Nicolai Gedda |

Nicolai gedda

An haifi Nikolai Gedda a Stockholm a ranar 11 ga Yuli, 1925. Malaminsa shi ne dan wasan kwaikwayo na Rasha da mawaƙa Mikhail Ustinov, wanda yaron ya rayu a cikin iyalinsa. Ustinov kuma ya zama na farko malami na gaba singer. Nicholas ya ciyar da yarinta a Leipzig. A nan, yana da shekaru biyar, ya fara koyon wasan piano, da kuma rera waƙa a cikin mawaƙa na cocin Rasha. Ustinov ya jagoranci su. "A wannan lokacin," mai zane ya tuna daga baya, "Na koyi abubuwa biyu masu mahimmanci ga kaina: na farko, cewa ina son kiɗa, kuma na biyu, cewa ina da cikakkiyar murya.

… An tambaye ni sau da yawa inda na sami irin wannan muryar. Ga wannan ba zan iya amsa abu ɗaya kawai: Na karɓa daga wurin Allah. Zan iya gadon halayen ɗan wasan kwaikwayo daga kakan mahaifiyata. Ni da kaina na dauki muryar waka a matsayin abin da za a sarrafa ta. Saboda haka, koyaushe ina ƙoƙarin kula da muryata, haɓaka ta, rayuwa ta hanyar da ba ta lalata kyautara.

A 1934, tare da reno iyayen Nikolai koma Sweden. Ya sauke karatu daga gymnasium kuma ya fara aiki kwanaki.

“…Wata lokacin bazara na yi aiki da mijin farko na Sarah Leander, Nils Leander. Yana da gidan wallafe-wallafe a kan Regeringsgatan, sun buga wani babban littafin tunani game da masu yin fina-finai, ba kawai game da daraktoci da 'yan wasan kwaikwayo ba, har ma game da masu karbar kuɗi a gidajen sinima, makanikai da masu sarrafawa. Aikina shi ne in tattara wannan aikin a cikin fakitin gidan waya in aika da shi a duk faɗin ƙasar ta tsabar kuɗi lokacin isarwa.

A lokacin rani na shekara ta 1943, mahaifina ya sami aiki a cikin daji: ya sare itace ga wani baƙo kusa da garin Mersht. Na tafi tare da shi na taimaka. Rani ne mai ban sha'awa mai ban sha'awa, mun tashi da karfe biyar na safe, a mafi kyawun lokacin - har yanzu babu zafi kuma babu sauro ko dai. Muka yi aiki har uku muka huta. Muka zauna a gidan bakuwa.

A lokacin rani na 1944 da 1945, na yi aiki a Kamfanin Nurdiska, a sashen da ke shirya fakitin bayar da gudummawa don jigilar kaya zuwa Jamus - wannan shiri ne na agaji, wanda Count Folke Bernadotte ke jagoranta. Kamfanin Nurdiska yana da wurare na musamman don wannan akan Smålandsgatan - an cika fakiti a wurin, kuma na rubuta sanarwa…

… Rediyon ya farkar da sha'awar kiɗa na gaske, lokacin da a cikin shekarun yaƙi na kwanta na sa'o'i na saurare - da farko Gigli, sannan ga Jussi Björling, ɗan Jamus Richard Tauber da Dane Helge Rosvenge. Ina tunawa da sha'awar da nake yi wa ɗan wasa Helge Roswenge - ya yi kyakkyawan aiki a Jamus a lokacin yaƙin. Amma Gigli ya haifar da tashin hankali a cikina, musamman abin da ya jawo hankalinsa daga wasan operas na Italiyanci da Faransanci. Na shafe maraice da yawa a gidan rediyo, ina saurare da sauraro ba iyaka.

Bayan ya yi aiki a soja, Nikolai ya shiga bankin Stockholm a matsayin ma'aikaci, inda ya yi aiki na shekaru da yawa. Amma ya ci gaba da mafarkin yin sana'a a matsayin mawaƙa.

“Kawayen iyayena sun ba ni shawarar in ɗauki darasi daga malamin Latvia Maria Vintere, kafin ta zo Sweden ta rera waƙa a Riga Opera. Mijinta shugaba ne a gidan wasan kwaikwayo guda, wanda daga baya na fara nazarin ka’idar waƙa da shi. Maria Wintere ta ba da darussa a ɗakin taro na makarantar da aka hayar da yamma, a ranar tana samun abin rayuwa ta wurin aiki na yau da kullun. Na yi karatu tare da ita har tsawon shekara guda, amma ba ta san yadda za ta inganta abin da ya fi dacewa a gare ni ba - dabarar waƙa. Da alama ban samu ci gaba da ita ba.

Na yi magana da wasu abokan ciniki a ofishin banki game da kiɗa lokacin da na taimaka musu su buɗe amintattun. Mafi yawan abin da muka yi magana da Bertil Strange - shi dan wasan ƙaho ne a Kotun Chapel. Sa’ad da na gaya masa matsalolin koyon waƙa, ya sa wa Martin Eman suna: “Ina ganin zai dace da kai.”

… Lokacin da na rera duk lambobina, sha'awar da ba ta son rai ta zubo masa, ya ce bai taɓa jin wani ya rera waɗannan abubuwa da kyau ba - ba shakka, sai Gigli da Björling. Na yi farin ciki kuma na yanke shawarar yin aiki tare da shi. Na gaya masa cewa ina aiki a banki, cewa kuɗin da nake samu na ciyar da iyalina. "Kada mu yi matsala ta hanyar biyan kuɗin darussa," in ji Eman. A karo na farko ya ba da shawarar yin nazari da ni kyauta.

A cikin kaka na 1949 na fara karatu da Martin Eman. Bayan 'yan watanni, ya ba ni gwajin gwaji na Christina Nilsson Scholarship, a lokacin rawanin 3000 ne. Martin Eman ya zauna a kan alkalan shari'a tare da babban darektan opera na lokacin, Joel Berglund, da mawakiyar kotu Marianne Merner. Bayan haka, Eman ya ce Marianne Merner ya yi farin ciki, wanda ba za a iya faɗi game da Berglund ba. Amma na sami kari, kuma ɗaya, kuma yanzu zan iya biyan Eman don darasi.

Sa’ad da nake ba da cak ɗin, Eman ya kira ɗaya daga cikin daraktocin Bankin Scandinavia, wanda ya sani da kansa. Ya ce in ɗauki aikin ɗan lokaci don in ba ni damar ci gaba da waƙa da gaske. An kai ni babban ofishi da ke dandalin Gustav Adolf. Martin Eman kuma ya shirya mani sabon bugu a Kwalejin Kiɗa. Yanzu sun karbe ni a matsayin mai aikin sa kai, wanda ke nufin, a gefe guda, na yi jarrabawa, a daya bangaren kuma, an cire ni daga halartar tilas, tunda na yi rabin yini a banki.

Na ci gaba da yin nazari da Eman, kuma kowace rana a lokacin, daga 1949 zuwa 1951, na cika da aiki. Waɗannan shekarun sun kasance mafi ban mamaki a rayuwata, sa'an nan da yawa ba zato ba tsammani ya buɗe mini…

… Abin da Martin Eman ya koya mani da farko shine yadda ake “shirya” muryar. Ana yin wannan ba kawai saboda gaskiyar cewa kun yi duhu zuwa "o" ba kuma kuyi amfani da canji a cikin nisa na buɗe maƙogwaro da taimakon tallafi. Mawaƙin yakan yi numfashi kamar kowa, ba kawai ta cikin makogwaro ba, har ma da zurfi, tare da huhu. Samun dabarar numfashi mai kyau kamar cikawa da ruwa, dole ne ku fara daga ƙasa. Suna cika huhu sosai - don haka ya isa ga dogon magana. Sannan ya zama dole a warware matsalar yadda ake amfani da iska a hankali don kada a bar shi ba tare da shi ba har zuwa karshen jimlar. Duk wannan Eman zai iya koya mani daidai, domin shi da kansa ya kasance tenor kuma ya san waɗannan matsalolin sosai.

Afrilu 8, 1952 shine farkon Hedda. Kashegari, jaridu da yawa na Sweden sun fara magana game da babban nasarar sabon shiga.

A wannan lokacin, kamfanin rikodin Ingilishi na EMAI yana neman mawaƙa don aikin Pretender a cikin wasan opera Mussorgsky Boris Godunov, wanda za a yi a cikin Rashanci. Shahararren injiniyan sauti Walter Legge ya zo Stockholm don nemo mawaƙi. Hukumar gudanarwar gidan wasan opera ta gayyaci Legge domin shirya wani taron baje kolin hazikan matasa mawaka. VV yayi magana game da jawabin Gedda. Timokhin:

"Mawaƙin ya yi wa Legge "Aria tare da fure" daga "Carmen", yana haskaka wani babban B-lebur. Bayan haka, Legge ya bukaci saurayin ya rera wannan magana bisa ga rubutun marubucin - diminuendo da pianissimo. Mawakin ya cika wannan buri ba tare da wani kokari ba. A wannan maraice, Gedda ya rera waƙa, yanzu don Dobrovijn, kuma ya sake rera waƙa "aria tare da fure" da aria biyu na Ottavio. Legge, matarsa ​​Elisabeth Schwarzkopf da Dobrovein sun amince da ra'ayinsu - suna da fitaccen mawaki a gabansu. Nan da nan aka sanya hannu a kwangila tare da shi don aiwatar da sashin Pretender. Duk da haka, wannan bai ƙare ba. Legge ya san cewa Herbert Karajan, wanda ya shirya fim ɗin Don Giovanni na Mozart a La Scala, ya sha wahala sosai wajen zabar ɗan wasan kwaikwayo don matsayin Ottavio, kuma ya aika da ɗan gajeren telegram kai tsaye daga Stockholm zuwa ga shugaba da darektan gidan wasan kwaikwayo Antonio Ghiringelli: “Na samu. manufa Ottavio". Nan da nan Ghiringelli ya kira Gedda zuwa wani taron ji a La Scala. Daga baya Giringelli ya ce a cikin kwata na karnin da ya yi a matsayin darekta, bai taba haduwa da wani mawaki na kasashen waje ba wanda zai sami cikakkiyar umarnin yaren Italiyanci. Nan da nan aka gayyaci Gedda zuwa ga rawar Ottavio. Ayyukansa sun kasance babban nasara, kuma mawallafin Carl Orff, wanda Triumphs trilogy kawai aka shirya don shiryawa a La Scala, nan da nan ya ba wa matashin mai zane sashin Angon a cikin sashin karshe na trilogy, Aphrodite's Triumph. Don haka, kawai shekara guda bayan wasan kwaikwayo na farko a kan mataki, Nikolai Gedda ya sami suna a matsayin mawaƙa tare da sunan Turai.

A cikin 1954, Gedda ya rera waƙa a manyan cibiyoyin kiɗa na Turai guda uku: a Paris, London da Vienna. Bayan haka kuma an yi rangadin wasannin kade-kade a biranen Jamus, wani wasan kwaikwayo a wani bikin kade-kade a birnin Aix-en-Provence na Faransa.

A tsakiyar shekarun hamsin, Gedda ya riga ya shahara a duniya. A cikin Nuwamba 1957, ya fara bayyanarsa a Gounod's Faust a Gidan Opera na New York Metropolitan. A nan kuma ya rera waƙa a kowace shekara fiye da yanayi ashirin.

Jim kadan bayan halarta a karon a Metropolitan Nikolai Gedda ya sadu da Rasha singer da vocal malamin Polina Novikova, wanda ya zauna a New York. Gedda ta yaba da darussan da ta koya: “Na yi imani cewa koyaushe akwai haɗarin ƙananan kurakurai da za su iya kashe mutane kuma a hankali su ja-goranci mawaƙa ta hanyar da ba ta dace ba. Mawaƙin ba zai iya, kamar mawaƙin kayan aiki ba, jin kansa, sabili da haka saka idanu akai-akai ya zama dole. Na yi sa'a na hadu da wani malami wanda fasahar waka ta zama kimiyya. A wani lokaci Novikova ya shahara sosai a Italiya. Malamin ta shi ne Mattia Battistini da kansa. Tana da makaranta mai kyau da kuma sanannen bass-baritone George London.

Yawancin abubuwa masu haske na tarihin tarihin Nikolai Gedda suna da alaƙa da gidan wasan kwaikwayo na Metropolitan. A cikin Oktoba 1959, aikin da ya yi a Massenet's Manon ya zana bita mai zurfi daga 'yan jaridu. Masu suka ba su yi kasa a gwiwa ba wajen lura da kyawun zance, alheri mai ban mamaki da kuma darajar yadda mawakin ya yi.

Daga cikin rawar da Gedda ya rera a matakin New York, Hoffmann ("Tales of Hoffmann" na Offenbach), Duke ("Rigoletto"), Elvino ("Sleepwalker"), Edgar ("Lucia di Lammermoor") ya fice. Game da wasan kwaikwayon rawar Ottavio, ɗaya daga cikin masu bitar ya rubuta: "A matsayin ɗan wasan Mozartian, Hedda yana da 'yan kishiyoyinsa a kan matakin wasan opera na zamani: cikakkiyar 'yancin yin aiki da ɗanɗano mai ladabi, babbar al'adun fasaha da kuma kyauta mai ban mamaki na virtuoso. mawaƙi ya ƙyale shi ya sami babban matsayi a cikin kiɗan Mozart. "

A cikin 1973, Gedda ya rera waƙa a cikin harshen Rashanci na ɓangaren Herman a cikin Sarauniyar Spades. Babban farin cikin masu sauraron Amurka kuma ya haifar da wani aikin "Rasha" na mawaƙa - ɓangaren Lensky.

"Lensky shine sashin da na fi so," in ji Gedda. "Akwai soyayya da waka sosai a ciki, kuma a lokaci guda wasan kwaikwayo na gaskiya da yawa." A cikin ɗaya daga cikin sharhi game da wasan kwaikwayo na mawaƙa, mun karanta: “Tana magana a cikin Eugene Onegin, Gedda ta sami kanta a cikin wani yanayi na tunani kusa da kanta wanda ya sa lyricism da sha’awar waƙar da ke cikin siffar Lensky ta sami abin taɓawa da zurfi. fasali mai ban sha'awa daga mai zane. Da alama cewa ainihin ran matashin mawaƙin yana raira waƙa, kuma mai haske mai haske, mafarkinsa, tunaninsa game da rabuwa da rayuwa, mai zane yana isar da sahihanci mai ban sha'awa, sauƙi da gaskiya.

A cikin Maris 1980, Gedda ya ziyarci ƙasarmu a karon farko. Ya yi a kan mataki na Bolshoi Theatre na Tarayyar Soviet daidai a cikin rawar Lensky da kuma tare da babban nasara. Tun daga wannan lokacin, mawakin yakan ziyarci kasarmu.

Masanin fasaha Svetlana Savenko ya rubuta:

"Ba tare da ƙari ba, ana iya kiran ɗan wasan Sweden ɗan mawaƙa na duniya: nau'ikan salo da nau'ikan nau'ikan suna samuwa a gare shi - daga kiɗan Renaissance zuwa Orff da waƙoƙin gargajiya na Rasha, ɗabi'a iri-iri na ƙasa. Hakanan yana da gamsarwa a cikin Rigoletto da Boris Godunov, a cikin taron Bach da kuma a cikin soyayyar Grieg. Wataƙila wannan yana nuna sassaucin yanayi mai ƙirƙira, halayyar ɗan wasan kwaikwayo wanda ya girma a ƙasan waje kuma an tilasta masa ya dace da yanayin al'adun da ke kewaye. Amma bayan haka, sassauci kuma yana buƙatar kiyayewa da haɓaka: a lokacin da Gedda ya girma, zai iya manta da harshen Rashanci, harshen yarinta da ƙuruciyarsa, amma wannan bai faru ba. Jam'iyyar Lensky a Moscow da Leningrad sun yi sauti a cikin fassararsa mai ma'ana mai ma'ana da rashin daidaituwa.

Salon wasan kwaikwayo na Nikolai Gedda cikin farin ciki ya haɗu da fasalulluka da yawa, aƙalla uku, makarantun ƙasa. Ya dogara ne akan ka'idodin Italiyanci bel canto, wanda ya dace da abin da ya dace ga kowane mawaƙa wanda yake so ya ba da kansa ga operatic classic. Ana bambanta waƙar Hedda da faɗuwar numfashi na jimlar waƙa ta hali na bel canto, haɗe da cikakkiyar ma'anar samar da sauti: kowane sabon sauti yana maye gurbin wanda ya gabata a hankali ba tare da keta matsayin murya ɗaya ba, komai yadda waƙar za ta kasance. . Saboda haka haɗin kan timbre na kewayon muryar Hedda, rashin "seams" tsakanin rajistar, wanda wani lokaci ana samun shi har ma a tsakanin manyan mawaƙa. Tenor dinsa yana da kyau daidai a kowace rajista. "