Iano Tamar |

Iano Tamar

Ba za a iya kiran Medea ta kwafin babban karatun Maria Callas ba - Muryar Yano Tamar ba ta yi kama da sautin da ba za a manta da shi na tsohuwar magabata ba. Amma duk da haka, gashinta na jet-baƙar fata da gashin ido masu kauri, a'a, a'a, a, kuma suna nuna mana hoton da wata ƙwaƙƙwarar macen Girka ta ƙirƙira rabin ƙarni da suka wuce. Akwai wani abu a cikin tarihin rayuwarsu. Kamar dai Mariya, Yano yana da uwa mai tsauri da kishi wacce take son diyarta ta zama shahararriyar mawakiya. Amma ba kamar Callas ba, ɗan asalin Georgia bai taɓa yin fushi da ita ba game da waɗannan tsare-tsare masu taƙama. Akasin haka, Yano fiye da sau ɗaya ta yi nadamar cewa mahaifiyarta ta mutu da wuri kuma ba ta sami farkon aikinta mai kyau ba. Kamar Mariya, Yano sai da ta nemi karramawa a kasashen waje, yayin da kasarta ta haihuwa ta fada cikin wani mawuyacin hali na yakin basasa. Ga wasu, kwatancen da Callas na iya zama wani lokacin kamar an samo asali ne har ma da jin daɗi, wani abu kamar tallan talla mai arha. Farawa da Elena Souliotis, ba a sami shekara guda da ɗaukakar jama'a da ta wuce gona da iri ko sukar da ba ta yi shelar haihuwar wani "sabon Callas". Tabbas, yawancin waɗannan “magada” ba za su iya jure wa kwatancen suna mai girma ba kuma da sauri sun sauko daga mataki zuwa ga mantawa. Amma ambaton mawaƙa na Girkanci kusa da sunan Tamar, aƙalla a yau, yana da cikakkiyar barata - daga cikin manyan sopranos masu ban sha'awa na yanzu waɗanda ke ƙawata matakan wasan kwaikwayo daban-daban na duniya, da wuya za ku sami wani wanda fassarar ayyukansa ya kasance haka. mai zurfi da asali, don haka cike da ruhin kiɗan da aka yi .

An haifi Yano Alibegashvili (Tamar sunan mahaifinta) a Jojiya *, wanda a waɗannan shekarun ke wajen kudancin daular Soviet mara iyaka. Ta yi karatun kiɗa tun tana ƙuruciya, kuma ta sami ilimin ƙwararrun ƙwararrunta a Tbilisi Conservatory, inda ta sauke karatu a piano, ilimin kida da murya. Matashiyar ‘yar kasar Georgia ta je ne domin inganta fasahar waka a kasar Italiya, a kwalejin koyar da wake-wake da wake-wake da wake-wake da wake-wake ta Osimo, wanda shi kansa ba abin mamaki ba ne, tun da a kasashen da ke tsohuwar kungiyar ta Gabas har yanzu akwai ra’ayi mai karfi na cewa malaman murya na gaske suna zaune a kasar. da bel canto. A bayyane yake, wannan hukuncin ba tare da tushe ba ne, tun lokacin da ta fara halarta a Turai a bikin Rossini a Pesaro a 1992 yayin da Semiramide ya zama abin mamaki a duniyar wasan opera, bayan haka Tamar ta zama baƙo mai maraba a manyan gidajen opera a Turai.

Menene ya bai wa masu sauraro mamaki da kuma masu sukar sha'awa a wasan kwaikwayon matashin mawaƙin Jojiya? Turai ta dade da sanin cewa Jojiya yana da wadataccen muryoyi masu kyau, kodayake mawaƙa daga wannan ƙasa, har zuwa kwanan nan, ba su bayyana sau da yawa a kan matakan Turai ba. La Scala ya tuna da murya mai ban mamaki na Zurab Anjaparidze, wanda Herman a cikin Sarauniyar Spades ya yi tasiri ga Italiyanci a cikin 1964. Daga baya, fassarar asali na jam'iyyar Othello ta Zurab Sotkilava ya haifar da cece-kuce tsakanin masu suka, amma da wuya. ya bar kowa ba ruwansa. A cikin shekarun 80s, Makvala Kasrashvili ya yi nasarar yin wasan kwaikwayo na Mozart a Covent Garden, inda ya yi nasarar hada shi da rawar da Verdi da Puccini suka yi a wasan operas, inda aka sha jin ta a Italiya da kuma a matakin Jamus. Paata Burchuladze shine sunan da aka fi sani da shi a yau, wanda bass ɗin granite ya fi sau ɗaya tada sha'awar masu son kiɗan Turai. Duk da haka, tasirin waɗannan mawaƙa a kan masu sauraro ya samo asali ne daga cin nasara tare da yanayin Caucasian tare da makarantar muryar Soviet, wanda ya fi dacewa da sassa a cikin ƙarshen Verdi da operas na verist, da kuma sassa masu nauyi na repertoire na Rasha (wanda ya fi dacewa da sassa na ƙarshen Verdi). Har ila yau, ya kasance na halitta, tun kafin rushewar daular Soviet, muryoyin zinariya na Georgia sun nemi amincewa da farko a Moscow da St. Petersburg).

Yano Tamar ta lalata wannan stereotype tare da wasanta na farko, wanda ke nuna ainihin makarantar bel canto, wanda ya dace da wasan operas na Bellini, Rossini da farkon Verdi. A cikin shekara ta gaba ta fara fitowa a La Scala, tana rera waƙa a wannan mataki Alice a Falstaff da Lina a cikin Verdi's Stiffeli kuma ta haɗu da hazaka guda biyu na zamaninmu a cikin mutumin madugu Riccardo Muti da Gianandrea Gavazeni. Sa'an nan kuma akwai jerin abubuwan farko na Mozart - Elektra a Idomeneo a Geneva da Madrid, Vitellia daga Rahamar Titus a Paris, Munich da Bonn, Donna Anna a cikin gidan wasan kwaikwayo na Venetian La Fenice, Fiordiligi a Palm Beach. Daga cikin sassan guda ɗaya na repertoire na Rasha *** akwai sauran Antonida a cikin Glinka's A Life for Tsar, wanda aka yi a cikin 1996 a Bikin Bregenz wanda Vladimir Fedoseev ya jagoranta kuma ya dace da “belkant” na al'ada ta hanyar kirkirar ta: kamar yadda kuka sani, Daga cikin duk kiɗan Rasha, wasan operas na Glinka sun fi kusa da al'adun hazaka na "kyakkyawan waƙa".

1997 ya kawo ta halarta a karon a kan sanannen mataki na Vienna Opera kamar yadda Lina, inda Yano ta abokin tarayya Placido Domingo, kazalika da wani taro tare da wurin hutawa jaruma Verdi - Mace Mace mai zubar da jini, wanda Tamar ya gudanar da shi a cikin hanyar asali. Stefan Schmöhe, da ya ji Tamar a wannan sashe a Cologne, ya rubuta: “Muryar matashin ɗan Jojiya Yano Tamar ƙarama ce, amma ba ta da kyau kuma mai rairayi yana sarrafa shi a duk rajista. Kuma daidai irin wannan murya ce ta fi dacewa da hoton da mawakiyar ta kirkira, wanda ke nuna jarumar ta na jini ba a matsayin na'urar kisa mara tausayi ba kuma tana aiki daidai, amma a matsayin mace mai kishi wanda ke neman ta kowace hanya don amfani da ita. damar da kaddara ta bayar. A cikin shekaru masu zuwa, Leonora daga Il trovatore ya ci gaba da jerin hotunan Verdi a wurin bikin da ya zama gidanta a Puglia, Desdemona, wanda aka rera a Basel, Marquise daga Sarki da ba kasafai yake sauti ba na tsawon sa'a guda, wanda ta fara halarta a karon. mataki na Covent Garden, Elisabeth na Valois a Cologne da kuma, ba shakka, Amelia a cikin Masquerade Ball a Vienna (inda ta dan uwan ​​Lado Ataneli, kuma a debutant Staatsoper, aiki a matsayin Yano ta abokin tarayya a matsayin Renato), game da wanda Birgit Popp. Ya rubuta: “Jano Tamar tana rera waƙa a kan dutsen gallowa kowace yamma kuma tana ƙara sosa rai, don haka duet ɗinta tare da Neil Shicoff yana ba masoya kiɗan farin ciki mafi girma.

Da take zurfafa ƙwarewarta a wasan opera na soyayya da ƙara cikin jerin masu sihiri da aka buga, a cikin 1999 Tamar ta rera waƙar Haydn's Armida a bikin Schwetzingen, kuma a cikin 2001 a Tel Aviv, a karon farko, ta juya zuwa kololuwar opera bel canto, Bellini's Norma. . "Al'ada har yanzu zane ne kawai," in ji mawaƙin. "Amma ina farin ciki da na sami damar taba wannan fitacciyar." Yano Tamar ta yi ƙoƙarin ƙin yarda da shawarwarin da basu dace da iyawar muryarta ba, kuma ya zuwa yanzu sau ɗaya kawai ta yarda da lallashin ƙwararren ɗan wasan opera, tana yin wasan opera na zahiri. A cikin 1996, ta rera taken taken a cikin Mascagni's Iris a Opera na Rome a karkashin sandar maestro G. Gelmetti, amma ta yi ƙoƙarin kada ta sake maimaita irin wannan ƙwarewar, wanda ke magana akan balaga ƙwararru da kuma ikon zaɓin repertoire a hankali. Hotuna na matashin mawaƙa bai riga ya girma ba, amma ta riga ta rubuta mafi kyawun sassanta - Semiramide, Lady Macbeth, Leonora, Medea. Jerin iri ɗaya ya haɗa da ɓangaren Ottavia a cikin wasan opera na G. Pacini da ba kasafai ba Ranar Ƙarshe na Pompeii.

Wasan da aka yi a dandalin Deutsche Oper a Berlin a shekara ta 2002 ba shi ne karo na farko da Yano Tamar ya gamu da babban matsayi a wasan kwaikwayo na kida na Luigi Cherubini na uku ba. A cikin 1995, ta riga ta rera Medea - ɗaya daga cikin ɓangarori masu zubar da jini dangane da abubuwan ban mamaki da sarƙaƙƙiyar murya na sassan wasan opera na duniya - a bikin Martina Francia a Puglia. Duk da haka, a karon farko ta bayyana a kan mataki a cikin asali na Faransanci na wannan opera tare da tattaunawa ta hanyar sadarwa, wanda mawaƙin ya ɗauka ya fi rikitarwa fiye da sanannun Italiyanci tare da rakiyar karatun da marubucin ya kara.

Bayan da ta fara haskakawa a cikin 1992, a cikin shekaru goma na aikinta, Tamar ta girma zuwa ainihin prima donna. Yano ba za ta so a kwatanta shi da yawa - jama'a ko 'yan jarida - tare da shahararrun abokan aikinta. Bugu da ƙari, mawaƙin yana da ƙarfin hali da kishi don fassara abubuwan da aka zaɓa ta hanyarta, don samun nata, salon wasan kwaikwayo na asali. Wadannan buri kuma sun yi daidai da fassarar mata na bangaren Medea, wanda ta gabatar akan mataki na Deutsche Oper. Tamar tana nuna masihirar kishi kuma, gabaɗaya, mai kisan gilla ga 'ya'yanta, ba a matsayin dabba ba, amma a matsayin mace mai tsananin fushi, matsananciyar damuwa da girman kai. Yano ya ce, "Rashin jin daɗinta da rauninta ne kawai ke tayar mata da sha'awar ɗaukar fansa." Irin wannan ra'ayi na tausayi game da mai kisan yara, a cewar Tamar, an haɗa shi a cikin cikakken libertto na zamani. Tamar yana nuna daidaiton namiji da mace, ra'ayin wanda ke kunshe a cikin wasan kwaikwayo na Euripides, wanda ke jagorantar jarumawa, wanda ke cikin al'ada, archaic, a cikin kalmomin Karl Popper, "rufe" al'umma. zuwa irin wannan halin rashin bege. Irin wannan fassarar tana samun sauti na musamman daidai a cikin wannan samarwa ta Karl-Ernst da Urzel Herrmann, lokacin da daraktoci suka yi ƙoƙari su haskaka a cikin tattaunawar tattaunawa taƙaitaccen lokacin kusanci da ya wanzu a baya tsakanin Medea da Jason: har ma a cikin su Medea ya bayyana kamar yadda. macen da ba ta san kowa ba.

Masu suka sun yaba aikin karshe na mawakin a Berlin. Eleonore Büning na Frankfurter Allgemeine ya lura: “Soprano Jano Tamar ta shawo kan duk wani shinge na ƙasa da zuciyarta mai raɗaɗi da kuma kyakkyawan waƙa, yana sa mu tuna da fasaha na babban Callas. Ta baiwa Medea dinta ba kawai da tsayayyen murya mai ban mamaki ba, har ma tana ba da rawar launuka daban-daban - kyakkyawa, yanke ƙauna, jin daɗi, fushi - duk abin da ke sa masihirar ta zama mutum mai ban tausayi da gaske. Klaus Geitel ya kira karatun sashin Medea na zamani sosai. “Mista. Tamar, ko da a cikin irin wannan bikin, yana mai da hankali ga kyau da jituwa. Medea ta mata ce, ba ta da alaƙa da mugun kisa daga tsohuwar tatsuniya ta Girka. Tana ƙoƙarin fahimtar ayyukan jarumar ta ga mai kallo. Ta sami launuka don baƙin ciki da nadama, ba kawai don ramawa ba. Tana rera waƙa a hankali, tare da jin daɗi da jin daɗi.” Bi da bi, Peter Wolf ya rubuta: “Tamar ta iya faɗar azabar Medea a hankali, wata matsafi kuma ta ƙi matar, tana ƙoƙarin hana ta ramuwa ga wani mutum wanda ta mai da shi da sihirinta ta wurin ruɗin mahaifinta, ta kashe ɗan’uwanta. taimaka wa Jason cimma abin da yake so. Wani anti-jarumi ma ya fi Lady Macbeth kyama? Ee, kuma a'a a lokaci guda. Sanye take da jajayen riga, kamar ana wanka da ruwa mai zubar jini, Tamar ta baiwa mai sauraren wakar da ta mamaye, ta mallakeki, domin tana da kyau. Muryar, ko da a cikin dukkan rajista, ta kai ga tashin hankali a wurin da aka kashe kananan yara maza, kuma har ma ta haifar da wani tausayi a cikin masu sauraro. A cikin wata kalma, akwai tauraro na gaske a kan mataki, wanda ke da duk abubuwan da suka faru na zama Leonora mai kyau a cikin Fidelio a nan gaba, kuma watakila ma wani jarumi na Wagnerian. Dangane da masoya wakokin Berlin kuwa, suna sa ran dawowar mawakiyar Jojiya a shekarar 2003 zuwa dandalin Deutsche opera, inda za ta sake bayyana a gaban jama'a a cikin wasan opera na Cherubini.

Haɗin hoton tare da halayen mawaƙa, aƙalla har zuwa lokacin kisan jarirai, ya yi kama da sabon salo. Gabaɗaya, Yano yana ɗan jin daɗi idan an kira ta prima donna. "A yau, abin takaici, babu ainihin prima donnas," in ji ta. Ana ƙara kama ta da jin cewa a hankali ana rasa ƙaunar fasaha ta gaskiya. "Ba tare da wasu kaɗan ba, irin su Cecilia Bartoli, da wuya kowa ya yi waƙa da zuciya da rai," in ji mawaƙin. Yano ya ga waƙar Bartoli tana da girman gaske, watakila misali ɗaya tilo da ya cancanci a kwaikwaya.

Medea, Norma, Donna Anna, Semiramide, Lady Macbeth, Elvira ("Ernani"), Amelia ("Un ballo in maschera") - a gaskiya ma, mawaƙa ya riga ya rera manyan sassa na soprano mai karfi, wanda kawai za ta iya. mafarkin lokacin da ta bar gidanta don ci gaba da karatunsu a Italiya. A yau, Tamar tana ƙoƙarin gano sabbin ɓangarori a cikin abubuwan da aka saba da kowane sabon samarwa. Wannan hanya ta sa ta danganta da babban Callas, wanda, alal misali, shine kadai wanda ya yi aiki a cikin mafi wuyar aikin Norma kusan sau arba'in, yana kawo sababbin nuances ga hoton da aka halicce. Yano ya yi imanin cewa ta kasance mai sa'a a kan hanyarta ta kirkire-kirkire, domin ko da yaushe a lokutan shakku da bincike mai raɗaɗi, ta sadu da mutanen da suka wajaba, irin su Sergio Segalini ( darektan zane-zane na bikin Martina Francia - ed.), wanda ya ba wa wani matashi mawaƙa. yin mafi rikitarwa na Medea a wani biki a Puglia kuma ba a yi kuskure ba; ko Alberto Zedda, wanda ya zaɓi Rossini's Semiramide don halarta ta farko a Italiya; kuma, ba shakka, Riccardo Muti, wanda Yano ya samu sa'ar yin aiki a La Scala a bangaren Alice kuma wanda ya shawarce ta da kada ta yi gaggawar fadada shirin, yana mai cewa lokaci ne mafi kyawun mataimaki ga haɓakar sana'ar mawaƙa. Yano ya saurari wannan shawara a hankali, game da ita a matsayin babbar gata ta haɗa aiki da rayuwa cikin jituwa. Don kanta, ta yanke shawarar sau ɗaya: komai girman ƙaunar kiɗan, danginta sun zo farko, sannan kuma sana'arta.

A cikin shirya labarin, an yi amfani da kayan aikin jarida na Jamus.

A. Matusevich, operanews.ru

Bayani daga Babban Kamus na Opera na Kutsch-Riemens mawaƙa:

* An haifi Yano Tamar ranar 15 ga Oktoba, 1963 a Kazbegi. Ta fara wasan kwaikwayo a kan mataki a shekarar 1989 a Opera House na Jojiya babban birnin kasar.

** Lokacin da ta kasance mawallafin solo na Tbilisi Opera House, Tamar ta yi wasu sassa na repertoire na Rasha (Zemfira, Natasha Rostova).