Jacques Offenbach |

Jacques Offenbach

I. Sollertinsky ya rubuta: “Offenbach ya kasance—komai ƙarar sautinsa—ɗaya daga cikin mawaƙa masu hazaka na ƙarni na 6. "Kawai ya yi aiki a cikin nau'i daban-daban fiye da Schumann ko Mendelssohn, Wagner ko Brahms. Ya kasance ƙwararren ƙwararren kiɗan kida, buff satirist, improviser ..." Ya ƙirƙiri wasan kwaikwayo na 100, da yawa na romances da kuma waƙoƙin murya, amma babban nau'in aikinsa shine operetta (game da XNUMX). Daga cikin operettas na Offenbach, Orpheus a cikin Jahannama, La Belle Helena, Rayuwa a Paris, Duchess na Gerolstein, Pericola, da sauransu sun yi fice a cikin mahimmancin su. a cikin wani operetta na zamantakewa witticism, sau da yawa juya shi a cikin wani parody na rayuwar zamani na biyu daular, yin Allah wadai da cynicism da lalatar al'umma, "zazzabi rawa a kan dutsen mai aman wuta", a lokacin da wani m motsi mai sauri zuwa ga Sedan bala'i. . "... Godiya ga duniya satirical ikon yinsa, da fadi da grotesque da zargin generalizations," I. Sollertinsky ya lura, "Offenbach bar sahu na operetta composers - Herve, Lecoq, Johann Strauss, Lehar - kuma ya fuskanci phalanx na manyan satirists - Aristophanes , Rabelais, Swift, Voltaire, Daumier, da dai sauransu. Waƙar Offenbach, maras ƙarewa a cikin karimci mai karimci da fasaha na rhythmic, wanda aka yiwa alama ta babban asalin mutum, ya dogara da farko akan tarihin birane na Faransa, al'adar chansonniers na Paris, da raye-rayen da suka shahara a wancan lokacin, musamman gallop. da quadrille. Ta rungumi al'adun fasaha masu ban sha'awa: hazaka da hazaka na G. Rossini, zafin zafin KM Weber, waƙar A. Boildieu da F. Herold, waƙar F. Aubert. Mawaƙin kai tsaye ya haɓaka nasarorin ɗan ƙasarsa da na zamani - ɗaya daga cikin waɗanda suka kirkiri operetta na gargajiya na Faransa F. Hervé. Amma mafi mahimmanci duka, dangane da haske da alheri, Offenbach ya sake maimaita WA Mozart; Ba tare da dalili ba ne aka kira shi "Mozart na Champs Elysees".

An haifi J. Offenbach a cikin dangin malamin cocin majami'a. Da yake da kwarewar kida na musamman, tun yana dan shekara 7 ya ƙware violin tare da taimakon mahaifinsa, tun yana ɗan shekara 10 ya koyi yin wasan cello da kansa, kuma tun yana ɗan shekara 12 ya fara yin kide-kide a matsayin ɗan wasan kwaikwayo na virtuoso. da mawaki. A cikin 1833, bayan ya koma Paris - birnin da ya zama gidansa na biyu, inda ya rayu kusan duk rayuwarsa - matashin mawaƙin ya shiga cikin ɗakin ajiya a cikin aji na F. Halevi. A cikin shekarun farko bayan kammala karatunsa a kwalejin, ya yi aiki a matsayin ɗan wasan kwaikwayo a cikin ƙungiyar makaɗa ta Opera Comique Theater, ya yi a wuraren nishaɗi da wuraren shakatawa, kuma ya rubuta wasan kwaikwayo da kiɗan pop. Yana ba da kide kide da wake-wake a birnin Paris, ya kuma zagaya na dogon lokaci a Landan (1844) da Cologne (1840 da 1843), inda a daya daga cikin wasannin kide-kide F. Liszt ya raka shi don nuna hazakar matashin dan wasa. Daga 1850 zuwa 1855 Offenbach yayi aiki a matsayin mawaƙin ma'aikaci kuma madugu a gidan wasan kwaikwayo na Francais, yana tsara kiɗa don bala'in P. Corneille da J. Racine.

A 1855, Offenbach ya buɗe nasa gidan wasan kwaikwayo, Bouffes Parisiens, inda ya yi aiki ba kawai a matsayin mawaki, amma kuma a matsayin dan kasuwa, mataki darektan, shugaba, co-marubucin libertists. Kamar mutanen zamaninsa, fitattun mawakan zane-zane na Faransa O. Daumier da P. Gavarni, ɗan wasan barkwanci E. Labiche, Offenbach yana cika wasanninsa da wayo da wayo, wani lokacin kuma da zagi. Mawaƙin ya jawo hankalin marubutan-masu-librettists A. Melyak da L. Halevi, mawallafin na gaskiya na wasan kwaikwayonsa. Kuma ƙaramin gidan wasan kwaikwayo a kan Champs Elysees sannu a hankali yana zama wurin da aka fi so ga jama'ar Paris. Nasarar babbar nasara ta farko ta operetta "Orpheus a cikin Jahannama", wanda aka yi a 1858 kuma ya jure wasanni 288 a jere. Wannan wasan cizon cizon sauro na zamanin da na ilimi, inda alloli suka sauko daga Dutsen Olympus suka yi rawa mai ban tsoro, ya ƙunshi bayyanannun tsarin tsarin al'umma na zamani da abubuwan zamani. Ƙarin ayyukan kiɗa da wasan kwaikwayo - ko da wane nau'i ne da aka rubuta a kan (tsohuwar da kuma hotuna na shahararrun tatsuniyoyi, tsakiyar zamanai da na Peruvian exoticism, abubuwan da suka faru na tarihin Faransanci na karni na XNUMX da kuma rayuwar zamani) - kullum suna nuna karin abubuwan zamani. a cikin maɓalli, ban dariya ko maɓalli.

Bayan "Orpheus" an sanya "Genevieve na Brabant" (1859), "Fortunio's Song" (1861), "Beautiful Elena" (1864), "Bluebeard" (1866), "Paris Life" (1866), "Duchess na Gerolstein "(1867), "Perichole" (1868), "Robbers" (1869). Shaharar Offenbach ta yadu a wajen Faransa. Ana gudanar da wasan operetta nasa a ƙasashen waje, musamman sau da yawa a Vienna da St. Petersburg. A cikin 1861, ya cire kansa daga jagorancin gidan wasan kwaikwayo don ya sami damar ci gaba da yawon shakatawa. Zenith na shahararsa ita ce Nunin Duniya na Paris na 1867, inda aka yi "Rayuwar Paris", wanda ya haɗu da sarakunan Portugal, Sweden, Norway, Mataimakin Masar, Yariman Wales da Rasha Tsar Alexander II. rumfuna na gidan wasan kwaikwayo na Bouffes Parisiens. Yaƙin Franco-Prussian ya katse kyakkyawan aikin Offenbach. operettas ya bar mataki. A cikin 1875, an tilasta masa ya bayyana kansa a matsayin mai fatara. A shekara ta 1876, don tallafa wa iyalinsa da kuɗi, ya tafi yawon shakatawa zuwa Amurka, inda ya gudanar da wasan kwaikwayo na lambu. A cikin shekara ta Nunin Duniya na Biyu (1878), Offenbach kusan an manta da shi. Nasarar operettas guda biyu Madame Favard (1878) da 'yar Tambour Major (1879) sun ɗan haskaka yanayin, amma ɗaukakar Offenbach a ƙarshe ta rufe ta da operettas na matashin mawakin Faransa Ch. Lecoq. Cutar zuciya ta buge shi, Offenbach yana aiki akan wani aikin da ya ɗauki aikin rayuwarsa - wasan opera mai ban dariya The Tales of Hoffmann. Yana nuna jigon soyayya na rashin samun manufa, yanayin ruɗi na rayuwar duniya. Amma mawakin bai rayu don ganin farkonsa ba; E. Guiraud ya kammala kuma ya shirya shi a cikin 1881.

I. Nemirovskaya

Kamar dai yadda Meyerbeer ya dauki matsayi na kan gaba a rayuwar kida na Paris a zamanin mulkin mallaka na kasar Burgeois na Louis Philippe, haka Offenbach ya sami karbuwa mafi fadi a lokacin daular ta biyu. A cikin aikin da kuma a cikin ainihin bayyanar mutum na manyan masu fasaha, an nuna mahimman abubuwan da ke cikin gaskiya; sun zama baki na zamaninsu, duka bangarorinsa masu kyau da marasa kyau. Kuma idan Meyerbeer yana da kyau a yi la'akari da mahaliccin nau'in wasan opera na Faransa "babban", to, Offenbach wani al'ada ne na Faransanci, ko kuma, operetta na Paris.

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operetta na Paris samfuri ne na Daular Biyu. Wannan madubi ne na rayuwarta ta zamantakewa, wanda sau da yawa ya ba da hoto na gaskiya na ulcers da munanan dabi'un zamani. operetta ta girma ne daga tsaka-tsakin wasan kwaikwayo ko bita-bita-nau'i waɗanda suka amsa batutuwan da suka shafi rana. Al'adar tarurruka na fasaha, ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun waɗancan wasannin. Abin da wasan opera mai ban dariya ya kasa yi, wato, don cika wasan kwaikwayon tare da abubuwan zamani da tsarin zamani na kiɗan kiɗa, operetta ne ya yi.

Ba daidai ba ne, duk da haka, a wuce gona da iri akan mahimmancin bayyanar da zamantakewa. Rashin kulawa cikin hali, izgili cikin sauti da rashin hankali a cikin abun ciki - wannan shine babban fasali na wannan salon wasan kwaikwayo mai daɗi. Marubutan wasan kwaikwayo na operetta sun yi amfani da katsalandan da aka tattara, galibi ana tattara su daga tarihin jaridun tabloid, kuma sun yi ƙoƙari, da farko, don ƙirƙirar yanayi masu ban sha'awa, rubutun adabi. Kiɗa ya taka rawa a ƙarƙashinsa (wannan shine muhimmin bambanci tsakanin operetta na Paris da Viennese): raye-raye, raye-rayen kayan yaji da raye-rayen raye-raye sun mamaye, waɗanda aka “zama” tare da tattaunawa mai yawa. Duk wannan ya rage darajar akida, fasaha da kidan kida na wasan operetta.

Duk da haka, a hannun babban mai fasaha (kuma irin wannan, ba shakka, Offenbach ne!) operetta ya cika da abubuwa na satire, m topicality, kuma kiɗansa ya sami muhimmiyar mahimmanci mai ban mamaki, ana ba da shi, sabanin wasan kwaikwayo ko "babban" opera, tare da samun damar shiga yau da kullun. Ba daidaituwa ba ne cewa Bizet da Delibes, wato, mafi yawan masu fasaha na dimokuradiyya na ƙarni na gaba, waɗanda suka mallaki ɗakin ajiya. zamani kalaman kiɗa, sun fara fitowa a cikin nau'in operetta. Kuma idan Gounod shine farkon wanda ya fara gano waɗannan sabbin innations ("Faust" an kammala shi a cikin shekarar samar da "Orpheus a cikin Jahannama"), to, Offenbach ya cika su cikin aikinsa.

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Jacques Offenbach (sunansa na ainihi Ebersht) an haife shi a ranar 20 ga Yuni, 1819 a Cologne (Jamus) a cikin dangin rabbi mai ibada; tun lokacin yaro, ya nuna sha'awar kiɗa, na musamman a matsayin cellist. A 1833 Offenbach ya koma Paris. Daga yanzu, kamar yadda ya faru da Meyerbeer, Faransa ta zama gidansa na biyu. Bayan kammala karatunsa daga ɗakin karatu, ya shiga ƙungiyar makaɗar wasan kwaikwayo a matsayin ɗan wasan kwaikwayo. Offenbach yana da shekaru ashirin lokacin da ya fara fitowa a matsayin mawaki, wanda, duk da haka, ya zama bai yi nasara ba. Sa'an nan ya sake juya zuwa ga cello - ya ba da kide-kide a Paris, a cikin Jamus, a London, ba tare da sakaci da wani mawaki aiki a kan hanya. Koyaya, kusan duk abin da ya rubuta kafin 50s ya ɓace.

A cikin shekarun 1850-1855, Offenbach ya kasance jagora a sanannen gidan wasan kwaikwayo na wasan kwaikwayo "Comedie Frangaise", ya rubuta kida da yawa don wasan kwaikwayo kuma ya jawo hankalin manyan mawaƙa da novice don yin haɗin gwiwa (a cikin na farko - Meyerbeer, a cikin na biyu). - Gudun). Kokarin da ya yi na neman hukumar rubuta wasan opera bai yi nasara ba. Offenbach ya juya zuwa wani nau'in ayyuka na daban.

Tun farkon shekarun 50s, mawaki Florimond Herve, daya daga cikin wadanda suka kafa nau'in operetta, ya sami karbuwa tare da wayonsa na kankana. Ya jawo Delives da Offenbach zuwa ga halittarsu. Ba da daɗewa ba na ƙarshe ya yi nasarar kawar da ɗaukakar Hervé. (Bisa ga alamar alama ta wani marubuci Bafaranshe, Aubert ya tsaya a gaban ƙofofin operetta. Herve ya buɗe su kaɗan, kuma Offenbach ya shiga ... Florimond Herve (sunan gaske - Ronge, 1825-1892) - marubucin game da dari operettas, mafi kyawun su shine "Mademoiselle Nitouche" (1883) .)

A shekara ta 1855, Offenbach ya buɗe nasa gidan wasan kwaikwayo, wanda ake kira "Paris Buffs": a nan, a cikin wani ɗaki mai daɗaɗɗe, ya shirya buffonades masu ban sha'awa da fastoci masu ban sha'awa tare da kiɗansa, wanda 'yan wasan kwaikwayo biyu ko uku suka yi. Shahararrun ƴan wasan kwaikwayo na Faransa Honore Daumier da Paul Gavarni, ɗan wasan barkwanci Eugene Labiche, Offenbach sun cika wasanni tare da wayo da wayo, ba'a. Ya jawo hankalin marubuta masu ra'ayi, kuma idan marubucin wasan kwaikwayo Scribe a cikin cikakkiyar ma'anar kalmar ya kasance mawallafin operas na Meyerbeer, to, a cikin mutumin Henri Meilhac da Ludovic Halévy - a nan gaba marubutan libretto "Carmen" - Offenbach ya sami abokan aikin sa na adabi.

1858 - Offenbach ya riga ya cika shekaru arba'in - yana nuna alamar juyi mai mahimmanci a cikin makomarsa. Wannan ita ce shekarar farko na babban operetta na farko na Offenbach, Orpheus a cikin Jahannama, wanda ya yi wasanni dari biyu da tamanin da takwas a jere. (A cikin 1878, wasan kwaikwayo na 900 ya faru a Paris!). Wannan ya biyo baya, idan muka kira mafi shahararrun ayyukan, "Geneviève na Brabant" (1859), "Beautiful Helena" (1864), "Bluebeard" (1866), "Paris Life" (1866), "The Duchess na Gerolstein" (1867), "Pericola" (1868), "Robbers" (1869). Shekaru biyar na ƙarshe na Daular Biyu sune shekarun Offenbach na ɗaukakar da ba a raba su ba, kuma ƙarshenta shine 1857: a tsakiyar manyan bukukuwan da aka sadaukar don buɗe nunin duniya, akwai wasan kwaikwayo na "Life Paris".

Offenbach tare da mafi girman tashin hankali. Shi ne ba kawai marubucin waƙa don operettas ba, har ma mawallafin marubucin wallafe-wallafen, daraktan mataki, jagora, kuma dan kasuwa na ƙungiyar. Da tsananin jin ƙayyadaddun gidan wasan kwaikwayo, yana kammala maki a maimaitawa: yana gajarta abin da ake ganin za a zana, ya faɗaɗa, ya sake tsara lambobi. Wannan aiki mai ƙarfi yana da rikitarwa ta yawan tafiye-tafiye zuwa ƙasashen waje, inda Offenbach ke ko'ina tare da babbar shahara.

Rushewar Daular Biyu ta ƙare ba zato ba tsammani Offenbach. operettas ya bar mataki. A cikin 1875, an tilasta masa ya bayyana kansa a matsayin mai fatara. An rasa jihar, kasuwancin wasan kwaikwayo ya narke, ana amfani da kudin shiga na marubucin don biyan bashi. Domin ciyar da iyalinsa, Offenbach ya tafi yawon shakatawa zuwa Amurka, inda a cikin 1876 ya gudanar da wasan kwaikwayo na lambu. Kuma ko da yake ya ƙirƙira sabon, nau'i uku na Pericola (1874), Madame Favard (1878), 'yar Tambour babba (1879) - ayyukan da ba wai kawai ba ne a cikin halayen fasaha na baya ba, amma har ma sun fi girma. su , buɗe sabbin fasahohin waƙoƙi na babban gwanintar mawaƙin - ya sami nasara matsakaiciyar matsakaici. (A wannan lokacin, Charles Lecoq (1832-1918) ya mamaye shaharar Offenbach, wanda a cikin ayyukansa an gabatar da farkon waƙar waƙa don cutar da jin daɗin rairayi da jin daɗin jin daɗi a maimakon kyan gani mara ƙarfi. Ayyukansa mafi shahara sune 'yar Madame Ango ( 1872) da Girofle-Girofle (1874) Robert Plunkett's operetta The Bells of Corneville (1877) kuma ya shahara sosai.)

Offenbach yana fama da mummunar cutar zuciya. Amma a cikin tsammanin mutuwarsa na gabatowa, yana cikin zafin rai yana aiki akan sabon aikinsa - opera Tales na lyric-comedy (a cikin ingantaccen fassarar, "labarun") na Hoffmann. Ba dole ba ne ya halarci wasan farko: ba tare da kammala maki ba, ya mutu a ranar 4 ga Oktoba, 1880.

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Offenbach shine marubucin sama da ɗari na ayyukan kiɗa da wasan kwaikwayo. Babban wuri a cikin gadonsa yana shagaltar da tsaka-tsaki, farces, ƙaramin wasan kwaikwayo-bita. Koyaya, adadin operettas-biyu ko uku shima yana cikin goma.

Makircin na operettas ya bambanta: a nan akwai tsohuwar ("Orpheus a cikin Jahannama", "Beautiful Elena"), da kuma hotuna na shahararrun tatsuniyoyi ("Bluebeard"), da tsakiyar zamanai ("Genevieve of Brabant"), da kuma Peruvian. exoticism ("Pericola"), da kuma abubuwan da suka faru na ainihi daga tarihin Faransanci na karni na XNUMX ("Madame Favard"), da kuma rayuwar zamani ("rayuwar Paris"), da dai sauransu. Amma duk wannan bambancin waje yana haɗuwa da babban jigo. – siffar zamani mores.

Ko tsoho ne, makirci na gargajiya ko sababbi, magana ko dai game da ƙasashe da abubuwan da suka faru na almara, ko kuma game da hakikanin gaskiya, mutanen zamanin Offenbach suna aiki a ko'ina da ko'ina, cuta ta gama gari - lalata ɗabi'a, cin hanci da rashawa. Don nuna irin wannan cin hanci da rashawa na gabaɗaya, Offenbach baya keɓance launuka kuma wani lokacin yana cin zarafi mai ban tsoro, yana bayyana gyambon tsarin bourgeois. Koyaya, ba haka lamarin yake ba a duk ayyukan Offenbach. Yawancin su suna sadaukar da kai don nishaɗi, batsa na gaskiya, lokacin “cancan”, kuma ana maye gurbin izgili da izgili da wofi. Irin wannan cakuda mai mahimmanci na zamantakewa tare da boulevard-anecdotal, satirical tare da maras kyau shine babban sabani na wasan kwaikwayo na Offenbach.

Abin da ya sa, daga cikin babban gadon Offenbach, ayyuka kaɗan ne kawai suka tsira a cikin repertoire na wasan kwaikwayo. Bugu da kari, rubutunsu na adabi, duk da wayo da kaifin satiri nasu, sun dusashe matuka, tun da dai maganar gaskiya da al’amuran da ke cikin su sun tsufa. (Saboda wannan, a cikin gidajen wasan kwaikwayo na kiɗa na cikin gida, rubutun Offenbach's operettas suna yin tasiri mai mahimmanci, wani lokacin aiki mai tsauri.). Amma waƙar ba ta tsufa ba. Hazakar Offenbach ta sanya shi a sahun gaba na ƙwararrun ƙwararrun waƙa da nau'ikan raye-raye masu sauƙi da sauƙi.

Babban tushen kiɗan Offenbach shine tatsuniyar biranen Faransa. Kuma ko da yake yawancin mawaƙa na wasan kwaikwayo na wasan kwaikwayo na karni na XNUMX sun juya zuwa wannan tushe, babu wanda a gabansa ya iya bayyana siffofin waƙar yau da kullum na kasa da raye-raye tare da irin wannan cikar da kamala na fasaha.

Wannan, duk da haka, bai iyakance ga cancantarsa ​​ba. Offenbach ba wai kawai ya sake fasalin fasalin tarihin birni ba - kuma sama da duk ayyukan chansonniers na Paris - har ma ya wadatar da su da ƙwarewar ƙwararrun ƙwararrun masu fasaha. Haske da alherin Mozart, hikimar Rossini da hazaka, zafin zafin Weber, waƙar Boildieu da Herold, ƙaƙƙarfan ƙaƙƙarfan waƙoƙin Aubert - duk wannan da ƙari suna kunshe cikin kiɗan Offenbach. Duk da haka, ana yi masa alama da babban asalin mutum ɗaya.

Melody da rhythm sune ma'anar ma'anar kiɗan Offenbach. Karimcinsa na waƙa ba zai ƙarewa ba, kuma ƙirƙirar rhythmic ɗin sa tana da banbanci na musamman. Matsakaicin girman ko da girman waƙoƙin peppy couplet ana maye gurbinsu da kyawawan abubuwan rawa akan 6/8, layin tafiya mai dige-dige - ta hanyar auna ma'aunin barcarolles, boleros na Spain da fandangos - ta hanyar santsi, sauƙin motsi na waltz, da sauransu. Matsayin raye-rayen da suka shahara a wancan lokacin – quadrilles da gallop (duba misalan 173 da BCDE ). A kan tushen su, Offenbach ya gina abubuwan da ke hana ayoyi - ƙwararrun mawaƙa, yanayin haɓakar haɓaka wanda ke da yanayin vortex. Waɗannan gungun na ƙarshe na ƙonawa suna nuna yadda Offenbach ya yi amfani da ƙwarewar wasan opera mai ban dariya.

Haske, hikima, alheri da ƙwazo - waɗannan halaye na kiɗan Offenbach suna bayyana a cikin kayan aikin sa. Ya haɗu da sauƙi da bayyana gaskiyar sautin ƙungiyar makaɗa tare da siffa mai haske da launi mai laushi wanda ya dace da hoton murya.

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Duk da kamanceceniya da aka sani, akwai wasu bambance-bambance a cikin operettas na Offenbach. Ana iya fayyace nau'ikan su guda uku (muna barin duk wasu nau'ikan ƙananan halaye): waɗannan su ne operetta-parodies, wasan kwaikwayo na ɗabi'a da operettas na lyric-comedy. Misalan waɗannan nau'ikan na iya zama bi da bi: "Kyakkyawan Helena", "Rayuwar Farisa" da "Perichole".

Game da mãkirci na zamanin d, Offenbach sarcastically parodied su: alal misali, mythological singer Orpheus ya bayyana a matsayin auna music malami, da tsafta Eurydice a matsayin frivolous lady na aljani, yayin da dukan ikon alloli na Olympus ya juya a cikin m da kuma m dattawa. Tare da sauƙi iri ɗaya, Offenbach ya “sake fasalin” makircin tatsuniyoyi da mashahurin maƙasudai na littattafan soyayya da wasan kwaikwayo ta hanyar zamani. Don haka ya bayyana haihuwa labaru Dace abun ciki, amma a lokaci guda parodied saba wasan kwaikwayo dabaru da kuma style of opera productions, ba'a su ossified al'ada.

Abubuwan ban dariya na ɗabi'a sun yi amfani da makirci na asali, wanda dangantakar bourgeois ta zamani ta kasance kai tsaye kuma an fallasa su sosai, wanda aka kwatanta ko dai a cikin babban juzu'i ("Duchess: Gerolsteinskaya"), ko kuma a cikin ruhun sake dubawa ("Paris Life").

A ƙarshe, a cikin ayyukan Offenbach da yawa, waɗanda suka fara da Waƙar Fortuio (1861), rafin waƙar ya fi bayyanawa - sun shafe layin da ya raba operetta daga wasan opera mai ban dariya. Kuma izgili na yau da kullum ya bar mawaki: a cikin nuna ƙauna da baƙin ciki na Pericola ko Justine Favard, ya ba da gaskiya na gaskiya, da gaskiya. Wannan rafi ya yi ƙarfi da ƙarfi a cikin shekarun ƙarshe na rayuwar Offenbach kuma an kammala shi a cikin Tales of Hoffmann. Taken soyayya game da rashin iya cimma manufa, game da ruɗewar rayuwar duniya an bayyana a nan a cikin wani nau'i na kyauta-rhapsody - kowane aikin wasan opera yana da nasa makirci, ya haifar da wani "hoton yanayi" bisa ga ƙayyadaddun abubuwan da aka tsara. aiki.

Shekaru da yawa, Offenbach ya damu da wannan ra'ayin. Komawa cikin 1851, an nuna wasan kwaikwayo guda biyar na Tales of Hoffmann a cikin gidan wasan kwaikwayo na Parisian. Bisa wasu gajerun labarai na marubucin soyayya na Jamus, mawallafin wasan kwaikwayon, Jules Barbier da Michel Carré, sun sanya Hoffmann kansa ya zama gwarzo na abubuwan soyayya guda uku; Mahalarta su sune Olympia 'yar tsana marar rai, mawaƙin da ke fama da rashin lafiya Antonia, maƙarƙashiya Juliet. Kowane kasada ya ƙare da bala'i mai ban mamaki: a kan hanyar zuwa farin ciki, mai ba da shawara mai ban mamaki Lindorf koyaushe yana tashi, yana canza kamanni. Kuma siffar masoyi da ke guje wa mawaƙi yana da sauƙin canzawa… (Tsarin abubuwan da suka faru shine ɗan gajeren labari na ETA Hoffmann "Don Juan", wanda marubucin ya ba da labari game da ganawarsa da wani sanannen mawaƙa. Sauran hotunan an aro su daga wasu gajerun labarai masu yawa ("Golden Pot") , "Sandman", "Mai ba da shawara ", da dai sauransu).)

Offenbach, wanda ya kasance yana ƙoƙari ya rubuta wasan opera mai ban dariya a duk rayuwarsa, ya ji daɗin shirin wasan, inda wasan kwaikwayo na yau da kullun da fantas ɗin ke da alaƙa da juna. Amma kawai bayan shekaru talatin, lokacin da rafi na lyrical a cikin aikinsa ya yi karfi, ya iya gane mafarkinsa, kuma har ma ba gaba daya ba: mutuwa ta hana shi kammala aikin - clavier Ernest Guiraud. Tun daga wannan lokacin - farkon ya faru a 1881 - Tatsuniya na Hoffmann sun shiga cikin repertoire na gidan wasan kwaikwayo na duniya, kuma mafi kyawun lambobin kiɗa (ciki har da shahararren barcarolle - duba misali 173). в) ya zama sananne. (A cikin shekaru masu zuwa, wannan wasan opera mai ban dariya kawai na Offenbach ya yi gyare-gyare iri-iri: an gajarta rubutun larura, wanda aka maye gurbinsu da karatun, an sake tsara lambobi ɗaya, har ma da ayyuka (an rage adadin su daga biyar zuwa uku). M. Gregor (1905).

Abubuwan fasaha na kidan Offenbach sun tabbatar da shahararta na dogon lokaci, tsayayyen shahara - tana yin sauti a gidan wasan kwaikwayo da kuma cikin wasan kide kide.

Babban mashahurin mashahurin nau'in wasan barkwanci, amma a lokaci guda ɗan waƙa, Offenbach yana ɗaya daga cikin fitattun mawakan Faransanci na rabin na biyu na ƙarni na XNUMX.

M. Druskin

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