Leo Delibes |

Léo Delibes

Delib. "Lakme". Stanzas na Nilakanta (Fyodor Chaliapin)

Irin wannan alherin, irin wadatar waƙoƙin waƙa da kaɗe-kaɗe, irin wannan kyakkyawan kayan aiki ba a taɓa gani ba a cikin ballet. P. Tchaikovsky

Mawallafin Faransanci na karni na XIX L. Delibes 'aikin ya bambanta ta hanyar tsabta ta musamman na salon Faransanci: kiɗansa yana da ƙayyadaddun abubuwa da launi, launin rawaya da rhythmically m, mai basira da gaskiya. Bangaren mawakin shine gidan wasan kwaikwayo na kiɗa, kuma sunansa ya zama daidai da sabbin abubuwa a cikin kiɗan ballet na ƙarni na XNUMX.

Delibes an haife shi a cikin iyali na kiɗa: kakansa B. Batiste ya kasance mai soloist a Paris Opera-Comique, kuma kawunsa E. Batiste wani organist ne kuma farfesa a Conservatory na Paris. Mahaifiyar ta ba wa mawaƙin nan gaba ilimin kiɗan firamare. A lokacin da yake da shekaru goma sha biyu, Delibes ya zo Paris kuma ya shiga cikin ɗakin ajiyar kayan tarihi na A. Adam. A lokaci guda, ya yi karatu tare da F. Le Coupet a cikin ajin piano da kuma F. Benois a cikin ajin gabobin.

Rayuwar sana'a na matashin mawaki ya fara a 1853 tare da matsayi na pianist-rakiyar a Lyric Opera House (Theater Lyrique). Ƙirƙirar ɗanɗanon zane-zane na Delibes an ƙaddara shi ta hanyar ƙayatarwa na wasan opera na Faransanci: tsarin sa na alama, kiɗan da ke cike da karin waƙa na yau da kullun. A wannan lokacin, mawallafin "ya tsara abubuwa da yawa. Yana sha'awar fasahar wasan kida - operettas, ƙaramin wasan ban dariya mai aiki ɗaya. A cikin waɗannan abubuwan da aka tsara ne aka haɓaka salon, ƙwarewar madaidaici, taƙaitacciya kuma daidaitaccen sifa, launi, bayyananne, gabatarwar kiɗan mai raye-raye, an inganta tsarin wasan kwaikwayo.

A tsakiyar 60s. masu kida da wasan kwaikwayo na Paris sun zama masu sha'awar matashin mawaki. An gayyace shi zuwa aiki a matsayin mawaƙa na biyu a Grand Opera (1865-1872). A lokaci guda, tare da L. Minkus, ya rubuta waƙar don ballet "The Stream" da kuma karkatar da "Hanyar Ƙarfafa tare da furanni" don wasan Adam's ballet "Le Corsair". Waɗannan ayyukan, masu hazaka da ƙirƙira, sun kawo Delibes nasarar da ta cancanta. Duk da haka, Grand Opera ya yarda da aikin na gaba na mawaki don samarwa kawai shekaru 4 bayan haka. Sun zama ballet "Coppelia, ko Girl with Enamel Eyes" (1870, dangane da gajeren labarin TA Hoffmann "The Sandman"). Shi ne ya kawo shaharar Turawa zuwa Delibes kuma ya zama babban aiki a cikin aikinsa. A cikin wannan aikin, mawallafin ya nuna zurfin fahimtar fasahar ballet. Waƙarsa tana da alaƙa da laconism na magana da haɓakawa, filastik da launi, sassauci da tsabta na tsarin rawa.

Shahararriyar mawakin ta ƙara ƙarfi bayan ya ƙirƙiro wasan ballet Sylvia (1876, bisa ga fastocin T. Tasso na ban mamaki). P. Tchaikovsky ya rubuta game da wannan aikin: "Na ji ballet Sylvia ta Leo Delibes, na ji shi, domin wannan shi ne ballet na farko wanda kiɗa ba kawai babban abu ba ne, amma har ma da sha'awa kawai. Abin da fara'a, abin alheri, abin da wadata na melodic, rhythmic da jituwa!

Wasan operas na Delibes: “Haka Sarki ya ce” (1873), “Jean de Nivel” (1880), “Lakmé” (1883) su ma sun sami karbuwa sosai. Na ƙarshe shine mafi mahimmancin aikin opera na mawaƙin. A cikin "Lakma" an haɓaka al'adun opera na waƙa, wanda hakan ya jawo hankalin masu sauraro a cikin ayyukan waƙoƙi da ban mamaki na Ch. Gounod, J. Vize, J. Massenet, C. Saint-Saens. An rubuta a kan wani makirci na gabas, wanda ya dogara ne akan labarin soyayya mai ban tausayi na yarinyar Indiya Lakme da wani sojan Ingila Gerald, wannan opera yana cike da gaskiya, hotuna na gaskiya. Shafukan da suka fi bayyana makin aikin sun keɓe don bayyana duniyar ruhaniyar jarumar.

Tare da abun da ke ciki, Delibes ya mai da hankali sosai ga koyarwa. Daga 1881 ya kasance farfesa a Conservatory na Paris. Mutum mai tausayi da tausayi, malami mai hikima, Delibes ya ba da taimako sosai ga matasa mawaƙa. A 1884 ya zama memba na Faransa Academy of Fine Arts. Abubuwan da Delibes suka yi na ƙarshe shine opera Cassia (ba a gama ba). Ta sake tabbatar da cewa mawakin bai taba cin amanar ka'idodinsa na kirkire-kirkire ba, gyarawa da kyawun salonsa.

Gadon Delibes ya fi mayar da hankali ne a fagen wasan kwaikwayo na kida. Ya rubuta ayyuka sama da 30 don gidan wasan kwaikwayo na kiɗa: operas 6, ballets 3 da operettas da yawa. Mawaƙin ya kai matsayi mafi girma na kere kere a fagen wasan ballet. Haɓaka kiɗan ballet tare da faɗin numfashi mai ban sha'awa, amincin wasan kwaikwayo, ya tabbatar da kansa a matsayin ƙwararren mai ƙirƙira. Masu suka a lokacin sun lura da hakan. Don haka, E. Hanslik ya mallaki wannan furuci: “Yana iya yin alfahari da cewa shi ne farkon wanda ya fara farawa mai ban mamaki a rawa kuma a cikin wannan ya zarce duk abokan hamayyarsa.” Delibes ya kasance ƙwararren masanin ƙungiyar makaɗa. Adadin wasan ballets ɗinsa, in ji ’yan tarihi, “teku mai launi ne.” Mawaƙin ya ɗauki hanyoyi da yawa na rubutun kaɗe-kaɗe na makarantar Faransa. An bambanta ƙungiyarsa ta hanyar tsinkaya don tsattsauran timbres, ɗimbin mafi kyawun abubuwan da aka samo.

Delibes yana da tasiri mai tasiri a kan ci gaba da bunkasa fasahar ballet ba kawai a Faransa ba, har ma a Rasha. A nan an ci gaba da nasarorin masters na Faransa a cikin ayyukan choreographic na P. Tchaikovsky da A. Glazunov.

I. Vetlitsyna

Tchaikovsky ya rubuta game da Delibes: "… bayan Bizet, na dauke shi mafi hazaka…". Babban mawakin Rasha bai yi magana sosai ba har ma game da Gounod, ba tare da ma maganar sauran mawakan Faransa na zamani ba. Don burin fasaha na demokra] iyya na Delibes, jin daɗin da ke cikin kiɗansa, jin daɗin rai, ci gaban yanayi da dogaro ga nau'ikan da ake da su sun kasance kusa da Tchaikovsky.

An haifi Leo Delibes a larduna a ranar 21 ga Fabrairu, 1836, ya isa birnin Paris a shekara ta 1848; Bayan ya kammala karatunsa daga makarantar Conservatory a shekara ta 1853, ya shiga gidan wasan kwaikwayo na Lyric a matsayin dan wasan pianist, sannan bayan shekaru goma a matsayin mawaka a Grand Opera. Delides yana tsara abubuwa da yawa, fiye da umarnin ji fiye da bin wasu ƙa'idodin fasaha. Da farko, ya rubuta musamman operettas da miniatures guda ɗaya a cikin hanya mai ban dariya (kimanin ayyuka talatin). Anan gwanintar sa na ingantacciyar siffa mai inganci, bayyananniyar gabatarwa da raye-raye, an inganta sigar wasan kwaikwayo mai haske da fahimta. An kafa tsarin dimokuradiyya na yaren kiɗa na Delibes, da kuma Bizet, tare da hulɗar kai tsaye tare da nau'o'in yau da kullum na tarihin birane. (Delibes na ɗaya daga cikin abokan Bizet na kut da kut. Musamman, tare da wasu mawaƙa guda biyu, sun rubuta operetta Malbrook Going on a Campaign (1867).

Da'irar kade-kade masu yawa sun ja hankali ga Delibes lokacin da shi, tare da Ludwig Minkus, mawaki wanda daga baya ya yi aiki a Rasha shekaru da yawa, ya ba da farkon wasan ballet The Stream (1866). Delibes 'Ballet na gaba, Coppelia (1870) da Sylvia (1876) sun ƙarfafa nasara. Daga cikin sauran ayyukansa da yawa sun fito fili: wani wasan kwaikwayo mara fa'ida, mai ban sha'awa a cikin kiɗa, musamman a cikin Dokar I, "Hakanan Sarki ya ce" (1873), wasan opera "Jean de Nivelle" (1880; "haske, kyakkyawa, soyayya a cikin mafi girma). digiri," ya rubuta Tchaikovsky game da ita) da opera Lakme (1883). Tun 1881, Delibes farfesa ne a Conservatory na Paris. Abokan zumunci da kowa, gaskiya da tausayi, ya ba da taimako sosai ga matasa. Delibes ya mutu a ranar 16 ga Janairu, 1891.

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Daga cikin wasan operas na Leo Delibe, wanda ya fi shahara shi ne Lakme, wanda shirinsa ya samo asali ne daga rayuwar Indiyawa. Babban abin sha'awa shine makin ballet na Delibes: anan yana aiki azaman mai ƙididdigewa.

Na dogon lokaci, farawa da wasan opera na Lully, an ba wa waƙoƙin kide-kide wuri mai mahimmanci a gidan wasan kwaikwayo na Faransanci. An adana wannan al'ada a cikin wasan kwaikwayo na Grand Opera. Don haka, a cikin 1861, Wagner ya tilasta rubuta hotunan ballet na grotto na Venus musamman don samar da Tannhäuser na Paris, da Gounod, lokacin da Faust ya koma mataki na Grand Opera, Walpurgis Night ya rubuta; saboda wannan dalili, an ƙara karkatar da aikin ƙarshe ga Carmen, da dai sauransu. Duk da haka, wasan kwaikwayo na choreographic mai zaman kansa ya zama sananne ne kawai daga 30s na 1841th karni, lokacin da aka kafa ballet na soyayya. "Giselle" na Adolphe Adam (XNUMX) shine babban nasararsa. A cikin ƙayyadaddun waƙa da nau'ikan kiɗan wannan ballet, ana amfani da nasarorin wasan opera na ban dariya na Faransa. Don haka dogara ga abubuwan da ake da su, da wadatar hanyoyin bayyanawa gabaɗaya, tare da ƙarancin wasan kwaikwayo.

Wasannin choreographic na Parisian na 50s da 60s, duk da haka, sun ƙara cika da bambance-bambancen soyayya, wani lokaci tare da melodrama; An ba su abubuwa na abin kallo, babban abin tarihi (ayyukan da suka fi dacewa su ne Esmeralda na C. Pugni, 1844, da Corsair na A. Adam, 1856). Kiɗa na waɗannan wasan kwaikwayon, a matsayin mai mulkin, ba su cika buƙatun fasaha masu girma ba - ba shi da mutuncin wasan kwaikwayo, girman numfashin symphonic. A cikin 70s, Delibes ya kawo wannan sabon ingancin zuwa gidan wasan kwaikwayo na ballet.

Masu zamani sun lura: “Yana iya yin alfahari da cewa shi ne farkon wanda ya fara fara wasan rawa mai ban mamaki kuma a cikin wannan ya zarce dukan abokan hamayyarsa.” Tchaikovsky ya rubuta a cikin 1877: “Kwanan nan na ji kiɗan kiɗa iri iri don Delibes ballet "Sylvia". A baya na saba da wannan kaɗe-kaɗe mai ban sha'awa ta hanyar clavier, amma a cikin rawar gani na ƙungiyar makaɗar Viennese, abin ya ba ni sha'awa kawai, musamman a cikin motsi na farko. A wata wasiƙar, ya ƙara da cewa: “… wannan ita ce ballet na farko wanda kiɗa ba kawai babban abu bane, har ma da sha'awa kaɗai. Abin da fara'a, abin da alheri, abin da arziki, melodic, rhythmic da jituwa.

Tare da halin mutuncinsa da madaidaicin madaidaicin kansa, Tchaikovsky yayi magana cikin rashin jin daɗi game da ballet Swan Lake ɗin da ya kammala kwanan nan, yana ba da dabino ga Sylvia. Koyaya, mutum ba zai yarda da wannan ba, kodayake kiɗan Delibes babu shakka yana da fa'ida sosai.

Dangane da rubutun da wasan kwaikwayo, ayyukansa suna da rauni, musamman "Sylvia": idan "Coppelia" (dangane da gajeren labari na ETA Hoffmann "The Sandman") ya dogara ne akan wani makirci na yau da kullum, ko da yake ba a ci gaba da ci gaba ba, to a cikin "Sylvia". ” ( bisa ga fastoci na ban mamaki na T. Tasso “Aminta”, 1572), abubuwan tatsuniyoyi sun ɓullo da su cikin yanayi da hargitsi. Babban abin da ya fi girma shi ne cancantar mawaƙin, wanda, duk da wannan nesa ba kusa ba, labari mai rauni sosai, ya haifar da ƙima mai ɗanɗano, mai mahimmanci a cikin magana. (Dukansu ballets da aka yi a cikin Tarayyar Soviet. Amma idan a Coppelia da rubutun da aka kawai partially canza partially don bayyana wani karin hakikanin abun ciki, sa'an nan ga music of Sylvia, sake suna Fadetta (a cikin sauran bugu - Savage), da aka samu daban-daban mãkirci - An aro shi daga labarin George Sand (firaren Fadette - 1934).

Kiɗa na biyun ballets an ba su da fasalin jama'a masu haske. A cikin "Coppelia", bisa ga mãkirci, ba kawai Faransanci melodics da rhythms ake amfani, amma kuma Yaren mutanen Poland (mazurka, Krakowiak a cikin act I), da kuma Hungarian (Svanilda's ballad, czardas); Anan haɗin tare da nau'in nau'in da abubuwan yau da kullun na wasan opera mai ban dariya ya fi gani. A cikin Sylvia, halayen halayen sun wadatar da ilimin halayyar ɗan adam na wasan opera na waƙa (duba waltz na Dokar I).

Laconism da ƙarfin magana, filastik da haske, sassauci da tsabta na tsarin rawa - waɗannan su ne mafi kyawun kaddarorin kiɗa na Delibes. Shi babban gwani ne a cikin ginin raye-rayen raye-raye, lambobin mutum ɗaya waɗanda aka haɗa su ta hanyar kayan aiki "karantawa" - wuraren kallon pantomime. Wasan kwaikwayo, abun ciki na raye-raye na raye-raye suna haɗe tare da nau'in nau'i da kyan gani, suna daidaita ma'auni tare da ci gaban symphonic mai aiki. Irin wannan, alal misali, shine hoton gandun daji da dare wanda Sylvia ta buɗe, ko kuma ƙarshen Dokar I. A lokaci guda, ɗakin raye-raye na raye-raye na wasan kwaikwayo na ƙarshe, tare da mahimmancin cikar kiɗansa, yana gabatowa. hotuna masu ban mamaki na cin nasara da nishaɗi, waɗanda aka kama a cikin Bizet's Arlesian ko Carmen.

Fadada yanayin bayyana ra'ayin wakoki da tunani na raye-raye, ƙirƙirar yanayi masu ban sha'awa na jama'a, fara kan hanyar nuna waƙar ballet, Delibes sun sabunta hanyoyin bayyana fasahar choreographic. Babu shakka, tasirinsa a kan ci gaban ci gaban gidan wasan kwaikwayo na Ballet na Faransa, wanda a ƙarshen karni na 1882 ya wadata da ƙima mai mahimmanci; daga cikinsu "Namuna" na Edouard Lalo (XNUMX, bisa ga waƙar Alfred Musset, wanda Wiese ya yi amfani da shi a cikin opera "Jamile"). A farkon karni na XNUMX, wani nau'in wakoki na choreographic ya tashi; A cikin su, farawa mai ban sha'awa ya fi karfi saboda makirci da ci gaba mai ban mamaki. Daga cikin mawallafin irin waɗannan waƙoƙin, waɗanda suka zama sananne a kan wasan kwaikwayo fiye da na wasan kwaikwayo, dole ne a fara ambata Claude Debussy da Maurice Ravel, da Paul Dukas da Florent Schmitt.

M. Druskin

Gajeren jerin abubuwan da aka tsara

Yana aiki don wasan kwaikwayo na kiɗa (kwanakin suna cikin baka)

Sama da operas 30 da operettas. Mafi shahara sune: "Hakanan Sarki ya ce", opera, libretto na Gondine (1873) "Jean de Nivelle", opera, libretto na Gondinet (1880) Lakme, opera, libretto na Gondinet da Gilles (1883)

Rawa "Brook" (tare da Minkus) (1866) "Coppelia" (1870) "Sylvia" (1876)

Kiɗan murya 20 soyayya, 4-voice mawaka maza da sauransu