Farashin Leontyne |

Leontyne Farashin

Lokacin da aka tambaye shi ko launin fata zai iya tsoma baki tare da aikin mai wasan opera, Leontina Price ya amsa ta wannan hanyar: “Game da masu sha'awar, ba ya tsoma baki tare da su. Amma a gare ni, a matsayina na mawaƙa, kwata-kwata. A kan rikodin gramophone "mai haihuwa", zan iya yin rikodin wani abu. Amma, a gaskiya, kowane bayyanar a kan wasan opera yana kawo min farin ciki da damuwa da ke tattare da kayan shafa, wasan kwaikwayo da sauransu. Kamar yadda Desdemona ko Elizabeth, Ina jin muni a mataki fiye da Aida. Shi ya sa repertoire na “rayuwa” bai kai girman yadda nake so ba. Ba sai an fada ba, sana’ar mawakiyar opera mai duhun fata tana da wahala, ko da kuwa kaddara bai hana ta muryarta ba.

An haifi Mary Violet Leontina Price a ranar 10 ga Fabrairu, 1927 a kudancin Amurka, a garin Laurel (Mississippi), a cikin dangin Negro na wani ma'aikaci a wani katako.

Duk da karancin kudin shiga, iyayen sun yi kokarin baiwa 'yarsu ilimi, kuma ta, ba kamar sauran takwarorinta ba, ta sami damar kammala karatun jami'a a Wilferforce kuma ta dauki darussan kiɗa da yawa. Bugu da ari, da hanyar da za a rufe mata idan ba don hatsarin farin ciki na farko ba: daya daga cikin iyalai masu arziki sun ba ta gurbin karatu don yin karatu a sanannen Makarantar Juilliard.

Da zarar, a ɗaya daga cikin kide kide da wake-wake na ɗalibin, shugaban ma'aikatan murya, da ya ji Leontina yana rera waƙar Dido, ba zai iya hana farin cikinsa ba: "A cikin 'yan shekaru za a gane wannan yarinyar ga dukan duniya ta kiɗa!"

A wani wasan kwaikwayo na ɗalibi, shahararren ɗan wasan kwaikwayo da mawaki Virgil Thomson ya ji wata yarinya Negro. Shi ne farkon wanda ya fara jin baiwarta ta ban mamaki kuma ya gayyace ta don yin ta farko a farkon wasan opera mai ban dariya mai suna The Four Saints. Makonni da yawa ta fito a kan mataki kuma ta jawo hankalin masu suka. A daidai wannan lokacin, wani ƙaramin ƙungiyar Negro "Evrimen-Opera" yana neman mai wasan kwaikwayo na babbar rawar mata a cikin wasan opera Gershwin "Porgy da Bess". Zaɓin ya faɗi akan Farashin.

Mawaƙin ya ce: “A cikin makonni biyu a cikin Afrilu 1952, na rera waƙa kowace rana a Broadway, wannan ya taimaka mini in san Ira Gershwin, ɗan’uwan George Gershwin kuma marubucin rubutun yawancin ayyukansa. Ba da daɗewa ba na koyi Bess aria daga Porgy da Bess, kuma lokacin da na rera shi a karon farko, nan da nan aka gayyace ni zuwa ga babban rawa a cikin wannan opera.

A cikin shekaru uku masu zuwa, matashin mawaƙa, tare da ƙungiyar, ya yi tafiya zuwa birane da dama a Amurka, sa'an nan kuma wasu ƙasashe - Jamus, Ingila, Faransa. A ko'ina ta burge masu sauraro tare da ikhlasi na tafsiri, kyakkyawar iya magana. Masu suka a koyaushe sun lura da ƙwaƙƙwaran aikin ɓangaren Leonty na Bess.

A watan Oktoba 1953, a cikin zauren na Library of Congress a Washington, da matasa singer yi a karon farko da vocal sake zagayowar "Songs of the Hermit" na Samuel Barber. An rubuta zagayowar musamman bisa iyawar muryar Farashin. A cikin Nuwamba 1954, Price ya yi a karon farko a matsayin mawaƙin kide kide a Hall Hall a New York. A wannan kakar, ta yi waƙa tare da ƙungiyar makaɗar Symphony ta Boston. Hakan ya biyo bayan wasan kwaikwayo tare da ƙungiyar Orchestra ta Philadelphia da sauran manyan taruka na kade-kade na Amurka a Los Angeles, Cincinnati, Washington.

Duk da nasarorin da ta samu, Farashin kawai zai iya yin mafarki game da matakin Metropolitan Opera ko Chicago Lyric Opera - an rufe kusantar mawakan Negro. A wani lokaci, ta hanyar shigar da kanta, Leontina ma tayi tunanin shiga jazz. Amma, da ya ji Bulgarian singer Lyuba Velich a cikin rawar da Salome, sa'an nan a cikin sauran matsayin, ta ƙarshe yanke shawarar sadaukar da kanta ga opera. Abota da sanannen mai fasaha tun daga lokacin ya zama babban goyon bayan ɗabi'a a gare ta.

Abin farin ciki, wata rana mai kyau, gayyata don rera Tosca a cikin shirye-shiryen talabijin ta biyo baya. Bayan wannan wasan kwaikwayon, ya bayyana a fili cewa an haifi ainihin tauraron wasan opera. Tosca ya biyo bayan The Magic Flute, Don Giovanni, shi ma a talabijin, sannan wani sabon halarta a karon a kan wasan opera a San Francisco, inda Price ya shiga cikin wasan kwaikwayo na F. Poulenc's opera Dialogues of the Carmelites. Saboda haka, a 1957, ta m aiki ya fara.

Shahararriyar mawaƙin nan Rosa Ponselle ta tuna ganawarta ta farko da Leontina Price:

"Bayan ta rera ɗaya daga cikin opera da na fi so arias "Pace, pace, mio ​​​​Dio" daga "Ƙarfin Ƙaddara", na gane cewa ina sauraron ɗaya daga cikin mafi kyawun muryoyin zamaninmu. Amma ƙwaƙƙarfan iyawar murya ko kaɗan ba komai ba ne a cikin fasaha. Sau da yawa an gabatar da ni ga haziƙan matasa mawaƙa waɗanda daga baya suka kasa gane ƙwazonsu na halitta.

Saboda haka, tare da sha'awa kuma - ba zan ɓoye ba - tare da damuwa na ciki, na yi ƙoƙari a cikin dogon tattaunawarmu don gane halinta, mutum. Sannan na gane cewa ban da murya mai ban sha'awa da kaɗe-kaɗe, tana kuma da wasu ɗabi'u da yawa waɗanda ke da matuƙar daraja ga mai fasaha - zargi, kunya, ikon yin sadaukarwa mai girma saboda fasaha. Kuma na gane cewa wannan yarinya an ƙaddara don ƙware koli na fasaha, don zama ƙwararren mai fasaha na gaske.

A cikin 1958, Price ta yi hasarar nasara ta farko a matsayin Aida a manyan cibiyoyin wasan opera guda uku - Vienna Opera, Gidan wasan kwaikwayo na Covent Garden na London da bikin Verona Arena. A cikin irin wannan rawar, mawakiyar Amurka ta taka mataki na La Scala a karon farko a cikin 1960. Masu sukar sun kammala gaba ɗaya: Babu shakka farashin yana ɗaya daga cikin mafi kyawun masu yin wannan rawar a cikin karni na XNUMX: "Sabon mai yin wasan kwaikwayon rawar Aida, Leontina Price, ta haɗu a cikin fassararta zafi da sha'awar Renata Tebaldi tare da kiɗa da kaifin cikakkun bayanai waɗanda ke bambanta fassarar Leonia Rizanek. Price gudanar ya haifar da wani Organic Fusion na mafi kyau zamani hadisai na karanta wannan rawa, wadãtar da shi da nata fasaha ilhama da kuma m tunanin.

"Aida shine hoton launi na, wanda yake kwatanta da kuma taƙaita dukan jinsi, nahiya baki ɗaya," in ji Price. – Ta kasance kusa da ni musamman da shirinta na sadaukar da kai, alheri, ruhin jarumar. Akwai ƴan hotuna kaɗan a cikin wallafe-wallafen wasan kwaikwayo waɗanda mu, baƙar fata mawaƙa, za mu iya bayyana kanmu da irin wannan cikar. Shi ya sa nake son Gershwin sosai, domin ya ba mu Porgy da Bess.

Mawaƙi mai ƙwazo, mawaƙi mai sha'awar gaske ta burge jama'ar Turai da ita har ma, cike da ƙwaƙƙwaran soprano mai ƙarfi, daidai da ƙarfi a cikin duk rajista, kuma tare da ikonta na iya kaiwa ga kololuwa masu ban sha'awa, sauƙin yin aiki da ɗanɗano mara kyau.

Tun 1961, Leontina Price ya kasance mai soloist tare da Metropolitan Opera. A watan Janairu XNUMX, za ta fara halarta ta farko a kan mataki na shahararren gidan wasan kwaikwayo na New York a cikin opera Il trovatore. Mawallafin kaɗe-kaɗe ba su yi watsi da yabo ba: “Muryar Allah”, “Cikakken kyawun waƙoƙin waƙa”, “Shayari na kiɗan Verdi”.

A lokacin ne, a cikin shekarun 60s, an kafa kashin bayan wasan kwaikwayo na mawaƙa, wanda ya haɗa da, ban da Tosca da Aida, da sassan Leonora a Il trovatore, Liu a Turandot, Carmen. Daga baya, lokacin da Price ya riga ya kasance a zenith na shahara, ana sabunta wannan jerin kullun tare da sababbin jam'iyyun, sababbin aria da romances, waƙoƙin jama'a.

Ci gaba da aikin mai zane shine jerin nasarori masu ci gaba a matakai daban-daban na duniya. A 1964, ta yi wasa a Moscow a matsayin wani ɓangare na ƙungiyar La Scala, ta rera waƙa a cikin Requiem na Verdi ta Karajan, kuma Muscovites sun yaba da fasaharta. Haɗin kai tare da maestro na Austriya gabaɗaya ya zama ɗaya daga cikin mahimman shafuka na tarihin rayuwarta. Shekaru da yawa ba a raba sunayensu akan fastocin kide-kide da wasan kwaikwayo, a rubuce-rubuce. An haifi wannan abota ta kirkire-kirkire a birnin New York a lokacin daya daga cikin rehearsals, kuma tun daga wannan lokacin an dade ana kiranta da "Soprano Karajan". Karkashin jagorar hikima na Karayan, mawaƙin Negro ya sami damar bayyana mafi kyawun fasalulluka na iyawarta da faɗaɗa kewayon kerawa. Tun daga nan, kuma har abada, sunanta ya shiga cikin fitattun fasahar murya na duniya.

Duk da kwangila tare da Metropolitan Opera, da singer ciyar mafi yawan lokaci a Turai. "A gare mu, wannan al'amari ne na al'ada," in ji ta ga manema labarai, "kuma an bayyana shi da rashin aiki a Amurka: gidajen opera kaɗan ne, amma akwai mawaƙa da yawa."

“Masu suka suna kallon da yawa daga cikin faifan mawaƙin a matsayin babban gudumawa ga ƙwaƙƙwaran murya na zamani,” in ji mawallafin waƙa VV Timokhin. – Ta yi rikodin ɗaya daga cikin jam’iyyun rawaninta – Leonora a cikin Verdi ta Il trovatore – sau uku. Kowane ɗayan waɗannan rikodin yana da nasa cancantar, amma watakila mafi ban sha'awa shine rikodin da aka yi a cikin 1970 a cikin gungu tare da Placido Domingo, Fiorenza Cossotto, Sherrill Milnes. Farashin yana jin yanayin waƙar Verdi, jirginsa, shigar sihiri da kyau. Muryar mawaƙi tana cike da filasta na ban mamaki, sassauci, ruhin ruhi. Yadda mawaƙanta aria na Leonora daga aikin farko ya yi sauti, wanda Farashin ya kawo lokaci guda na rashin damuwa, jin daɗin rai. Har ila yau, an sauƙaƙe wannan ta hanyar musamman "duhu" launi na muryar mawaƙa, wanda ya kasance da amfani gare ta a cikin rawar Carmen, da kuma a cikin ayyukan Italiyanci, yana ba su wasan kwaikwayo na ciki. Leonora's aria da "Miserere" daga wasan opera na hudu na daga cikin manyan nasarorin da Leontina Price ya samu a wasan opera na Italiya. A nan ba ku san abin da za ku fi sha'awar ba - yanci mai ban mamaki da filastik na murya, lokacin da muryar ta juya zuwa cikakkiyar kayan aiki, marar iyaka ga mai zane, ko ba da kai, kona fasaha, lokacin da hoto, halin da ake ji a ciki. kowace magana. Farashin yana raira waƙa mai ban mamaki a cikin duk wuraren wasan kwaikwayo waɗanda opera Il trovatore ke da wadata sosai. Ita ce ruhin waɗannan tarin, tushen siminti. Muryar Farashin kamar ta shagaltu da duk waƙar, daɗaɗawa mai ban mamaki, kyawun waƙa da zurfin gaskiyar kiɗan Verdi.

A cikin 1974, a lokacin bude kakar a San Francisco Opera House, Price captivates da masu sauraro da veristic pathos na wasan kwaikwayon na Manon Lescaut a cikin opera Puccini na wannan sunan: ta rera wani ɓangare na Manon a karon farko.

A ƙarshen 70s, mawaƙin ya rage yawan adadin wasan opera. A lokaci guda kuma, a cikin wadannan shekaru, ta juya zuwa sassa, kamar yadda aka gani a baya, bai dace da basirar artist. Ya isa a ambaci wasan kwaikwayon a cikin 1979 a Metropolitan na rawar Ariadne a cikin opera R. Strauss Ariadne auf Naxos. Bayan haka, masu sukar da yawa sun sanya mai zane a kan matsayi tare da fitattun mawakan Straussian waɗanda suka haskaka a cikin wannan rawar.

Tun 1985, Price ya ci gaba da yin wasan kwaikwayo a matsayin mawaƙin ɗakin. Ga abin da VV ya rubuta a farkon 80s. Timokhin: “Shirye-shiryen zamani na Price, mawaƙiyar mawaƙa, sun shaida cewa ba ta canja tunaninta na dā ga waƙoƙin muryar Jamus da Faransa ba. Tabbas, tana waka daban-daban fiye da shekarun kuruciyarta ta fasaha. Da farko, ainihin timbre "bakan" muryarta ya canza - ya zama "mai duhu", mai arziki. Amma, kamar yadda ya gabata, santsi, kyawun aikin injiniyan sauti, da dabarar ji na mai zane na sassauƙan “ruwa” na layin muryar yana da ban sha’awa sosai…”