Irina Konstantinovna Arkhipova |

Irina Arkhipova

Anan ga kaɗan kaɗan daga ɗimbin labaran labarai akan Arkhipova:

“Muryar Arkhipova tana da inganci a zahiri. Yana sauti mai ban mamaki har ma daga mafi ƙasƙanci zuwa mafi girma bayanin kula. Matsayin murya mai kyau yana ba shi haske na ƙarfe mara misaltuwa, wanda ke taimakawa har ma da kalmomin da aka rera pianissimo don yin garzaya a kan ƙungiyar makaɗa mai tada hankali ”(Jaridar Finnish Kansanuutiset, 1967).

"Hasken muryar mawaƙi mai ban sha'awa, launinsa mara iyaka, sassaucin ra'ayi mara kyau..." (Jarida ta Amurka Columbus Citizen Journal, 1969).

"Montserrat Caballe da Irina Arkhipova sun wuce kowace gasa! Irinsu daya ne kawai. Godiya ga bikin a Orange, mun sami sa'a don ganin manyan alloli na wasan opera na zamani a cikin Il trovatore a lokaci ɗaya, koyaushe suna saduwa da liyafar jama'a mai daɗi "(Jaridar Faransa Combat, 1972).

Irina Konstantinovna Arkhipova aka haife kan Janairu 2, 1925 a Moscow. Irina ba tukuna shekaru tara a lokacin da ta ji, memory, jin kari bude mata kofofin makaranta a Moscow Conservatory.

Arkhipova ya ce: “Har yanzu ina tunawa da wani yanayi na musamman da ya yi sarauta a ɗakin ajiyar, har mutanen da muka haɗu da su sun kasance masu mahimmanci, da kyau,” in ji Arkhipova. – An karɓe mu daga wata mace mai kyan gani tare da kayan marmari (kamar yadda na yi tunanin) gashin gashi. A wurin taron, kamar yadda ake tsammani, an nemi in rera wani abu don gwada kunnena na kiɗa. To me zan iya waka, ni yaro ne na zamanin masana’antu da tara jama’a? Na ce zan rera waƙar “The Tractor Song”! Sai aka ce in rera wani abu dabam, kamar wani abin da aka sani daga opera. Zan iya yin haka domin na san wasu cikinsu: mahaifiyata takan rera fitattun opera arias ko wasu ayoyin da ake watsawa a rediyo. Kuma na ba da shawarar: "Zan raira waƙa da mawaƙa na" Girls-beauties, masoyi-'yan mata" daga "Eugene Onegin". Wannan shawarar tawa ta sami karɓuwa fiye da waƙar tarakta. Sannan suka duba hankalina na rhythm, ƙwaƙwalwar kiɗa. Na kuma amsa wasu tambayoyi.

Bayan an gama tantancewa, sai aka bar mu muna jiran sakamakon jarabawar. Kyakyawar malamar mace ta fito mana, ta buge ni da gashin kanta, kuma ta gaya wa baba cewa an yarda da ni a makarantar. Sannan ta shaidawa baba cewa a lokacin da ya yi magana game da iyawar kiɗan ɗiyarsa, yana mai dagewa akan saurara, ta ɗauki hakan don yawan wuce gona da iri na iyaye kuma ta ji daɗin cewa ta yi kuskure, kuma baba ya yi gaskiya.

Nan da nan suka saya mini piano na Schroeder… Amma ba dole ba ne in yi karatu a makarantar kiɗa a ɗakin karatu. A ranar da aka shirya darasi na farko tare da malami, na yi rashin lafiya mai tsanani - Ina kwance tare da zazzabi mai zafi, na kamu da sanyi (tare da mahaifiyata da ɗan'uwana) a cikin layi a Hall of Columns a lokacin bankwana da SM Kirov. . Kuma ya fara - asibiti, rikice-rikice bayan zazzabi mai zafi ... Darasi na kiɗa ba su da matsala, bayan rashin lafiya na da wuya na sami ƙarfin yin abin da aka rasa a makarantar yau da kullum.

Amma baba bai daina burinsa na ba ni ilimin kiɗa na farko ba, kuma tambayar darussan kiɗa ta sake taso. Tun da ya yi nisa don fara darussan piano a makarantar kiɗa (an yarda da su a can suna da shekaru shida ko bakwai), an shawarci mahaifina ya gayyaci wani malami mai zaman kansa wanda zai "cim" tare da ni a cikin manhajar makaranta. kuma ka shirya min admission. Malama na farko na piano Olga Alexandrovna Golubeva, wanda na yi karatu da shi sama da shekara guda. A wannan lokacin, Rita Troitskaya, mahaifiyar nan gaba na yanzu sanannen singer Natalya Troitskaya, yayi karatu tare da ni. Daga baya, Rita ta zama ƙwararriyar ƙwararriyar pianist.

Olga Alexandrovna ya shawarci mahaifina kada ya kai ni makarantar Conservatory, amma zuwa Gnesins, inda na sami damar da za a yarda da ni. Mun tafi tare da shi zuwa filin wasan Kare, inda makarantar Gnesins da makaranta suke a lokacin… “.

Elena Fabianovna Gnesina, bayan sauraron matasa pianist, aika ta zuwa ga 'yar'uwarsa aji. Kyakkyawan kida, hannayen hannu masu kyau sun taimaka don "tsalle" daga aji na hudu kai tsaye zuwa na shida.

"A karon farko, na koyi tantance muryata a cikin darasi na solfeggio daga wani malami PG Kozlov. Mun rera wannan aikin, amma wani daga cikin rukuninmu bai ji ba. Don bincika wanda ke yin wannan, Pavel Gennadievich ya tambayi kowane ɗalibi ya rera waƙa daban. Nima shine nawa. Daga kunya da fargabar cewa dole in yi waƙa ni kaɗai, a zahiri na ji haushi. Ko da yake na rera waƙa da tsabta, na damu sosai har muryata ba kamar yaro ba ce, amma kusan kamar babba. Malam ya fara saurara sosai da sha'awa. Yaran, waɗanda su ma suka ji wani abu da ba a saba ba a cikin muryata, sun yi dariya: “A ƙarshe sun gano na jabu.” Amma Pavel Gennadievich ya katse jin daɗinsu ba zato ba tsammani: “Kuna dariyar banza! Domin tana da murya! Wataƙila za ta zama shahararriyar mawakiya.”

Barkewar yakin ya hana yarinyar kammala karatun ta. Tun da mahaifin Arkhipova ba a sanya shi cikin soja ba, an kwashe iyali zuwa Tashkent. A can, Irina sauke karatu daga makarantar sakandare da kuma shiga cikin reshe na Moscow Architectural Institute, wanda aka bude a cikin birnin.

Ta samu nasarar kammala darussa biyu kuma kawai a 1944 ya koma Moscow tare da iyalinta. Arkhipova ci gaba da rayayye shiga cikin institute ta mai son wasanni, ba tare da ko da tunanin wani aiki a matsayin singer.

Mawakin ya tuna:

"A Moscow Conservatory, manyan dalibai suna da damar da za su gwada hannunsu a ilimin koyarwa - don yin karatu a cikin kwarewa tare da kowa. Haka Kisa Lebedeva marar natsuwa ta lallashe ni in je wannan sashe na aikin ɗalibi. Na "sami" dalibi mai suna Raya Loseva, wanda yayi karatu tare da Farfesa NI Speransky. Tana da murya mai kyau sosai, amma ya zuwa yanzu babu wani takamaiman ra'ayi game da koyar da murya: a zahiri ta yi ƙoƙarin bayyana mani komai ta amfani da misalin muryarta ko waɗancan ayyukan da ta yi da kanta. Amma Raya ta kula da karatunmu da hankali, kuma da farko komai yana tafiya daidai.

Wata rana ta kai ni wurin farfesa don nuna min sakamakon aiki da ni. Sa’ad da na fara waƙa, sai ya fito daga ɗakin da yake a lokacin, ya yi mamaki ya ce: “Wane ne wannan waƙa?” Aljanna, a rikice, ba tare da sanin ainihin abin da NI Speransky ya nuna mini ba: "Tana rera waƙa." Farfesan ya yarda: "Mai kyau." Sa'an nan kuma Raya ya sanar da alfahari: "Wannan almajirina ne." Amma a lokacin da na yi waƙa a jarrabawa, na kasa faranta mata rai. A cikin ajin, ta yi magana sosai game da wasu dabarun da ba su dace da waƙar da na saba yi ba kuma sun kasance baƙuwa a gare ni, ta yi magana a cikin rashin fahimta game da numfashi har na rikice gaba daya. Na damu matuka, na takura a jarabawar, har na kasa nuna komai. Bayan haka, Raya Loseva ya gaya wa mahaifiyata: "Me zan yi? Ira yarinya ce mai kiɗa, amma ba za ta iya waƙa ba. " Hakika, mahaifiyata ba ta ji daɗin jin haka ba, kuma gabaɗaya na daina gaskata iyawar muryata. Bangaskiya ga kaina Nadezhda Matveevna Malysheva ya sake farfado da ni. Tun haduwar mu ne nake kirga tarihin mawakin. A cikin da'irar murya na Cibiyar Gine-gine, na koyi dabarun dabarun daidaita sauti na daidai, a nan ne aka kafa na'urar rera waka ta. Kuma Nadezhda Matveevna ne na bi bashin abin da na cim ma."

Malysheva kuma ya dauki yarinyar zuwa wani kallo a Moscow Conservatory. Ra'ayin malaman ra'ayin mazan jiya ya kasance gaba ɗaya: Arkhipova ya kamata ya shiga sashen murya. Barin aiki a cikin zane-zane, ta sadaukar da kanta ga kiɗa.

A lokacin rani na 1946, bayan da yawa jinkirin Arkhipova nema ga Conservatory. A lokacin jarrabawar a zagaye na farko, shahararren malamin murya S. Savransky ya ji ta. Ya yanke shawarar shigar da mai nema zuwa ajinsa. A karkashin jagorancinsa, Arkhipova ya inganta fasaha na rera waƙa kuma a cikin shekara ta biyu ta fara fitowa a cikin wasan kwaikwayo na Opera Studio. Ta rera rawar Larina a cikin wasan opera na Tchaikovsky Eugene Onegin. Ta biyo bayan rawar bazara a cikin Rimsky-Korsakov na Snow Maiden, bayan haka an gayyaci Arkhipova don yin wasan kwaikwayo a rediyo.

Arkhipova ya koma sashen cikakken lokaci na Conservatory kuma ya fara aiki a kan shirin difloma. Kwamitocin jarrabawa sun tantance aikinta a cikin Ƙananan Hall na Conservatory tare da mafi girman maki. An ba da Arkhipova don zama a ɗakin ajiyar kuma an ba da shawarar shiga makarantar digiri.

Duk da haka, a wannan lokacin, aikin koyarwa bai jawo hankalin Arkhipova ba. Ta so ta zama mawaƙa kuma, bisa shawarar Savransky, ta yanke shawarar shiga cikin ƙungiyar masu horarwa na Bolshoi Theater. Amma gazawar ta jira ta. Sa'an nan matasa singer tafi zuwa Sverdlovsk, inda ta nan da nan yarda a cikin tawagar. Fitowarta na farko ya faru makonni biyu da zuwanta. Arkhipova yi rawar Lyubasha a cikin wasan opera ta NA Rimsky-Korsakov "The Tsar Bride". Abokin aikinta shine shahararren mawakin opera Yu. Gulyaev.

Ga yadda yake tuna wannan lokacin:

"Haɗuwa ta farko da Irina Arkhipova ta kasance wahayi ne a gare ni. Ya faru a Sverdlovsk. Har yanzu ni ɗalibi ne a ɗakin ajiyar mazan jiya kuma na yi wasa a ƙananan sassa a dandalin wasan kwaikwayo na Sverdlovsk a matsayin mai horarwa. Kuma ba zato ba tsammani sai jita-jita ta bazu, an karɓi sabon matashin mawaki mai hazaƙa a cikin ƙungiyar, wanda tuni aka yi magana game da shi a matsayin ubangida. Nan da nan aka yi mata tayin farko - Lyubasha a cikin Rimsky-Korsakov's The Tsar's Bride. Wataƙila ta damu sosai ... Daga baya, Irina Konstantinovna ta gaya mani cewa ta juya baya daga fastocin da tsoro, inda aka fara buga shi: "Lyubasha - Arkhipova." Kuma a nan ne irina ta farko ta maimaitawa. Babu wani wuri, babu 'yan kallo. Kujera kawai take a dandalin. Amma akwai ƙungiyar makaɗa da madugu a filin wasan. Kuma akwai Irina - Lyubasha. Doguwa, siririya, cikin rigar riga da siket, ba tare da suturar mataki ba, ba tare da kayan shafa ba. Mawaƙi mai son…

Ina bayan ta ne mita biyar. Komai ya kasance na yau da kullun, a cikin hanyar aiki, na farko mai tsauri. Jagoran ya nuna gabatarwar. Kuma daga farkon sautin muryar mawakiyar, komai ya canza, ya zo rayuwa kuma ya yi magana. Ta raira waƙa "Wannan shi ne abin da na rayu, Grigory," kuma ya kasance irin wannan nishi, zana da kuma raɗaɗi, wannan gaskiya ce da na manta game da komai; ikirari ne kuma labari ne, bayyanar zuciya ce tsirara, mai guba da radadi. Cikin tsanani da kamun kai, cikin iyawarta na iya ƙware launukan muryarta tare da taimakon mafi ƙanƙantar hanyoyi, akwai cikakkiyar amincewa da ke zumudi, gigita da mamaki. Na yarda da ita da komai. Kalma, sauti, bayyanar - duk abin da yake magana a cikin Rashanci mai arziki. Na manta cewa wannan opera ce, wannan mataki ne, cewa wannan maimaitawa ne kuma za a yi wasan kwaikwayon nan da 'yan kwanaki. Ita kanta rayuwa. Ya kasance kamar wannan yanayin lokacin da ake ganin cewa mutum ya fita daga ƙasa, irin wannan ilhami lokacin da kake tausayawa da kuma tausayawa gaskiyar kanta. "Ga ta, Uwar Rasha, yadda take rera waƙa, yadda take ɗaukar zuciya," na yi tunani sannan ... "

Yayin da yake aiki a Sverdlovsk, matashiyar mawaƙa ta faɗaɗa aikinta na wasan kwaikwayo kuma ta inganta muryarta da fasaha na fasaha. Shekara guda bayan haka, ta zama lambar yabo ta gasar Vocal International a Warsaw. Dawowa daga can, Arkhipova ta fara halarta a karon a cikin na gargajiya part for mezzo-soprano a cikin opera Carmen. Ita dai wannan jam'iyya ce ta zama abin juyayi a tarihin rayuwarta.

Bayan taka rawar da Carmen Arkhipova aka gayyace zuwa ga tawagar na Maly Opera gidan wasan kwaikwayo a Leningrad. Duk da haka, ta taba sanya shi zuwa Leningrad, domin a lokaci guda ta samu oda don canjawa wuri zuwa Bolshoi Theater. Babban darektan gidan wasan kwaikwayo A. Melik-Pashayev ya lura da ita. Yana aiki akan sabunta samar da opera Carmen kuma yana buƙatar sabon mai yin wasan kwaikwayo.

Kuma Afrilu 1, 1956 da singer sanya ta halarta a karon a kan mataki na Bolshoi Theatre a Carmen. Arkhipova ya yi aiki a kan mataki na Bolshoi Theatre shekaru arba'in da kuma yi a kusan duk sassa na gargajiya repertoire.

A cikin shekarun farko na aikinta, mashawarta shine Melik-Pashayev, sannan kuma shahararren darektan wasan opera V. Nebolsin. Bayan nasara farko a Moscow, Arkhipova aka gayyace zuwa Warsaw Opera, kuma daga wannan lokacin ta shahara a duniya opera mataki.

A 1959, Arkhipova shi ne abokin tarayya na sanannen singer Mario Del Monaco, wanda aka gayyace zuwa Moscow a matsayin José. Bayan wasan kwaikwayon, sanannen mai fasaha, bi da bi, ya gayyaci Arkhipova don shiga cikin shirye-shiryen wannan opera a Naples da Roma. Arkhipova ya zama mawaƙa na farko na Rasha don shiga kamfanonin opera na waje.

Abokin aikinta na Italiya ya ce, "Irina Arkhipova, daidai ne Carmen da nake ganin wannan hoton, mai haske, mai karfi, gaba daya, nesa da duk wani tabawa na lalata da lalata, mutuntaka. Irina Arkhipova yana da yanayin yanayi, zurfin tunani mai zurfi, bayyanar mai ban sha'awa, kuma, ba shakka, murya mai kyau - mezzo-soprano mai fadi da kewayo, wanda ya dace da ita. Ita ce abokin tarayya mai ban mamaki. Ma'anarta mai ma'ana, motsin rai, gaskiyarta, bayyanawa na zurfin hoton Carmen ya ba ni, a matsayin mai yin aikin José, duk abin da ake buƙata don rayuwar gwarzo na a kan mataki. Lallai ita babbar jaruma ce. Gaskiyar hankali game da ɗabi'a da jin daɗin jarumar ta, a zahiri suna da alaƙa da kiɗa da waƙa, wucewa ta yanayinta, ya cika ta gaba ɗaya.

A cikin kakar 1959/60, tare da Mario Del Monaco, Arkhipova ya yi a Naples, Roma da sauran garuruwa. Ta sami babban sharhi daga manema labarai:

"... Nasara ta gaskiya ta faɗo ga kuri'a na mawallafin soloist na Moscow Bolshoi Theatre Irina Arkhipova, wanda ya yi a matsayin Carmen. Ƙarfi, faɗin kewayon, muryar kyakkyawa da ba kasafai ba na mai zane, da ke mamaye ƙungiyar makaɗa, kayan aikinta ne na biyayya; tare da taimakonsa, mawakin ya iya bayyana ra'ayoyin da Bizet ya baiwa jarumar wasan opera. Ya kamata a jaddada cikakkiyar ƙamus da filastik na kalmar, wanda ya fi dacewa a cikin karatun. Ba abin da ya fi ƙarfin ƙwararriyar muryar Arkhipova ita ce ƙwararren ƙwararren ƙwararrenta, wanda aka bambanta ta hanyar kyakkyawan bayanin rawar da ta taka har zuwa mafi ƙanƙanta bayanai ”(Jaridar Zhiche Warsaw ta Disamba 12, 1957).

"Muna da abubuwan tunawa da yawa game da 'yan wasan da suka taka rawar gani a cikin wasan opera mai ban mamaki na Bizet, amma bayan sauraron Carmen na ƙarshe, zamu iya cewa da tabbaci cewa babu ɗayansu da ya tada irin wannan sha'awar kamar Arkhipova. Fassarar da ta yi mana, wadanda suke da wasan opera a cikin jininsu, ya zama kamar sabo. Babban amintaccen Carmen na Rasha a cikin samar da Italiyanci, a gaskiya, ba mu yi tsammanin gani ba. Irina Arkhipova a cikin wasan kwaikwayo na jiya ya buɗe sabon hangen nesa don halin Merimee - Bizet ”(Jaridar Il Paese, Janairu 15, 1961).

An aika Arkhipova zuwa Italiya ba shi kaɗai ba, amma tare da mai fassara, malamin harshen Italiyanci Y. Volkov. A bayyane yake, jami'an sun ji tsoron cewa Arkhipova zai ci gaba da zama a Italiya. Bayan 'yan watanni Volkov zama mijin Arkhipova.

Kamar sauran mawaƙa, Arkhipova sau da yawa yakan fada cikin abubuwan da suka faru a baya-bayan nan. Wani lokaci mawaƙin kawai an ƙi barinta ne bisa zargin cewa tana da gayyata da yawa daga ƙasashe daban-daban. Don haka wata rana, lokacin da Arkhipova ya sami gayyata daga Ingila don shiga cikin samar da wasan opera Il Trovatore a kan mataki na gidan wasan kwaikwayo na Covent Garden, Ma'aikatar Al'adu ta amsa cewa Arkhipova yana aiki kuma ya ba da damar aika wani mawaƙa.

Fadada repertoire ya haifar da wahalhalu. A musamman, Arkhipova ya zama sananne ga ta yi na Turai tsarki music. Duk da haka, na dogon lokaci ba za ta iya haɗa waƙar tsarki na Rasha a cikin repertore na ta ba. Sai kawai a ƙarshen 80s yanayi ya canza. Abin farin ciki, waɗannan "halayen da ke tare" sun kasance a cikin nisa na baya.

"Ba za a iya sanya fasahar wasan kwaikwayo ta Arkhipova a cikin tsarin kowace rawa ba. Da'irar sha'awarta tana da faɗi sosai kuma iri-iri, - in ji VV Timokhin. - Tare da gidan wasan opera, wani babban wuri a cikin rayuwarta na fasaha yana shagaltar da ayyukan kide-kide a cikin bangarori daban-daban: wasan kwaikwayon tare da ƙungiyar wasan kwaikwayo ta Bolshoi Theater Violin, da shiga cikin wasan kwaikwayo na wasan opera, da irin wannan nau'i mai ban mamaki. na wasan kwaikwayon yau kamar yadda Opernabend ( maraice na kiɗan opera) tare da ƙungiyar mawaƙa na kade-kade, da shirye-shiryen kide-kide tare da wata gaɓa. Kuma a kan Hauwa'u na 30th ranar tunawa da Nasarar Soviet mutane a cikin Great Patriotic War, Irina Arkhipova bayyana a gaban masu sauraro a matsayin m mawaƙa na Soviet song, masterfully isar da ta lyrical dumi da kuma babban dan kasa.

Salon salo da juzu'in da ke cikin fasahar Arkhipova yana da ban sha'awa sosai. A mataki na Bolshoi Theatre, ta rera kusan dukan repertoire nufin mezzo-soprano - Marfa a Khovanshchina, Marina Mnishek a Boris Godunov, Lyubava a Sadko, Lyubasha a cikin The Tsar's Bride, Love a Mazepa, Carmen a Bizet, Azucenu a cikin Il trovatore, Eboli in Don Carlos. Ga mawaƙa, wanda ke gudanar da ayyukan kide-kide na yau da kullun, ya zama dabi'a don juya zuwa ayyukan Bach da Handel, Liszt da Schubert, Glinka da Dargomyzhsky, Mussorgsky da Tchaikovsky, Rachmaninov da Prokofiev. Masu fasaha nawa ne ke da sha'awar soyayya ta Medtner, Taneyev, Shaporin, ko irin wannan aikin ban mamaki na Brahms kamar Rhapsody don mezzo-soprano tare da mawaƙa na maza da ƙungiyar mawaƙa? Da yawa music masoya sun saba da, ka ce, Tchaikovsky ta vocal duets kafin Irina Arkhipova rubuta su a wani rikodin a cikin wani gungu tare da soloists na Bolshoi Theater Makvala Kasrashvili, kazalika da Vladislav Pashinsky?

Ƙarshen littafinta a 1996, Irina Konstantinovna ya rubuta:

"... A cikin tazara tsakanin yawon shakatawa, waxanda suke da mahimmancin yanayin rayuwa mai aiki, yin rikodin rikodin na gaba, ko maimakon haka, CD, shirye-shiryen talabijin na yin fim, taron manema labarai da hirarraki, gabatar da mawaƙa a wurin kide-kide na Singing Biennale. Moscow – St. Petersburg”, aiki tare da dalibai, aiki a cikin International Union of Musical Figures… Kuma ƙarin aiki a kan littafin, kuma mafi… Kuma…

Ni kaina na yi mamakin yadda, tare da duk aikina na hauka na ilmantarwa, ƙungiyoyi, zamantakewa da sauran al'amuran "marasa murya", har yanzu ina ci gaba da rera waƙa. Kamar irin wannan ba'a game da tela da aka zaɓa a matsayin sarki, amma ba ya son ya daina sana'ar sa ya yi ɗan ƙaramin dare.

Ga ku! Wani kiran waya… “Me? Nemi shirya babban aji? Yaushe?.. Kuma a ina zan yi?.. Ta yaya? An riga an yi rikodin gobe? ..."

Kiɗa na rayuwa yana ci gaba da yin sauti… Kuma yana da ban mamaki.