Luigi Lablache |

Luigi Lablache

Don bass mai ban mamaki, Lablache ana yi masa lakabi da Zeus the Thunderer. Ya mallaki murya mai ƙarfi tare da timbre mai haske, babban kewayon, wanda yayi sauti mai girma duka a cikin cantilena da kuma a cikin sassa na virtuoso. ƙwararren ɗan wasan kwaikwayo, ya haɗu a cikin fasaharsa ta virtuoso improvisation tare da gaskiyar gaskiya, ya haifar da kyawawan hotuna na haruffa daban-daban. Mawaƙin Rasha AN Serov ya sanya shi cikin “rukunin manyan mawaƙa da ’yan wasan kwaikwayo.” "Masu sha'awar Lablache sun kwatanta babban D nasa da rurin ruwa da fashewar wani dutse mai aman wuta," in ji Yu.A. Volkov. - Amma babban fa'idar mawakin shine ikon a lokacin da ya dace don karkatar da babban yanayinsa mai saurin ƙonewa ga niyyar rawar. Lablache ya haɗu da haɓaka haɓakawa tare da babban kida da al'adar yin aiki.

Wagner, da ya ji shi a Don Juan, ya ce: “Leporello na gaske…. Bass ɗinsa mai ƙarfi koyaushe yana riƙe da sassauci da son kai… Abin mamaki a sarari da sauti mai haske, kodayake yana da wayar hannu sosai, wannan Leporello maƙaryaci ne marar kuskure, matsoraci. Ba ya yin hayaniya, ba ya gudu, ba ya rawa, amma duk da haka koyaushe yana kan tafiya, koyaushe a wurin da ya dace, inda hancinsa mai kaifi yana warin riba, nishaɗi ko baƙin ciki…”.

An haifi Luigi Lablache a ranar 6 ga Disamba, 1794 a Naples. Tun yana ɗan shekara goma sha biyu, Luigi ya yi karatu a Kwalejin Conservatory na Naples don yin wasan cello sannan ya buga bass biyu. Bayan shiga (bangaren contralto) a cikin Requiem na Mutanen Espanya, Mozart ya fara nazarin waƙa. A 1812 ya fara halarta a karon a San Carlo Opera House (Naples). An fara yin Lablache azaman buff bass. Fame ya kawo masa wasan kwaikwayon na Geronimo a cikin wasan opera "Aure Sirrin".

Ranar 15 ga Agusta, 1821, Lablache ya fara bayyanarsa a La Scala a matsayin Dandini a Cinderella na Rossini. Milanese sun tuna da shi a cikin operas Don Pasquale da The Barber na Seville.

A cikin wasan operas na ban dariya, bass Lablache "babban kiba" shine gunkin jama'a. Muryarsa, na katako mai haske da babban kewayon, kauri da ɗanɗano, ba tare da dalili ba idan aka kwatanta da mutanen zamani tare da rurin ruwa, kuma “D” na sama an kwatanta shi da fashewar dutsen mai aman wuta. Kyakkyawan kyautar wasan kwaikwayo, gaiety marar ƙarewa da zurfin tunani ya ba mai zane damar haskakawa a kan mataki.

Daga rawar da Bartolo Lablache ya yi ya ƙirƙira babban zane. Halin tsohon mai kula da shi ya bayyana daga wani gefen da ba a zato ba: ya zama cewa shi ba dan damfara ba ne kuma ba dan damfara ba ne, amma mai gunaguni mai butulci, cikin hauka cikin soyayya da wani matashi. Ko da ya tsawatar wa Rosina, sai ya ɗauki ɗan lokaci ya sumbaci yatsan yarinyar a hankali. A lokacin wasan kwaikwayo na aria game da batanci, Bartolo ya gudanar da tattaunawa mai kama da abokin tarayya - ya saurare shi, ya yi mamaki, mamaki, fushi - don haka abin ban mamaki shi ne tushe na Don Basilio mai daraja don yanayinsa mai basira.

Kololuwar shaharar mawakin ta fado ne a lokacin wasannin da ya yi a London da Paris a 1830-1852.

Yawancin ayyukansa mafi kyau suna cikin ayyukan Donizetti: Dulcamara ("Love Potion"), Marine Faliero, Henry VIII ("Anne Boleyn").

G. Mazzini ya rubuta game da ɗaya daga cikin wasan kwaikwayo na wasan opera Anna Boleyn ta hanya mai zuwa: “... ɗaiɗaicin jaruman, waɗanda makafi masu koyi da waƙoƙin Rossini suka yi watsi da su, an lura da su sosai a yawancin ayyukan Donizetti kuma an zayyana su da wuya. karfi. Wanene bai ji ba a cikin hoton kida na Henry na VIII da zalunci, a lokaci guda zalunci da rashin dabi'a, wanda labarin ya ba da labari? Kuma lokacin da Lablache ya fitar da waɗannan kalmomi: "Wani kuma zai zauna a kan kursiyin Ingila, za ta fi dacewa da ƙauna," wanda ba ya jin yadda ransa ya yi rawar jiki, wanda ba ya gane a wannan lokacin sirrin azzalumi, wanda baya duban wannan tsakar gidan da ta halaka Boleyn?

An kawo wani labari mai ban dariya a littafinsa na D. Donati-Petteni. Ya bayyana lokacin da Lablache ya zama mai haɗin gwiwar Donizetti marar sani:

"A lokacin, Lablache ya shirya maraice da ba za a manta da shi ba a cikin ɗakinsa na alfarma, inda ya gayyaci abokansa na kusa. Donizetti kuma sau da yawa yakan halarci waɗannan bukukuwa, wanda Faransanci ya kira - wannan lokaci tare da kyakkyawan dalili - " taliya".

Kuma a gaskiya, da tsakar dare, lokacin da kiɗa ya tsaya, rawa ya ƙare, kowa ya tafi ɗakin cin abinci. Wani katon kasko ya bayyana a wurin a cikin duk girmansa, kuma a cikinsa - macaroni maras canzawa, wanda Lablache ya saba wa baƙi. Kowa ya sami rabonsa. Mai gidan kuwa yana wajen cin abinci ya gamsu da kallon sauran suna cin abinci. Amma da baƙi suka gama cin abincin dare, sai ya zauna a teburin shi kaɗai. Wani katon napkin daure a wuyansa ya rufe kirjinsa, ba tare da ya ce uffan ba, ya ci ragowar abincin da ya fi so da kwadayi mara misaltuwa.

Da zarar Donizetti, wanda shi ma yana son taliya, ya yi latti - an ci komai.

"Zan ba ku taliya," in ji Lablache, "a kan sharadi ɗaya." Ga kundin. Zauna a teburin kuma rubuta shafuka biyu na kiɗa. Lokacin da kuke yin waƙa, kowa da kowa a kusa zai yi shiru, kuma idan wani ya yi magana, sai ya ba da riba, ni kuwa zan hukunta mai laifi.

"Na yarda," in ji Donizetti.

Ya dauki alkalami ya shirya aiki. Da kyar na zana layukan kida biyu sa'ad da kyawawan leɓun wani suka furta 'yan kalmomi. Signora Persiani ne. Ta gaya wa Mario:

"Mun yi la'akari da cewa yana shirya cavatina.

Kuma Mario cikin sakaci ya amsa:

“Idan da ni ake nufi, zan yi farin ciki.

Thalberg kuma ya karya ka'ida, kuma Lablache ya kira duka ukun don yin oda cikin murya mai tsawa:

- Fant, signorina Persiani, fant, Thalberg.

- Na gama! Donizetti yace.

Ya rubuta shafuka biyu na kiɗa a cikin mintuna 22. Lablache ya miko masa hannu ya kai shi cikin dakin cin abinci, wani sabon kaskon taliya ya iso.

Maestro ya zauna a teburin ya fara ci kamar Gargantua. A halin yanzu, a cikin falo, Lablache ya sanar da hukuncin ukun masu laifi na damun zaman lafiya: Signorina Persiani da Mario za su rera wani duet daga L'elisir d'amore, da Thalberg don raka. Wani yanayi ne mai ban al'ajabi. Suka fara kiran marubucin da babbar murya, Donizetti, daure da rigar, ya fara yaba musu.

Bayan kwana biyu, Donizetti ya tambayi Lablache ya ba shi kundi wanda a ciki ya nadi kidan. Ya kara da kalmomin, kuma waɗannan shafuka biyu na kiɗa sun zama mawaƙa daga Don Pasquale, kyakkyawar waltz da ta yi sauti a duk faɗin Paris bayan watanni biyu. "

Ba abin mamaki bane, Lablache ya zama ɗan wasa na farko na rawar take a cikin opera Don Pasquale. An fara wasan opera a ranar 4 ga Janairu, 1843 a Théâtre d'Italien a Paris tare da Grisi, Lablache, Tamburini da Mario. Nasarar ta kasance mai nasara.

Zauren gidan wasan kwaikwayo na Italiya bai taɓa ganin irin wannan gagarumin taro na masu martaba na Paris ba. Dole ne mutum ya gani, ya tuna Escudier, kuma dole ne mutum ya ji Lablache a cikin mafi girman halitta Donizetti. Lokacin da mai zane ya bayyana da fuskarsa na yara, a hankali kuma a lokaci guda, kamar dai yana zaune a ƙarƙashin nauyin kitsen jikinsa (zai ba da hannunsa da zuciyarsa ga masoyi Norina), an ji dariyar abokantaka a ko'ina cikin zauren. Lokacin da, tare da muryarsa mai ban mamaki, ya mamaye duk wasu muryoyin da makada, ya yi tsawa a cikin sanannen, kwata-kwata mara mutuwa, an kama zauren tare da sha'awar gaske - maye na ni'ima, babban nasara ga mawaƙa da mawaƙa.

Lablash ya taka rawar gani da yawa a cikin ayyukan Rossinian: Leporello, Assur, William Tell, Fernando, Musa (Semiramide, William Tell, The Thieving Magpie, Musa). Lablache shine ɗan wasan farko na ɓangarorin Walton (Bellini's Puritani, 1835), Count Moore (Verdi's Robbers, 1847).

Daga lokacin 1852/53 zuwa lokacin 1856/57, Lablache ya rera waka a Opera na Italiya a St. Petersburg.

Gozenpud ya rubuta cewa "Mai fasaha, wanda ke da halayen kirkire-kirkire mai haske, ya yi nasarar aiwatar da jaruntaka da sassan halayen, ya bayyana a gaban masu sauraron Rasha a matsayin bass buff," in ji Gozenpud. - Abin dariya, ba da jin daɗi, kyautar matakin da ba kasafai ba, murya mai ƙarfi tare da babban kewayon ya ƙaddara mahimmancinsa a matsayin ɗan wasan da ba a taɓa ganin irinsa ba na wurin kiɗan. Daga cikin manyan nasarorin fasaha da ya samu, ya kamata mu fara ba da sunan hotunan Leporello, Bartolo, Don Pasquale. Duk abubuwan da aka halicci mataki na Lablache, bisa ga mutanen zamani, suna da ban mamaki a gaskiyarsu da ƙarfinsu. Irin wannan shi ne, musamman, Leporello nasa - maras kunya kuma mai halin kirki, mai alfahari da nasarar maigidan kuma ko da yaushe ba ya gamsu da komai, rashin kunya, matsoraci. Lablache ya ja hankalin masu sauraro a matsayin mawaƙa kuma ɗan wasan kwaikwayo. A cikin hoton Bartolo, bai jaddada mummunan kaddarorinsa ba. Bartolo bai yi fushi da hassada ba, amma mai ban dariya har ma da taɓawa. Wataƙila wannan fassarar ta rinjayi tasirin al'adar da ta fito daga Paisiello's The Barber of Seville. Babban ingancin halayen da mai zanen ya kirkira shine rashin laifi."

Rostislav ya rubuta: “Lablash ya sami damar ba (ƙaramin ƙungiya) muhimmiyar mahimmanci… Shi duka abin ba'a ne da rashin yarda, kuma an yaudare shi kawai saboda yana da sauƙi. Ka lura da yanayin fuskar Lablache a lokacin Don Basilio's aria la calunma. Lablache ya yi duet daga aria, amma duet yana mimic. Ba zato ba tsammani ya fahimci duk ginshiƙan ƙiren ƙaryar da mai wayo Don Basilio ya bayar - yana saurare, ya yi mamaki, yana bin kowane motsi na mai magana da shi kuma har yanzu ba zai iya yarda da kansa ga ra'ayoyinsa masu sauƙi ba don haka mutum zai iya shiga irin wannan tushe.

Lablache, tare da yanayin salon da ba kasafai ba, ya yi kiɗan Italiyanci, Jamusanci da Faransanci, babu inda ya wuce gona da iri, kasancewar babban misali na fasaha da salo.

A karshen rangadin da aka yi a Rasha, Lablache ya kammala wasan kwaikwayonsa a matakin wasan opera. Ya koma ƙasarsa ta Naples, inda ya mutu a ranar 23 ga Janairu, 1858.