Martha Mödl (Martha Mödl) |

Martha Mödl

"Me yasa nake buƙatar wata bishiya a kan mataki, idan ina da Mrs. X!", - irin wannan magana daga leɓun daraktan game da debutante ba zai iya ƙarfafa na ƙarshe ba. Amma a cikin labarinmu, wanda ya faru a shekara ta 1951, darektan shine Wieland Wagner, kuma Mrs X ta sami sa'a, Martha Mödl. Kare haƙƙin salon sabon Bayreuth, bisa ga sake tunani da "deromanticization" na tatsuniya, da kuma gajiya da ƙididdiga marasa iyaka na "Tsohon Mutum" * ("Kinder, schafft Neues!"), W. Wagner ya kaddamar da shi. gardama tare da "itace", yana nuna sabon tsarinsa na zane-zane na wasan kwaikwayo na opera.

An bude kakar farko bayan yakin Parsifal, wanda aka share daga fatun dabbobi, kwalkwali mai kaho da sauran kayan aiki na gaskiya, wanda, haka ma, zai iya haifar da ƙungiyoyin tarihi maras so. An cika shi da haske da ƙungiyar ƙwararrun ƙwararrun mawaƙa-yan wasan kwaikwayo (Mödl, Weber, Windgassen, Uhde, London). A cikin Maris Mödl, Wieland Wagner ya sami abokin aure. Hoton Kundry da ta ƙirƙira, "a cikin fara'a na ɗan adam wanda (a cikin hanyar Nabokov) ya sami sabon sabuntawa na zahirinta," ya zama nau'in ma'anar juyin juya halinsa, kuma Mödl ya zama misali na sabon ƙarni na mawaƙa. .

Tare da duk kulawa da girmamawa ga daidaiton innation, koyaushe tana jaddada mahimmancin mahimmanci a gare ta na bayyanar da gagarumin yuwuwar rawar wasan kwaikwayo. Haihuwar wasan kwaikwayo mai ban sha'awa ("Arewa Callas"), mai sha'awar kuma mai tsanani, wani lokacin ba ta hana muryarta ba, amma fassarorinta masu ban sha'awa sun sa ta manta da fasaha gaba ɗaya kuma ta lalata har ma da masu sukar lamirin. Ba daidai ba ne Furtwängler ta yi mata lakabi da "Zauberkasten". "Masika", za mu ce. Kuma idan ba mayya ba, to ta yaya wannan mace mai ban mamaki za ta kasance cikin buƙata ta gidajen opera na duniya har ma a bakin kofa na karni na uku? ..

An haife ta a Nuremberg a shekara ta 1912. Ta yi karatu a makarantar 'yan mata na Ingilishi, ta buga piano, ita ce ɗalibi na farko a cikin ɗakin ballet kuma mai kyaun viola, wanda aka tsara ta yanayi. Ba da daɗewa ba, duk da haka, duk wannan dole ne a manta da shi. Mahaifin Martha - mai zane-zane na Bohemian, mutum ne mai hazaka kuma mai matukar sonta - wata rana mai kyau ta bace a inda ba a sani ba, ta bar matarsa ​​da 'yarsa cikin bukata da kadaici. An fara gwagwarmayar rayuwa. Bayan barin makaranta, Marta ta fara aiki - da farko a matsayin sakatare, sannan a matsayin akawu, tattara sojoji da kudade don a kalla wata rana ta sami damar yin waƙa. Kusan ba ta taɓa tunawa da lokacin Nuremberg ba kuma babu inda take tunawa da lokacin rayuwarta. A kan titunan almara na birnin Albrecht Dürer da mawaki Hans Sachs, a kusa da gidan sufi na St. Catherine, inda shahararriyar gasa ta Meistersinger ta taba faruwa, a cikin shekarun matasa na Martha Mödl, an kunna wuta na farko. A cikin abin da aka jefa littattafan Heine, Tolstoy, Rolland da Feuchtwanger. "Sabon Meistersingers" sun juya Nuremberg zuwa "Makka" na Nazi, suna riƙe da jerin gwanon su, faretin, "jirgin ruwa" da "Reichspartertags" a ciki, wanda Nuremberg "kabilanci" da sauran dokoki masu hauka suka haɓaka ...

Yanzu bari mu saurari Kundry dinta a farkon aiki na 2 (rakodi kai tsaye na 1951) - Ach! - Ah! Babban Nacht! — Wani! -Ya! - Wut!-Ach!-Jammer! - Schlaf-Schlaf - tiefer Schlaf! – Tod! .. Allah ya san irin abubuwan da suka faru da waɗannan mugayen intonations aka haife su daga… Shaidu na wasan kwaikwayon sun ƙare gashin kansu, kuma sauran mawaƙa, aƙalla shekaru goma masu zuwa, sun ƙi yin wannan rawar.

Da alama rayuwa ta sake farawa a cikin Remscheid, inda Martha, da kyar ta sami lokacin fara karatun da take jira a Nuremberg Conservatory, ta isa don yin jita-jita a 1942. “Suna neman mezzo a gidan wasan kwaikwayo… Na rera rabi. na cutar Ebola aria kuma an yarda dashi! Na tuna yadda daga baya na zauna a wani cafe kusa da Opera, na kalli babbar taga a gaban masu wucewa…

Ba da daɗewa ba bayan Mödl (mai shekara 31) ta fara fitowa a matsayin Hansel a cikin wasan opera na Humperdinck, ginin gidan wasan kwaikwayo ya kasance bam. Sun ci gaba da atisaye a wani dakin motsa jiki na dan lokaci, Cherubino, Azucena da Mignon sun bayyana a cikin repertore dinta. A yanzu ba a kowane maraice ake yin wasan kwaikwayon ba, saboda tsoron farmaki. A lokacin rana, an tilasta wa masu fasahar wasan kwaikwayo yin aiki a gaba - in ba haka ba ba a biya kudaden ba. Mödl ya tuna: “Sun zo ne don su sami aiki a Alexanderwerk, wata masana’anta da ke samar da kayan dafa abinci kafin yaƙi, kuma yanzu harsashai. Sakatariyar wadda ta buga fasfo dinmu, sa’ad da ta gano cewa mu ’yan wasan opera ne, ta ce da gamsuwa: “To, alhamdulillahi, a ƙarshe sun sa malalaci su yi aiki!” Wannan masana'anta ta yi aiki na tsawon watanni 7. Harin ya zama ruwan dare a kowace rana, a kowane lokaci komai na iya tashi sama. An kuma kawo fursunonin yaƙi na Rasha a nan… Wata mata 'yar ƙasar Rasha da 'ya'yanta biyar sun yi aiki tare da ni… ƙaramar tana ɗan shekara huɗu kawai, ya shafa man bawo... Mahaifiyata ta yi bara saboda suna ciyar da su miya daga ruɓaɓɓen kayan lambu. – Matron ya ɗauki dukan abincin don kansa kuma ya yi liyafa tare da sojojin Jamus da maraice. Ba zan taɓa mantawa da wannan ba.”

Yaƙin yana zuwa ƙarshe, kuma Martha ta tafi don ta “ci nasara” Düsseldorf. A hannunta akwai kwangila don wurin na farko mezzo, kammala tare da niyyar na Düsseldorf Opera bayan daya daga cikin wasanni na Mignon a cikin Remscheid dakin motsa jiki. Amma yayin da matashin mawaƙin ya isa birnin da ƙafa, tare da gada mafi tsawo a Turai - Müngstener Brücke - "Reich mai shekaru dubu" ya daina wanzuwa, kuma a cikin gidan wasan kwaikwayo, kusan halakar da ƙasa, ta hadu da wani sabon mai kula da kwata-kwata - shi ne sanannen dan gurguzu kuma mai adawa da mulkin mallaka Wolfgang Langoff, marubucin Moorsoldaten, wanda ya dawo daga gudun hijira na Switzerland. Martha ta ba shi kwangilar da aka ƙulla a zamanin dā kuma cikin jin kunya ta tambaye shi ko yana da inganci. "Tabbas yana aiki!" Langoff ya amsa.

Ainihin aikin ya fara tare da zuwan Gustav Grundens a cikin gidan wasan kwaikwayo. ƙwararren darektan wasan kwaikwayo na wasan kwaikwayo, ya ƙaunaci opera da zuciya ɗaya, sannan ya shirya Aure na Figaro, Butterfly da Carmen - babban rawar a cikin na ƙarshe an danƙa wa Mödl. A Grundens, ta sami kyakkyawar makarantar wasan kwaikwayo. "Ya yi aiki a matsayin ɗan wasan kwaikwayo, kuma Le Figaro na iya samun Beaumarchais fiye da Mozart (Cherubino ya kasance babban nasara!), Amma ya ƙaunaci kiɗa kamar wani darektan zamani - a nan ne duk kurakuran su suka fito."

Daga 1945 zuwa 1947, singer ya rera waka a Düsseldorf sassan Dorabella, Octavian da Mawaƙi (Ariadne auf Naxos), daga baya mafi ban mamaki sassa bayyana a cikin repertoire, kamar Eboli, Clytemnestra da Maria (Wozzeck). A cikin 49th-50s. An gayyace ta zuwa Lambun Covent, inda ta yi Carmen a cikin babban wasan kwaikwayo a Turanci. Sharhin da mawaƙin ya fi so game da wannan wasan kwaikwayon shi ne - "Ka yi tunanin - wata mace Bajamushiya tana da juriya don fassara tirrin Andalus a cikin harshen Shakespeare!"

Wani muhimmin ci gaba shine haɗin gwiwa tare da darekta Rennert a Hamburg. A can, mawaƙin ya rera Leonora a karon farko, kuma bayan ya yi rawar Lady Macbeth a matsayin wani ɓangare na Opera na Hamburg, Marthe Mödl an yi magana game da shi a matsayin soprano mai ban mamaki, wanda a wannan lokacin ya riga ya zama abin ban mamaki. Ga Martha kanta, wannan tabbaci ne kawai na abin da malaminta Frau Klink-Schneider, ya taɓa lura da shi. A koyaushe takan ce muryar yarinyar nan wani asiri ne a gare ta, "tana da launuka fiye da bakan gizo, kowace rana sauti daban-daban, kuma ba zan iya sanya shi cikin wani nau'i na musamman ba!" Don haka ana iya aiwatar da sauyin a hankali. "Na ji cewa "yi" da nassosi a cikin babban rajista suna da ƙarfi da ƙarfin gwiwa… Ba kamar sauran mawaƙa waɗanda koyaushe suke hutu, suna motsawa daga mezzo zuwa soprano, ban daina ba… "A cikin 1950, ta gwada kanta a cikin " Consule" Menotti (Magda Sorel), kuma bayan haka kamar yadda Kundry - na farko a Berlin tare da Keilbert, sannan a La Scala tare da Furtwängler. Ya rage saura mataki daya kawai kafin ganawar tarihi da Wieland Wagner da Bayreuth.

Wieland Wagner ya kasance yana neman mawaƙa cikin gaggawa don rawar Kundry don bikin farko bayan yaƙi. Ya sadu da sunan Martha Mödl a cikin jaridu dangane da bayyanarta a Carmen da Consul, amma ya ganta a karon farko a Hamburg. A cikin wannan bakin ciki, mai ido, mai ban mamaki mai fasaha da tsananin sanyi Venus (Tannhäuser), wanda ya hadiye ruwan lemun tsami mai zafi a cikin overture, darektan ya ga daidai Kundry da yake nema - na duniya da ɗan adam. Martha ta yarda ta zo Bayreuth don yin jita-jita. "Kusan ban damu ba kwata-kwata - Na riga na taka wannan rawar a baya, Ina da duk sauti a wurin, ban yi tunanin nasara a cikin waɗannan shekarun farko a kan mataki ba kuma babu wani abu na musamman don damuwa. Haka ne, kuma ban san kusan komai game da Bayreuth ba, sai dai sanannen biki ne… Na tuna cewa lokacin sanyi ne kuma ginin bai yi zafi ba, an yi sanyi sosai… Wani ne ya raka ni a kan ɗigon piano, amma na tabbata sosai. Ni kaina cewa ko da hakan bai dame ni ba… Wagner na zaune a dakin taro. Lokacin da na gama, sai ya faɗi magana ɗaya kawai - "An karɓe ku."

“Kundry ya buɗe min kofofin duka,” in ji Martha Mödl daga baya. Kusan shekaru ashirin da suka biyo baya, rayuwarta tana da alaƙa da Bayreuth, wanda ya zama gidanta na bazara. A 1952 ta yi a matsayin Isolde tare da Karajan da kuma shekara guda a matsayin Brunnhilde. Martha Mödl ta kuma nuna sabbin fassarori masu inganci na jarumawan Wagnerian da ke nesa da Bayreuth - a Italiya da Ingila, da Ostiriya da Amurka, a karshe ta 'yantar da su daga tambarin "Reich na uku". An kira ta "Jakadar duniya" na Richard Wagner (har zuwa wani matsayi, Wieland Wagner ta asali dabara suma sun ba da gudummawa ga wannan - duk sababbin abubuwan da aka yi "an gwada shi" don mawaƙa a lokacin wasan kwaikwayo - alal misali, gidan wasan kwaikwayo na San Carlo Naples ya zama "dakin da ya dace" na Brünnhilde.)

Baya ga Wagner, daya daga cikin muhimman ayyuka na lokacin soprano na mawaƙin shine Leonora a cikin Fidelio. Ta yi muhawara tare da Rennert a Hamburg, daga baya ta rera shi tare da Karajan a La Scala da kuma a cikin 1953 tare da Furtwängler a Vienna, amma abin da ya fi tunawa da shi ya kasance a wurin bude tarihi na Opera na Vienna State a ranar 5 ga Nuwamba, 1955.

Kusan shekaru 20 da aka ba wa manyan ayyukan Wagnerian ba za su iya shafar muryar Martha ba. A tsakiyar 60s, tashin hankali a cikin babba rajista ya zama mafi m, kuma tare da wasan kwaikwayon na rawar da Nurse a Munich gala farko na "Women Ba tare da Inuwa" (1963), ta fara a hankali koma zuwa ga repertoire na mezzo da contralto. Wannan komowa ne ko kaɗan a ƙarƙashin alamar "matsayin mika wuya." Tare da nasara mai nasara ta rera Clytemnestra tare da Karajan a bikin Salzburg a 1964-65. A cikin fassararta, Clytemnestra ya bayyana ba zato ba tsammani ba a matsayin mugu ba, amma a matsayin mace mai rauni, matsananciyar wahala da wahala. Ma'aikaciyar jinya da Clytemnestra suna da ƙarfi a cikin repertore, kuma a cikin 70s ta yi su a Covent Garden tare da Bavarian Opera.

A cikin 1966-67, Martha Mödl ta yi bankwana da Bayreuth, tana yin Waltrauta da Frikka (da wuya a sami mawaƙa a cikin tarihin Ring wanda ya yi 3 Brunhilde, Sieglinde, Waltrauta da Frikka!). Barin gidan wasan kwaikwayo gaba ɗaya ya yi mata, duk da haka, ba zato ba tsammani. Ta yi bankwana har abada ga Wagner da Strauss, amma akwai sauran ayyuka masu ban sha'awa da yawa a gaba waɗanda suka dace da ita kamar babu kowa dangane da shekaru, gogewa, da yanayin yanayi. A cikin "lokacin balagagge" na kerawa, basirar Martha Mödl, 'yar wasan kwaikwayo mai rairayi, an bayyana shi tare da sabuntawa a cikin ban mamaki da sassa na hali. Matsayin "Biki" sune Kaka Buryya a cikin Janacek's Enufa (masu suka sun lura da mafi kyawun innation, duk da ƙarfin vibrato!), Leokadiya Begbik a cikin Weil's The Rise and Fall of the City of Mahagonny, Gertrud a cikin Marschner's Hans Heiling.

Godiya ga basira da sha'awar wannan mai zane, yawancin wasan kwaikwayo ta hanyar mawaƙa na zamani sun zama sananne da kuma repertoire - "Elizabeth Tudor" na V. Fortner (1972, Berlin, farko), "Ranar da Ƙauna" na G. Einem (1976, Vienna) , farko), “Baal” F. Cherhi (1981, Salzburg, farko), A. Reimann's “Ghost Sonata” (1984, Berlin, farko) da wasu da dama. Ko da ƙananan sassan da aka ba wa Mödl sun zama tsakiyar godiya saboda kasancewarta na sihiri. Don haka, alal misali, a cikin 2000, wasan kwaikwayo na "Sonata na Fatalwa", inda ta taka rawar Mummy, ba kawai tare da tsayawa ba - masu sauraro sun ruga zuwa mataki, runguma da sumbatar wannan labari mai rai. A cikin 1992, a cikin rawar Countess ("Sarauniyar Spades") Mödl, ya yi bankwana da Opera ta Vienna. A shekara ta 1997, da ta ji cewa E. Söderström, tana ’yar shekara 70, ta yanke shawarar katse mata hutun da ta cancanta kuma ta yi Countess a Met, Mödl ya ce cikin zolaya: “Söderström? Ta yi karancin shekaru don wannan rawar! ”, Kuma a cikin Mayu 1999, ba zato ba tsammani ya sake farfadowa a sakamakon nasarar aikin da ya sa ya yiwu a manta game da myopia na yau da kullum, Countess-Mödl, yana da shekaru 87, ya sake daukar mataki a Mannheim! A lokacin, ta aiki repertoire kuma hada biyu "nannies" - a cikin "Boris Godunov" ("Komishe Oper") da kuma "Uku Sisters" Eötvös (Düsseldorf farko), kazalika da rawa a cikin m "Anatevka".

A cikin ɗaya daga cikin tambayoyin da aka yi a baya, mawaƙin ya ce: “Da zarar mahaifin Wolfgang Windgassen, sanannen ɗan kasuwa da kansa, ya gaya mani: “Martha, idan kashi 50 cikin ɗari na jama’a suna ƙaunarki, ku ɗauka cewa kun faru. Kuma ya yi daidai. Duk abin da na cim ma tsawon shekaru, Ina bin su ne kawai don ƙaunar masu sauraro na. Da fatan za a rubuta. Kuma tabbatar da rubuta cewa wannan soyayyar juna ce! ”…

Marina Demina

Lura: * "Tsohon Mutum" - Richard Wagner.