Maria Petrovna Maksakova |

Maria Maksakova

Maria Petrovna Maksakova aka haife Afrilu 8, 1902 a Astrakhan. Uban ya mutu da wuri, kuma mahaifiyar, nauyin iyali, ya kasa kula da yara sosai. Yarinyar tana shekara takwas ta tafi makaranta. Amma ba ta yi karatu da kyau ba saboda halinta na musamman: ta rufe kanta, ta zama ba ta da alaƙa, sa'an nan kuma ta kwashe abokanta da mugayen maganganu.

Tana da shekara goma ta fara rera waka a cikin mawakan coci. Kuma a nan Marusya kamar an maye gurbinsa. Yarinyar da aka kama, ta hanyar aiki a cikin ƙungiyar mawaƙa, a ƙarshe ta natsu.

“Na koyi karatun kiɗa da kaina,” mawaƙin ya tuna. - Don wannan, na rubuta ma'auni a bango a gida kuma na cushe shi tsawon yini. Watanni biyu bayan haka, an ɗauke ni ƙwararren masani na kiɗa, kuma bayan ɗan lokaci na riga na sami “suna” na mawaƙa wanda ya karanta daga takarda kyauta.

Kamar shekara guda Marusya ya zama jagora a cikin ƙungiyar mawaƙa ta viola, inda ta yi aiki har zuwa 1917. A nan ne mafi kyawun halayen mawaƙa ya fara haɓaka - innation mara kyau da sauti mai laushi.

Bayan Oktoba juyin juya halin, lokacin da ilimi ya zama free, Maksakova shiga music makaranta, piano class. Da yake ba ta da kayan aiki a gida, kullum tana karatu a makarantar har sai da yamma. Ga mai son zane-zane, wani nau'in sha'awa yana da halaye a lokacin. Tana jin daɗin sauraron ma'auni, yawanci "ƙiyayya" na dukan ɗalibai.

Maksakova ya rubuta: “Ina son kiɗan sosai. – Wani lokaci, na kan ji, ina tafiya a kan titi, yadda wani ke wasa da sikeli, nakan tsaya a karkashin taga kuma in saurari sa’o’i har sai sun kore ni.

A cikin 1917 da farkon 1918, dukan waɗanda suka yi aiki a cikin ƙungiyar mawakan coci sun haɗa kai zuwa ƙungiyar mawaƙa guda ɗaya kuma suka shiga cikin ƙungiyar Rabis. Don haka na yi aiki na wata hudu. Sai ƙungiyar mawaƙa ta watse, daga nan na fara koyon waƙa.

Muryata tayi kasa sosai, kusan contralto. A makarantar kiɗa, an ɗauke ni a matsayin ɗalibi mai ƙwazo, kuma suka fara aika ni zuwa raye-rayen da ake shirya wa Red Guard da Navy. Na yi nasara kuma na yi alfahari da shi. Bayan shekara guda, na fara karatu da farko tare da malamin Borodina, sa'an nan kuma tare da artist na Astrakhan Opera - ban mamaki soprano Smolenskaya, dalibi na IV Tartakov. Smolenskaya ya fara koya mani yadda zan zama soprano. Ina son shi sosai. Na yi karatu ba fiye da shekara guda ba, kuma tun da suka yanke shawarar aika Astrakhan Opera zuwa Tsaritsyn (yanzu Volgograd) don bazara, don in ci gaba da karatu tare da malamina, na yanke shawarar shiga opera.

Na tafi wasan opera da tsoro. Da darektan ya gan ni sanye da gajeriyar rigar ɗalibi da zakka, sai darektan ya yanke shawarar cewa na zo ne in shiga ƙungiyar mawaƙan yara. Na bayyana, duk da haka, cewa ina so in zama ɗan soloist. An saurare ni, an karɓa kuma an umurce ni in koyi sashin Olga daga opera Eugene Onegin. Bayan wata biyu sun ba ni Olga in yi waƙa. Ban taɓa jin wasan kwaikwayo na opera ba kuma ina da ra'ayi mara kyau game da wasan kwaikwayo na. Don wasu dalilai, ban ji tsoron waƙa na a lokacin ba. Daraktan ya nuna mini wuraren da zan zauna da kuma inda zan je. Na yi butulci a lokacin har ga wauta. Kuma lokacin da wani daga ƙungiyar mawaƙa ya zage ni cewa, har yanzu ban iya yawo a cikin dandalin ba, na riga na karɓi albashi na na farko, na fahimci wannan magana a zahiri. Don koyon yadda za a "tafiya a kan mataki", na yi rami a cikin labulen baya kuma, durƙusa, na kalli duk wasan kwaikwayon kawai a ƙafar 'yan wasan kwaikwayo, ƙoƙarin tunawa da yadda suke tafiya. Na yi mamakin ganin cewa suna tafiya daidai, kamar a rayuwa. Da safe na zo gidan wasan kwaikwayo kuma na zagaya filin wasa tare da rufe idanuna, don gano asirin "ikon yin tafiya a kusa da dandalin". Ya kasance a lokacin rani na 1919. A cikin kaka, sabon manajan ƙungiyar MK Maksakov, kamar yadda suka ce, shine guguwar dukan 'yan wasan kwaikwayo marasa iyawa. Na yi farin ciki sosai sa’ad da Maksakov ya ba ni amanar Siebel a Faust, Madeleine a Rigoletto da sauransu. Maksakov sau da yawa yana cewa ina da basirar wasan kwaikwayo da murya, amma ban san yadda ake rera waƙa ba. Na damu: "Ta yaya hakan zai kasance, idan na riga na rera waƙa a kan mataki har ma na ɗauki repertoire." Duk da haka, waɗannan maganganun sun dame ni. Na fara tambayar MK Maksakova ya yi aiki tare da ni. Ya kasance a cikin kungiyar kuma mawaki, kuma darakta, kuma manajan wasan kwaikwayo, kuma ba shi da lokaci gare ni. Sai na yanke shawarar zuwa karatu a Petrograd.

Na fita kai tsaye daga gidan rediyon na je makarantar renon yara, amma an hana ni shiga saboda ba ni da shaidar kammala sakandare. Don yarda cewa ni riga mai wasan opera ce, na ji tsoro. Gaba daya ya baci da kin amincewa, na fita waje ina kuka mai zafi. A karo na farko a rayuwata na fuskanci tsoro na gaske: ni kaɗai a cikin wani birni mai ban mamaki, ba tare da kuɗi ba, ba tare da sani ba. An yi sa'a, na haɗu da ɗaya daga cikin mawaƙan mawaƙa a Astrakhan akan titi. Ya taimake ni na ɗan lokaci na zauna a cikin dangin da na sani. Bayan kwana biyu, Glazunov da kansa ya saurare ni a ɗakin karatu. Ya kai ni wurin wani farfesa, wanda ya kamata in fara koyon waƙa daga gare shi. Farfesan yace ina da wakar soprano. Sai na yanke shawarar komawa Astrakhan nan da nan don yin nazari da Maksakov, wanda ya sami mezzo-soprano tare da ni. Komawa ƙasara, ba da daɗewa ba na auri MK Maksakov, wanda ya zama malami na.

Godiya ga iyawarta mai kyau, Maksakova ya sami damar shiga gidan wasan opera. ML Lvov ya rubuta: "Tana da muryar ƙwararriyar ƙwararru kuma tana da isasshen son rai," in ji ML Lvov. - Abubuwan da ba su da tabbas sun kasance daidaiton innation da ma'anar kari. Babban abin da ya ja hankalin matashin mawaƙin a cikin waƙa shi ne kaɗe-kaɗe da faɗar magana da kuma ɗabi'a mai ƙwazo ga abubuwan da aka yi a cikin aikin. Tabbas, duk wannan har yanzu yana cikin ƙuruciyarsa, amma ya isa sosai ga ƙwararren ƙwararren mataki don jin yuwuwar ci gaba.

A 1923, da singer ya fara bayyana a kan mataki na Bolshoi a matsayin Amneris kuma nan da nan aka yarda a cikin wasan kwaikwayo troupe. Aiki kewaye da irin masters kamar shugaba Suk da darektan Lossky, soloists Nezhdanova, Sobinov, Obukhova, Stepanova, Katulskaya, matasa artist da sauri gane cewa babu wani gwaninta zai taimaka ba tare da matuƙar arfafa: "Na gode da fasaha na Nezhdanova da Lohengrin - Sobinov, na farko da na gane cewa siffar babban maigidan ya kai iyakar bayyanawa kawai lokacin da babban tashin hankali na ciki ya bayyana a cikin sauƙi da kuma bayyananne, lokacin da wadata na ruhaniya ya haɗu tare da rowa na ƙungiyoyi. Sauraron waɗannan mawaƙa, na fara fahimtar manufa da ma'anar aikina na gaba. Na riga na gane cewa iyawa da murya kawai kayan aiki ne kawai tare da taimakon wanda kawai ta hanyar aiki mara kyau kowane mawaƙi zai iya samun 'yancin yin waƙa a kan dandalin Bolshoi Theater. Sadarwa tare da Antonina Vasilievna Nezhdanova, wanda daga kwanakin farko na zama a gidan wasan kwaikwayo na Bolshoi ya zama mafi girman iko a gare ni, ya koya mani tsauri da daidaito a cikin fasaha na.

A shekarar 1925 Maksakova aka nada zuwa Leningrad. A can, ta operatic repertoire da aka cika da sassa na Orpheus, Marta (Khovanshchina) da comrade Dasha a cikin opera for Red Petrograd Gladkovsky da Prussak. Shekaru biyu bayan haka, a 1927, Maria koma Moscow, zuwa Jihar Academic Bolshoi Theater, saura har 1953 da manyan soloist na kasar farko troupe.

Ba shi yiwuwa a ambaci irin wannan ɓangaren mezzo-soprano a cikin wasan kwaikwayo da aka yi a Bolshoi Theater wanda Maksakova ba zai haskaka ba. Ba za a iya mantawa da dubban mutane ba su ne Carmen, Lyubasha, Marina Mnishek, Marfa, Hanna, Spring, Lel a cikin wasan kwaikwayo na Rashanci, Delila, Azuchena, Ortrud, Charlotte a Werther, da kuma Orpheus a cikin opera na Gluck da aka yi tare da shiga ta wasan kwaikwayo na Jiha a ƙarƙashin jagorancin IS Kozlovsky. Ita ce babbar Clarice a cikin Ƙaunar Lemu Uku na Prokofiev, Almast na farko a cikin opera na Spendiarov mai suna iri ɗaya, Aksinya a cikin Dzerzhinsky's The Quiet Don da Grunya a cikin jirgin ruwa na Chishko na Potemkin. Irin wannan kewayon wannan mai zane. Yana da kyau a ce mawaƙin, a cikin shekarun da suka gabata a cikin shekarun da suka gabata, kuma daga baya, barin gidan wasan kwaikwayo, ya ba da kide-kide da yawa. Daga cikin manyan nasarorin da ta samu za a iya danganta fassarar soyayya ta Tchaikovsky da Schumann, ayyukan mawaƙa na Soviet da waƙoƙin jama'a.

Maksakova yana daga cikin waɗancan masu fasahar Soviet waɗanda suka sami damar wakiltar fasahar kiɗan mu a ƙasashen waje a karon farko a cikin 30s, kuma ta kasance mai cancantar zama mai ƙarfi a Turkiyya, Poland, Sweden, da kuma shekarun bayan yaƙi a wasu ƙasashe.

Duk da haka, ba duk abin da yake da ja a cikin rayuwar babban mawaƙa ba. 'Yar Lyudmila, kuma mawaƙa, Mawallafin Ƙarfafa na Rasha ta ce:

“Mijin mahaifiyata (shi ne jakadan Poland) da dare aka tafi da shi. Bata sake ganinsa ba. Kuma haka ya kasance tare da mutane da yawa…

…Bayan sun ɗaure kuma suka harbe mijinta, ta zauna ƙarƙashin takobin Damocles, domin gidan wasan kwaikwayo na kotun Stalin ne. Ta yaya mawaki mai irin wannan tarihin ya kasance a ciki. Sun so su aika ta da ballerina Marina Semenova zuwa gudun hijira. Amma sai aka fara yakin, mahaifiyata ta tafi Astrakhan, kuma al'amarin ya zama kamar an manta. Amma lokacin da ta koma Moscow, ya zama cewa ba a manta da kome ba: Golovanov an cire shi a cikin minti daya lokacin da ya yi kokarin kare ta. Amma ya kasance mutum mai iko - babban jagoran gidan wasan kwaikwayo na Bolshoi, babban mawaƙa, wanda ya lashe lambar yabo ta Stalin ... "

Amma a ƙarshe komai ya daidaita. A shekara ta 1944 Maksakova ya sami lambar yabo ta farko a gasar da kwamitin zane-zane na Tarayyar Soviet ya shirya don mafi kyawun wasan kwaikwayo na Rasha. A 1946, Maria Petrovna samu da Tarayyar Soviet Prize ga fice nasarori a fagen wasan opera da kide kide. Ta samu sau biyu - a 1949 da 1951.

Maksakova babbar ma'aikaciya ce wacce ta sami damar haɓakawa da haɓaka iyawarta ta yanayi ta hanyar aiki mara ƙarfi. Abokin aikinta ND Spiller ya tuna:

"Maksakova ya zama mai zane-zane saboda godiya ga babban sha'awarta na zama mai fasaha. Wannan sha'awar, mai ƙarfi a matsayin wani abu, ba za a iya kashe shi da komai ba, ta dage sosai zuwa ga burinta. Lokacin da ta ɗauki sabon aiki, ba ta daina yin aiki a kai ba. Ta yi aiki (eh, ta yi aiki!) A kan matsayinta a matakai. Kuma wannan ko da yaushe ya kai ga gaskiyar cewa gefen murya, zane-zane, bayyanar - a gaba ɗaya, duk abin da ya sami cikakkiyar nau'i na fasaha, cike da ma'ana mai mahimmanci da abun ciki na tunanin.

Menene ƙarfin fasaha na Maksakova? Kowace rawar da ta yi ba kusan ɓangaren rera ba ce: yau a cikin yanayi - ya fi kyau, gobe ba - kadan mafi muni. Tana da komai kuma koyaushe "an yi" mai ƙarfi sosai. Ya kasance mafi girman matakin ƙwarewa. Na tuna yadda sau ɗaya, a wasan kwaikwayo na Carmen, a gaban mataki a cikin gidan abinci, Maria Petrovna, a bayan al'amuran, ya ɗaga gefen siket ɗinta sau da yawa a gaban madubi kuma ya bi motsin ƙafar ta. Tana shirin fage da rawa. Amma dubban fasaha na wasan kwaikwayo, daidaitawa, a hankali tunani-fita kalmomi kalmomi, inda duk abin da yake a fili da kuma fahimta - a general, ta yi duk abin da domin mafi cikakken da vocally, da mataki bayyana ciki halin da ta heroines, da ciki dabaru na ciki. halayensu da ayyukansu . Maria Petrovna Maksakova - mai girma master na vocal art. Hazakar ta, babban gwaninta, halinta ga wasan kwaikwayo, alhakinta ya cancanci a girmama shi mafi girma."

Kuma ga abin da wani abokin aikin S.Ya. in ji Maksakova. Lemeshev:

“Ba ta taɓa kasawa da ɗanɗanon fasaha ba. Ta fi dacewa ta "fahimta" kadan maimakon "matsi" (kuma wannan shine sau da yawa yakan kawo nasara mai sauƙi ga mai yin wasan kwaikwayo). Kuma ko da yake zurfin ƙasa da yawa daga cikinmu sun san cewa irin wannan nasarar ba ta da tsada sosai, kawai manyan masu fasaha ne kawai za su iya ƙin shi. Maksakova ta hankali na kida yana bayyana a cikin komai, ciki har da ƙaunarta ga ayyukan kide-kide, don wallafe-wallafen ɗakin. Yana da wuya a tantance ko wane bangare na ayyukan kirkire-kirkire na Maksakova - wasan opera ko wasan kide kide-kide - ya lashe babbar shahararta. Daga cikin mafi kyawun abubuwan da ta kirkira a fagen wasan kwaikwayo akwai soyayya ta Tchaikovsky, Balakirev, zagayowar Schumann "Love and Life of a Woman" da ƙari mai yawa.

Na tuna MP Maksakov, yin Rasha jama'a songs: abin da tsarki da kuma m karimci na Rasha rai aka bayyana a cikin rera waka, abin da tsabta na ji da kuma tsananin hali! A cikin waƙoƙin Rasha akwai waƙoƙi masu nisa da yawa. Kuna iya raira su ta hanyoyi daban-daban: duka dashingly, kuma tare da kalubale, kuma tare da yanayin da ke ɓoye a cikin kalmomin: "Oh, je gidan wuta!". Kuma Maksakova sami ta innation, zana, wani lokacin perky, amma ko da yaushe ennobled da mata taushi.

Kuma a nan ne ra'ayin Vera Davydova:

"Maria Petrovna ta ba da mahimmanci ga bayyanar. Ba wai kawai ta kasance kyakkyawa sosai ba kuma tana da babban adadi. Amma koyaushe tana kula da tsarinta na waje, tana bin ka'idodin abinci mai tsauri da kuma taurin gymnastics…

… Dachas ɗinmu kusa da Moscow a Snegiri, a kan Kogin Istra, sun tsaya kusa, kuma mun yi hutu tare. Saboda haka, na sadu da Maria Petrovna kowace rana. Na kalli rayuwarta cikin kwanciyar hankali tare da danginta, na ga soyayyarta da kulawarta ga mahaifiyarta, yayyenta, waɗanda suka amsa mata haka. Maria Petrovna yana son yin tafiya na sa'o'i tare da bankunan Istra kuma suna sha'awar ra'ayoyi masu ban mamaki, gandun daji da makiyaya. A wasu lokatai muna haɗuwa kuma mu yi magana da ita, amma yawanci muna tattauna batutuwan rayuwa mafi sauƙi kawai kuma da ƙyar mu taɓo aikin haɗin gwiwa a gidan wasan kwaikwayo. Dangantakarmu ta kasance mafi aminci da tsafta. Mun mutunta kuma muna daraja aikin junanmu da fasaha.”

Maria Petrovna, zuwa ƙarshen rayuwarta, bayan barin mataki, ya ci gaba da rayuwa mai aiki. Ta koyar da vocal art a GITIS, inda ta kasance mataimakin farfesa, ya jagoranci jama'ar Singing School a Moscow, halarci juri na da yawa-Union da na kasa da kasa vocal gasa, kuma ya tsunduma a aikin jarida.

Maksakova ya mutu a ranar 11 ga Agusta, 1974 a Moscow.