Maria Malibran |

Mariya Malibran

Malibran, wani coloratura mezzo-soprano, yana ɗaya daga cikin fitattun mawaƙa na ƙarni na XNUMX. Hazakar mai ban mamaki ta fito fili a cikin sassan da ke cike da zurfafa tunani, hanyoyi, da sha'awa. Ayyukansa yana da alaƙa da yanci na ingantawa, fasaha, da kamalar fasaha. An bambanta muryar Malibran ta hanyar bayyanawa ta musamman da kyawun katako a cikin ƙananan rajista.

Duk wani liyafa da ta shirya ta sami wani hali na musamman, domin Malibran ya taka rawa yana nufin ya rayu a cikin kiɗa da kuma a kan mataki. Shi ya sa Desdemona, Rosina, Semiramide, Amina ta shahara.

An haifi Maria Felicita Malibran a ranar 24 ga Maris, 1808 a birnin Paris. Mariya ita ce 'yar shahararren ɗan wasan mai suna Manuel Garcia, mawaƙin Sipaniya, mawaƙin guitar, mawaki kuma malamin murya, kakan dangin shahararrun mawaƙa. Baya ga Maria, ya haɗa da sanannen mawaƙi P. Viardo-Garcia da malamin-vocalist M. Garcia Jr.

Tun tana da shekaru shida, yarinyar ta fara shiga cikin wasan kwaikwayo na opera a Naples. Sa’ad da take shekara takwas, Maria ta soma nazarin waƙa a birnin Paris a ƙarƙashin jagorancin mahaifinta. Manuel Garcia ya koya wa 'yarsa fasahar rera waƙa da yin aiki tare da ƙaƙƙarfan iyaka da zalunci. Daga baya, ya ce dole ne a tilasta wa Maryamu yin aiki da hannu. Amma duk da haka, bayan da ta sami nasarar gabatar da hazakar da take da ita a cikin iyakoki na fasaha, mahaifinta ya yi ɗiyarta mai ban sha'awa.

A cikin bazara na 1825, dangin Garcia sun yi tafiya zuwa Ingila don lokacin wasan opera na Italiya. Ranar 7 ga Yuni, 1825, Maria mai shekaru goma sha bakwai ta fara halarta a dandalin Royal Theatre na London. Ta maye gurbin Giuditta Pasta maras lafiya. Bayan da ya yi a gaban jama'ar Ingilishi kamar yadda Rosina a cikin Barber na Seville, ya koya a cikin kwanaki biyu kawai, matashin mawaƙin ya yi nasara sosai kuma ya shiga cikin ƙungiyar kafin ƙarshen kakar wasa.

A ƙarshen lokacin rani, dangin Garcia sun tashi a kan fakitin jirgin ruwa na New York don yawon shakatawa na Amurka. A cikin ’yan kwanaki, Manuel ya tara ’yan wasan opera, har da ’yan iyalinsa.

An buɗe kakar a ranar 29 ga Nuwamba, 1825, a filin shakatawa na Barber na Seville; A ƙarshen shekara, Garcia ya shirya wasan opera ɗinsa mai suna 'Yar Mars don Mariya, daga baya kuma wasu operas guda uku: Cinderella, The Mugun Ƙaunar da 'Yar Sama. Wasannin sun kasance nasara na fasaha da na kuɗi.

A ranar 2 ga Maris, 1826, bisa ga nacewar mahaifinta, Maria ta yi aure a New York, wani ɗan kasuwa dattijon Faransa, E. Malibran. An dauki na karshen a matsayin mai arziki, amma ba da daɗewa ba ya yi fatara. Duk da haka, Maria ba ta rasa tunaninta ba kuma ta jagoranci sabon kamfanin opera na Italiya. Don faranta wa jama'ar Amurka rai, mawakiyar ta ci gaba da wasannin opera dinta. A sakamakon haka, Mariya ta yi nasarar biyan bashin mijinta ga mahaifinta da masu bashi. Bayan haka, ta har abada rabu da Malibran, kuma a 1827 ya koma Faransa. A 1828, da singer ya fara yi a Grand Opera, Italian Opera a Paris.

Yana da mataki na Italiyanci Opera cewa a cikin marigayi 20s ya zama filin wasa na sanannen "yaki" tsakanin Maria Malibran da Henriette Sontag. A operas din da suka fito tare, kowace mawakan na neman zarce kishiyarta.

Na dogon lokaci, Manuel Garcia, wanda ya yi jayayya da 'yarsa, ya ƙi duk wani ƙoƙari na sulhu, ko da yake yana rayuwa cikin bukata. Amma wani lokacin sai sun hadu a dandalin wasan opera na Italiya. Da zarar, kamar yadda Ernest Legouwe ya tuna, sun yarda a cikin wasan kwaikwayo na Rossini's Othello: uba - a cikin rawar Othello, tsofaffi da masu launin toka, da 'yar - a cikin rawar Desdemona. Dukansu sun yi wasa kuma suna rera waƙa tare da kwazo sosai. Don haka a fagen tafawa jama’a aka yi sulhu.

Gabaɗaya, Maria ita ce Rossini Desdemona wanda ba shi da ƙarfi. Ayyukanta na waƙar baƙin ciki game da willow ya bugi tunanin Alfred Musset. Ya ba da ra'ayinsa a cikin waƙar da aka rubuta a 1837:

Kuma aria ta kasance a cikin duk kamannin nishi, Abin da kawai baƙin ciki zai iya cirewa daga ƙirjin, Kiran rai na mutuwa, mai tausayi ga rayuwa. Don haka Desdemona ya raira waƙa ta ƙarshe kafin ya kwanta… Na farko, sauti mai haske, mai cike da sha'awa, ɗan ɗan taɓa zurfin zuciya, Kamar an makale cikin mayafin hazo, Lokacin da baki yayi dariya, amma idanu cike da hawaye. … Ga bacin rai da aka rera na karshe, Wuta ta ratsa cikin rai, babu farin ciki, haske, garaya ta yi bakin ciki, ta buge da bacin rai, Yarinyar ta sunkuyar da kanta, bak’in ciki da kod’i, Kamar na gane cewa kida na duniya ne. Ta kasa runtsa ruhin sha'awarta, amma ta ci gaba da rera waka, tana mutuwa cikin kuka, a lokacin mutuwarsa ya zura yatsa kan igiyar.

A cikin nasarorin da Maryamu ta samu, kanwarta Polina ita ma ta halarci, wadda ta sha shiga cikin kide-kide da wake-wake a matsayin mai wasan piano. 'Yan'uwa mata - tauraro na gaske kuma mai zuwa - ba su kama juna ba ko kadan. Kyakykyawan Maria, “kyakkyawan malam buɗe ido”, a cikin kalmomin L. Eritte-Viardot, ba ta iya ci gaba da aiki mai ƙwazo. Mummuna Polina an bambanta a cikin karatun ta da mahimmanci da juriya. Bambanci a cikin hali bai tsoma baki tare da abokantaka ba.

Bayan shekaru biyar, bayan Maria bar New York, a tsawo na shahararsa, da singer hadu da sanannen Belgian violinist Charles Berio. Domin shekaru da yawa, ga rashin jin daɗin Manuel Garcia, sun zauna a cikin auren jama'a. Sun yi aure bisa hukuma ne kawai a 1835, lokacin da Maryamu ta saki mijinta.

A ranar 9 ga Yuni, 1832, yayin wani gagarumin yawon shakatawa na Malibran a Italiya, bayan gajeriyar rashin lafiya, Manuel Garcia ya mutu a Paris. Cikin ɓacin rai, Maryamu ta gaggauta dawowa daga Roma zuwa Paris kuma, tare da mahaifiyarta, suka yi shirin tsara al'amura. Iyalin marayu - uwa, Maria da Polina - sun ƙaura zuwa Brussels, a cikin unguwannin Ixelles. Sun zauna a wani katafaren gida da mijin Maria Malibran ya gina, wani kyakkyawan gida neoclassical, tare da lambobin yabo na stucco guda biyu sama da ginshiƙan rotunda wanda ya zama ƙofar shiga. Yanzu titin da wannan gidan ya kasance ana kiransa da sunan shahararren mawakin.

A cikin 1834-1836, Malibran ya yi nasarar yin wasan kwaikwayo a gidan wasan kwaikwayo na La Scala. Ranar 15 ga Mayu, 1834, wani babban Norma ya bayyana a La Scala - Malibran. Don yin wannan rawar a madadin tare da sanannen Taliya kamar ba a taɓa jin ƙarfin zuciya ba.

Yu.A. Volkov ya rubuta: “Magoya bayan taliya sun yi hasashen gazawar matashin mawakin. An dauki taliya a matsayin "allah". Kuma duk da haka Malibran ya ci Milanese. Wasanta, ba tare da wani al'ada da clichés na gargajiya ba, an ba da cin hanci tare da sabo da zurfin gogewa. Mawaƙin, kamar yadda yake, ya farfado, ya share kiɗa da hoton duk abin da ya wuce gona da iri, wucin gadi, kuma, yana shiga cikin sirrin kiɗan Bellini, ya sake ƙirƙirar hoto mai ban sha'awa, mai rai, kyakkyawa na Norma, 'yar da ta dace, amintacciyar aboki da amintacciyar aboki. uwar jaruma. Mutanen Milan sun firgita. Ba tare da yaudarar abin da suka fi so ba, sun biya haraji ga Malibran.

A cikin 1834, ban da Norma Malibran, ta yi Desdemona a Otello na Rossini, Romeo a Capulets da Montagues, Amina a Bellini's La Sonnambula. Shahararriyar mawaƙin nan Lauri-Volpi ta ce: “A cikin La Sonnambula, ta buge da gaske na mala’iku da rashin daidaituwar layukan murya, kuma a cikin shahararriyar kalmar Norma ta “Kuna hannuna daga yanzu” ta san yadda za ta iya sanya fushi mai girma. zaki mai rauni.”

A cikin 1835, mawaƙin kuma ya rera sassan Adina a cikin L'elisir d'amore da Mary Stuart a cikin wasan opera Donizetti. A cikin 1836, bayan ta rera taken taken a cikin Vaccai's Giovanna Grai, ta yi bankwana da Milan sannan ta ɗan yi wasan kwaikwayo a London.

Hazaka na Malibran ya sami godiya sosai daga mawaƙa G. Verdi, F. Liszt, marubuci T. Gauthier. Kuma mawaki Vincenzo Bellini ya zama daya daga cikin masoyan mawakin. Mawaƙin Italiyanci ya yi magana game da ganawar farko da Malibran bayan wasan opera La Sonnambula a London a cikin wata wasika zuwa Florimo:

“Ba ni da isassun kalmomi da zan iya isar muku da yadda aka azabtar da ni, da azabtar da ni ko kuma, kamar yadda Neapolitans suka ce, “kowace waƙar da waɗannan turawa suka yi, musamman da yake sun rera ta a cikin harshen tsuntsaye, mai yiwuwa aku. wanda na kasa fahimtar karfi. Sai lokacin da Malibran ya rera waƙa na gane Mai barci na…

… A cikin almara na fage na ƙarshe, ko kuma wajen, a cikin kalmomin “Ah, mabraccia!” ("Ah, rungume ni!"), Ta sanya ji da yawa, ta furta su da gaskiya, wanda da farko ya ba ni mamaki, sa'an nan kuma ya ba ni farin ciki sosai.

…Masu kallo sun bukaci da na hau kan dandamali ba tare da kasala ba, inda na kusan jawo ni da dimbin matasan da suka kira kansu masu kishin wakokina, amma ba ni da darajar sanin su.

Malibran ce gaba da kowa, ta jefa kanta a wuyana kuma cikin tsananin farin ciki da farin ciki ta rera wasu 'yan rubuce-rubuce na "Ah, mabbraccia!". Ta k'ara cewa komai. Amma ko da wannan guguwa da gaisuwar da ba zato ba tsammani ta isa ta sa Bellini, ya riga ya wuce gona da iri, ya kasa magana. “Farin ciki na ya kai iyaka. Na kasa furta wata kalma kuma na rikice gaba daya…

Mun fita rike da hannaye: sauran za ku iya tunanin da kanku. Abin da zan iya gaya muku shi ne ban sani ba ko zan sami gogewa mafi girma a rayuwata.”

F. pastura ya rubuta:

“Malibran ne ya dauke Bellini cikin sha’awa, kuma dalilin hakan shi ne gaisuwar da ta rera da kuma rungumar da ta yi da shi a bayan fage a gidan wasan kwaikwayo. Ga mawaƙin, faɗaɗa ta yanayi, duk ya ƙare a lokacin, ba ta iya ƙara wani abu a cikin waɗannan ƴan bayanan ba. Ga Bellini, yanayi mai saurin ƙonewa, bayan wannan taron, komai ya fara: abin da Malibran bai gaya masa ba, ya zo da kansa…

…An taimaka masa ya dawo hayyacinsa ta hanyar ƙwaƙƙwaran yanayin Malibran, wanda ya yi nasarar zuga ɗan Catanian mai ƙwazo cewa saboda ƙauna ya ɗauki zurfin sha'awar gwaninta, wanda bai taɓa wuce abota ba.

Kuma tun daga wannan lokacin, dangantaka tsakanin Bellini da Malibran ta kasance mafi aminci da dumi. Mawakin ya kasance ƙwararren mai fasaha. Ta zana ɗan ƙaramin hoton Bellini kuma ta ba shi wani ɗaki mai hoton kanta. Mawaƙin ya kiyaye waɗannan kyaututtuka da himma.

Malibran ba kawai ya zana da kyau ba, ta rubuta wasu ayyukan kiɗa - nocturnes, romances. Da yawa daga cikinsu 'yar uwarta Viardo-Garcia ce ta yi su.

Alas, Malibran ya mutu yana matashi. Mutuwar Maryamu daga fadowa daga doki a ranar 23 ga Satumba, 1836 a Manchester ya haifar da amsa mai tausayi a ko'ina cikin Turai. Kusan shekaru ɗari bayan haka, an shirya wasan opera na Bennett Maria Malibran a New York.

Daga cikin hotuna na babban mawaƙa, wanda ya fi shahara shine L. Pedrazzi. Yana cikin La Scala Theatre Museum. Duk da haka, akwai kwatankwacin sigar gaskiya cewa Pedrazzi ne kawai ya yi kwafin zanen da babban mai zane na Rasha Karl Bryullov, wani mai sha'awar iyawar Malibran ya yi. "Ya yi magana game da masu fasaha na kasashen waje, ya ba da fifiko ga Mrs. Malibran ...", ya tuna da mai zane E. Makovsky.