Giuseppe Verdi (Giuseppe Verdi) |

Giuseppe Verdi

Kamar kowace babbar baiwa. Verdi yana nuna asalin ƙasarsa da zamaninsa. Shi furen kasarsa ne. Shi ne muryar Italiya ta zamani, ba mai raɗaɗi ba ko rashin kulawa da Italiyanci a cikin wasan kwaikwayo na wasan kwaikwayo da wasan kwaikwayo na Rossini da Donizetti, ba mai tausayi da ladabi ba, Italiya na Bellini yana kuka, amma Italiya ta farka ga hankali, Italiya ta damu da siyasa. hadari, Italiya , m da m ga fushi. A. Serov

Babu wanda zai iya jin rayuwa fiye da Verdi. A. Boito

Verdi sanannen al'adun kiɗan Italiya ne, ɗaya daga cikin manyan mawaƙa na ƙarni na 26. Kiɗarsa tana da alaƙa da walƙiya na manyan cututtukan farar hula waɗanda ba su shuɗe tsawon lokaci, daidaiton da ba a iya fahimta ba a cikin tsarin mafi rikitarwar hanyoyin da ke faruwa a cikin zurfin ruhin ɗan adam, daraja, kyakkyawa da waƙar da ba ta ƙarewa. Mawaƙin Peru ya mallaki wasan kwaikwayo na XNUMX, ayyukan ruhaniya da na kayan aiki, soyayya. Babban muhimmin bangare na abubuwan kirkire-kirkire na Verdi shine operas, wadanda da yawa daga cikinsu (Rigoletto, La Traviata, Aida, Othello) an ji su daga matakan gidajen opera a duniya sama da shekaru dari. Ayyukan wasu nau'o'in, ban da wahayin Requiem, ba a san su a zahiri ba, an yi asarar rubuce-rubucen yawancinsu.

Verdi, ba kamar yawancin mawaƙa na karni na XNUMX ba, bai bayyana ka'idodinsa na kirkire-kirkire a cikin jawabai na shirye-shirye a cikin 'yan jaridu ba, bai danganta aikinsa tare da amincewa da kyawawan halaye na wani jagorar fasaha ba. Duk da haka, tsayinsa, mai wuyar gaske, ba koyaushe ba ne mai ban sha'awa kuma mai kambi tare da nasara ta hanyar kirkire-kirkire an karkatar da shi zuwa ga tsananin wahala da maƙasudi - samun nasarar gaskiyar kiɗan a cikin wasan opera. Rayuwa a cikin rikice-rikice iri-iri ita ce babban jigon aikin mawaƙa. Kewayon fasalinsa ya kasance mai faɗi da ban mamaki - daga rikice-rikicen zamantakewa zuwa fuskantar ji a cikin ran mutum ɗaya. A lokaci guda kuma, fasahar Verdi tana ɗauke da ma'anar kyakkyawa da jituwa ta musamman. "Ina son duk abin da ke cikin fasaha mai kyau," in ji mawaki. Kidan nasa kuma ya zama misali na fasaha mai kyau, gaskiya da zurfafawa.

A bayyane yake sane da ayyukansa na kirkire-kirkire, Verdi ya kasa kasala wajen neman mafi kyawun sifofin sifofin ra'ayoyinsa, mai matukar bukatar kansa, na masu sassaucin ra'ayi da masu yin wasan kwaikwayo. Sau da yawa shi da kansa ya zaɓi tushen wallafe-wallafen don libretto, ya tattauna dalla-dalla tare da masu sassaucin ra'ayi gabaɗayan tsarin halittarsa. Haɗin gwiwar da ya fi dacewa ya haɗa da mawaƙa tare da masu sassaucin ra'ayi kamar T. Solera, F. Piave, A. Ghislanzoni, A. Boito. Verdi ya bukaci gaskiya mai ban mamaki daga mawaƙa, ya kasance mai rashin haƙuri ga duk wata bayyanar ƙarya a kan mataki, halin kirki marar hankali, ba mai launi da zurfin tunani ba, ba a barata ta hanyar ban mamaki ba. "...Babban hazaka, rai da kuma mataki flair" - Waɗannan su ne halayen da ya fi godiya a cikin masu wasan kwaikwayo. "Ma'ana, girmamawa" wasan operas ya zama kamar ya zama dole; "… lokacin da ba za a iya yin wasan operas ba cikin amincin su - yadda mawallafin ya yi niyya - yana da kyau kada a yi su kwata-kwata."

Verdi ya rayu tsawon rai. An haife shi a cikin dangin wani ma'aikacin magidanci. Malamansa su ne organist na cocin ƙauyen P. Bastrocchi, sai F. Provezi, wanda ya jagoranci rayuwar kiɗa a Busseto, da kuma shugaban gidan wasan kwaikwayo na Milan La Scala V. Lavigna. Da ya riga ya manyanta, Verdi ya rubuta: “Na koyi wasu ayyuka mafi kyau na zamaninmu, ba ta wajen nazarin su ba, amma ta wurin jin su a gidan wasan kwaikwayo… dogon nazari mai tsayi… Hannuna ya isa ya isa ya rike bayanin yadda nake so, kuma yana da karfin gwiwa don samun tasirin da na yi niyya mafi yawan lokaci; kuma idan na rubuta wani abu ba bisa ka'ida ba, saboda ainihin ka'idar ba ta ba ni abin da nake so ba, kuma saboda ban yi la'akari da duk dokokin da aka amince da su ba har zuwa yau ba tare da wani sharadi ba.

Nasarar farko na matashin mawakin yana da alaƙa da samar da opera Oberto a gidan wasan kwaikwayo na La Scala a Milan a shekara ta 1839. Bayan shekaru uku, an yi wasan opera Nebuchadnezzar (Nabucco) a cikin wannan gidan wasan kwaikwayo, wanda ya sa marubucin ya shahara sosai ( 3). Wasan kwaikwayo na farko na mawakin ya bayyana a lokacin juyin juya hali a Italiya, wanda ake kira zamanin Risorgimento (Italiyanci - farkawa). Gwagwarmayar hadewa da 'yancin kai na Italiya ya mamaye daukacin al'umma. Verdi ta kasa tsayawa a gefe. Ya kuma fuskanci nasarori da kashin da aka samu a yunkurin juyin juya halin Musulunci, duk da cewa bai dauki kansa a matsayin dan siyasa ba. Wasannin wasan kwaikwayo na jarumtaka na 1841. - "Nabucco" (40), "Lombards a farkon Crusade" (1841), "Battle of Legnano" (1842) - sun kasance wani nau'i na mayar da martani ga juyin juya hali. Shirye-shiryen Littafi Mai Tsarki da na tarihi na waɗannan operas, nesa da zamani, sun rera jarumtaka, 'yanci da 'yanci, sabili da haka suna kusa da dubban Italiyanci. "Maestro na Italiyanci Juyin Halitta" - wannan shi ne yadda zamani da ake kira Verdi, wanda aikinsa ya zama sananne.

Duk da haka, abubuwan kirkire-kirkire na matashin mawakin bai takaita a kan jigon gwagwarmayar jarumtaka ba. Don neman sababbin makirci, mawallafin ya juya zuwa ga litattafan adabi na duniya: V. Hugo (Ernani, 1844), W. Shakespeare (Macbeth, 1847), F. Schiller (Louise Miller, 1849). Fadada jigogi na kerawa yana tare da neman sabbin hanyoyin kiɗa, haɓaka ƙwarewar mawaƙa. Lokacin balaga na ƙirƙira an yi masa alama ta ƙwararrun operas triad: Rigoletto (1851), Il trovatore (1853), La Traviata (1853). A cikin aikin Verdi, a karon farko, zanga-zangar adawa da rashin adalci na zamantakewa ya fito fili. Jaruman wa]annan wasan operas, masu hazaka, da jin dadi, sun yi karo da ka'idojin da aka yarda da su gaba daya. Juya ga irin waɗannan makircin mataki ne mai matuƙar ƙarfin hali (Verdi ya rubuta game da La Traviata: “Makircin na zamani ne. Wani kuma da ba zai ɗauki wannan makirci ba, watakila, saboda ladabi, saboda zamanin, da kuma saboda wasu ƙiyayya guda dubu na wauta. … II yi shi da mafi girman jin daɗi).

Zuwa tsakiyar 50s. An san sunan Verdi a duk faɗin duniya. Mawaƙin ya ƙare kwangila ba kawai tare da wasan kwaikwayo na Italiyanci ba. A cikin 1854 ya kirkiro wasan opera "Sicilian Vespers" don Grand Opera na Paris, bayan 'yan shekarun baya an rubuta operas "Simon Boccanegra" (1857) da Un ballo a maschera (1859, ga gidan wasan kwaikwayo na Italiya San Carlo da Appolo). A cikin 1861, bisa ga umarnin darektan gidan wasan kwaikwayo na St. Petersburg Mariinsky, Verdi ya kirkiro opera The Force of Destiny. Dangane da samar da shi, mawakin ya yi tafiya zuwa Rasha sau biyu. Wasan opera ba ta yi nasara sosai ba, kodayake waƙar Verdi ta shahara a Rasha.

Daga cikin operas na 60s. Mafi shahara shi ne wasan opera Don Carlos (1867) dangane da wasan kwaikwayo na wannan suna na Schiller. Kiɗa na "Don Carlos", cike da zurfin tunani, yana tsammanin kololuwar kerawa na opera Verdi - "Aida" da "Othello". An rubuta Aida a cikin 1870 don buɗe sabon gidan wasan kwaikwayo a Alkahira. Nasarorin da aka samu na duk wasan operas da suka gabata sun haɗu a cikinsa: kamalar kiɗa, launi mai haske, da kaifin wasan kwaikwayo.

Bayan "Aida" an halicce shi "Requiem" (1874), bayan haka akwai dogon (fiye da shekaru 10) shiru ya haifar da rikici a rayuwar jama'a da kiɗa. A Italiya, an yi sha'awar kidan R. Wagner sosai, yayin da al'adun ƙasa ke cikin mantuwa. Halin da ake ciki a halin yanzu ba kawai gwagwarmayar dandano ba ne, matsayi daban-daban na ado, ba tare da abin da ba za a iya tunanin aikin fasaha ba, da kuma ci gaban kowane fasaha. Lokaci ne na faɗuwar fifiko na al'adun fasaha na ƙasa, wanda musamman ma'abota kishin ƙasa na fasahar Italiyanci suka samu. Verdi ta yi tunani kamar haka: “Aikin fasaha na dukan mutane ne. Babu wanda ya yi imani da wannan sosai kamar ni. Amma yana tasowa daidaiku. Kuma idan Jamusawa suna da wani aikin fasaha na daban fiye da mu, fasaharsu ta bambanta da tamu. Ba za mu iya yin rubutu kamar Jamusawa ba. ”…

Tunanin game da makomar kiɗan Italiyanci a nan gaba, yana jin babban nauyi ga kowane mataki na gaba, Verdi ya kafa game da aiwatar da manufar opera Othello (1886), wanda ya zama babban gwaninta na gaske. "Othello" shine fassarar da ba ta da kyau ga labarin Shakespearean a cikin nau'in wasan kwaikwayo, misali mai kyau na wasan kwaikwayo na kida da hankali, wanda mawallafin ya yi duk rayuwarsa.

Aiki na ƙarshe na Verdi - wasan opera mai ban dariya Falstaff (1892) - abin mamaki tare da fara'a da fasaha mara kyau; yana da alama ya buɗe sabon shafi a cikin aikin mawaƙa, wanda, rashin alheri, ba a ci gaba ba. Rayuwar Verdi gaba dayanta tana haskakawa da zurfin yakini cikin daidaiton hanyar da aka zaba: “Game da zane-zane, ina da tunanin kaina, da nawa yakini, a sarari, madaidaici, wanda ba zan iya ba, kuma bai kamata ba. ki.” L. Escudier, ɗaya daga cikin mutanen zamanin mawaƙin, ya kwatanta shi da kyau: “Verdi yana da sha’awa guda uku kawai. Amma sun kai mafi girman ƙarfi: ƙauna ga fasaha, ji na ƙasa da abota. Sha'awa a cikin m da gaskiya aikin Verdi ba ya raunana. Ga sabbin tsararrakin masu son kiɗan, koyaushe ya kasance daidaitaccen ma'auni wanda ya haɗu da tsabtar tunani, wahayin ji da kamalar kiɗan.

A. Zolotykh

• Hanyar kirkira ta Giuseppe Verdi →
• Al'adun kiɗan Italiyanci a cikin rabin na biyu na ƙarni na XNUMX →

Opera ta kasance a tsakiyar abubuwan fasaha na Verdi. A matakin farko na aikinsa, a Busseto, ya rubuta ayyukan kayan aiki da yawa (an yi hasarar rubutunsu), amma bai sake komawa wannan nau'in ba. Banda shi ne kirtani quartet na 1873, wanda mai yin waƙar bai yi niyya ba don aikin jama'a. A cikin shekarun samartaka, ta yanayin aikinsa na organist, Verdi ya hada kiɗa mai tsarki. A ƙarshen aikinsa - bayan Requiem - ya ƙirƙiri wasu ayyuka da yawa irin wannan (Stabat mater, Te Deum da sauransu). Wasu ƴan soyayya suma sun kasance na farkon lokacin ƙirƙira. Ya sadaukar da duk karfinsa ga wasan opera sama da rabin karni, daga Oberto (1839) zuwa Falstaff (1893).

Verdi ya rubuta operas ashirin da shida, shida daga cikinsu ya bayar a cikin wani sabon salo, wanda aka gyara sosai. (A cikin shekarun da suka gabata, ana sanya waɗannan ayyukan kamar haka: ƙarshen 30s - 40s - 14 operas (+1 a cikin sabon bugu), 50s - 7 operas (+1 a cikin sabon bugu), 60s - 2 operas (+2 a cikin sabon). edition), 70s - 1 opera, 80s - 1 opera (+2 a cikin sabon bugu), 90s - 1 opera.) A tsawon rayuwarsa, ya kasance mai gaskiya ga kyawawan manufofinsa. Verdi ya rubuta a shekara ta 1868: “Ba zan iya isa in cim ma abin da nake so ba, amma na san abin da nake nema,” in ji Verdi a shekara ta XNUMX. Waɗannan kalmomi za su iya kwatanta dukan ayyukansa na halitta. Amma a cikin shekarun da suka wuce, dabarun fasaha na mawaki ya zama mafi ban sha'awa, kuma fasaharsa ta zama mafi kamala, daraja.

Verdi ya nemi saka wasan kwaikwayo "mai ƙarfi, mai sauƙi, mai mahimmanci." A cikin 1853, yana rubuta La Traviata, ya rubuta: "Ina mafarkin sababbin manyan, kyawawan, bambance-bambancen, makirci, da masu ƙarfin zuciya a wannan." A cikin wata wasiƙar (na wannan shekarar) mun karanta: “Ka ba ni kyakkyawan tsari, na asali, mai ban sha'awa, tare da kyawawan yanayi, sha'awa - sama da duk abubuwan sha'awa! ..”

Gaskiya da ƙwaƙƙwaran yanayi na ban mamaki, ƙayyadaddun haruffa - cewa, a cewar Verdi, shine babban abu a cikin shirin opera. Kuma idan a cikin ayyukan farkon, lokacin soyayya, ci gaban yanayi ba koyaushe yana ba da gudummawa ga daidaiton bayyanar da haruffa ba, to ta hanyar 50s mawaki ya fahimci cewa zurfafa wannan haɗin yana zama tushen tushe don ƙirƙirar ainihin gaskiya. wasan kwaikwayo na kiɗa. Shi ya sa, bayan da ya ɗauki tafarkin gaskiya, Verdi ya yi Allah wadai da wasan opera na zamani na Italiya don maƙasudai, makirci, nau'ikan yau da kullun. Domin rashin isa ya nuna sabani na rayuwa, ya kuma yi Allah wadai da rubuce-rubucensa da ya rubuta a baya: “Suna da al’amuran ban sha’awa, amma babu bambanci. Suna shafar gefe ɗaya kawai - maɗaukaki, idan kuna so - amma koyaushe iri ɗaya ne.

A fahimtar Verdi, wasan opera ba zai yuwu ba ba tare da ƙwaƙƙwaran sabani na rikici ba. yanayi mai ban mamaki, in ji mawaƙin, ya kamata su fallasa sha'awar ɗan adam a cikin halayensu, nau'in mutum ɗaya. Don haka, Verdi ya yi tsayayya da duk wani aiki na yau da kullun a cikin libretto. A shekara ta 1851, da ya fara aiki a kan Il trovatore, Verdi ya rubuta: “Mai ’yanci Cammarano (mawallafin wasan opera.) MD) zai fassara sigar, mafi kyau a gare ni, mafi gamsuwa zan kasance. Shekara guda da ta shige, bayan da ya yi wani wasan opera bisa shirin Shakespeare's King Lear, Verdi ya yi nuni da cewa: “Bai kamata a mai da Lear ya zama wasan kwaikwayo a tsarin da aka yarda da shi ba. Zai zama dole a nemo sabon tsari, wanda ya fi girma, ba tare da son zuciya ba.”

Makircin don Verdi hanya ce ta bayyana ra'ayin aiki yadda ya kamata. Rayuwar mawakin ta cika da neman irin wadannan filaye. Fara da Ernani, ya ci gaba da neman tushen adabi don tunaninsa na opera. Kyakkyawan masanin adabin Italiyanci (da Latin), Verdi ya kware sosai a cikin Jamusanci, Faransanci, da wasan kwaikwayo na Ingilishi. Mawallafin da ya fi so su ne Dante, Shakespeare, Byron, Schiller, Hugo. (Game da Shakespeare, Verdi ya rubuta a cikin 1865: "Shi ne marubucin da na fi so, wanda na sani tun daga ƙuruciya kuma na ci gaba da karantawa." Ya rubuta wasan kwaikwayo uku a kan makircin Shakespeare, ya yi mafarkin Hamlet da The Tempest, kuma ya koma aiki a kan Sarki sau hudu. Lear "(a cikin 1847, 1849, 1856 da 1869); wasan kwaikwayo guda biyu dangane da makircin Byron (shirin Kayinu wanda ba a gama ba), Schiller - hudu, Hugo - biyu (shirin Ruy Blas").

Ƙirƙirar ƙirar Verdi ba ta iyakance ga zaɓin wuri ba. Ya kasance mai kula da aikin ma'aikacin liberttist. Mawaƙin ya ce, "Ban taɓa rubuta wasan operas zuwa shirye-shiryen librettos da wani ya yi a gefe ba," in ji mawaƙin, "Ba zan iya fahimtar yadda za a haifi marubucin allo wanda zai iya yin hasashen ainihin abin da zan iya ɗauka a cikin opera ba." Faɗin wasiƙun Verdi cike yake da umarni na ƙirƙira da nasiha ga abokan aikin sa na adabi. Waɗannan umarnin suna da alaƙa da farko ga tsarin yanayin wasan opera. Mawallafin ya buƙaci matsakaicin ƙaddamar da ƙaddamar da makirci na tushen wallafe-wallafen, kuma don wannan - rage yawan layi na layi na layi, matsawa na rubutun wasan kwaikwayo.

Verdi ya rubuta wa ma'aikatansa jujjuyawar magana da yake buƙata, yanayin ayoyin da adadin kalmomin da ake buƙata don kiɗa. Ya ba da kulawa ta musamman ga kalmomin "maɓalli" a cikin rubutun libretto, wanda aka tsara don bayyana ainihin abin da ke cikin wani yanayi mai ban mamaki ko hali. "Ba kome ba ko wannan ko waccan kalmar, ana buƙatar jumlar da za ta faranta rai, ta zama abin gani," ya rubuta a cikin 1870 zuwa ga mawallafin Aida. Inganta libretto na "Othello", ya cire ba dole ba, a cikin ra'ayi, jimloli da kalmomi, ya bukaci rhythmic bambance-bambancen a cikin rubutu, karya da "smoothness" na ayar, wanda ƙulla musika ci gaban, ya kai ga mafi m expressiveness da conciseness.

Ƙarfin ra'ayoyin Verdi ba koyaushe ya sami kyakkyawar magana daga abokan aikin sa na adabi ba. Don haka, yana godiya sosai ga libretto na "Rigoletto", mawaƙin ya lura da ayoyi masu rauni a cikinsa. Yawancin bai gamsar da shi ba a cikin wasan kwaikwayo na Il trovatore, Sicilian Vespers, Don Carlos. Ba tare da samun cikakkiyar labari mai gamsarwa da tsarin adabi na sabon ra'ayinsa a cikin ma'anar King Lear ba, an tilasta masa yin watsi da kammala wasan opera.

A cikin aiki tukuru tare da masu sassaucin ra'ayi, Verdi a ƙarshe ya balaga ra'ayin abun da ke ciki. Yakan fara kiɗa ne kawai bayan ya haɓaka cikakken rubutun opera gabaɗaya.

Verdi ya ce abin da ya fi masa wahala shi ne "ya rubuta da sauri don ya bayyana ra'ayin kiɗa a cikin amincin da aka haife shi cikin hankali." Ya tuna: “Sa’ad da nake ƙarami, nakan yi aiki ba tare da tsayawa ba daga huɗu na safe zuwa bakwai na yamma.” Ko da a lokacin da ya tsufa, lokacin ƙirƙirar maki na Falstaff, nan da nan ya yi amfani da manyan sassan da aka kammala, saboda "yana tsoron manta da wasu haɗin gwiwar ƙungiyar makaɗa da haɗin gwal."

Lokacin ƙirƙirar kiɗa, Verdi ya tuna da yuwuwar fasalin matakinsa. An haɗa shi har zuwa tsakiyar 50s tare da gidajen wasan kwaikwayo daban-daban, sau da yawa yakan warware wasu batutuwa na wasan kwaikwayo na kiɗa, dangane da rawar da ƙungiyar da aka ba ta ke da ita. Bugu da ƙari, Verdi yana sha'awar ba kawai a cikin halayen murya na mawaƙa ba. A cikin 1857, kafin fara wasan "Simon Boccanegra", ya nuna: "Ayyukan Paolo yana da matukar muhimmanci, yana da matukar muhimmanci a sami baritone wanda zai zama mai kyau actor." Komawa a 1848, dangane da shirin samar da Macbeth a Naples, Verdi ƙaryata game da singer Tadolini miƙa masa, tun da ta vocal da mataki damar iya yin komai ba dace da nufin rawar: "Tadolini yana da wani m, bayyananne, m, m murya mai iko. kuma II ina son murya ga mace, kurma, kaushi, mai duhu. Tadolini tana da wani abu na mala'ika a cikin muryarta, kuma ina son wani abu na diabolical a cikin muryar matar.

A cikin koyan wasan kwaikwayo na opera, har zuwa Falstaff, Verdi ya taka rawar gani, yana shiga tsakani a cikin aikin jagoran, yana mai da hankali sosai ga mawaƙa, a hankali yana tafiya tare da su. Don haka, mawaƙa Barbieri-Nini, wanda ya yi rawar Lady Macbeth a farkon 1847, ya shaida cewa mawakin ya sake karanta duet tare da ita har sau 150, yana samun hanyar bayyana muryar da yake buƙata. Ya yi aiki kamar yadda ake buƙata yana da shekaru 74 tare da shahararren ɗan wasan Faransa Francesco Tamagno, wanda ya taka rawar Othello.

Verdi ya ba da kulawa ta musamman ga matakin fassarar wasan opera. Wasikun nasa sun kunshi bayanai masu kima da yawa kan wadannan batutuwa. Verdi ya rubuta: "Dukkan dakarun da ke cikin matakin suna ba da fa'ida mai ban mamaki, kuma ba kawai watsa kiɗan cavatinas, duets, na ƙarshe, da sauransu ba." Dangane da samar da The Force of Destiny a 1869, ya koka game da masu sukar, wanda ya rubuta kawai game da muryar murya na mai wasan kwaikwayo: sun ce ... ". Da yake lura da kaɗe-kaɗe na ’yan wasan kwaikwayo, mawaƙin ya jaddada: “Opera—fahimce ni daidai—wato, wasan kwaikwayo na kida, an ba shi matsakaici. Ya saba wa wannan cire kiɗan daga mataki kuma Verdi ya nuna rashin amincewa: shiga cikin koyo da tsara ayyukansa, ya bukaci gaskiyar ji da ayyuka duka a cikin waƙa da kuma motsin mataki. Verdi ya bayar da hujjar cewa kawai a ƙarƙashin yanayin haɗin kai mai ban mamaki na duk hanyoyin bayyana matakin kida ne kawai wasan opera zai iya zama cikakke.

Don haka, farawa daga zaɓi na mãkirci a cikin aiki mai wuyar gaske tare da liberttist, lokacin ƙirƙirar kiɗa, yayin aiwatar da matakinsa - a duk matakan aiki a kan wasan opera, daga tunanin zuwa tsarawa, maigidan zai bayyana kansa, wanda da tabbaci ya jagoranci Italiyanci. fasaha na asali gare shi zuwa tsayi. gaskiya.

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An kafa manufofin opera na Verdi sakamakon shekaru masu yawa na aikin ƙirƙira, babban aiki mai fa'ida, da tsayin daka. Ya san yanayin wasan kwaikwayo na zamani a Turai. Da yake ba da lokaci mai yawa a ƙasashen waje, Verdi ya saba da mafi kyawun ƙungiyoyi a Turai - daga St. Petersburg zuwa Paris, Vienna, London, Madrid. Ya san wasan operas na manyan mawakan zamani. (Wataƙila Verdi ya ji wasan opera na Glinka a St.. Verdi ya kimanta su da irin mahimmancin mahimmancin abin da ya kusanci aikinsa. Kuma sau da yawa ba ya yin la'akari da nasarorin fasaha na sauran al'adun kasa, amma ya sarrafa su ta hanyarsa, yana shawo kan tasirinsu.

Wannan shi ne yadda ya bi da kade-kade da al'adun gargajiya na Faransa wasan kwaikwayo: sun kasance sananne a gare shi, idan kawai saboda uku daga cikin ayyukansa ("Sicilian Vespers", "Don Carlos", na biyu edition na "Macbeth") aka rubuta. don matakin Parisian. Haka shi ne halinsa game da Wagner, wanda operas, mafi yawa na tsakiyar zamani, ya sani, kuma wasu daga cikinsu suna da matukar godiya (Lohengrin, Valkyrie), amma Verdi ya yi jayayya da Meyerbeer da Wagner. Bai raina mahimmancin su ga ci gaban al'adun kade-kaden Faransanci ko Jamusanci ba, amma ya ki yarda da yiwuwar kwaikwayon su na bautar. Verdi ya rubuta: "Idan Jamusawa, daga Bach, suka isa Wagner, to suna zama kamar Jamusawa na gaske. Amma mu, zuriyar Falasdinu, muna yin koyi da Wagner, muna aikata laifin kida, ƙirƙirar fasahar da ba dole ba har ma da cutarwa. "Muna jin daban," in ji shi.

Tambayar tasirin Wagner ya kasance mai mahimmanci a Italiya tun daga 60s; matasa da yawa mawaƙa sun mika wuya gare shi (Masu sha'awar Wagner a Italiya su ne ɗalibin Liszt, mawallafi. J. Sgambatti, madugu G. Martucci, A. Boito (a farkon aikinsa na fasaha, kafin saduwa da Verdi) da sauransu.). Verdi ya lura da zafi: “Dukkanmu—mawaƙa, masu suka, jama’a—mun yi duk mai yiwuwa don mu yi watsi da ƙasar mu ta kiɗa. Anan muna tashar jirgin ruwa mai natsuwa… ƙarin mataki ɗaya, kuma za mu zama Jamusanci a cikin wannan, kamar yadda a cikin komai. Yana da wuya da raɗaɗi a gare shi ya ji daga bakin matasa da masu sukar kalmomin cewa tsoffin operas ɗinsa sun tsufa, ba su cika ka'idodin zamani ba, kuma na yanzu, wanda ya fara da Aida, yana bin sahun Wagner. "Abin alfahari ne, bayan aikin kirkire-kirkire na shekaru arba'in, don ƙarewa a matsayin wannabe!" Verdi ta fada a fusace.

Amma bai yi watsi da darajar nasarar Wagner ba. Mawaƙin Jamusanci ya sa ya yi tunani game da abubuwa da yawa, kuma sama da duka game da rawar ƙungiyar makaɗa a cikin wasan opera, wanda mawaƙan Italiyanci suka raina shi a farkon rabin karni na XNUMX (ciki har da Verdi kansa a farkon aikinsa), game da haɓaka mahimmancin jituwa (da kuma wannan mahimmancin ma'anar maganganun kiɗa da aka manta da mawallafin opera na Italiyanci) kuma, a ƙarshe, game da ci gaba da ka'idodin ci gaba na ƙarshe zuwa ƙarshen don shawo kan rarrabuwa na nau'ikan tsarin adadi.

Duk da haka, ga duk waɗannan tambayoyin, mafi mahimmanci ga wasan kwaikwayo na kiɗa na opera na rabin na biyu na karni, Verdi ya samo. m mafita banda na Wagner. Bugu da ƙari, ya zayyana su tun kafin ya san ayyukan ƙwararren mawakin Jamus. Alal misali, yin amfani da "timbre dramaturgy" a wurin bayyanar ruhohi a cikin "Macbeth" ko kuma a cikin nunin tsawa mai ban tsoro a cikin "Rigoletto", yin amfani da igiyoyin divisi a cikin babban rajista a gabatarwar zuwa ƙarshe. aiki na "La Traviata" ko trombones a cikin Miserere na "Il Trovatore" - wadannan m, mutum hanyoyin da kayan aiki ana samun ba tare da la'akari da Wagner. Kuma idan muka yi magana game da wani tasiri a kan Verdi Orchestra, da ya kamata mu tuna da Berlioz, wanda ya sosai godiya da kuma wanda ya kasance a kan abokantaka sharuddan daga farkon 60s.

Verdi ya kasance mai zaman kansa kamar yadda yake nema don neman haɗin kai na ka'idodin waƙa-ariose (bel canto) da ƙaddamarwa (parlante). Ya ɓullo da nasa na musamman “haɗaɗɗen hanya” (stilo misto), wanda ya zama ginshiƙi a gare shi don ƙirƙirar nau'ikan magana guda ɗaya ko wuraren tattaunawa kyauta. Rigoletto's aria "Courtesans, fiend of vice" ko kuma duel na ruhaniya tsakanin Germont da Violetta an kuma rubuta su kafin sanin wasan operas na Wagner. Tabbas, sanin su ya taimaka wa Verdi da gaba gaɗi ya haɓaka sabbin ƙa'idodin wasan kwaikwayo, waɗanda musamman suka shafi harshensa na jituwa, wanda ya zama mafi rikitarwa da sassauƙa. Amma akwai bambance-bambance na asali tsakanin ƙa'idodin ƙirƙira na Wagner da Verdi. Suna bayyana a fili a cikin halayensu ga rawar murya a cikin opera.

Tare da duk kulawar da Verdi ya biya wa ƙungiyar mawaƙa a cikin waƙoƙin da ya yi na ƙarshe, ya gane sautin murya da maƙarƙashiya a matsayin jagora. Don haka, game da wasan operas na farko na Puccini, Verdi ya rubuta a shekara ta 1892: “A gani na cewa ƙa’idar nuna wariyar launin fata ta yi rinjaye a nan. Shi kansa wannan ba muni ba ne, amma dole ne mutum ya yi taka tsantsan: wasan opera wasan opera ne, kuma wasan kwaikwayo na wasan kwaikwayo ne.

"Murya da waƙa," in ji Verdi, "a gare ni koyaushe za su kasance mafi mahimmanci." Ya kare wannan matsayi da ƙwazo, yana mai gaskanta cewa fasalin kidan Italiyanci na al'ada yana samun furuci a ciki. A cikin aikinsa na sake fasalin ilimin jama'a, wanda aka gabatar wa gwamnati a cikin 1861, Verdi ya ba da shawarar kafa makarantun mawaƙa na maraice kyauta, don kowane haɓakar kiɗan murya a gida. Bayan shekaru goma, ya yi kira ga matasa mawaƙa da su yi nazarin adabin muryar Italiyanci na gargajiya, ciki har da ayyukan Palestrina. A cikin assimilation na peculiarities na al'adun rera waƙa na mutane, Verdi ya ga mabuɗin don cin nasarar ci gaban al'adun gargajiya na kiɗa na ƙasa. Duk da haka, abubuwan da ya zuba jari a cikin ra'ayoyin "waƙar waƙa" da "melodiousness" sun canza.

A cikin shekarun balagaggen kirkire-kirkire, ya yi kakkausar suka ga wadanda suka fassara wadannan ra'ayoyi a gefe guda. A shekara ta 1871, Verdi ya rubuta: “Ba za a iya zama ɗan waƙa kawai a cikin kiɗa ba! Akwai wani abu fiye da waƙa, fiye da jituwa - a gaskiya - kiɗan kanta! ... ". Ko kuma a cikin wata wasiƙa daga 1882: “Melody, jituwa, karantarwa, waƙa mai sha’awa, tasirin ƙungiyar makaɗa da launuka ba komai bane illa ma’ana. Yi kida mai kyau da waɗannan kayan aikin!...” A cikin zazzafar muhawarar, Verdi har ma ya bayyana hukunce-hukunce masu kama da juna a bakinsa: “Ba a yin waƙa daga ma'auni, trills ko groupetto… Akwai, alal misali, waƙa a cikin bard. mawaƙa (daga Bellini's Norma.-) MD), addu’ar Musa (daga opera mai suna Rossini.— MD), da dai sauransu, amma ba su cikin cavatinas na The Barber na Seville, The Thieving Magpie, Semiramis, da dai sauransu - Menene shi? "Duk abin da kuke so, kawai ba waƙoƙin waƙa" (daga wasiƙar 1875.)

Menene ya haifar da kai hari ga waƙar opera ta Rossini ta irin wannan madaidaicin mai goyon baya da farfagandar al'adun kiɗa na ƙasar Italiya, wanda shine Verdi? Sauran ayyukan da sabon abun ciki na operas nasa ya gabatar. A cikin waƙa, yana so ya ji "haɗuwa da tsofaffi tare da sabon karatun", kuma a cikin wasan kwaikwayo - mai zurfi da nau'i-nau'i mai mahimmanci na siffofi na mutum na musamman na hotuna da yanayi masu ban mamaki. Wannan shi ne abin da yake ƙoƙari don sabunta tsarin kiɗan Italiyanci na duniya.

Amma a cikin kusanci na Wagner da Verdi zuwa matsalolin operatic dramaturgy, ban da kasa bambance-bambance, sauran style jagorar fasaha. Farawa a matsayin soyayya, Verdi ya fito a matsayin babban mashawarcin opera na hakika, yayin da Wagner ya kasance kuma ya kasance mai son soyayya, ko da yake a cikin ayyukansa na lokuta daban-daban na fasaha na zahiri sun bayyana zuwa babba ko ƙarami. Wannan a ƙarshe ya ƙayyade bambanci a cikin ra'ayoyin da suka faranta musu rai, jigogi, hotuna, wanda ya tilasta Verdi ya yi adawa da Wagner's "wasan kwaikwayo na kiɗa"fahimtar ku"wasan kwaikwayo na kida".

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Ba duka mutanen zamanin suka fahimci girman ayyukan kirkire-kirkire na Verdi ba. Duk da haka, ba daidai ba ne a yi imani da cewa yawancin mawakan Italiya a cikin rabin na biyu na karni na 1834 sun kasance ƙarƙashin rinjayar Wagner. Verdi yana da magoya bayansa da abokansa a cikin gwagwarmayar manufofin wasan kwaikwayo na kasa. Tsohon sa na zamani Saverio Mercadante shima ya ci gaba da aiki, a matsayinsa na mabiyin Verdi, Amilcare Ponchielli (1886-1874, mafi kyawun wasan opera Gioconda – 1851; shi ne malamin Puccini) ya samu gagarumar nasara. Mawaƙi mai haske ya inganta ta hanyar yin ayyukan Verdi: Francesco Tamagno (1905-1856), Mattia Battistini (1928-1873), Enrico Caruso (1921-1867) da sauransu. An kawo fitaccen shugaba Arturo Toscanini (1957-90) akan waɗannan ayyukan. A ƙarshe, a cikin shekarun 1863, yawancin matasa mawaƙa na Italiya sun fito a gaba, suna amfani da al'adun Verdi ta hanyarsu. Waɗannan su ne Pietro Mascagni (1945-1890, opera Rural Honor - 1858), Ruggero Leoncavallo (1919-1892, opera Pagliacci - 1858) kuma mafi yawan basirar su - Giacomo Puccini (1924-1893 nasara ne na farko; opera "Manon", 1896; mafi kyawun ayyuka: "La Boheme" - 1900, "Tosca" - 1904, "Cio-Cio-San" - XNUMX). (Sun haɗa da Umberto Giordano, Alfredo Catalani, Francesco Cilea da sauransu.)

Ayyukan waɗannan mawaƙa suna da alaƙa da roko zuwa jigo na zamani, wanda ya bambanta su da Verdi, wanda bayan La Traviata bai ba da kai tsaye na batutuwa na zamani ba.

Tushen bincike na zane-zane na matasa mawaƙa shine motsin adabi na 80s, wanda marubuci Giovanni Varga ya jagoranta kuma ake kira "verismo" (verismo yana nufin "gaskiya", "gaskiya", "aminci" a cikin Italiyanci). A cikin ayyukansu, verists galibi sun nuna rayuwa ta lalatar manoma (musamman kudancin Italiya) da matalauta na birni, wato, marasa galihu na zamantakewa, waɗanda ci gaban tsarin jari-hujja ya murkushe. A cikin rashin jin ƙai na mummunan al'amuran al'ummar bourgeois, an bayyana mahimmancin ci gaba na aikin verists. Amma jaraba ga makircin "jini", canja wurin lokacin sha'awa mai mahimmanci, bayyanar da ilimin halittar jiki, halayen dabi'a na mutum ya haifar da dabi'ar dabi'a, zuwa bayyanar da gaskiya.

Zuwa wani ɗan lokaci, wannan sabani kuma halayen mawaƙa ne na zahiri. Verdi ba zai iya tausayawa bayyanar dabi'a a cikin wasan kwaikwayo na opera ba. A baya a cikin 1876, ya rubuta: “Ba abu ne mai kyau a yi koyi da gaskiya ba, amma yana da kyau a ƙirƙira gaskiya… Amma Verdi ba zai iya taimakawa ba sai maraba da sha'awar matasa mawallafa na su kasance da aminci ga ƙa'idodin makarantar opera ta Italiya. Sabbin abun ciki da suka juya zuwa suna buƙatar wasu hanyoyin magana da ƙa'idodin wasan kwaikwayo - ƙarin ƙarfi, mai ban mamaki, mai jin tsoro, mai ƙarfi.

Duk da haka, a cikin mafi kyawun ayyuka na verists, ci gaba da kiɗa na Verdi yana jin dadi sosai. Wannan shi ne sananne musamman a cikin aikin Puccini.

Don haka, a wani sabon mataki, a cikin yanayi na wani jigo daban-daban da sauran makircinsu, babban ra'ayin ɗan adam, dimokiradiyya na babban gwanin Italiya ya haskaka hanyoyi don ci gaba da bunkasa fasahar wasan opera ta Rasha.

M. Druskin

Abubuwan da aka tsara:

wasan kwaikwayo - Oberto, Count of San Bonifacio (1833-37, wanda aka yi a 1839, La Scala Theatre, Milan), Sarki na Sa'a (Un giorno di regno, daga baya ake kira Imaginary Stanislaus, 1840, akwai wadanda), Nebukadnezzar (Nabucco, 1841). wanda aka yi a 1842, ibid), Lombards a Crusade na farko (1842, wanda aka yi a 1843, ibid; bugu na biyu, ƙarƙashin taken Jerusalem, 2, Grand Opera Theater, Paris), Ernani (1847, gidan wasan kwaikwayo La Fenice, Venice), Biyu Foscari (1844, gidan wasan kwaikwayo Argentina, Rome), Jeanne d'Arc (1844, gidan wasan kwaikwayo La Scala, Milan), Alzira (1845, wasan kwaikwayo San Carlo, Naples) , Attila (1845, La Fenice gidan wasan kwaikwayo, Venice), Macbeth (1846). Gidan wasan kwaikwayo na Pergola, Florence; 1847nd edition, 2, Lyric Theatre, Paris), 'yan fashi (1865, Haymarket Theater, London), The Corsair (1847, Teatro Grande, Trieste), Yaƙin Legnano (1848, Teatro Argentina, Rome; tare da sake dubawa libretto, mai suna The Siege na Harlem, 1849), Louise Miller (1861, Teatro San Carlo, Naples), Stiffelio (1849, Grande Theater, Trieste; bugu na 1850, ƙarƙashin taken Garol d, 2, Tea tro Nuovo, Rimini), Rigoletto (1857, Teatro La Fenice, Venice), Troubadour (1851, Teatro Apollo, Rome), Traviata (1853, Teatro La Fenice, Venice), Sicilian Vespers (Libretto Faransanci ta E. Scribe da Ch. Duveyrier, 1853, wanda aka yi a 1854, Grand Opera, Paris; Bugu na biyu mai taken “Giovanna Guzman”, Libretto na Italiyanci na E. Caimi, 1855, Milan), Simone Boccanegra (libretto ta FM Piave, 2, Teatro La Fenice, Venice; bugu na biyu, libretto da A Boito, 1856, La Scala Theater ya sake dubawa. , Milan), Un ballo in maschera (1857, Apollo Theatre, Rome), The Force of Destiny (libretto by Piave, 2, Mariinsky Theatre, Petersburg, Italian troupe; 1881nd edition, libretto revised by A. Ghislanzoni, 1859, Teatro alla Scala, Milan), Don Carlos (Libretto na Faransa na J. Mery da C. du Locle, 1862, Grand Opera, Paris; 2nd edition, Italian libretto, bita A. Ghislanzoni, 1869, La Scala Theatre, Milan), Aida (1867) , wanda aka yi a 2, Opera Theater, Cairo), Otello (1884, wanda aka yi a 1870, La Scala Theatre, Milan), Falstaff (1871, wanda aka yi a 1886, ibid.), don mawaƙa da piano – Sauti, ƙaho (kalmomin G. Mameli, 1848), Anthem of the Nations (cantata, kalmomin A. Boito, wanda aka yi a 1862, gidan wasan kwaikwayo na Covent Garden, London), ayyuka na ruhaniya - Requiem (na 4 soloists, mawaƙa da mawaƙa, wanda aka yi a 1874, Milan), Pater Noster (rubutun Dante, don ƙungiyar mawaƙa 5, wanda aka yi a 1880, Milan), Ave Maria (rubutun Dante, don soprano da ƙungiyar mawaƙa ta kirtani. , wanda aka yi a 1880, Milan), Ƙauyuka masu tsarki guda huɗu (Ave Maria, don mawaƙa masu murya 4; Stabat Mater, don mawaƙa masu murya 4 da ƙungiyar mawaƙa; Le laudi alla Vergine Maria, don mawaƙan mata 4-voice; Te Deum, don mawaƙa. da makada; 1889-97, wanda aka yi a 1898, Paris); don murya da piano - 6 romances (1838), Exile (ballad for bass, 1839), Seduction (ballad for bass, 1839), Album - shida romances (1845), Stornell (1869), da sauransu; kayan aiki ensembles - Quartet (e-moll, wanda aka yi a 1873, Naples), da sauransu.