Nadezhda Zabela-Vrubel |

Nadezhda Zabela-Vrubel

Nadezhda Ivanovna Zabela-Vrubel aka haife kan Afrilu 1, 1868 a wani iyali na wani tsohon Ukrainian iyali. Mahaifinta, Ivan Petrovich, ma'aikacin gwamnati, yana sha'awar zane-zane, kiɗa kuma ya ba da gudummawa ga ilimin 'ya'yansa mata - Catherine da Nadezhda. Daga shekaru goma Nadezhda karatu a Kiev Institute for Noble 'yan mata, daga abin da ta sauke karatu a 1883 tare da babban azurfa lambar yabo.

Daga 1885 zuwa 1891, Nadezhda yayi karatu a St. Petersburg Conservatory, a cikin aji na Farfesa NA Iretskaya. "Art yana buƙatar kai," in ji Natalia Alexandrovna. Don warware matsalar shiga, ta kan saurari ’yan takara a gida, ta san su dalla-dalla.

Ga abin da LG ya rubuta. Barsova: "Dukkan palette na launuka an gina su akan wasu sautin da ba su da kyau: sautin tsafta, kamar yadda yake, ba da iyaka kuma yana ci gaba da gudana da haɓakawa. Samar da sautin bai hana faɗuwar bakin ba: “Masu baƙaƙe suna raira waƙa, ba sa kullewa, suna rera waƙa!” Iretskaya ya sa. Ta dauki maganar karya a matsayin babban laifi, kuma ana daukar wakar tilastawa a matsayin babban bala'i - sakamakon numfashi mara kyau. Abubuwan da ake buƙata na Iretskaya sun kasance na zamani sosai: "Dole ne ku sami damar riƙe numfashi yayin da kuke rera jumla - numfasawa cikin sauƙi, riƙe diaphragm yayin da kuke rera jumla, jin yanayin waƙa." Zabela ta koyi darussan Iretskaya daidai…”

Riga shiga cikin wasan kwaikwayo na dalibi "Fidelio" na Beethoven a ranar 9 ga Fabrairu, 1891 ya jawo hankalin ƙwararrun mawaƙa ga matashin mawaƙa wanda ya yi ɓangaren Leonora. Masu sharhi sun lura da "makaranta mai kyau da fahimtar kiɗa", "murya mai ƙarfi da horarwa", yayin da yake nuna rashin "a cikin ikon zama a kan mataki".

Bayan kammala karatunsa daga kwalejin Conservatory, Nadezhda, bisa gayyatar AG Rubinstein ya yi rangadin kide-kide a Jamus. Sannan ta tafi Paris - don ingantawa tare da M. Marchesi.

Aikin mataki na Zabela ya fara ne a shekara ta 1893 a Kyiv, a I.Ya. Setov. A Kyiv, ta yi rawar Nedda (Leoncavallo's Pagliacci), Elizabeth (Wagner's Tannhäuser), Mikaela (Bizet's Carmen), Mignon (Thomas' Mignon), Tatiana (Tchaikovsky's Eugene Onegin), Gorislava (Ruslan da Lyudmila), Gilinka" Crises ("Nero" na Rubinstein).

Na musamman bayanin kula shine rawar Marguerite (Gounod's Faust), ɗaya daga cikin mafi rikitarwa da bayyanawa a cikin opera classic. Yin aiki akai-akai akan hoton Margarita, Zabela yana fassara shi da wayo. Ga ɗaya daga cikin sake dubawa daga Kyiv: “Ms. Zabela, wacce muka hadu da ita a karon farko a cikin wannan wasan kwaikwayon, ta kirkiro irin wannan hoton wasan kwaikwayo na waka, ta yi kyau sosai a cikin magana, wanda daga fitowarta ta farko a kan dandamali a cikin wasan kwaikwayo na biyu kuma daga farkon amma bayanin budewar ta. mai karantawa, rera waƙa ba tare da ɓata lokaci ba, har zuwa fage na ƙarshe a cikin kurkukun na ƙarshe, gaba ɗaya ta ɗauki hankali da halin jama'a.

Bayan Kyiv, Zabela ta yi a Tiflis, inda ta repertore hada da matsayin Gilda (Verdi's Rigoletto), Violetta (Verdi's La Traviata), Juliet (Gounod's Romeo da Juliet), Inea (Meyerbeer's African), Tamara (The Demon" na Rubinstein). , Maria ("Mazepa" na Tchaikovsky), Lisa ("The Queen of Spades" na Tchaikovsky).

A cikin 1896, Zabela ya yi wasan kwaikwayo a St. Petersburg, a gidan wasan kwaikwayo na Panaevsky. A daya daga cikin rehearts na Humperdinck's Hansel da Gretel, Nadezhda Ivanovna ya sadu da mijinta na gaba. Ga yadda ita da kanta ta faɗi game da hakan: “Na yi mamaki har ma da ɗan gigice cewa wani ɗan’uwa ya zo gare ni, ya sumbaci hannuna, ya ce: “Murya mai fara’a!” TS Lyubatovich yayi gaggawar gabatar da ni: “Mawaƙinmu Mikhail Alexandrovich Vrubel” – kuma ya ce da ni a gefe: “Mutum mai fa’ida ne, amma kyakkyawa.”

Bayan farko na Hansel da Gretel, Zabela ta kawo Vrubel zuwa gidan Ge, inda ta zauna. 'Yar'uwarta "ta lura cewa Nadia ta kasance matashi musamman kuma mai ban sha'awa, kuma ta gane cewa hakan ya faru ne saboda yanayin soyayya da wannan Vrubel ya kewaye ta." Daga baya Vrubel ya ce "da ta ƙi shi, da ya ɗauki ransa."

Yuli 28, 1896 bikin aure na Zabela da Vrubel ya faru a Switzerland. Matar mai farin ciki ta rubuta wa ’yar’uwarta cewa: “A Mikh[ail Alexandrovich] ina samun sababbin halaye kowace rana; da farko, shi mai tawali'u ne da kirki, yana taɓawa, ban da haka, koyaushe ina jin daɗi da sauƙi tare da shi. Lallai na yi imani da iyawarsa game da waƙa, zai yi mini amfani sosai, kuma da alama zan iya yin tasiri a kansa.

Kamar yadda mafi ƙaunataccen, Zabela ya ware rawar Tatiana a cikin Eugene Onegin. Ta rera shi a karon farko a Kyiv, a Tiflis ta zaɓi wannan bangare don fa'idar aikinta, kuma a Kharkov don halarta ta farko. M. Dulova, a lokacin matashiyar mawakiya, ta ba da labarin bayyanarta ta farko a kan mataki na Kharkov Opera Theatre a ranar 18 ga Satumba, 1896 a cikin tarihinta: "Nadezhda Ivanovna ta ba da sha'awa ga kowa da kowa: tare da bayyanarta, tufafi, halinta ... nauyi. Tatyana - Zabela. Nadezhda Ivanovna ya kasance kyakkyawa kuma mai salo. Wasan "Onegin" yayi kyau sosai. Ta iyawa ya bunƙasa a Mamontov gidan wasan kwaikwayo, inda ta gayyace ta Savva Ivanovich a cikin kaka na 1897 tare da mijinta. Ba da da ewa akwai ta saduwa da music Rimsky-Korsakov.

A karo na farko Rimsky-Korsakov ji singer a ranar 30 ga Disamba, 1897 a wani ɓangare na Volkhova a Sadko. Zabela ya ce: "Kuna iya tunanin yadda na damu, ina magana a gaban marubucin a cikin irin wannan wasa mai wuya." Duk da haka, tsoro ya juya ya zama ƙari. Bayan hoto na biyu, na sadu da Nikolai Andreevich kuma na sami cikakken yarda daga gare shi.

Hoton Volkhov ya dace da hali na artist. Ossovsky ya rubuta: “Lokacin da ta ke rera waƙa, da alama wahayin da ba na zahiri ba ya zagaya kuma yana sharewa a gaban idanunku, masu tawali’u da… kusan ba su da tabbas… Lokacin da za su fuskanci baƙin ciki, ba baƙin ciki ba ne, amma nishi mai zurfi, ba tare da gunaguni da bege ba.”

Rimsky-Korsakov da kansa, bayan Sadko, ya rubuta wa artist: "Hakika, ta haka ne ka hada da Gimbiya Sea, cewa ka halitta ta image a cikin raira waƙa da kuma a kan mataki, wanda zai kasance har abada tare da ku a cikin tunanin ..."

Ba da da ewa Zabela-Vrubel fara da ake kira "Korsakov ta singer". Ta zama jarumi a cikin samar da irin waɗannan ƙwararrun ƙwararrun ta Rimsky-Korsakov kamar Matar Pskovite, May Night, Snow Maiden, Mozart da Salieri, Bride Tsar, Vera Sheloga, Tale of Tsar Saltan, "Koschei the Deathless".

Rimsky-Korsakov bai boye dangantaka da singer. Game da Maid of Pskov, ya ce: “Gaba ɗaya, na ɗauki Olga a matsayin mafi kyawun aikinku, ko da kasancewar Chaliapin da kansa a fagen wasa bai ba ni cin hanci ba.” A bangaren Snow Maiden, Zabela-Vrubel kuma ta sami babban yabo na marubucin: “Ban taɓa jin irin wannan waƙar Snow Maiden ba kamar Nadezhda Ivanovna a da.”

Rimsky-Korsakov nan da nan ya rubuta wasu daga cikin romances da kuma operatic matsayin dangane da m yiwuwa na Zabela-Vrubel. A nan shi wajibi ne don suna Vera ("Boyarina Vera Sheloga"), da kuma Swan Princess ("Tale of Tsar Saltan"), da Princess ƙaunataccen Beauty ("Koschei dawwama"), kuma, ba shakka, Marfa, a cikin "Amaryar Tsar".

Ranar 22 ga Oktoba, 1899, Bride Tsar ya fara. A cikin wannan wasan, mafi kyawun fasali na iyawar Zabela-Vrubel ya bayyana. Ba abin mamaki bane mutanen zamanin suna kiranta mawaƙin ruhin mace, mafarkin mata shiru, ƙauna da bakin ciki. Kuma a lokaci guda, kristal mai tsabta na aikin injiniya na sauti, ƙwaƙƙwarar ƙira na katako, tausayi na musamman na cantilena.

Mai suka I. Lipaev ya rubuta: “Ms. Zabela ta zama wata kyakkyawar Marfa, mai cike da motsin tawali'u, tawali'u kamar kurciya, kuma a cikin muryarta, mai dumi, mai bayyanawa, ba ta jin kunyar tsayin bikin, komai na sha'awar kida da kyan gani… Zabela ba ta misaltuwa a fage. Dunyasha, tare da Lykov, inda duk abin da ta ke da shi shine ƙauna da bege na gaba mai ban sha'awa, har ma mafi kyau a cikin aikin ƙarshe, lokacin da potion ya rigaya ya kashe matalauta kuma labarin kisan Lykov ya sa ta hauka. Kuma a gaba ɗaya, Marfa ya sami ɗan zane mai ban mamaki a cikin mutumin Zabela.

Jawabi daga wani mai suka, Kashkin: “Zabela ta rera waƙar [Martha] aria abin mamaki sosai. Wannan lambar tana buƙatar ma'anar murya ta musamman, kuma da wuya mawaƙa da yawa suna da irin wannan kyakkyawar mezza voche a cikin mafi girman rajista kamar Zabela. Yana da wuya a yi tunanin wannan aria ta fi kyau. Wurin da aria na mahaukaciyar Martha Zabela ta yi ta cikin yanayi mai ban sha'awa da ban sha'awa, tare da ma'ana mai girma. Engel ya kuma yaba wa Zabela ta rera waƙa da wasa: “Marfa [Zabela] tana da kyau sosai, yadda ɗumuwa da taɓawa ke cikin muryarta da kuma wasanta na wasan kwaikwayo! Gabaɗaya, sabuwar rawar ta kusan samun nasara ga jarumar; kusan gaba daya takan yi amfani da wani nau'in mezza voche, har ma da manyan bayanai, wanda ke baiwa Marfa wannan halo na tawali'u, tawali'u da sallamawa ga kaddara, wanda, a tunanina, ya zana a cikin tunanin mawaki.

Zabela-Vrubel a matsayin Martha ya burge OL Knipper, wanda ya rubuta wa Chekhov cewa: “Jiya ina cikin wasan opera, na saurari Bride Tsar a karo na biyu. Abin ban al'ajabi, wayo, kida mai ban sha'awa! Da kuma yadda Marfa Zabela ke waka da wasa da kyau da sauƙi. Na yi kuka sosai a wasan karshe - ta taba ni. Abin mamaki sai kawai ta jagoranci wurin hauka, muryarta a fili, babba, taushi, ba wata ƙara mai ƙarfi ba, da kuma shimfiɗar jariri. Dukan siffar Martha cike take da irin wannan tausasawa, waƙa, tsafta - kawai baya fita daga kaina. ”

Tabbas, wasan opera na Zabela bai takaitu ga kidan marubucin Amaryar Tsar ba. Ta kasance mai kyau Antonida a Ivan Susanin, ta raira waƙa Iolanta a cikin opera na Tchaikovsky na wannan sunan, har ma ta yi nasara a cikin siffar Mimi a cikin Puccini's La Boheme. Duk da haka, matan Rasha na Rimsky-Korsakov sun haifar da amsa mafi girma a cikin ranta. Yana da halayyar cewa soyayyarsa kuma sun kafa tushen tarihin Zabela-Vrubel.

A cikin mafi baƙin ciki rabo na singer akwai wani abu daga heroines Rimsky-Korsakov. A lokacin rani na 1901, Nadezhda Ivanovna yana da ɗa, Savva. Amma bayan shekara biyu ya kamu da rashin lafiya kuma ya mutu. Abin ya kara da cewa ciwon hauka na mijinta. Vrubel ya mutu a cikin Afrilu 1910. Kuma aikinta na kirkire-kirkire kanta, aƙalla wasan kwaikwayo, ya kasance gajere mara adalci. Bayan shekaru biyar na m wasanni a kan mataki na Moscow Private Opera, daga 1904 zuwa 1911 Zabela-Vrubel aiki a Mariinsky Theater.

Gidan wasan kwaikwayo na Mariinsky yana da matsayi mafi girma na sana'a, amma ba shi da yanayin bikin da ƙauna wanda ya yi sarauta a gidan wasan kwaikwayo na Mamontov. MF Gnesin ta rubuta da baƙin ciki: “Lokacin da na taɓa zuwa gidan wasan kwaikwayo a Sadko tare da halartarta, na kasa daurewa sai dai na ji haushi da rashin ganinta a wasan. Siffarta, da waƙarta, sun kasance masu ban sha'awa a gare ni, amma duk da haka, idan aka kwatanta da na farko, ya kasance, a matsayin mai laushi mai laushi da launin ruwa, kawai yana tunawa da hoton da aka zana da fenti. Bugu da kari, yanayin wasanta ya kasance babu wakoki. Rashin bushewar da ke tattare da samarwa a gidajen wasan kwaikwayo na jihar an ji a cikin komai.

A mataki na daular, ta taba samun damar yin wani ɓangare na Fevronia a cikin Rimsky-Korsakov ta opera The Tale of the Invisible City of Kitezh. Kuma masu zamani sun yi iƙirarin cewa a matakin wasan kwaikwayo wannan ɓangaren ya yi mata kyau.

Amma ɗakin maraice na Zabela-Vrubel ya ci gaba da jawo hankalin masu fahimtar gaskiya. Ta karshe concert ya faru a watan Yuni 1913, da kuma Yuli 4, 1913 Nadezhda Ivanovna mutu.