Ljuba Welitsch |

Ljuba Welitsch

"Ni ba ɗan Jamus ba ne, amma ɗan Bulgarian mai sexy," Soprano Lyuba Velich ya taɓa faɗa cikin wasa, yana amsa tambayar dalilin da ya sa ba ta taɓa rera Wagner ba. Wannan amsar ba ita ce ra'ayin fitaccen mawakin nan ba. Yana nuna daidai ba kawai tunaninta ba, har ma da yadda jama'a a Turai da Amurka suka gane ta - a matsayin daya daga cikin nau'in allahntaka na sha'awa a kan Olympus mai aiki. Halin ta, buɗaɗɗen furcinta, mahaukaciyar kuzari, wani nau'in kida da ban sha'awa mai ban sha'awa, wanda ta baiwa mai kallo-sauraron gabaɗaya, ya bar tunawa da ita a matsayin wani abu na musamman a duniyar opera.

An haifi Lyuba Velichkova a ranar 10 ga Yuli, 1913 a lardin Bulgeriya, a cikin ƙaramin ƙauyen Slavyanovo, wanda ba shi da nisa da tashar jiragen ruwa mafi girma na ƙasar Varna - bayan yakin duniya na farko, an sake kiran garin Borisovo don girmama Bulgarian na lokacin. Tsar Boris III, saboda haka ana nuna wannan sunan a cikin mafi yawan litattafan tunani a matsayin wurin haifuwar mawaƙa. Iyayen Lyuba - Angel da Rada - sun fito ne daga yankin Pirin (kudu maso yammacin kasar), suna da tushen Macedonia.

Mawaƙin nan gaba ya fara ilimin kiɗan kiɗa tun yana yarinya, yana koyon buga violin. A nacewar iyayenta, wanda ya so ya ba 'yarta wani "m" sana'a, ta yi karatu falsafa a Jami'ar Sofia, kuma a lokaci guda raira waƙa a cikin mawaƙa na Alexander Nevsky Cathedral a babban birnin kasar. Duk da haka, sha'awar kiɗa da fasaha na fasaha duk da haka ya jagoranci mawaƙa na gaba zuwa Sofia Conservatory, inda ta yi karatu a cikin aji na Farfesa Georgy Zlatev. Yayin da yake karatu a ɗakin ajiya, Velichkova ya rera waƙa a cikin mawaƙa na Sofia Opera, ta halarta ta farko a nan: a 1934 ta rera wani karamin sashi na mai sayar da tsuntsu a cikin "Louise" na G. Charpentier; Matsayi na biyu shi ne Tsarevich Fedor a cikin Mussorgsky Boris Godunov, kuma sanannen baƙon wasan kwaikwayo, babban Chaliapin, ya taka rawa a wannan maraice.

Daga baya Lyuba Velichkova inganta ta vocal basira a Vienna Academy of Music. A lokacin karatunta a Vienna, an gabatar da Velichkova ga al'adun kiɗa na Austro-Jamus kuma ta ci gaba da haɓakawa a matsayin mai wasan opera galibi yana da alaƙa da al'amuran Jamus. A lokaci guda, ta "gajarta" sunan mahaifinta na Slavic, wanda ya sa ya zama sananne ga kunnen Jamus: wannan shine yadda Velich ya fito daga Velichkova - sunan da ya zama sananne a bangarorin biyu na Atlantic. A cikin 1936, Luba Velich ta sanya hannu kan kwangilarta na farko na Austrian kuma har zuwa 1940 ta rera waka a Graz musamman a cikin repertoire na Italiya (daga cikin ayyukan waɗancan shekarun - Desdemona a cikin wasan opera na G. Verdi Otello, rawar a cikin wasan kwaikwayo na G. Puccini - Mimi a La Boheme ”, Cio-Cio-san in Madama Butterfly, Manon a cikin Manon Lesko, da sauransu).

A lokacin yakin duniya na biyu, Velich ya rera waka a Jamus, ya zama daya daga cikin mashahuran mawaƙa na mulkin uku: a 1940-1943. ta kasance ƴar soloist a gidan opera mafi tsufa a Jamus a Hamburg, a cikin 1943-1945. – Soloist na Bavarian Opera a Munich, ban da haka, sau da yawa yakan yi a kan sauran manyan Jamus matakai, daga cikinsu akwai da farko Saxon Semperoper a Dresden da Jihar Opera a Berlin. Kyakkyawar aiki a Jamus na Nazi daga baya ba ta da wani tasiri ga nasarorin da Velich ya samu a duniya: sabanin yawancin mawakan Jamus ko na Turai waɗanda suka bunƙasa a lokacin Hitler (misali, R. Strauss, G. Karajan, V. Furtwängler, K. Flagstad, da sauransu). mawakin cikin farin ciki ya kubuta daga halaka.

A lokaci guda, ba ta rabu da Vienna ba, wanda, sakamakon Anschluss, ko da yake ya daina zama babban birni, bai rasa muhimmancinsa a matsayin cibiyar kiɗa na duniya ba: a cikin 1942 Lyuba ya rera waƙa a karon farko. a cikin Volksoper Vienna bangaren Salome a cikin opera mai suna R. Strauss wanda ya zama alamarta. A cikin wannan rawar, za ta fara halarta a cikin 1944 a Opera na Vienna a bikin cika shekaru 80 na R. Strauss, wanda ya ji daɗin fassarar ta. Tun 1946 Lyuba Velich ya kasance mai cikakken lokaci soloist na Vienna Opera, inda ta yi wani dizzying aiki, wanda ya sa aka ba ta lambar yabo ta "Kammersengerin" a 1962.

A cikin 1947, tare da wannan gidan wasan kwaikwayo, ta fara fitowa a mataki na Lambun Covent na London, kuma a cikin sa hannunta na Salome. Nasarar ta kasance mai girma, kuma mawaƙin ya sami kwangilar sirri a cikin gidan wasan kwaikwayo mafi tsufa na Ingilishi, inda ta raira waƙa har zuwa 1952 kamar Donna Anna a Don Giovanni ta WA Mozart, Musetta a La Boheme na G. Puccini, Lisa a Spades. Lady" na PI Tchaikovsky, Aida a cikin "Aida" na G. Verdi, Tosca a cikin "Tosca" na G. Puccini, da dai sauransu An shirya "Salome" tare da haɗawa da basirar mawaƙa tare da kyakkyawar jagorancin Peter Brook da kuma tsarin tsararru na Salvador Dali.

Mafi girman aikin Luba Velich shine yanayi uku a New York Metropolitan Opera, inda ta sake fara fitowa a 1949 a matsayin Salome (wannan wasan kwaikwayon, wanda shugaba Fritz Reiner ya jagoranta, an rubuta shi kuma ya kasance mafi kyawun fassarar Strauss opera har yau. ). A kan mataki na gidan wasan kwaikwayo na New York, Velich ya rera waka na musamman - ban da Salome, wannan shine Aida, Tosca, Donna Anna, Musetta. Baya ga Vienna, London da New York, mawaƙin ya kuma bayyana a wasu matakai na duniya, daga cikinsu akwai gagarumin bikin Salzburg, inda a cikin 1946 da 1950 ta rera ɓangaren Donna Anna, da kuma bikin Glyndebourne da Edinburgh. , Inda a cikin 1949 A gayyatar da sanannen Impresario Rudolf Bing, ta rera sashin Amelia a G. Verdi's Masquerade Ball.

A m aiki na singer ne mai haske, amma short-rayu, ko da yake bisa hukuma ya ƙare kawai a 1981. A tsakiyar 1950s. ta fara samun matsala da muryarta mai bukatar tiyata a ligashinta. Wataƙila dalilin hakan ya ta'allaka ne saboda a farkon aikinta mawakiyar ta yi watsi da rawar waƙa zalla, wacce ta fi dacewa da yanayin muryarta, don neman ƙarin rawar ban mamaki. Bayan 1955, ta da wuya yi (a Vienna har 1964), mafi yawa a cikin kananan jam'iyyun: ta karshe babbar rawa Yaroslavna a Prince Igor ta AP Borodin. A cikin 1972, Velich ya koma mataki na Metropolitan Opera: tare da J. Sutherland da L. Pavarotti, ta yi a cikin opera G. Donizetti 'yar Regiment. Kuma ko da yake rawar da ta taka (Duchess von Krakenthorpe) ta kasance ƙarami da tattaunawa, masu sauraro sun yi maraba da babban Bulgarian.

Muryar Lyuba Velich wani lamari ne mai ban mamaki a tarihin muryoyin murya. Ba shi da kyau na musamman da wadatar sauti, a lokaci guda yana da halayen da suka bambanta mawaki da sauran prima donnas. Soprano Velich na lyrical yana siffanta shi da tsaftar innation mara kyau, kayan aiki na sauti, sabo, timbre "'yan mata" (wanda ya sanya ta zama dole a cikin sassan matasa jarumai kamar Salome, Butterfly, Musetta, da sauransu) da kuma jirgin sama mai ban mamaki, har ma da tashi sama. sokin sauti, wanda ya ba wa mawaƙa damar sauƙi "yanke" kowane, mafi ƙarfi ƙungiyar makaɗa. Duk waɗannan halaye, bisa ga mutane da yawa, sun sanya Velich ya zama ɗan wasa mai kyau don wasan kwaikwayo na Wagner, wanda mawaƙin, duk da haka, ya kasance gaba ɗaya ba ruwansa a duk lokacin aikinta, la'akari da wasan operas na Wagner wanda ba a yarda da shi ba kuma yana da sha'awar yanayin zafinta.

A cikin tarihin opera Velich ya kasance da farko a matsayin ƙwararren mai wasan kwaikwayo na Salome, ko da yake ba daidai ba ne a yi la'akari da ita a matsayin 'yar wasan kwaikwayo na daya rawa, tun da ta samu gagarumar nasara a wasu ayyuka (a cikin duka, akwai kimanin hamsin daga cikinsu). a cikin repertoire na singer), ta kuma samu nasarar yi a cikin wani operetta (ta Rosalind a cikin "The Bat" I. Strauss a kan mataki na "Metropolitan" aka yaba da yawa ba kasa da Salome). Ta yi fice a matsayin 'yar wasan kwaikwayo mai ban mamaki, wanda a zamanin pre-Kallas ba a saba faruwa a cikin wasan opera ba. A lokaci guda kuma, wani lokacin yanayi yakan mamaye ta, yana haifar da sha'awar, idan ba yanayi na ban tausayi ba a kan mataki. Saboda haka, a cikin rawar da Tosca a cikin play "Metropolitan Opera", ta zahiri doke ta abokin tarayya, wanda ya taka rawar da ta azãba Baron Scarpia: wannan yanke shawara na image gana da farin ciki na jama'a, amma bayan wasan kwaikwayon ya sa. matsala mai yawa ga gudanarwar gidan wasan kwaikwayo.

Aiki ya ba Lyuba Velich damar yin aiki na biyu bayan ya bar babban mataki, yana yin fina-finai da talabijin. Daga cikin ayyukan da ke cikin silima akwai fim ɗin "Mutumin Tsakanin ..." (1953), inda mawaƙin ya sake yin rawar opera diva a cikin "Salome"; fina-finan kiɗan The Dove (1959, tare da sa hannun Louis Armstrong), The Final Chord (1960, tare da sa hannun Mario del Monaco) da sauransu. A cikin duka, Lyuba Velich ta Filmography hada da 26 fina-finai. Mawakin ya rasu a ranar 2 ga Satumba, 1996 a Vienna.