Lucia Aliberti |

Lucia Aliberti

Taurarin opera: LUCIA ALIBERTI

Lucia Aliberti da farko mawaƙiya ce kuma sai mawaƙa. Soprano ya mallaki piano, guitar, violin da accordion kuma yana tsara kiɗa. Tana da kusan shekaru talatin tana aiki a baya, wanda Aliberti ke rera waƙa a duk matakan martaba na duniya. Ta kuma yi a Moscow. Ana yaba mata musamman a ƙasashen Jamusanci da kuma a Japan, inda jaridu sukan ba da cikakkun shafuka ga jawabanta. Repertoire nata ya ƙunshi yawancin wasan kwaikwayo na Bellini da Donizetti: Pirate, Outlander, Capuleti da Montecchi, La sonnambula, Norma, Beatrice di Tenda, Puritani, Anna Boleyn, L'elisir d'amore, Lucrezia Borgia, Mary Stuart, Lucia di Lammermoor, Roberto Devereux, Linda di Chamouni, Don Pasquale. Ta kuma yi a cikin ayyukan Rossini da Verdi. A Jamus, an yi mata shelar "Sarauniyar Bel Canto", amma a ƙasarta, a Italiya, prima donna ba ta da farin jini sosai. Tsohuwar tenor kuma mashahurin gidan wasan opera A barcaccia A tashar ta uku na gidan rediyon Italiya, Enrico Stinkelli ya sadaukar da yawancin caustic, idan ba kalamai na cin mutuncin ta ba. A cewar wannan mai mulkin tunani (babu wani mai son opera wanda ba ya kunna rediyo a kowace rana a daya da rana), aliberti yayi koyi da Maria Callas sosai, ba tare da jin dadi ba kuma ba tare da tsoron Allah ba. Alessandro Mormile yayi magana da Lucia Aliberti.

Yaya za ku bayyana muryar ku kuma ta yaya kuke kare kanku daga zarge-zargen yin koyi da Maria Callas?

Wasu siffofi na kamanni suna tunawa da Callas. Kamar ita, ina da katon hanci! Amma a matsayina na mutum na bambanta da ita. Gaskiya akwai kamanceceniya a tsakanina da ita ta fuskar murya, amma ina ganin cewa zargina da yin koyi da shi rashin adalci ne kuma na zahiri. Ina tsammanin cewa muryata tana kama da muryar Callas a cikin mafi girman octave, inda sautunan suka bambanta da iko da wasan kwaikwayo. Amma game da na tsakiya da na ƙananan rajista, muryata ta bambanta. Callas wani soprano ne mai ban mamaki tare da coloratura. Na dauki kaina a matsayin soprano mai ban mamaki mai lyric tare da coloratura. Zan bayyana kaina a fili. Babban mahimmanci na shine cikin bayyanawa, kuma ba cikin muryar kanta ba, kamar na Callas. Cibiyara tana tunawa da soprano na waƙa, tare da ƙwanƙwasa ƙwanƙwasa. Babban halayensa ba kyakkyawa ne mai tsabta ba, amma bayyana ra'ayi na lyrical. Girman Callas shine ta ba da wasan opera na soyayya tare da sha'awarta, kusan cikar kayan abu. Sauran fitattun sopranos da suka gaje ta sun fi maida hankali ga bel canto daidai. Ina da ra'ayi cewa a yau wasu matsayi sun koma haske sopranos har ma da nau'in soubrette coloratura. Akwai haɗarin ɗaukar mataki baya cikin abin da nake ɗauka a matsayin gaskiyar magana a cikin wasu wasan kwaikwayo na farkon karni na sha tara, wanda Callas, amma kuma Renata Scotto da Renata Tebaldi, suka dawo da lallashi mai ban mamaki kuma a daidai wannan lokacin. lokaci mai salo daidaici.

Tsawon shekaru, ta yaya kuka yi aiki don inganta muryar ku kuma ku ƙara inganta shi?

Dole ne in faɗi gaskiya cewa koyaushe ina samun matsala wajen sarrafa daidaiton rajistar. Da farko na rera waka, na amince da yanayina. Sai na yi nazari da Luigi Roni a Roma na shekara shida sannan na yi karatu da Alfredo Kraus. Kraus shine malamina na gaske. Ya koya mini sarrafa muryata kuma in san kaina da kyau. Herbert von Karajan kuma ya koya mini abubuwa da yawa. Amma sa’ad da na ƙi rera waƙa Il trovatore, Don Carlos, Tosca da Norma tare da shi, haɗin gwiwarmu ya katse. Duk da haka, na san cewa jim kaɗan kafin mutuwarsa, Karajan ya nuna sha'awar yin Norma tare da ni.

Shin yanzu kuna jin kamar ma'abucin damar ku?

Waɗanda suka san ni sun ce ni ne makiyina na farko. Shi ya sa ba kasafai nake gamsuwa da kaina ba. Hankalina na zargi kai wani lokaci yana da muni har yakan haifar da rikice-rikice na tunani kuma yana sa ni rashin gamsuwa da rashin sanin iyawa na. Kuma duk da haka zan iya cewa a yau ni ne a cikin firaministan iyawar muryata, fasaha da bayyanawa. Wata rana muryata ta mamaye ni. Yanzu ina sarrafa muryata. Ina tsammanin lokaci ya yi da zan ƙara sabbin operas a cikin repertoire na. Bayan abin da ake kira Italiyanci bel canto, Ina so in bincika manyan ayyuka a farkon wasan kwaikwayo na Verdi, farawa da The Lombards, The Two Foscari da The Robbers. An riga an ba ni Nabucco da Macbeth, amma ina so in jira. Ina so in kiyaye mutuncin muryata na tsawon shekaru masu zuwa. Kamar yadda Kraus ya ce, shekarun mawaƙin ba ya taka rawa a kan mataki, amma shekarun muryarsa ya yi. Kuma ya kara da cewa akwai matasa mawaka masu tsohuwar murya. Kraus ya kasance misali a gare ni na yadda ake rayuwa da rera waƙa. Ya kamata ya zama misali ga duk mawakan opera.

Don haka, ba ku tunanin kanku a waje da neman fifiko?

Kokarin samun kamala shine tsarin rayuwata. Ba wai kawai game da waƙa ba. Na yi imani cewa rayuwa ba za a iya tunanin ba tare da horo ba. Idan ba tare da horo ba, muna cikin haɗarin rasa wannan ma'anar iko, wanda idan ba tare da abin da al'ummarmu ba, masu rashin hankali da masu amfani, za su iya fadawa cikin rudani, ba ma ma'anar rashin girmama maƙwabcin mutum ba. Shi ya sa nake la'akari da hangen nesa na game da rayuwa da kuma aikina a waje da ka'idodin da aka saba. Ni mai son soyayya ne, mai mafarki, mai son fasaha da kyawawan abubuwa. A takaice: wani esthete.

Hira da Lucia Aliberti da mujallar ta buga aikin

Fassara daga Italiyanci

Ta fara halarta a gidan wasan kwaikwayo Spoleto (1978, Amina a Bellini's La Sonnambula), a 1979 ta yi wannan bangare a wannan biki. Tun 1980 a La Scala. A bikin Glyndebourne na 1980, ta rera sashin Nanette a Falstaff. A cikin shekarun 80s ta yi waka a Genoa, Berlin, Zurich da sauran gidajen wasan opera. Tun 1988 a Metropolitan Opera (na farko a matsayin Lucia). A shekarar 1993 ta rera waka bangaren Violetta a Hamburg. A cikin 1996 ta rera taken taken a Bellini's Beatrice di Tenda a Berlin (Opera Jahar Jamus). Daga cikin jam'iyyun har da Gilda, Elvira a Bellini's The Puritans, Olympia a Offenbach's Tales of Hoffmann. Rikodi sun haɗa da ɓangaren Violetta (shugaba R. Paternostro, Capriccio), Imogene a cikin Bellini's The Pirate (mai gudanarwa Viotti, Berlin Classics).

Evgeny Tsodokov, 1999