Jules Massenet |

Jules Massenet

Massenet. Elegy (F. Chaliapin / 1931)

M. Massenet bai taba nuna ba kamar a cikin "Werther" kyawawan halaye na basirar da suka sanya shi masanin tarihin kida na ruhin mace. C. Rashin hankali

Oh yaya jiri Massenet!!! Kuma abin da ya fi bacin rai shi ne a cikin wannan tashin zuciya Ina jin wani abu da ya shafi ni. P. Tchaikovsky

Debussy ya ba ni mamaki ta hanyar kare wannan kayan zaki (Manon Massenet). I. Stravinsky

Kowane mawaƙin Faransa yana da ɗan Massenet a cikin zuciyarsa, kamar yadda kowane ɗan Italiya yana da ɗan Verdi da Puccini. F. Poulen

Ra'ayi daban-daban na mutanen zamani! Sun ƙunshi ba kawai gwagwarmayar dandana da buri ba, har ma da shubuhar aikin J. Massenet. Babban amfani da kiɗansa shine a cikin waƙoƙin waƙa, wanda, bisa ga mawallafin A. Bruno, "za ku gane cikin dubban". Mafi yawan lokuta suna da alaƙa ta kud da kud da kalmar, saboda haka sassauƙansu na ban mamaki da bayyanawa. Layi da ke tsakanin waƙa da karantarwa kusan ba za a iya gane su ba, don haka ba a rarraba wuraren wasan opera na Massenet zuwa rufaffiyar lambobi da “sabis” da ke haɗa su, kamar yadda ya faru da magabata – Ch. Gounod, A. Thomas, F. Halevi. Abubuwan buƙatun aikin ƙetare, gaskiyar kiɗan su ne ainihin buƙatun zamanin. Massenet ya ƙunshi su ta hanyar Faransanci sosai, ta hanyoyi da yawa yana tayar da hadisai tun daga JB Lully. Duk da haka, karatun Massenet ba ya dogara ne akan karatun mugayen ƴan wasan kwaikwayo ba, amma akan maganganun yau da kullun marasa fasaha na mutum mai sauƙi. Wannan shi ne babban ƙarfi da asali na waƙoƙin Massenet, wannan kuma shine dalilin rashin nasararsa lokacin da ya juya zuwa bala'i na nau'in gargajiya ("The Sid" a cewar P. Corneille). Mawaƙin da aka haife shi, mawaƙa na ƙungiyoyin ruhi, yana iya ba da waƙoƙi na musamman ga hotunan mata, sau da yawa yana ɗaukar maƙasudin ban tausayi da ƙima na wasan opera "babban". Gidan wasan kwaikwayo na Opera Comique bai ishe shi ba, dole ne kuma ya yi sarauta a cikin Grand Opera, wanda kusan ƙoƙarin Meyerbeerian yake. Don haka, a wani shagali na kidan mawaka daban-daban, Massenet, a asirce daga abokan aikinsa, ya kara yawan makada na tagulla zuwa makinsa, kuma, ya kasa kunnen masu sauraro, ya zama gwarzon wannan rana. Massenet yana tsammanin wasu nasarorin C. Debussy da M. Ravel (salon karatun a cikin wasan opera, ƙwararrun mawaƙa, salo na kiɗan Faransa na farko), amma, yin aiki a layi daya tare da su, har yanzu ya kasance a cikin kyawawan kayan ado na karni na XNUMX.

Aikin waƙar Massenet ya fara ne da shigarsa ɗakin karatu yana ɗan shekara goma. Ba da daɗewa ba dangi suka ƙaura zuwa Chambéry, amma Jules ba zai iya yin ba tare da Paris ba kuma ya gudu daga gida sau biyu. Ƙoƙari na biyu kawai ya yi nasara, amma yaron ɗan shekara goma sha huɗu ya san duk rayuwar da ba ta da tushe ta bohemia na fasaha da aka bayyana a cikin Scenes ... ta A. Murger (wanda ya sani da kansa, da kuma samfurori na Schoenard da Musetta). Bayan ya shawo kan talauci na shekaru, sakamakon aiki tuƙuru, Massenet ya sami babbar lambar yabo ta Roma, wanda ya ba shi damar yin balaguron shekaru huɗu zuwa Italiya. Daga kasashen waje, ya dawo a 1866 da francs biyu a aljihunsa da kuma dalibin piano, wanda ya zama matarsa. Ƙarin tarihin Massenet ci gaba ne na ci gaba da samun nasarori masu tasowa. A cikin 1867, an shirya wasan opera na farko, The Great Aunt, bayan shekara guda ya sami mawallafi na dindindin, kuma rukunin mawakansa sun yi nasara. Daga nan Massenet ya ƙirƙira manyan ayyuka da manyan ayyuka: wasan operas Don Cesar de Bazan (1872), Sarkin Lahore (1877), opera-opera Mary Magdalene (1873), kiɗa don Erinyes na C. Leconte de Lily (1873) tare da sanannen "Elegy", waƙar waƙar da ta bayyana a farkon 1866 a matsayin ɗaya daga cikin Piano Pieces Goma - aikin farko da Massenet ya buga. A cikin 1878, Massenet ya zama farfesa a Conservatory na Paris kuma an zabe shi memba na Cibiyar Faransa. Yana cikin tsakiyar hankalin jama'a, yana jin daɗin soyayyar jama'a, an san shi da ladabi da hikima na har abada. Babban aikin Massenet shi ne operas Manon (1883) da Werther (1886), kuma har wala yau suna yin sauti a kan matakan wasan kwaikwayo da yawa a duniya. Har zuwa ƙarshen rayuwarsa, mawaki bai rage ayyukansa na kere kere ba: ba tare da ya huta wa kansa ko masu sauraronsa ba, ya rubuta opera bayan wasan opera. Ƙwarewa na girma, amma lokuta suna canzawa, kuma salonsa ya kasance ba canzawa. Kyakkyawar ƙirƙira tana raguwa sosai, musamman a cikin shekaru goma da suka gabata, kodayake Massenet har yanzu yana jin daɗin girmamawa, girmamawa da duk albarkar duniya. A cikin waɗannan shekarun, an rubuta operas Thais (1894) tare da sanannen tunani, The Juggler of Our Lady (1902) da Don Quixote (1910, bayan J. Lorrain), wanda aka ƙirƙira musamman don F. Chaliapin.

Massenet ba shi da zurfi, yana ɗaukar makiyinsa na yau da kullun kuma abokin hamayyarsa K. Saint-Saens, "amma ba komai." "... Art yana buƙatar masu fasaha iri-iri… Yana da fara'a, ikon iya fara'a da juyayi, ko da yake yanayin yanayi mara kyau… A ka'idar, ba na son irin wannan kiɗan… de Grieux a cikin sacristy na Saint-Sulpice? Ta yaya ba za a kama su zuwa zurfin rai da waɗannan kukan soyayya ba? Yadda za a yi tunani da nazari idan an taɓa ku?

E. Shirt

Dan mai ma'adinan ƙarfe, Massenet yana karɓar darussa na farko na kiɗa daga mahaifiyarsa; A Paris Conservatoire ya yi karatu tare da Savard, Lauren, Bazin, Reber da Thomas. A 1863 an ba shi lambar yabo ta Rome. Bayan ya sadaukar da kansa ga nau'o'i daban-daban, ya kuma yi aiki tukuru a fagen wasan kwaikwayo. A shekara ta 1878, bayan nasarar Sarkin Lahore, an nada shi farfesa a fannin kere-kere a gidan ra'ayin mazan jiya, mukamin da ya rike har zuwa 1896, bayan da ya yi suna a duniya, ya bar dukkan mukamai, ciki har da darektan Cibiyar de Faransa.

"Massenet ya fahimci kansa sosai, kuma wanda, yana son ya soke shi, ya yi magana da shi a asirce, a matsayin dalibin mawallafin mawaƙin zamani Paul Delmay, ya fara wasa a cikin mummunan dandano. Massenet, akasin haka, an kwaikwayi shi da yawa, gaskiya ne… jituwarsa kamar runguma ce, kuma waƙoƙin waƙarsa kamar wuyansa ne… wasan kwaikwayo… Na furta, ban fahimci dalilin da ya sa yana da kyau a so tsofaffin mata, masoya Wagner da mata masu zaman kansu, fiye da samari masu kamshi waɗanda ba sa kunna piano sosai. Wadannan ikirari na Debussy, a gefe guda, kyakkyawan nuni ne na aikin Massenet da mahimmancinsa ga al'adun Faransa.

Lokacin da aka halicci Manon, sauran mawaƙa sun riga sun bayyana halin wasan opera na Faransa a cikin ƙarni. Ka yi la'akari da Gounod's Faust (1859), Berlioz's unfinished Les Troyens (1863), Meyerbeer's The African Woman (1865), Thomas' Mignon (1866), Bizet's Carmen (1875), Saint-Saens' Samson da Delilah (1877), "Tales na Hoffmann" na Offenbach (1881), "Lakme" na Delibes (1883). Baya ga samar da wasan opera, muhimman ayyukan César Franck, da aka rubuta tsakanin 1880 zuwa 1886, wadanda suka taka muhimmiyar rawa wajen samar da yanayi na sha'awa-sufi a cikin kida na karshen karni, sun cancanci a ambace su. A lokaci guda kuma, Lalo ya yi karatun tatsuniyoyi a hankali, kuma Debussy, wanda aka ba shi lambar yabo ta Roma a 1884, ya kusan kusan samuwar salon sa.

Dangane da sauran nau'ikan fasaha, ra'ayi a cikin zanen ya riga ya wuce fa'idarsa, kuma masu fasaha sun juya zuwa ga dabi'a da na zamani, sabbin abubuwa masu ban mamaki, kamar Cezanne. Degas da Renoir sun koma mafi yanke hukunci zuwa yanayin dabi'a na jikin mutum, yayin da Seurat a cikin 1883 ya nuna zanen sa "Bathing", wanda rashin motsin alkalumman ya nuna juyawa zuwa sabon tsarin filastik, watakila alama ce, amma har yanzu kankare da bayyane. . Alamar alama ta fara lekawa a cikin ayyukan farko na Gauguin. Hanyar dabi'a (tare da siffofi na alamar alama a kan zamantakewa), akasin haka, ya bayyana sosai a wannan lokacin a cikin wallafe-wallafen, musamman a cikin litattafan Zola (a cikin 1880 Nana ya bayyana, wani labari daga rayuwar mai ladabi). A kusa da marubucin, an kafa ƙungiyar da ta juya zuwa hoton wani abu mai ban mamaki ko akalla sabon abu ga wallafe-wallafe: tsakanin 1880 zuwa 1881, Maupassant ya zaɓi gidan karuwai a matsayin wuri na labarunsa daga tarin "The House of Tellier".

Duk waɗannan ra'ayoyi, niyya da halaye ana iya samun su cikin sauƙi a cikin Manon, godiya ga wanda mawaƙin ya ba da gudummawarsa ga fasahar wasan opera. Wannan farkon tashin hankali ya biyo bayan dogon sabis na opera, wanda ba koyaushe ake samun abubuwan da suka dace don bayyana cancantar mawaƙin ba kuma ba koyaushe ake kiyaye haɗin kai na ƙirar ƙirƙira ba. A sakamakon haka, ana lura da nau'ikan sabani iri-iri a matakin salo. A lokaci guda, ƙaura daga verismo zuwa decadence, daga tatsuniya zuwa tarihin tarihi ko na ban mamaki tare da yin amfani da sassa daban-daban na murya da ƙungiyar makaɗa, Massenet bai taɓa kunyata masu sauraronsa ba, in dai godiya ga ingantaccen kayan sauti. A cikin kowane wasan opera ɗinsa, ko da ba su yi nasara gaba ɗaya ba, akwai wani shafi mai tunawa da ke rayuwa mai zaman kanta a waje da yanayin gabaɗaya. Duk waɗannan yanayi sun tabbatar da babban nasarar Massenet akan kasuwan hoto. Daga qarshe, mafi kyawun misalansa su ne waɗanda mawaƙin ya kasance gaskiya ga kansa: raye-raye da sha’awa, mai taushi da sha’awa, yana isar da al’ajabinsa ga sassan manyan jaruman da suka fi dacewa da shi, masoya, waɗanda halayensu ba su da alaƙa da haɓakawa. mafita na symphonic, wanda aka samu cikin sauƙi da rashin iyakacin ɗan makaranta.

G. Marchesi (E. Greceanii ya fassara)

Marubucin wasan operas ashirin da biyar, ballets uku, shahararrun mawakan kade-kade (Neapolitan, Alsatian, Scenes Picturesque) da sauran ayyuka da dama a duk nau'ikan fasahar kida, Massenet yana daya daga cikin mawakan da rayuwarsu ba ta san gwaji mai tsanani ba. Babban hazaka, babban matakin ƙwararrun ƙwararru da dabarar fasahar fasaha sun taimaka masa ya sami karɓuwa ga jama'a a farkon 70s.

Da wuri ya gano abin da ya dace da halayensa; da ya zaɓi jigon sa, bai ji tsoron maimaita kansa ba; Ya rubuta cikin sauƙi, ba tare da jinkiri ba, kuma don samun nasara ya kasance a shirye ya yi sulhu mai zurfi tare da dandano na jama'a na bourgeois.

An haifi Jules Massenet a ranar 12 ga Mayu, 1842, tun yana yaro ya shiga Paris Conservatoire, daga nan ya kammala karatunsa a shekara ta 1863. Bayan ya zauna a matsayin wanda ya lashe kyautar na shekaru uku a Italiya, ya dawo a 1866 zuwa Paris. An fara neman dagewar neman hanyoyin daukaka. Massenet ya rubuta duka operas da suites don ƙungiyar makaɗa. Amma kasancewarsa ya fi bayyana a fili a cikin wasan kwaikwayo ("Pastoral Poem", "Poem of Winter", "Afrilu Poem", "Oktoba Poem", "Love Poem", "Memories Poem"). An rubuta waɗannan wasanni a ƙarƙashin rinjayar Schumann; sun zayyana halayen sito na salon muryar Massenet.

A cikin 1873, a ƙarshe ya sami karɓuwa - na farko tare da kiɗa don bala'in Aeschylus "Erinnia" (Leconte de Lisle ya fassara shi kyauta), sannan - "wasan kwaikwayo mai tsarki" "Mary Magdalene", wanda aka yi a cikin kide kide. Da kalamai masu ratsa zuciya, Bizet ya taya Massenet murna kan nasarar da ya samu: “Sabuwar makarantarmu ba ta taɓa yin irin wannan ba. Ka koro ni cikin zazzabi, mugu! Haba, kai, mawaƙin ƙaƙƙarfan mawaƙa… La'ananne, kana dame ni da wani abu! ..." "Dole ne mu mai da hankali ga wannan ɗan'uwan," Bizet ya rubuta wa ɗaya daga cikin abokansa. "Duba, zai cusa mu cikin bel."

Bizet ya hango makomar gaba: nan da nan shi kansa ya ƙare ɗan gajeren rayuwa, kuma Massenet a cikin shekarun da suka gabata ya zama babban matsayi a cikin mawaƙa na Faransanci na zamani. 70s da 80s sun kasance mafi hazaka kuma shekaru masu amfani a cikin aikinsa.

“Maryamu Magadaliya”, wacce ta buɗe wannan lokacin, ta fi kusa da yanayin wasan opera fiye da oratorio, kuma jarumar, mai zunubi mai tuba wanda ya gaskanta da Kristi, wanda ya bayyana a cikin kiɗan mawaƙin a matsayin ɗan Parisian na zamani, an zana shi da launuka iri ɗaya. kamar yadda mai girma Manon. A cikin wannan aikin, an ƙaddara da'irar hotuna da hanyoyin magana da Massenet ya fi so.

Da farko da Dumas dan kuma daga baya Goncourts, wani gallery na mata iri, m da kuma juyayi, m da kuma m, m da kuma m, kafa kanta a Faransa adabi. Sau da yawa waɗannan su ne masu zunubi masu tuba masu ruɗi, "matan rabin duniya", mafarkin jin daɗin jin daɗin iyali, farin ciki mara kyau, amma karya a cikin yaƙin munafunci bourgeois gaskiya, tilasta barin mafarki, daga ƙaunataccen, daga rayuwa… (Wannan shi ne abin da ke cikin litattafai da wasan kwaikwayo na Dumas ɗan: Lady of the Camellias (labari - 1848, wasan kwaikwayo - 1852), Diana de Liz (1853), The Lady of the Half World (1855); duba kuma litattafan 'yan'uwan Goncourt "Rene Mauprin" (1864), Daudet "Sappho" (1884) da sauransu.) Duk da haka, ba tare da la'akari da makirci, zamanin da ƙasashe (na gaske ko na almara), Massenet ya kwatanta wata mace daga cikin da'irar bourgeois, mai mahimmanci a cikin duniyarta.

Masu zamani sun kira Massenet "mawaƙin ruhin mace."

Bayan Gounod, wanda ke da tasiri mai ƙarfi akansa, Massenet na iya, tare da ƙarin hujja, a sanya shi cikin "makarantar da hankali." Amma ba kamar Gounod guda ɗaya ba, wanda ya yi amfani da mafi kyawun ayyukansa mafi wadata da launuka daban-daban waɗanda suka haifar da haƙiƙa na rayuwa (musamman a cikin Faust), Massenet ya fi mai ladabi, mai kyan gani, mafi mahimmanci. Ya fi kusa da siffar taushin mata, alheri, alherin sha'awa. Dangane da wannan, Massenet ya haɓaka salon tashin hankali na ɗaiɗaikun ɗaiɗaikun ɗaiɗaikun ɗaiɗaikun ɗaiɗaikun sahihanci, yana isar da abin da ke cikin rubutun cikin wayo, amma mai ban sha'awa, kuma ba zato ba tsammani ya haifar da "fashewa" na motsin rai ta hanyar jumlar numfashi mai faɗi:

Hakanan an bambanta ɓangaren ƙungiyar makaɗa da dabarar gamawa. Sau da yawa a cikinsa ne ka'idar melodic ta tasowa, wanda ke ba da gudummawa ga haɗin kai na ɓangaren murya mai laushi, mai laushi da maras kyau:

Irin wannan hanya ba da daɗewa ba za ta zama irin na operas na Italiyanci verists (Leoncavallo, Puccini); kawai fashewar abubuwan da suke ji sun fi ɗaci da sha'awa. A Faransa, yawancin mawaƙa na ƙarshen ƙarni na XNUMX da farkon ƙarni na XNUMX sun karɓi wannan fassarar sashin muryar.

Amma koma zuwa 70s.

Gasar da ba zato ba tsammani ta zaburar da Massenet. Ana yin ayyukansa sau da yawa a cikin kide kide da wake-wake (Hotunan Hotuna, Phaedra Overture, Orchestral Suite na Uku, Hauwa'u Mai Tsarki da sauransu), kuma Grand Opera ya sanya wa opera King Lagorsky (1877, daga rayuwar Indiyawa; rikicin addini yana aiki a matsayin tushe). ). An sake samun nasara mai girma: Massenet ya sami kambi tare da laurels na masanin ilimi - yana da shekaru talatin da shida ya zama memba na Cibiyar Faransa kuma ba da daɗewa ba an gayyace shi a matsayin farfesa a ɗakin ajiyar.

Duk da haka, a cikin "Sarkin Lagorsk", da kuma daga baya aka rubuta "Esclarmonde" (1889), har yanzu akwai abubuwa da yawa daga al'ada na "babban wasan opera" - wannan nau'in gargajiya na gidan wasan kwaikwayo na Faransanci wanda ya dade ya ƙare da damar fasaha. Massenet ya sami kansa a cikin mafi kyawun ayyukansa - "Manon" (1881-1884) da "Werther" (1886, wanda aka fara a Vienna a 1892).

Don haka, tun yana da shekaru arba'in da biyar, Massenet ya sami shaharar da ake so. Amma, ya ci gaba da aiki da irin wannan ƙarfin, a cikin shekaru ashirin da biyar masu zuwa na rayuwarsa, ba wai kawai ya faɗaɗa tunaninsa na akida da fasaha ba, amma ya yi amfani da tasirin wasan kwaikwayo da kuma hanyoyin bayyana ra'ayi da ya yi a baya zuwa shirye-shiryen wasan kwaikwayo daban-daban. Kuma duk da cewa farkon waɗannan ayyukan an samar da su tare da ci gaba mai girma, yawancin su sun cancanci mantawa. Wasan opera guda huɗu masu zuwa duk da haka suna da sha'awar babu shakka: "Thais" (1894, ana amfani da makircin littafin A. Faransa), wanda, dangane da dabarar ƙirar waƙa, ta kusanci "Manon"; "Navarreca" (1894) da "Sappho" (1897), yana nuna tasiri na gaske (wasan kwaikwayo na ƙarshe ya rubuta bisa ga labari ta A. Daudet, makircin kusa da "Lady of Camellias" na Dumas dan, don haka Verdi's "" La Traviata"; a cikin "Sappho" shafuka masu yawa na kiɗa na gaskiya; "Don Quixote" (1910), inda Chaliapin gigice masu sauraro a cikin take rawa.

Massenet ya mutu a ranar 13 ga Agusta, 1912.

Tsawon shekaru goma sha takwas (1878-1896) ya koyar da wani aji a cikin Conservatoire na Paris, yana ilmantar da ɗalibai da yawa. Daga cikinsu har da mawaƙa Alfred Bruno, Gustave Charpentier, Florent Schmitt, Charles Kouklin, fitaccen kidan Romania, George Enescu, da sauran waɗanda daga baya suka yi suna a Faransa. Amma ko da waɗanda ba su yi karatu tare da Massenet (alal misali, Debussy) sun rinjayi ta a firgita m, m a bayyana, tashin-declamatory vocal salon.

* * * *

Mutuncin furci mai ban mamaki, ikhlasi, gaskiya a cikin yada jita-jita - waɗannan su ne cancantar wasan operas na Massenet, wanda aka bayyana a fili a cikin Werther da Manon. Duk da haka, mawakin sau da yawa yakan rasa ƙarfin namiji wajen isar da sha'awar rayuwa, yanayi na ban mamaki, abubuwan da ke cikin rikici, sa'an nan kuma wasu ƙwarewa, wani lokacin salon zaƙi, ya shiga cikin kiɗansa.

Waɗannan su ne alamun alamun rikice-rikice na nau'in ɗan gajeren lokaci na "wasan kwaikwayo na opera" na Faransanci, wanda ya ɗauki siffar ta 60s, kuma a cikin 70s da hankali ya mamaye sababbin abubuwan ci gaba da ke fitowa daga wallafe-wallafen zamani, zane-zane, wasan kwaikwayo. Duk da haka, an riga an saukar da siffofin iyakancewa a cikinsa, waɗanda aka ambata a sama (a cikin rubutun da aka keɓe ga Gounod).

Hazakar Bizet ta shawo kan kunkuntar iyakoki na "wasan kwaikwayo na waƙa". Yin wasan kwaikwayo da faɗaɗa abubuwan da ke cikin waƙoƙinsa na farko na kaɗe-kaɗe da na wasan kwaikwayo, mafi gaskiya da zurfin nuna sabani na gaskiya, ya kai kololuwar gaskiya a Carmen.

Amma al'adun opera na Faransa ba su tsaya a wannan matakin ba, saboda fitattun mashahuran sa na shekarun da suka gabata na karni na 60 ba su da rashin amincewar Bizet ga ka'idoji wajen tabbatar da manufofinsu na fasaha. Tun daga ƙarshen 1877s, saboda ƙarfafa halayen halayen a cikin ra'ayi na duniya, Gounod, bayan ƙirƙirar Faust, Mireil da Romeo da Juliet, sun rabu da al'adun ƙasa masu ci gaba. Saint-Saens, bi da bi, bai nuna daidaito ba a cikin bincikensa na kirkire-kirkire, ya kasance mai ban sha'awa, kuma a cikin Samson da Delilah (1883) kawai ya sami gagarumar nasara, kodayake bai cika nasara ba. Har ila yau, wasu nasarorin da aka samu a fagen wasan opera suma sun kasance gefe guda: Delibes (Lakme, 1880), Lalo (Sarkin birnin Is, 1886), Chabrier (Gwendoline, XNUMX). Duk waɗannan ayyukan sun ƙunshi makirci daban-daban, amma a cikin fassarar kiɗan su, tasirin operas na "babban" da "lyrical" sun haye zuwa mataki ɗaya ko wani.

Massenet ya kuma gwada hannunsa a nau'ikan nau'ikan biyu, kuma ya yi ƙoƙari a banza don sabunta salon tsohuwar wasan opera na "babban opera" tare da waƙoƙin kai tsaye, fahimtar hanyoyin magana. Mafi yawan duka, abin da Gounod ya daidaita a Faust ya ja hankalin shi, wanda ya bauta wa Massenet a matsayin ƙirar fasaha da ba ta isa ba.

Duk da haka, rayuwar zamantakewar Faransa bayan Kamfanin Paris ya gabatar da sababbin ayyuka ga mawaƙa - ya zama dole a kara bayyana ainihin rikice-rikice na gaskiya. Bizet ya yi nasarar kama su a Carmen, amma Massenet ya kauce wa hakan. Ya rufe kansa a cikin nau'in wasan opera na waƙa, ya ƙara taƙaice batun batun. A matsayinsa na babban mai fasaha, marubucin Manon da Werther, ba shakka, sun nuna wani bangare a cikin ayyukansa abubuwan da suka faru da tunanin mutanen zamaninsa. Wannan ya shafi ci gaban hanyoyin bayyana ra'ayi don maganganun kida masu raɗaɗi, wanda ya fi dacewa da ruhin zamani; Nasarorinsa suna da mahimmanci duka a cikin ginin "ta hanyar" wuraren wasan kwaikwayo na opera, da kuma a cikin dabarar fassarar tunani na ƙungiyar makaɗa.

A cikin shekarun 90s, wannan nau'in Massenet da aka fi so ya gaji da kansa. An fara jin tasirin opera na Italiyanci verismo (ciki har da aikin Massenet kansa). A zamanin yau, jigogi na zamani sun fi ƙwazo a cikin gidan wasan kwaikwayo na Faransanci. Nunawa game da wannan shine wasan operas na Alfred Bruno (Mafarkin da ya dogara da littafin Zola, 1891; Siege of the Mill bisa Maupassant, 1893, da sauransu), waɗanda ba su da siffofi na dabi'a, musamman ma wasan opera Louise na Charpentier. (1900), wanda a cikin bangarori da yawa nasara, ko da yake da ɗan m, rashin isa ya nuna hotuna na zamani Parisian rayuwa.

Shirye-shiryen Claude Debussy's Pelléas et Mélisande a cikin 1902 yana buɗe sabon lokaci a cikin al'adun kiɗa da wasan kwaikwayo na Faransa - impressionism ya zama babban salon salo.

M. Druskin

Abubuwan da aka tsara:

Operas (jimlar 25) Ban da operas "Manon" da "Werther", kawai kwanan wata na farko da aka bayar a cikin brackets. "Kaka", libretto ta Adeny da Granvallet (1867) "Ful King's Cup", libretto ta Galle da Blo (1867) "Don Cesar de Bazan", libretto na d'Ennery, Dumanois da Chantepie (1872) "Sarkin Lahore" , libretto na Galle (1877) Herodias, libretto na Millet, Gremont and Zamadini (1881) Manon, libretto na Méliac and Gilles (1881-1884) “Werther”, libretto ta Blo, Mille da Gartmann (1886, farko — 1892) The Sid, libretto ta d'Ennery, Blo da Galle (1885) «Ésclarmonde», libretto ta Blo da Gremont (1889) The Magician, libretto ta Richpin (1891) “Thais”, libretto ta Galle (1894) “Portrait of Manon, libretto ta Boyer (1894) "Navarreca", libretto ta Clarty da Ken (1894) Sappho, libretto ta Kena da Berneda (1897) Cinderella, libretto ta Ken (1899) Griselda, libretto ta Sylvester da Moran (1901) The Juggler of Our Lady", libretto na Len (1902) Cherub, libretto ta Croisset da Ken (1905) Ariana, libretto ta Mendes (1906) Teresa, libretto ta Clarty (1907) “Vakh” (1910) Don Quixote, libretto b y Ken (1910) Rome, libretto na Ken (1912) “Amadis” (bayan mutuwa) “Cleopatra”, libretto ta Payen (bayan mutuwa)

Sauran ayyukan kiɗa-na wasan kwaikwayo da cantata-oratori Kiɗa don bala'i na Aeschylus "Erinnia" (1873) "Maryamu Magdalene", wasan kwaikwayo mai tsarki Halle (1873) Hauwa'u, wasan kwaikwayo mai tsarki Halle (1875) Narcissus, idyll na Collin (1878) "The Immaculate Virgin", almara mai tsarki. na Grandmougins (1880) "Carillon", mimic da rawa almara (1892) "Ƙasar Alkawari", oratorio (1900) Dragonfly, ballet (1904) "Spain", ballet (1908)

Symphonic yana aiki Pompeii, suite for orchestra (1866) Na farko suite na makada (1867) "Hungarian Scenes" (na biyu suite for orchestra) (1871) "Hotunan hotuna" (1871) Suite na uku don makada (1873) Overture "Phaedra" (1874) " Al'amuran ban mamaki a cewar Shakespeare" (1875)" Scenes Neapolitan" (1882) "Alsatian scenes" (1882) "Enchanting Scenes" (1883) da sauransu.

Bugu da kari, akwai da yawa daban-daban qagaggun na piano, game da 200 romances ("Soyayyar Waƙoƙi", "Pastoral Poem", "Poem of Winter", "Poem of Love", "Poem of Memories" da sauransu), aiki ga ɗakin kayan aiki. taro.

Rubutun adabi "Abubuwan da Nake Tunawa" (1912)