Lilli Lehmann |

Lilli Lehmann

mai wayo

Ita ce, tare da daga labule, ta taba zagi mai kula da makada da “jaki”, ta mari babban editan wata jarida da ta buga batsa game da ita, ta soke kwangilar da gidan wasan kwaikwayo na kotu a lokacin da ta ke. ta hana ta dogon hutu, ta kasance mai taurin kai, idan har wani abu ya saba wa burinta, kuma a cikin dakunan alfarma na Bayreuth har ta kai ga kin amincewa da Cosima Wagner da kanta.

Don haka, a gabanmu akwai ainihin prima donna? A cikin cikakkiyar ma'anar kalmar. Shekaru ashirin, ana ɗaukar Lilly Lehman a matsayin uwargidan shugaban ƙasa a wasan opera, aƙalla a cikin da'irorin ƙirƙira na Jamusanci da ƙasashen waje. An yi mata ruwan furanni da mukamai, an yi mata wakoki na yabo, an ba ta girma iri-iri; kuma ko da yake ba ta taɓa samun babban shaharar Jenny Lind ko Patty ba, fyaucewa da aka rusuna da ita - kuma a cikin masu sha'awar Leman akwai mutane masu mahimmanci - kawai ya girma daga wannan.

Sun yaba ba muryar mawakiyar kadai ba, har ma da fasaharta da halayenta na dan Adam. Hakika, da ba zai taɓa faruwa ga kowa ya maimaita kalmomin Richard Wagner game da ita ba, ya ce game da babban Schroeder-Devrient, cewa ta yi zargin "ba ta da murya." Soprano Lilly Leman ba za a iya kiransa kyautar halitta ba, kafin wanda kawai mutum zai iya yin ruku'u cikin sha'awa; virtuoso murya, da kyau da kuma kewayon, tun da zarar ya kai ga balaga cikin dukan m hanya, ya ci gaba da taka rawa ta farko: amma ba a matsayin kyauta daga sama, amma a sakamakon m aiki. A wancan lokacin, tunanin Leman, prima mai nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i) nau'i-nau'i. Ta gabatar da tunaninta a cikin littafin "My Vocal Art", wanda a cikin karni na ashirin ya kasance jagora mai mahimmanci ga vocals na dogon lokaci. Mawaƙin da kanta ya tabbatar da daidaiton ra'ayoyinta: godiya ga fasaha mara kyau, Leman ya riƙe ƙarfi da elasticity na muryarta, har ma a lokacin tsufa ta jimre da mawuyacin ɓangaren Donna Anna!

Adeline Patti, muryar abin al'ajabi, ita ma tayi kyau sosai tun lokacin tsufa. Sa’ad da aka tambaye ta ko menene sirrin waƙa, ta kan amsa da murmushi: “A’a, ban sani ba!” Murmushi tayi tana son bayyana butulci. Genius ta yanayi sau da yawa ya jahilci matuƙar "yadda" a cikin fasaha! Wani babban bambanci da Lilly Lehman da halinta ga kerawa! Idan Patty "bai san komai ba", amma ya san komai, Leman ya san komai, amma a lokaci guda ya yi shakkar iyawarta.

“Taki zuwa mataki ita ce kawai hanyar da za mu iya ingantawa. Amma don a samu mafi girman fasaha, fasahar waƙa tana da wahala, kuma rayuwa ta yi gajeru. Irin wannan ikirari daga bakin kowane mawaki zai zama kamar kyawawan kalmomi ga littafin karatun ɗalibanta. Ga mai yin wasan kwaikwayo kuma ma'aikaciyar rashin gajiyawa Lilly Lehman, waɗannan kalmomi ba komai ba ne illa ƙwararrun gaskiya.

Ba ta kasance yarinya mai girman kai ba kuma "ba ta iya yin alfahari da murya mai ban mamaki tun lokacin yaro", akasin haka, ta sami murya mara kyau, har ma da asma. Sa’ad da aka shigar da Lilly a gidan wasan kwaikwayo, ta rubuta wa mahaifiyarta: “Ban taɓa tunanin cewa akwai muryoyin da ba su da launi fiye da nawa, amma a nan akwai wasu mawaƙa guda shida waɗanda suka fi nawa rauni.” Wace hanya ce aka yi tafiya zuwa ga shahararren ɗan wasan ban mamaki Leonora daga Fidelio kuma jarumin mawaki na Wagner's Bayreuth! A kan wannan hanyar, babu fitintinu masu ban sha'awa ko tashin hankali da ke jiranta.

Tare da Lilly Lehman a cikin fagen diva ya zo mawaƙi mai hankali, mai hankali da ilimi; Ilimin da aka samu bai takaitu ga inganta murya kawai ba, sai dai kamar suna haifar da da'irar da'irar da'irar da ke kewaye da cibiyar da mai waƙa ya tsaya. Wannan mace mai hankali, mai dogaro da kai da kuzari tana da sha'awar duniya. A matsayin wani ɓangare na zane-zane, an tabbatar da shi ta wadatar repertoire na rera waƙa. Jiya jiya a Berlin, Lehman ta rera sashin Enkhen daga The Free Gunner, kuma a yau ta riga ta bayyana a dandalin Lambun Covent na London a matsayin Isolde. Ta yaya ƙwaƙƙwaran soubrette daga wasan opera mai ban dariya da jarumar ban mamaki suka kasance tare a cikin mutum ɗaya? Ƙwaƙwalwar ƙima mai ban mamaki Lehman ta kasance a duk tsawon rayuwarta. Masoyan Wagner, ta sami ƙarfin gwiwa a tsayin al'adun Jamusawa na Wagner don bayyana kanta a matsayin mai goyon bayan Verdi's La Traviata kuma ta zaɓi Norma Bellini a matsayin jam'iyyar da ta fi so; Mozart ya wuce gasar, duk rayuwarsa ya kasance ta "kasa mai kida".

A lokacin balaga, bayan wasan opera, Leman ya ci wuraren shagali a matsayin ƙwararriyar mawaƙin ɗakin karatu, kuma yayin da take gani, ji da koyo, ƙarancin rawar prima donna ta amsa sha'awarta ta kamala. Mawaƙin, a hanyarta, ya yi gwagwarmaya tare da wasan kwaikwayo na yau da kullum wanda ya yi mulki har ma a kan matakai masu ban sha'awa, a ƙarshe ya zama darekta: wani aiki marar misaltuwa da sababbin abubuwa na wannan lokacin.

Praeceptor Operae Germanicae (Master of the German Opera - Lat.), Singer, darektan, shirya bukukuwa, albishir na gyare-gyare, wanda ta himma da kwarin gwiwa, marubuci da kuma malami - duk wannan ya hada da wata duniya mace. A bayyane yake cewa adadi na Leman bai dace da ra'ayoyin gargajiya game da prima donna ba. Abin kunya, kudade masu ban sha'awa, sha'anin soyayya wanda ya ba da bayyanar opera divas wani inuwa mai ban sha'awa - ba a iya samun irin wannan a cikin aikin Leman. An bambanta rayuwar mawaƙin da sauƙi iri ɗaya da sunanta mai ƙayatarwa. Sha'awar batsa mai ban sha'awa na Schroeder-Devrient, sha'awar Malibran, jita-jita (ko da an yi karin gishiri) game da kisan kai na masoya masu matsananciyar Patti ko Nilsson - duk wannan ba za a iya haɗa shi da wannan mace kasuwanci mai kuzari ba.

“Babban girma, manyan siffofi masu daraja da motsi masu aunawa. Hannun sarauniya, kyawun wuya na ban mamaki da kuma kai wanda ba shi da kyau, wanda aka samo shi kawai a cikin dabbobin da ba su da kyau. Whitened da launin toka gashi, ba so ya boye da shekaru na mai su, a Keen sokin look na baki idanu, babban hanci, a tsananin ayyana bakin. Da ta yi murmushi, a tauye fuskarta hasken rana ya lullube ta da girman daraja, tawali’u da wayo.

L. Andro, mai sha'awar basirarta, ya kama wata mace mai shekaru sittin a cikin zanen sa "Lilli Leman". Kuna iya kallon hoton mawakin daki-daki, kuna kwatanta shi da hotunan wancan lokacin, kuna iya ƙoƙarin kammala shi a cikin ayar, amma girman girman girman prima donna ba zai canza ba. Wannan tsohuwa, amma har yanzu mace mai mutunci kuma mai dogaro da kanta ba za a iya kiranta da tanada ko phlegmatic ba. A cikin rayuwarta ta sirri, mai hankali ya gargaɗe ta game da ayyukan banza. A cikin littafinsa My Way, Lehman ya tuna yadda ta kusa mutuwa lokacin da, a bita a Bayreuth, Richard Wagner ya gabatar da ita, wacce har yanzu matashiyar 'yar wasan kwaikwayo ce a bakin kofa, ga mataimakiyar Fritz Brandt. Soyayya ce a farkon gani, a bangarorin biyu don tabbatar da rayuwa da soyayya, wanda aka samu kawai a cikin litattafan 'yan mata. A halin yanzu, saurayin ya zama mai tsananin kishi, ya azabtar da Lilly tare da zato marar tushe har sai da ta ƙarshe, bayan doguwar gwagwarmayar cikin gida wanda ya kusan rasa rayuwarta, ta yanke haɗin gwiwa. Mafi kwanciyar hankali shine aurenta da Paul Kalisch, suna yawan yin wasa tare a mataki ɗaya, tun kafin Leman ya aure shi yana girma.

Waɗancan lokuta da ba kasafai ba lokacin da mawaƙiyar ta ba da labarin yadda take ji ba su da alaƙa da abubuwan da aka saba yi na prima donnas, amma sun ɓoye manyan dalilai, saboda sun fi damuwa da mafi kusanci - art. Editan jaridar Berlin, yana la'akari da nasarar har abada na tsegumi, ya buga labarin ƙarya tare da cikakkun bayanai masu daɗi daga rayuwar matashin mawakin opera. An ce wai Leman da bai yi aure ba, wai yana cikin haihuwa. Kamar allahn fansa, mawaƙin ya bayyana a ofishin edita, amma wannan mummunan nau'i a duk lokacin da ya yi ƙoƙari ya yi watsi da alhakin. A karo na uku, Leman ya ci karo da shi a kan matakala, bai yi kewarsa ba. Lokacin da editan ya fara fita ta kowace hanya a ofis, ba ya son janye abin da aka fada, ta yi masa wani dadi a fuska. "Duk cikin kuka, na dawo gida kuma, cikin kuka, kawai na iya yi wa mahaifiyata ihu: "Ya samu!" Kuma shugaban makada wanda Le Mans ya kira jaki a rangadi a Toronto, Kanada? Ya gurbata Mozart - wannan ba laifi ba ne?

Ba ta fahimci barkwanci ba a lokacin da ake batun fasaha, musamman ma lokacin da ya zo ga ƙaunataccenta Mozart. Ba zan iya jure sakaci ba, tsakani da miji, tare da tsanar da na gamu da son zuciya na masu yin nasiha da neman asali. A cikin soyayya da manyan mawaƙa, ba ta yin kwarkwasa ba, yana da zurfi, mai tsanani. Leman koyaushe yana mafarkin rera waƙa Leonora daga Fidelio na Beethoven, kuma lokacin da ta fara fitowa a kan mataki a cikin wannan rawar, don haka abin tunawa da Schroeder-Devrient ya ƙirƙira, ta kusan suma don wuce gona da iri. A wannan lokacin, ta riga ta yi waka na tsawon shekaru 14 a Opera Court Opera, kuma kawai rashin lafiyar mawakiyar wasan kwaikwayo ta farko ta ba Leman damar da aka dade ana jira. Tambayar ma'aikaciyar wasan kwaikwayo, ko za ta so a maye gurbin, ya yi kama da kullun daga blue - ya "bace, ya karbi yardara, kuma ni, na kasa sarrafa ji na da rawar jiki, daidai inda nake tsaye. , kuka mai sauti na durkusa, hawaye masu zafi na farin ciki na gangarowa a hannuna, hannuwa na dunkule suna godiya ga mahaifiyata, wanda nake bi bashi! Sai da na dau lokaci kafin na dawo hayyacina nace ko gaskiya ne?! Ni ne Fidelio a Berlin! Allah mai girma, ni ne Fidelio!"

Mutum zai iya tunanin da irin mantawa da kai, da irin muhimmancin da ta taka! Tun daga wannan lokacin, Leman bai taɓa rabuwa da wannan opera ta Beethoven kaɗai ba. Daga baya, a cikin littafinta, wanda ɗan gajeren hanya ne na tunani da gogewa, ta ba da bincike ba kawai game da matsayin take ba, amma game da duk rawar da ke cikin wannan wasan opera gabaɗaya. A kokarinta na isar da iliminta, don hidimar fasaha da ayyukanta, hazakar mawakiyar ma tana bayyana. Taken prima donna ya tilasta mata yin manyan buƙatu ba a kanta kaɗai ba, har ma da wasu. Aiki a gare ta koyaushe yana da alaƙa da irin waɗannan ra'ayoyi kamar aiki da nauyi. "Kowane mai kallo ya gamsu da duk abin da ya dace - musamman ma idan ya zo da fasaha ... Mai zane yana fuskantar aikin ilmantar da masu sauraro, da nuna manyan nasarorin da ya samu, ya ba ta kyauta kuma, ba tare da kula da mummunan dandano nata ba, don cika manufarta. har zuwa karshe,” ta bukata. "Kuma wanda ya kasance yana fatan arziki da jin dadi daga fasaha, da sannu zai saba ganin ma'abucin riba a cikin abinsa, wanda bashinsa zai rayu har abada, kuma wannan mai cin riba zai karbi riba mafi tsanani daga gare shi."

Ilimi, manufa, aikin fasaha - wane irin tunani ne prima donna yake da shi! Za su iya fitowa da gaske daga bakin Patti, Taliya ko Catalani? Majiɓincin prima donnas na ƙarni na goma sha tara, Giacomo Rossini, mai sha’awar Bach da Mozart na gaske, ya rubuta jim kaɗan kafin mutuwarsa: “Mu Italiyanci za mu iya mantawa da daƙiƙa cewa jin daɗi ne sanadin waƙa da kuma maƙasudin ƙarshe.” Lilly Lehman ba fursunan fasaharta ba ce, kuma ba za a iya hana ta jin daɗin sa ba kwata-kwata. "Humor, mafi kyawun abin da ke ba da rai a cikin kowane wasan kwaikwayo ... shine kayan yaji don yin wasan kwaikwayo a cikin gidan wasan kwaikwayo da kuma a rayuwa," a zamanin yau a farkon karni "gaba daya an tura shi zuwa bango a duk wasan operas," mawaƙin sau da yawa. korafi. Shin jin daɗi shine sanadin waƙa da matuƙar manufa? A'a, ramin da ba za a iya wucewa ba ya raba ta da ra'ayin Rossini, kuma ba abin mamaki ba ne cewa sunan Leman bai wuce cibiyoyin al'adun Jamus da Anglo-Saxon ba.

An aro manufofinsa gaba ɗaya daga ɗan adam na Jamusanci. Haka ne, a cikin Leman zaka iya ganin wani wakilin babban bourgeoisie daga lokacin Sarkin sarakuna Wilhelm, wanda aka kawo a cikin al'adun ɗan adam. Ta zama siffa mafi kyawun sifofi na wannan zamani. Tun daga mahangar zamaninmu, wanda ya koyar da kwarewar muguwar rugujewar ra'ayin Jamusanci da aka fuskanta a karkashin Hitler, muna ba da ingantaccen kimantawa game da abubuwan da suka dace na wannan kyakkyawan tsari kuma ta fuskoki da yawa na zamanin caricatured, wanda fitattun masu tunani Friedrich Nietzsche kuma Jakob Burckhardt ya sanya irin wannan haske mara tausayi. A Lilly Lehman ba za ku sami wani abu ba game da raguwar ɗabi'a, game da Jamusanci anti-Semitism na ƙasa, game da megalomania maras kyau, game da "maƙasudin da aka cimma". Ta kasance 'yar kishin kasa ta gaske, ta tsaya tsayin daka don nasarar da sojojin Jamus suka samu a Faransa, ta yi jimamin mutuwar Moltke tare da 'yan Berlin, da mutunta karagar mulki da masu fada aji, saboda mawakin soloist na kotun opera na masarautar Masarautar. Prussia, wani lokaci ya dushe kyawawan idanun mawaƙin, don haka mai hankali a cikin aikinta.<...>

ginshiƙan ilimi waɗanda ba za su lalace ba ga Lilly Lehman sune Schiller, Goethe da Shakespeare a cikin adabi, da Mozart, Beethoven, Schubert, Wagner da Verdi a cikin kiɗa. Dan Adam na ruhaniya ya haɗu da ayyukan mishan mai aiki na mawaƙi. Lehman ya farfado da bikin Mozart a Salzburg, wanda ya fuskanci barazana dubunnan matsaloli, ya zama majibincin fasaha kuma daya daga cikin wadanda suka assasa wannan biki, cikin himma da gajiyawa wajen kare dabbobi, yana kokarin jawo hankalin Bismarck da kansa. Mawaƙin ya ga kiranta na gaskiya a cikin wannan. Dabbobin dabbobi da tsire-tsire ba su rabu da abu mai tsarki ba - fasaha, amma suna wakiltar kawai wani ɓangare na rayuwa a cikin dukan haɗin kai na bambancinsa. Da zarar gidan mawaƙin da ke Scharfling a Mondsee kusa da Salzburg ya cika ambaliya, amma lokacin da ruwan ya lafa, ga alama, har yanzu akwai ƙananan dabbobi a kan filin, kuma macen Samariya mai jinƙai ta ciyar da ko da jemagu da moles tare da burodi da nama.

Kamar Malibran, Schroeder-Devrient, Sontag, Patti da sauran fitattun mawaƙa, an haifi Lilly Lehman a cikin dangin 'yan wasan kwaikwayo. Mahaifinta, Karl August Lehmann, ɗan wasan kwaikwayo ne na ban mamaki, mahaifiyarta, nee Maria Löw, mawaƙin soprano, ta yi shekaru da yawa a gidan wasan kwaikwayo na kotu a Kassel a ƙarƙashin jagorancin Louis Spohr. Amma abu mafi mahimmanci a rayuwarta shine dangantakarta da matashi Richard Wagner. An haɗa su ta hanyar abokantaka na kud da kud, kuma babban mawaki ya kira Maryamu "ƙaunarsa ta farko". Bayan aure, aikin Maria Löw ya ƙare. Rayuwa mai kyawu, amma mai saurin fushi da shaye-shaye ba da jimawa ba ta koma wani mafarki na gaske. Ta yanke shawarar saki, kuma nan da nan aka ba ta matsayi a matsayin mawaƙa a gidan wasan kwaikwayo na Prague, kuma a cikin 1853, yarinyar ta tafi babban birnin Bohemia ta hanyar wasiku, tare da 'ya'yanta mata biyu: Lilly, wanda aka haifa a ranar 24 ga Nuwamba. , 1848 a Würzburg, da Maria, shekaru uku girmi na karshen. na shekara.

Lilly Lehman ba ta gajiya da yaba soyayyar mahaifiyarta, sadaukar da kai da juriya. Prima donna ta bashi ba kawai fasahar waƙa ba, har ma da komai; mahaifiya ta ba da darussa, kuma tun daga ƙuruciya Lilly ta bi ɗalibanta a kan piano, a hankali ta saba da duniyar kiɗa. Don haka, tun ma kafin fara wasan kwaikwayo mai zaman kansa, ta riga ta sami labari mai ban mamaki. Sun rayu cikin tsananin bukata. Babban birni mai ban sha'awa mai ɗaruruwan hasumiya a lokacin ya kasance lardin kiɗa. Yin wasa a cikin ƙungiyar makaɗa na gidan wasan kwaikwayo na gida bai samar da wadataccen abin rayuwa ba, kuma don ya sami abin dogaro da kansa, dole ne ya sami darussa. Waɗannan lokuttan sihiri sun daɗe lokacin da Mozart ya gabatar da farkon Don Giovanni a nan, kuma Weber ya kasance mai kula da makada. A cikin memoirs na Lilly Leman babu abin da aka ce game da farkawa a Czech music, babu wata kalma game da farko na Smetana, game da Bartered Bride, game da gazawar Dalibor, wanda haka m Czech bourgeoisie.

Angular siriri Lilly Leman ta cika shekara goma sha bakwai lokacin da ta fara fitowa a dandalin Estates Theatre a matsayin Uwargidan Shugaban Kasa a Mozart's The Magic Flute. Amma kawai makonni biyu ya wuce, kuma novice Lilly yana raira waƙa babban sashi - ta hanyar dama mai tsabta, yana ceton aikin. A tsakiyar wasan kwaikwayon, darektan gidan wasan kwaikwayo ya kasance mai rashin tausayi ga mai wasan kwaikwayo na Pamina, wanda ke da damuwa daga tashin hankali mai juyayi, dole ne a aika ta gida. Kuma ba zato ba tsammani wani abin al'ajabi ya faru: ƴar ƙwaƙƙwaran baƙar fata Lilly Lehman ta ba da kai don rera wannan ɓangaren! Ta koya mata? Ba digo ba! Leman Sr., da ya ji sanarwar babban darektan, ya garzaya kan mataki a cikin tsoro don cire aikin Pamina daga Fräulein Löw (saboda tsoron kasawa, ko da a cikin ƙaramin aikin uwargidan shugaban kasa, ba ta kuskura ta yi aiki ba. a ƙarƙashin sunanta na ainihi) kuma ta haka nemo aikin. Amma matashiyar mawakiyar ba ta yi jinkiri ba na daƙiƙa guda kuma jama'a sun ji daɗin hakan, duk da cewa ba ta shirya ba. Sau nawa za ta gwada kanta akan maye gurbin a nan gaba! Leman ta nuna daya daga cikin fitattun misalan yayin rangadin da ta yi a Amurka. A cikin Tetralogy na Wagnerian "Ring of the Nibe-Lung", inda ta buga Brunnhilde, mai wasan kwaikwayo na Frikka a cikin "Rheingold Gold" ya ƙi yin. Da ƙarfe huɗu na yamma, an tambayi Lilly ko za ta iya rera waƙa don Frikka a wannan maraice; karfe biyar da rabi Lilly da 'yar uwarta suka fara duba wani bangare da ba su taba rera su ba; Da kwata zuwa bakwai na tafi gidan wasan kwaikwayo, a takwas na tsaya a kan dandalin; babu isasshen lokaci don wasan karshe, kuma mawaƙin ya haddace shi, yana tsaye a baya, yayin da Wotan, a cikin kamfanin Loge, ya gangara zuwa Nibelheim. Komai yayi kyau. A cikin 1897, an ɗauki kiɗan Wagner a matsayin kiɗan zamani mafi wahala. Kuma ku yi tunanin, a cikin gaba ɗaya Leman ya yi ƙananan kuskure guda ɗaya a cikin harshe. Abokanta na sirri tare da Richard Wagner ya faru a lokacin ƙuruciyarta a cikin 1863 a Prague, inda mawaƙin, wanda ke kewaye da abin kunya da shahara, ya gudanar da nasa kide kide. Mahaifiyar Leman da 'ya'yanta mata guda biyu suna ziyartar gidan mawaki a kowace rana. Mahaifiyarsa ta ce: “Mutaki yana da daraja, amma har yanzu bai samu isashen rayuwa ba. Yarinyar tana son Wagner. Ba wai kawai bayyanar sabon mawakin ne ya ja hankalinta ba - "wani rigar gida mai rawaya da aka yi da damask, taye mai ja ko ruwan hoda, babban siliki mai baƙar fata mai suturar satin (wanda ya zo karatunsa) - babu wanda ya yi ado irin wannan. Prague; Na kalli idona na kasa boye mamakina. Kiɗa da kalmomin Wagner sun bar wani tasiri mai zurfi a ran wata yarinya ’yar shekara sha biyar. Wata rana ta rera masa wani abu, kuma Wagner ya ji daɗin ra'ayin ɗaukar ta don yarinyar ta yi duk ayyukansa! Kamar yadda Lilly ya gano ba da daɗewa ba, Prague ba ta da wani abin da zai ba ta a matsayin mawaƙa. Ba tare da jinkiri ba, a cikin 1868 ta karɓi gayyatar gidan wasan kwaikwayo na birnin Danzig. Hanyar rayuwa ta ubanni ta yi mulki a can, darektan ya kasance yana buƙatar kuɗi akai-akai, kuma matarsa, mutum mai kirki, ko da a lokacin da yake dinki, ba ta daina magana a cikin babban bala'i na Jamus ba. Babban filin ayyuka ya buɗe a gaban matashiya Lilly. Kowace mako ta koyi sabon rawar, kawai yanzu shine manyan sassan: Zerlina, Elvira, Sarauniyar Dare, Rossini's Rosina, Verdi's Gilda da Leonora. A cikin arewacin birnin patricians, ta rayu kawai rabin shekara, manyan gidajen wasan kwaikwayo sun riga sun fara farauta don fi so na Danzig jama'a. Lilly Lehman ta zaɓi Leipzig, inda 'yar'uwarta ta riga ta rera waƙa.

Lokacin bazara 1870, Berlin: Abu na farko da matashin soloist na Royal Opera ya gani a babban birnin Prussia shine bugu na musamman na jaridu da jerin gwanon biki a gaban fadar sarki. Jama'a sun yi ta murna da labarin daga gidan wasan kwaikwayo na yaki a kasar Faransa, an fara bude sabon kakar wasa tare da nuna kishin kasa a kan mataki, inda 'yan wasan opera na kotun suka rera taken kasar da kuma wakar Borussia a cikin mawaka. A wancan lokacin, Berlin ba ta zama birni na duniya ba, amma "Opera ƙarƙashin Lindens" - gidan wasan kwaikwayo a kan titi Unter den Linden - godiya ga nasarar da Huelsen ya samu da jagoranci mai mahimmanci, yana da kyakkyawan suna. Mozart, Meyerbeer, Donizetti, Rossini, Weber sun buga a nan. Ayyukan Richard Wagner sun bayyana a kan mataki, suna shawo kan matsananciyar juriya na darektan. Personal dalilai taka muhimmiyar rawa: a 1848, jami'in Hülsen, da scion na daraja iyali, ya shiga cikin murkushe tawaye, yayin da a gefen 'yan tawaye, matasa Kapellmeister Wagner ya yi yaƙi, wahayi zuwa ga ƙararrawar juyin juya hali kuma ya hau. idan ba a kan shingaye ba, to a kan majami'ar kararrawa tabbas. Daraktan gidan wasan kwaikwayo, aristocrat, ba zai iya manta da wannan na dogon lokaci ba.

A lokaci guda, akwai fitattun ƴan wasan Wagner guda biyu a cikin ƙungiyarsa: jarumin ɗan wasa Albert Niemann da na farko Bayreuth Wotan Franz Betz. Ga Lilly Lehman, Nieman ya juya ya zama gunki mai haske, ya zama "ruhun jagora wanda ke jagorantar kowa da kowa"… Hankali, ƙarfi da fasaha sun haɗu da iko. Leman ba ta sha'awar fasahar abokan aikinta a makance ba, amma koyaushe tana girmama su. A cikin tarihinta, za ku iya karanta wasu maganganu masu mahimmanci game da kishiyoyin, amma ba ko da mummunan kalma ba. Leman ya ambaci Paolina Lucca, wanda lakabin da aka samu ya zama kamar babbar nasara ta ƙirƙira - ta yi alfahari da hakan; Ta rubuta game da fitattun sopranos Mathilde Mallinger da Wilma von Voggenhuber, da kuma ƙwararriyar ƙwararriyar ƙwararriyar ƙwararrun ƙwararrun Mariyanne Brant.

Gabaɗaya, ƴan uwantaka na aiki sun zauna tare, ko da yake a nan ba zai iya yin ba tare da abin kunya ba. Don haka, Mullinger da Lucca sun ƙi juna, kuma ƙungiyoyin masu sha'awar sun kunna wutar yaƙi. Lokacin da, wata rana kafin wasan kwaikwayo, Paolina Lucca ta mamaye jerin gwanon masarautar, tana son nuna fifikonta, magoya bayan Mullinger sun gaishe da fitowar Cherubino daga "Aure na Figaro" tare da kurma. Amma prima donna ba za ta daina ba. "To in yi waka ko?" Ta fad'a cikin falon. Kuma wannan rashin kula da da'a na gidan wasan kwaikwayo na kotun ya yi tasiri: hayaniya ta lafa sosai har Lucca zai iya rera waƙa. Gaskiya ne, wannan bai hana Countess Mullinger ba, wanda ya yi a cikin wannan wasan kwaikwayon, daga bugun Cherubino da ba a so da rashin fahimta ba, amma da gaske ya buga a fuska. Dukansu prima donnas tabbas sun suma idan ba su ga Lilly Leman a cikin akwatin wasan kwaikwayo ba, a shirye don maye gurbinsu a kowane lokaci - har ma ta zama sananne a matsayin mai ceton rai. Duk da haka, babu wani daga cikin kishiyoyin da zai sake samar mata da wata nasara.

A cikin tsawon shekaru goma sha biyar, Lilly Lehman sannu a hankali ya sami tagomashi ga jama'ar Berlin da masu suka, kuma a lokaci guda Shugaba. Huelsen ba ta ma tunanin cewa za ta iya motsawa daga Konstanz, Blondchen, Rosin, Filin da Lortsing soubrettes zuwa ga rawar gani. Wato, wani matashi, wanda ba gogaggen mawaƙi ya jawo su. Tun a shekarar 1880, Leman ya koka da cewa darektan opera na kotu yana kallonta a matsayin karamar 'yar wasan kwaikwayo kuma ya ba da matsayi mai kyau kawai idan wasu mawaƙa sun ƙi su. A wannan lokacin, ta riga ta sami nasarori a Stockholm, London da kuma a kan manyan matakan opera a Jamus, kamar yadda ya dace da ainihin prima donna. Amma mafi mahimmanci shine wasan kwaikwayon da zai yi tasiri sosai a cikin aikinta: Richard Wagner ya zaɓi Lehman don ƙaddamar da Der Ring des Nibelungen a bikin Bayreuth na 1876. An ba ta amana a matsayin farkon Mermaid da Helmwig daga Valkyrie. Tabbas, waɗannan ba sassa mafi ban mamaki ba ne, amma ba don Wagner ko ita ba akwai ƙananan ayyuka marasa mahimmanci. Wataƙila, jin nauyin alhakin fasaha a wancan lokacin zai tilasta wa mawaƙa yin watsi da aikin Brunnhilde. Kusan kowace maraice, Lilly da 'yar uwarta, Mermaid na biyu, sun zo Villa Wanfried. Wagner, Madame Cosima, Liszt, daga baya kuma Nietzsche - a cikin irin wannan fitacciyar al'umma "sha'awar sani, mamaki da jayayya ba su bushe ba, kamar yadda farin ciki na gaba ɗaya bai wuce ba. Kiɗa da kwayoyin halitta sun kawo mu cikin yanayi na jin daɗi…”

Sihirin fara'a na gwanin wasan Richard Wagner bai ɗan burge ta ba fiye da halinsa. Ya dauke ta kamar tsohon sani, ya yi tafiya da hannu da ita a cikin lambun Wanfried, kuma ya ba da ra'ayinsa. A cikin gidan wasan kwaikwayo na Bayreuth, a cewar Lilly Lehman, ya shirya ba kawai The Ring ba, har ma da fitattun ayyuka kamar Fidelio da Don Giovanni.

A lokacin samarwa, ban mamaki, sababbin matsaloli sun taso. Dole ne in mallaki na'urar don yin iyo - wannan shine yadda Leman ya kwatanta ta: “Ya Allahna! Tsari ne mai nauyi mai siffar triangular a kan tulin karfe mai tsayi kusan ƙafa 20, a ƙarshensa an sanya ɓangarorin lattice a kusurwa; ya kamata mu yi musu waƙa!” Don ƙarfin hali da haɗarin mutuwa, bayan wasan kwaikwayon, Wagner ya rungume Mermaid sosai, wanda ke zubar da hawaye na farin ciki. Hans Richter, jagoran farko na Bayreuth, Albert Niemann, "ruhunsa da ƙarfin jiki, bayyanarsa wanda ba a manta ba, Sarki da Allah na Bayreuth, wanda Sigmund mai kyau da ban mamaki ba zai dawo ba", da Amalia Materna - waɗannan su ne mutanen da sadarwar su. , ba shakka, bayan mahaliccin wasan kwaikwayo a Bayreuth, yana cikin mafi kyawun ra'ayi na Leman. Bayan bikin, Wagner ya rubuta mata bayanin godiya, wanda ya fara kamar haka:

“Ya! Lilly! Lilly!

Kun kasance mafi kyawun duka kuma, ɗana ƙaunataccena, kun yi daidai cewa hakan ba zai sake faruwa ba! An sihirce mu da sihirin tsafi na wani dalili na gama gari, My Mermaid…”

Haƙiƙa ba ta sake faruwa ba, babban ƙarancin kuɗi bayan “Ring of the Nibelungen” na farko ya sa maimaita ba zai yiwu ba. Shekaru shida bayan haka, da zuciya mai nauyi, Leman ya ƙi shiga cikin shirin farko na duniya na Parsifal, kodayake Wagner ya nace ya roƙi; Tsohuwar angonta Fritz Brand ita ce ke da alhakin yanayin wasan kwaikwayon. Da alama Lilly ba za ta iya jurewa sabon taron ba.

A halin yanzu, ta yi suna a matsayin mawakiya mai ban mamaki. Ayyukanta sun haɗa da Venus, Elizabeth, Elsa, kaɗan daga baya Isolde da Brunnhilde da, ba shakka, Beethoven's Leonora. Har yanzu akwai dakin tsofaffin sassan bel canto da kuma saye masu ban sha'awa kamar Lucrezia Borgia da Lucia di Lammermoor daga wasan operas na Donizetti. A shekara ta 1885, Lilly Lehman ta yi tsallakawa zuwa Amurka ta farko ta teku, kuma ta yi rawar gani sosai a cikin kayan alatu, kwanan nan da aka bude Metropolitan Opera, kuma a yayin ziyarar da take yi a wannan kasa mai fadi ta samu karbuwa daga jama'ar Amurka, wadanda suka saba da Patti da sauransu. . taurari na makarantar Italiyanci. Opera ta New York ta so ta sami Leman har abada, amma ta ƙi, saboda wajibcin Berlin. Mawakin dai ya kammala rangadin shagali, wasan kwaikwayo talatin a Amurka ya kawo mata kudi mai yawa kamar yadda ta samu a Berlin cikin shekaru uku. Shekaru da yawa yanzu, Leman ya ci gaba da karɓar maki 13500 a shekara da maki 90 don wasan kwaikwayo - adadin da bai dace da matsayinta ba. Mawakiyar ta roki a tsawaita hutun, amma an ki yarda da hakan, kuma ta haka ta cimma yarjejeniya. Kauracewa taron da Berlin ta sanar na tsawon shekaru da dama ya sanya takunkumi kan wasanninta a Jamus. Yawon shakatawa a Paris, Vienna da Amurka, inda Lilly ya yi sau 18, ya kara wa mawaƙa suna sosai, wanda a ƙarshe ya sake buɗe hanyarta zuwa Berlin.

A cikin 1896, an sake yin Ring of the Nibelungen a Bayreuth. A fuskar Leman, wanda ya yi suna a duniya, sun ga mafi cancantar wasan kwaikwayo na Isolde. Cosima ta gayyaci mawakin, kuma ta yarda. Gaskiya ne, wannan kololuwar aikinsa bai kasance marar gajimare ba. Dabi'ar kama-karya na uwar gidan Bayreuth bai yi mata dadi ba. Bayan haka, ita ce, Lilly Lehman, Wagner ya fara shiga cikin shirye-shiryensa, ita ce ta himmatu wajen fahimtar kowane jawabinsa kuma ta kiyaye kowane motsi a cikin kyakkyawar ƙwaƙwalwarta. A yanzu dai dole ta kalli abinda ke faruwa, wanda babu ruwanta da tunaninta; Leman ya mutunta kwazo da basirar Cosima sosai, amma girman kan ta, wanda bai kawar da kai ba, ya shiga jijiyar wuya. Prima donna ta ji cewa "mai kula da Holy Grail na 1876 kuma tare da ita Wagner sun bayyana a cikin wani haske daban." Sau ɗaya, a wani gwaji, Cosima ta kira ɗanta ya ba da shaida: “Shin, Siegfried, ba ka tuna cewa a shekara ta 1876 haka ya kasance?” “Ina ganin kin yi gaskiya Mama,” ya amsa cikin biyayya. Shekaru ashirin da suka wuce yana dan shekara shida kacal! Lilly Lehman ya tuna da tsohon Bayreuth tare da bege, yana kallon mawaƙa, "ko da yaushe yana tsaye a cikin bayanin martaba", a matakin da aka rufe da raƙuman ruwa, a cikin soyayyar Siegmund da Sieglinde, waɗanda suka zauna tare da baya ga juna, a wurin. muryoyin tausayi na 'ya'ya mata na Rhine, amma mafi kawai "tsananin katako" suna cutar da rai. "Akwai hanyoyi da yawa da ke kaiwa Rome, amma ɗaya kawai zuwa Bayreuth na yau - biyayyar bautar!"

Samfurin ya kasance babban nasara, kuma a ƙarshe an warware babban rikici tsakanin Leman da Cosima. A ƙarshe, babban katin trump har yanzu Lilly Lehman. A cikin 1876 ta rera waƙa kyauta, amma yanzu ta tura kuɗinta duka da maki 10000 ƙari ga asibitin Bayreuth na St. Augusta don gado na dindindin ga mawaƙa matalauta, game da abin da ta yi wa Cosima telegraph "tare da mutuntawa sosai" da kuma ƙagaggun zance. Wata rana uwargidan Bayreuth ta yi kuka game da girman kuɗin da mawakin ya biya. Menene babban dalilin gaba da juna? Jagoranci. Anan Lilly Lehman ta na da kanta a kafaɗunta, wanda a cikinsa akwai tunani da yawa da za a yi biyayya a makance. A wancan lokacin hankalin mawakin kan bada umarni wani abu ne da ba a saba gani ba. Directing, har ma a cikin manyan gidajen wasan kwaikwayo, ba a sanya shi a cikin wani abu ba, babban darektan ya shiga cikin tsabtataccen wayoyi. Taurari sun riga sun yi duk abin da suke so. A gidan wasan kwaikwayo na Kotun Berlin, wasan opera da ke cikin repertoire ba a sake maimaita shi ba kafin wasan, kuma an gudanar da karatun sabbin wasannin ba tare da kyan gani ba. Babu wanda ya damu game da masu yin ƙananan sassa, sai Lilly Lehman, wanda "ya taka rawar mai kula mai ƙwazo" kuma, bayan an gwada shi, da kansa ya bi da dukan masu sakaci. A Vienna Kotun Opera, inda aka gayyace ta zuwa ga rawar da Donna Anna, dole ne ta cire mafi muhimmanci lokacin da samar daga mataimakin darektan. Amma mawaƙin ya sami amsar da ta dace: “Lokacin da Mista Reichmann ya gama rera waƙa, zai tafi dama, kuma Mista von Beck zai tafi hagu, domin ɗakin tufafinsa yana ɗaya gefen.” Lilly Lehman ta yi ƙoƙarin kawo ƙarshen irin wannan halin ko in kula, inda ikonta ya yarda da hakan. Ga wani sanannen maigidan, ta ƙulla niyyar saka duwatsu a cikin wani akwati mai daraja, wanda koyaushe yana ɗauka kamar gashin tsuntsu, kuma ya kusan sauke nauyinsa, bayan ya sami darasi na “wasan kwaikwayo na halitta”! A cikin bincike na Fidelio, ba kawai ta ba da takamaiman umarnin game da matsayi, ƙungiyoyi da kayan aiki ba, amma kuma ta bayyana ilimin halin ɗan adam na duka haruffa, babba da sakandare. Sirrin nasarar aikin tiyata gareta shine kawai cikin hulɗa, cikin buri na ruhaniya na duniya. A lokaci guda kuma, ta kasance mai shakku game da rawar soja, ba ta son shahararriyar ƙungiyar Viennese na Mahler ba daidai ba saboda rashin haɗin gwiwa mai ban sha'awa - halin rashin son kai mai tasiri. Gabaɗaya da ɗaiɗaikun, a ra’ayinta, ba su yi karo da juna ba. Singer kanta na iya tabbatar da cewa a cikin 1876 a Bayreuth Richard Wagner ya tsaya tsayin daka don bayyana dabi'ar halitta kuma bai taɓa shiga cikin 'yancin ɗan wasan kwaikwayo ba.

A yau, cikakken bincike na "Fidelio" zai iya zama kamar ba dole ba ne. Ko a rataya fitila a kan shugaban fursunonin Fidelio, ko kuma hasken zai gudana "daga hanyoyin nesa" - shin da gaske yana da mahimmanci? Leman ya kusanci da mafi girman mahimmanci abin da a cikin harshen zamani ake kira aminci ga manufar marubucin, don haka rashin haƙuri ga Cosima Wagner. Solemnity, maɗaukakin matsayi da duk salon wasan kwaikwayon Leman a yau zai yi kama da abin tausayi. Eduard Hanslik ya yi nadama game da rashin "ƙarfin halitta" na 'yar wasan kwaikwayo kuma a lokaci guda ya yaba mata "maɗaukakin ruhu, wanda, kamar gogaggen karfe, ba makawa ne wajen kera kowane abu kuma yana nuna idanunmu lu'u-lu'u da aka goge zuwa kamala." Leman bashi da ƙarancin basirar gani fiye da kyakkyawar dabarar waƙa.

Maganarta game da wasan kwaikwayo na opera, wanda aka yi a zamanin Italiyanci da Wagnerian na gaskiya, har yanzu ba su rasa abubuwan da suka dace ba: juya zuwa ga inganta waƙa da zane-zane, sa'an nan sakamakon zai zama mafi mahimmanci mafi mahimmanci ... daya!

A matsayin tushe, ta ba da izinin shiga cikin hoton, ruhaniya, rayuwa a cikin aikin. Amma Lehman ya tsufa sosai don tabbatar da sabon salo na mafi girman matakin sarari. Shahararrun hasumiya na nadi a cikin samar da Mahler na Don Juan a cikin 1906, ginshiƙan firam ɗin da suka fara sabon zamani na zane-zane, Leman, tare da cikakkiyar sha'awarta ga Roller da Mahler, ana ganinta a matsayin "harsashi mai banƙyama."

Don haka, ba ta iya jure wa "waƙar zamani" na Puccini da Richard Strauss, ko da yake tare da babban nasara ta wadatar da repertoire tare da waƙoƙin Hugo Wolf, wanda bai taɓa son karɓar ta ba. Amma babban Verdi Leman yana ƙauna na dogon lokaci. Jim kadan kafin fitowarta ta Bayreuth a shekara ta 1876, ta fara yin Verdi's Requiem, kuma bayan shekara guda ta rera waƙa a Cologne a ƙarƙashin jagorancin maestro da kansa. Sa'an nan kuma, a cikin rawar Violetta, ƙwararriyar jarumar Wagnerian ta bayyana zurfin ɗan adam na Verdi's bel canto, ta girgiza ta har mawaƙin zai yi farin ciki "ya furta ƙaunarta a gaban dukan duniya na kiɗa, sanin cewa mutane da yawa za su la'anta ni don haka. Wannan… Ɓoye fuskarka idan kun yi imani ɗaya Richard Wagner, amma dariya kuma ku ji daɗi tare da ni idan za ku iya tausayawa… Akwai kida mai tsafta kawai, kuma kuna iya tsara duk abin da kuke so.

Kalma ta ƙarshe, da ta farko, duk da haka, ta kasance tare da Mozart. Tsohuwar Leman, wanda, duk da haka, har yanzu ya bayyana a matsayin mai gabatar da Donna Anna a Vienna State Opera, mai shiryawa da kuma majiɓincin bukukuwan Mozart a Salzburg, ya koma zuwa "ƙasar mahaifa". A lokacin bikin cika shekaru 150 na haihuwar babban mawaki, ta shirya Don Juan a ƙaramin gidan wasan kwaikwayo na birni. Rashin gamsuwa da nau'ikan Jamusanci marasa amfani, Leman ya dage kan ainihin Italiyanci. Ba don son almubazzaranci ba, amma akasin haka, ƙoƙari don saba da ƙaunataccen, ba sa son lalata opera masoyi ga zuciyarta tare da "sabbin ra'ayoyi," ta rubuta, tana mai kallon gefe guda kan shahararren Mahler-Rollerian samarwa a cikin Vienna. Abin gani? Abu ne na biyu - duk abin da ya zo hannun Salzburg an yi amfani da shi. Amma a daya bangaren, tsawon watanni uku da rabi, a karkashin jagorancin Lilly Lehman, an ci gaba da yin karin bayani dalla-dalla, mai tsanani. Fitaccen ɗan wasa Francisco di Andrade, maƙiyin farin siliki na siliki, wanda Max Slevoht ya mutu da gilashin shampagne a hannunsa, ya taka rawa mai suna Lilly Lehman - Donna Anna. Mahler, wanda ya kawo ƙwararren Le Figaro daga Vienna, ya yi suka game da samar da Leman. Singer, a gefe guda, ya nace a kan sigar ta Don Juan, kodayake ta san duk rauninsa.

Bayan shekaru hudu, a Salzburg, ta lashe aikin rayuwarta tare da samar da The Magic Flute. Richard Mayr (Sarastro), Frieda Hempel (Sarauniyar Dare), Johanna Gadsky (Pamina), Leo Slezak (Tamino) su ne fitattun mutane, wakilan sabon zamani. Ita kanta Lilly Lehman ta rera Uwargidan Shugaban Kasa, rawar da ta taba yin muhawara da ita. An rufe da'irar da sunan ɗaukaka na Mozart. Matar mai shekaru 62 har yanzu tana da isasshen ƙarfin da za ta iya tsayayya da rawar Donna Anna a gaban masu haske kamar Antonio Scotti da Geraldine Farrar riga a cikin taken na biyu na bikin bazara - Don Juan. Bikin Mozart ya ƙare tare da shimfiɗa Mozarteum, wanda shine fifikon Leman.

Bayan haka, Lilly Lehman ta yi bankwana da matakin. A ranar 17 ga Mayu, 1929, ta mutu, ta riga ta wuce tamanin. Masu zamani sun yarda cewa duk wani zamani ya tafi tare da ita. Abin ban mamaki, ruhu da aikin mawaƙa sun sake farfadowa a cikin sabon haske, amma a cikin sunan guda: babban Lotta Lehman ba shi da dangantaka da Lilly Lehman, amma ya zama abin mamaki kusa da ita a ruhu. A cikin hotunan da aka halicce, a cikin sabis na fasaha da kuma a rayuwa, don haka ba kamar rayuwar prima donna ba.

K. Khonolka (fassarar - R. Solodovnyk, A. Katsura)