maimaita shi: “Grisi yana da fifiko a kan duk mawaƙa na zamani wanda, tare da mafi kyawun sarrafa muryarta, tare da mafi kyawun salon fasaha, ta haɗu da mafi girman gwaninta. Duk wanda ya taba ganinta a yanzu… zai kasance a cikin ransa koyaushe wannan siffa mai girman gaske, wannan kamanni mai kama da wuta da kuma sautin lantarki wanda nan take ya girgiza daukacin ’yan kallo. Ta takura, ba ta da daɗi cikin natsuwa, rawar waƙa kawai; yanayinta shine inda take jin 'yanci, asalinta shine sha'awa. Abin da Rahila ke cikin bala'i, Grisi yana cikin opera… Tare da mafi kyawun sarrafa murya da hanyar fasaha, ba shakka, Grisi zai raira waƙa da kyau kowace rawa da kowane kiɗa; hujja [shine] rawar Rosina a cikin Barber na Seville, aikin Elvira a cikin The Puritans da sauran mutane da yawa, wanda ta ci gaba da rera waƙa a Paris; amma, muna maimaitawa, asalin asalinta ayyuka ne masu ban tausayi…”

An haifi Giulia Grisi a ranar 28 ga Yuli, 1811. Mahaifinta, Gaetano Grisi, shi ne babba a cikin sojojin Napoleon. Mahaifiyarta, Giovanna Grisi, mawaƙa ce mai kyau, kuma innarta, Giuseppina Grassini, ta zama sananne a matsayin ɗaya daga cikin mafi kyawun mawaƙa na farkon karni na XNUMX.

'Yar'uwar Giulia Giuditta tana da mezzo-soprano mai kauri, ta kammala karatun digiri tare da girmamawa daga Conservatory Milan, bayan haka ta fara halarta a Vienna, a cikin Bianca e Faliero na Rossini, kuma cikin sauri ta yi kyakkyawan aiki. Ta yi waƙa a cikin mafi kyawun wasan kwaikwayo a Turai, amma ta bar mataki da wuri, ta auri aristocrat Count Barney, kuma ta mutu a farkon rayuwa a 1840.

Biography Julia ya ci gaba da farin ciki da kuma romantically. Cewa an haife ta a mawaƙa ya kasance a bayyane ga kowa da kowa a kusa da ita: Julia ta soprano mai laushi da tsabta kamar an yi shi don mataki. Malaminta na farko ita ce kanwarta, sannan ta yi karatu da F. Celli da P. Guglielmi. G. Giacomelli ne na gaba. Lokacin da Giulia yana da shekaru goma sha bakwai, Giacomelli yayi la'akari da cewa ɗalibin ya shirya don wasan kwaikwayo na farko.

Matashiyar mawakiyar ta fara fitowa a matsayin Emma (Zelmira na Rossini). Sai ta tafi Milan, inda ta ci gaba da yin nazari da ’yar’uwarta. Giuditta ta zama majiɓinta. Julia yayi karatu tare da malami Marlini. Sai da ƙarin shiri ta sake fitowa a kan mataki. Giulia yanzu ya rera sashin Dorlisca a cikin wasan opera na farko na Rossini Torvaldo e Dorlisca a Teatro Comunale a Bologna. Sukar ya zama mai ma'ana a gare ta, kuma ta fara rangadin farko a Italiya.

A cikin Florence, marubucin wasan kwaikwayo na farko, Rossini, ya ji ta. Mawaƙin ya yaba da kyawun iyawar murya, da kyawun da ba kasafai ba, da kuma rawar da mawakin ya yi. Wani mawaƙin opera, Bellini, shi ma an yi nasara a kansa; Farkon wasan kwaikwayon ya faru a cikin 1830 a Venice.

Bellini's Norma ya fara ranar 26 ga Disamba, 1831. La Scala ya ba da kyakkyawar maraba ba kawai ga shahararren Giuditta Pasta ba. Shahararriyar mawakiyar Giulia Grisi ita ma ta sami rabonta na tafi. Ta yi aikin Adalgisa da kwarjini na gaske da fasaha mara tsammani. Aiki a cikin "Norma" a ƙarshe ya ba da gudummawar amincewarta akan mataki.

Bayan haka, Julia da sauri ta hau kan matakin shahara. Ta yi tafiya zuwa babban birnin Faransa. Anan, innarta Giuseppina, wacce ta taba lashe zuciyar Napoleon, ta jagoranci gidan wasan kwaikwayo na Italiya. Ƙwararren taurari na sunaye sannan ya ƙawata yanayin Paris: Catalani, Sontag, taliya, Schröder-Devrient, Louise Viardot, Marie Malibran. Amma Rossini maɗaukaki ya taimaka wa matashin mawakin ya shiga cikin Opera Comic. Ayyukan da suka biyo baya a Semiramide, sannan a Anne Boleyn da Lucrezia Borgia, kuma Grisi ya ci nasara da 'yan Parisiya masu bukata. Shekaru biyu bayan haka, ta koma mataki na Opera na Italiyanci kuma ba da daɗewa ba, bisa shawarar Taliya, ta cika burinta na ƙauna ta yin aikin Norma a nan.

Tun daga wannan lokacin, Grisi ya tsaya a kan matsayi tare da manyan taurari na zamaninta. Ɗaya daga cikin masu sukar ya rubuta: “Lokacin da Malibran ke rera waƙa, muna jin muryar mala’ika, ana bi da shi zuwa sama kuma yana cika da ɗimbin yawa na gaske. Lokacin da kake sauraron Grisi, za ka fahimci muryar mace mai raira waƙa da tabbaci da kuma yadu - muryar mutum, ba sarewa ba. Abin da ke daidai daidai ne. Julia ita ce ainihin yanayin lafiya, kyakkyawan fata, cikakken mafari. Ta zama, zuwa wani ɗan lokaci, mai ba da labari na sabon salon waƙa na zahiri.

A 1836, da singer ya zama matar Comte de Melay, amma ba ta daina ta m aiki. Sabbin nasarori suna jiran ta a wasan operas na Bellini The Pirate, Beatrice di Tenda, Puritani, La sonnambula, Otello na Rossini, Matar Tafkin, Donizetti's Anna Boleyn, Parisina d'Este, Maria di Rohan, Belisarius. Faɗin muryarta ya ba ta damar yin duka soprano da mezzo-soprano sassa tare da kusan daidai sauƙi, kuma ƙaƙƙarfan ƙwaƙwalwar ajiyarta ya ba ta damar koyon sabbin ayyuka tare da saurin ban mamaki.

Yawon shakatawa a Landan ya kawo canjin da ba zato ba tsammani a cikin makomarta. Ta rera waka a nan tare da sanannen tenor Mario. Julia ya riga ya yi tare da shi duka a kan matakan Paris da kuma a cikin salon, inda dukan launi na masu fasaha na Paris suka taru. Amma a babban birnin Ingila, a karon farko, ta gane Count Giovanni Matteo de Candia - ainihin sunan abokin tarayya.

Ƙididdigar a lokacin ƙuruciyarsa, bayan watsi da sunayen dangi da ƙasa, ya zama memba na ƙungiyar 'yanci na kasa. Bayan kammala karatunsa daga Conservatory na Paris, ƙididdigar matasa, a ƙarƙashin sunan Mario, sun fara yin wasan kwaikwayo. Nan da nan ya zama sananne, ya zagaya ko'ina cikin Turai, kuma ya ba da babban ɓangare na manyan kuɗaɗen sa ga masu kishin Italiya.

Julia da Mario sun yi soyayya. Mijin mawaƙin bai yi watsi da kisan aure ba, kuma masu fasaha a cikin soyayya, sun sami damar shiga cikin makomarsu, sun kasance ba tare da rabuwa ba kawai a rayuwa, amma har ma a kan mataki. Wasan kwaikwayo na iyali duet a cikin operas Don Giovanni, Aure na Figaro, Asirin Aure, The Huguenots, kuma daga baya a cikin Il trovatore ya jawo hankalin jama'a a ko'ina - a Ingila, Jamus, Spain, Faransa, Italiya, da Amurka. Gaetano Donizetti ya rubuta musu ɗaya daga cikin mafi kyawun rana, abubuwan da ya tsara, opera Don Pasquale, wanda ya ga hasken tudu a ranar 3 ga Janairu, 1843.

Daga 1849 zuwa 1853 Grisi, tare da Mario, akai-akai yi a Rasha. Masu sauraron Rasha sun ji kuma sun ga Grisi a matsayin Semiramide, Norma, Elvira, Rosina, Valentina, Lucrezia Borgia, Donna Anna, Ninetta.

Sashin Semiramide baya cikin mafi kyawun sassan da Rossini ya rubuta. Ban da taƙaitaccen aikin Colbrand a cikin wannan rawar, a zahiri, babu fitattun ƴan wasa kafin Grisi. Ɗaya daga cikin masu bitar ya rubuta cewa a cikin abubuwan da aka yi a baya na wannan opera, "Babu Semiramide ... ko kuma, idan kuna so, akwai wani nau'i na kodadde, marar launi, marar rai, Sarauniyar tinsel, tsakanin ayyukan da ba su da dangantaka, ko dai. hankali ko mataki." "Kuma a ƙarshe ta bayyana - Semiramis, babbar farka ta Gabas, matsayi, kallon, girman motsi da matsayi - Ee, wannan ita ce! Mugun mace, babbar dabi'a…”

A. Stakhovich ya tuna: “Shekaru XNUMX sun shuɗe, amma ba zan iya mantawa da bayyanarta ta farko ba…” Yawancin lokaci, Semiramide, tare da ƙaƙƙarfan ƙwaƙƙwaran, yana bayyana a hankali a kan tutti na ƙungiyar makaɗa. Grisi ya yi daban-daban: “… ba zato ba tsammani wata mace mai kitse, mai baƙar gashi, sanye da farar riga, da kyawawan hannaye marasa hannu a kafaɗu, da sauri ta fito; ta sunkuyar da limamin k'asa sannan ta juyo da wani irin ban al'ajabi na tsohuwa, ta tsaya a gaban jama'a tana mamakin kyawunta na sarauta. Tafi ya yi tsawa, ihu: bravo, bravo! – Kar a bar ta ta fara aria. Grisi taci gaba da tsayawa tana kyalkyale da kyawu, cikin yanayin girmanta kuma bata katse kyakkyawar gabatarwar nata na rawar tare da bakuwa ga masu sauraro ba.

Wani abin sha'awa na musamman ga masu sauraron St. Har zuwa wannan lokacin, E. Frezzolini ya kasance mai yin wasan kwaikwayo na Elvira wanda ba shi da kyau a idanun masoyan kiɗa. Hankalin Grisi yayi matuƙar girma. “An manta da duk kwatancen…,” in ji ɗaya daga cikin masu suka, “kuma kowa ya yarda cewa ba mu sami Elvira mafi kyau ba tukuna. Fara'ar wasanta ya burge kowa. Grisi ya ba da wannan rawar sabon inuwar alheri, kuma nau'in Elvira da ta ƙirƙira zai iya zama abin koyi ga sculptors, masu zane-zane da mawaƙa. Faransanci da Italiyanci har yanzu ba su warware batun da ake jayayya ba: ya kamata raira waƙa kadai ta yi nasara a cikin wasan kwaikwayo na opera, ko kuma ya kamata babban yanayin matakin ya kasance a gaba - wasan. Grisi, a cikin rawar Elvira, ya yanke shawarar tambayar don jin daɗin yanayin ƙarshe, yana tabbatar da aikin ban mamaki cewa ɗan wasan kwaikwayo ya mamaye wurin farko a mataki. A karshen wasan na farko, inda hauka ta gudanar da ita da irin wannan fasaha, ta hanyar zubar da hawaye daga mafi yawan masu kallo, ta sa kowa ya yi mamakin basirarta. Mun saba ganin cewa hauka mataki yana da kaifi, pantomimes na kusurwa, motsi mara kyau da kuma yawo idanu. Grisi-Elvira ya koya mana cewa girman kai da alherin motsi na iya kuma yakamata su kasance marasa rabuwa cikin hauka. Grisi kuma ta gudu, ta jefa kanta, ta durkusa, amma duk wannan ya sami karbuwa… A cikin aiki na biyu, a cikin sanannen kalmarta: "Ka ba ni bege ko bari in mutu!" Grisi ta ba kowa mamaki da kalar kalamanta na kida daban-daban. Muna tunawa da wanda ya gabace ta: wannan magana koyaushe tana taɓa mu, kamar kukan matsananciyar ƙauna, rashin bege. Grisi, a daidai fitowar, ya gane rashin yiwuwar bege da shirye-shiryen mutuwa. Mafi girma, mafi kyawun wannan, ba mu ji komai ba.

A cikin rabi na biyu na 50s, cutar ta fara lalata muryar muryar Julia Grisi. Ta yi fada, an yi mata magani, ta ci gaba da waka, duk da nasarar da ta samu a baya ba ta tare ta ba. A 1861 ta bar mataki, amma ba ta daina yin wasan kwaikwayo.

A cikin 1868 Julia ta rera waƙa ta ƙarshe. Ya faru a jana'izar Rossini. A cikin cocin Santa Maria del Fiore, tare da babbar ƙungiyar mawaƙa, Grisi da Mario sun yi Stabat Mater. Wannan wasan kwaikwayon shi ne na ƙarshe ga mawaƙin. A cewar masu zamani, muryarta tana da kyau da ruhi, kamar a cikin mafi kyawun shekaru.

Bayan 'yan watanni, 'ya'yanta mata biyu sun mutu ba zato ba tsammani, Giulia Grisi ta biyo baya a ranar 29 ga Nuwamba, 1869.