Osip Afanasyevich Petrov |

Osip Petrov

“Wannan mawaƙin na iya kasancewa ɗaya daga cikin waɗanda suka kirkiro wasan opera na Rasha. Sai dai godiya ga mawaƙa irinsa, opera ɗin mu na iya ɗaukar matsayi mai girma da mutunci don jure gasar tare da wasan opera na Italiya. " Wannan shi ne yadda VV Stasov shine wurin Osip Afanasyevich Petrov a cikin ci gaban fasaha na kasa. Haka ne, wannan mawaƙi yana da manufa ta gaske na tarihi - ya kasance a asalin gidan wasan kwaikwayo na kasa, tare da Glinka ya kafa harsashinsa.

A farkon tarihin Ivan Susanin a 1836 Osip Petrov ya yi babban bangare, wanda ya shirya a karkashin jagorancin Mikhail Ivanovich Glinka kansa. Kuma tun daga wannan lokacin, fitaccen mai zane ya yi sarauta a matakin wasan opera na kasa.

Babban mawakin Rasha Mussorgsky ya bayyana wurin Petrov a cikin tarihin wasan opera na Rasha kamar haka: “Petrov wani titan ne wanda ya ɗauki kafaɗunsa na Homeric kusan duk abin da aka ƙirƙira a cikin kiɗan ban mamaki - don farawa daga 30s… Nawa ne. wasiyya, nawa ne wanda ba za a manta da shi ba da fasaha mai zurfi wanda kakana ya koyar.

Osip Afanasyevich Petrov aka haife kan Nuwamba 15, 1807 a birnin Elisavetgrad. Ionka (kamar yadda ake kira shi a lokacin) Petrov ya girma a matsayin ɗan titi, ba tare da uba ba. Uwa, yar kasuwan kasuwa, ta sami dinbo ta hanyar aiki tukuru. Lokacin da yake da shekaru bakwai, Ionka ya shiga ƙungiyar mawaƙa na cocin, inda ɗan wasansa mai ban sha'awa, kyawawan treble ya fito fili, wanda a ƙarshe ya zama bass mai ƙarfi.

Yana da shekaru goma sha huɗu, wani canji ya faru a cikin makomar yaron: ɗan'uwan mahaifiyarsa ya ɗauki Ionka zuwa gare shi don ya saba da shi kasuwanci. Konstantin Savvich Petrov ya kasance mai nauyi; Yaron sai ya biya wa kawun nasa kuɗi ta hanyar aiki tuƙuru, sau da yawa ko da dare. Bugu da ƙari, kawuna ya kalli abubuwan sha'awar kiɗan sa a matsayin abin da ba dole ba, mai ban sha'awa. Shari'ar ta taimaka: mai kula da bandeji ya zauna a cikin gidan. Da yake jawo hankali ga iyawar yaron na kiɗa, ya zama jagora na farko.

Konstantin Savvich ya haramta wa] annan azuzuwan; ya yi wa dan uwansa duka a lokacin da ya kama shi yana yin kayan aikin. Amma Ionka mai taurin kai bai yi kasa a gwiwa ba.

Ba da daɗewa ba kawuna ya tafi har tsawon shekaru biyu yana kasuwanci, ya bar yayansa. An bambanta Osip ta hanyar kirki na ruhaniya - wani cikas ga ciniki. Konstantin Savvich ya sami damar dawowa cikin lokaci, ba tare da barin ɗan kasuwa mara sa'a ya lalata kansa gabaɗaya ba, kuma an kori Osip daga duka "harka" da gidan.

ML Lvov ya ce: “Bangaren kawuna ya faru ne a daidai lokacin da tawagar Zhurakhovsky ke yawon shakatawa a Elisavetgrad,” in ji ML Lvov. – A cewar daya version, Zhurakhovsky bazata ji yadda fasaha Petrov buga guitar, kuma ya gayyace shi zuwa ga tawagar. Wani juzu'in ya ce Petrov, ta hanyar taimakon wani, ya hau mataki a matsayin ƙarin. Kyakkyawar ido na ƙwararren ɗan kasuwa ya fahimci kasancewar matakin farko na Petrov, wanda nan da nan ya ji daɗi a kan matakin. Bayan haka, Petrov ya zama kamar ya kasance a cikin ƙungiyar.

A 1826 Petrov ya fara halarta a karon a kan Elisavetgrad mataki a cikin play A. Shakhovsky "The Cossack Poet". Ya fadi nassin a cikinsa ya rera baitoci. Nasarar ta kasance mai girma ba kawai saboda ya taka leda "nasa Ionka" a kan mataki, amma yafi saboda Petrov "an haife shi a kan mataki."

Har zuwa 1830, matakin lardi na ayyukan kirkiro na Petrov ya ci gaba. Ya yi a Nikolaev, Kharkov, Odessa, Kursk, Poltava da sauran birane. Hazakar matashin mawakin ta ja hankalin masu sauraro da kwararru.

A lokacin rani na 1830 a Kursk, MS ya jawo hankalin Petrov. Lebedev, darektan Opera na St. Petersburg. Abubuwan amfani na matasa masu fasaha ba su da tabbas - murya, yin aiki, bayyanar ban mamaki. Don haka, gaba da babban birnin kasar. "A kan hanya," Petrov ya ce, "mun tsaya na 'yan kwanaki a Moscow, ya sami MS Shchepkin, wanda na riga na sani ... ni babban ikon zama mai fasaha. Na yi farin ciki da jin waɗannan kalmomi daga irin wannan babban mai zane! Sun ba ni ƙarfi da ƙarfi sosai har ban san yadda zan nuna godiya ta a gare shi ba don alherin da ya yi wa wani baƙon da ban sani ba. Bugu da kari, ya kai ni gidan wasan kwaikwayo na Bolshoi, zuwa ambulan Madame Sontag. Na ji daɗin waƙarta gaba ɗaya; Har zuwa lokacin ban taba jin wani abu makamancinsa ba kuma ban fahimci irin kamalar da muryar dan Adam za ta iya kaiwa ba.

A St. Petersburg Petrov ya ci gaba da inganta basirarsa. Ya fara a babban birni tare da ɓangaren Sarastro a cikin Mozart's Magic Flute, kuma wannan halarta na farko ya haifar da amsa mai kyau. A cikin jaridar "Arewa Bee" za a iya karanta: "A wannan karon, a cikin wasan opera The Magic Flute, Mista Petrov, wani matashi mai fasaha, ya bayyana a karo na farko a kan dandalinmu, yana yi mana alkawarin zama mawaƙa mai kyau."

"Saboda haka, wani mawaƙi daga cikin mutane, Petrov, ya zo gidan wasan opera na matasa na Rasha kuma ya arzuta shi da taska na waƙoƙin jama'a," in ji ML Lvov. – A wannan lokacin, ana buƙatar irin waɗannan manyan sauti daga mawaƙin opera, waɗanda ba za su iya samun sauti ba ba tare da horo na musamman ba. Wahalar ya kasance a cikin gaskiyar cewa samuwar sauti mai girma yana buƙatar sabuwar dabara, daban-daban daga cikin samuwar sautunan da aka saba da muryar da aka bayar. A zahiri, Petrov ba zai iya sarrafa wannan hadaddun fasaha a cikin watanni biyu ba, kuma mai sukar ya yi daidai lokacin da ya lura a cikin rera waƙa a farkon "sauyi mai kaifi a cikin manyan bayanan kula." Kwarewar sassauta wannan sauyi da ƙwararrun sauti ne Petrov ya ci gaba da yin karatu tare da Kavos a cikin shekaru masu zuwa.

Wannan ya biyo bayan kyawawan fassarori na manyan sassan bass a cikin operas na Rossini, Megul, Bellini, Aubert, Weber, Meyerbeer da sauran mawaƙa.

"Gaba ɗaya, hidimata ta yi farin ciki sosai," Petrov ya rubuta, "amma dole ne in yi aiki da yawa, domin na yi wasa a cikin wasan kwaikwayo da kuma wasan opera, kuma ko da wace opera suka ba da, na shagala a ko'ina ... Ko da yake na yi farin ciki da Nasarar da na samu a filin da ya zaba, amma da wuya ya gamsu da kansa bayan wasan kwaikwayo. Wani lokaci, na sha wahala daga rashin gazawar kadan a kan mataki kuma na ciyar da dare marar barci, kuma washegari za ku zo don yin gwaji - yana jin kunya don kallon Kavos. Rayuwata ta kasance mai ladabi sosai. Ina da abokai kaɗan… Yawancin lokaci, nakan zauna a gida, na rera ma'auni a kowace rana, na koyi ayyuka kuma na tafi gidan wasan kwaikwayo.

Petrov ya ci gaba da kasancewa mai yin aji na farko na repertoire na yammacin Turai. A dabi'a, ya kasance a kai a kai ya shiga cikin wasan kwaikwayo na opera na Italiyanci. Tare da abokan aikinsa na kasashen waje, ya rera waƙa a wasan operas na Bellini, Rossini, Donizetti, kuma a nan ya gano mafi girman damar fasaharsa, ƙwarewar wasan kwaikwayo, salon salonsa.

Abubuwan da ya cim ma a cikin wasan kwaikwayo na ƙasashen waje sun haifar da sha'awar mutanen zamaninsa. Yana da kyau a faɗi layi daga littafin Lazhechnikov The Basurman, wanda ke nufin wasan opera Meyerbeer: “Shin kuna tunawa da Petrov a cikin Robert Iblis? Kuma yaya ba don tunawa ba! Na gan shi a cikin wannan rawar sau ɗaya kawai, kuma har wa yau, lokacin da na yi tunani game da shi, yana jin daɗina, kamar kiran jahannama: “Eh, majiɓinci.” Kuma wannan kallon, daga fara'a wanda ranka ba shi da ƙarfin 'yantar da kansa, da kuma wannan fuskar saffron, wanda ya karkatar da hankalin sha'awa. Kuma wannan gandun daji na gashi, daga abin da, da alama, dukan gidan macizai yana shirye don rarrafe ... "

Kuma ga abin da AN Serov: "Sha'awan rai da abin da Petrov ya yi arioso a farkon yi, a cikin scene tare da Robert. Kyakkyawan jin daɗin soyayyar uba ya yi hannun riga da halayen ɗan ƙasa, don haka, ba da dabi'a ga wannan zub da jini na zuciya, ba tare da barin aikin ba, abu ne mai wahala. Petrov gaba daya shawo kan wannan wahala a nan da kuma a cikin dukan rawar.

Serov musamman lura a cikin wasan na Rasha actor abin da ya fi dacewa da bambanta Petrov daga sauran fitattun masu yin wannan rawar - ikon samun ɗan adam a cikin ran mugu da kuma jaddada ikon mugunta tare da shi. Serov ya yi iƙirarin cewa Petrov a matsayin Bertram ya zarce Ferzing, da Tamburini, da Formez, da Levasseur.

Mawaƙin Glinka ya bi diddigin nasarorin da mawakin ya samu. Muryar Petrov ta burge shi da wadatar sautin sauti, wanda ya haɗu da ƙarfin bass mai kauri tare da motsi na baritone mai haske. Lvov ya rubuta: "Wannan muryar ta yi kama da ƙaramar ƙararrawa da aka jefa ta azurfa." "A kan manyan bayanai, ya haskaka kamar walƙiya a cikin duhun duhu na dare." Da yake la'akari da damar ƙirƙirar Petrov, Glinka ya rubuta Susanin.

Nuwamba 27, 1836 muhimmiyar rana ce don farkon wasan opera na Glinka A Life for the Tsar. Wannan shine mafi kyawun sa'a na Petrov - ya bayyana a fili halin ɗan kishin Rasha.

Ga bita guda biyu kacal daga masu suka masu kishi:

"A cikin rawar Susanin, Petrov ya tashi zuwa cikakken tsayin babban basirarsa. Ya halicci nau'i na zamani, kuma kowane sauti, kowane kalma na Petrov a cikin rawar Susanin zai shiga cikin zuriya mai nisa.

"Dramatic, zurfi, gaskiya ji, iya kai ban mamaki pathos, sauki da kuma gaskiya, ardor - wannan shi ne abin da nan da nan ya sa Petrov da Vorobyova a farkon wuri a cikin masu wasan kwaikwayon mu kuma ya sa jama'ar Rasha su shiga cikin taron jama'a zuwa wasan kwaikwayo na" Life for the Tsari "".

A cikin duka, Petrov ya rera sashin Susanin sau ɗari biyu da casa'in da uku! Wannan rawar ta buɗe sabon mataki mafi mahimmanci a tarihin rayuwarsa. Manyan mawaƙa ne suka buɗe hanyar - Glinka, Dargomyzhsky, Mussorgsky. Kamar su kansu marubutan, duka abubuwan ban tausayi da na ban dariya sun kasance suna ƙarƙashinsa. Kololuwar sa, bin Susanin, sune Farlaf a Ruslan da Lyudmila, Melnik a Rusalka, Leporello a cikin Guest Guest, Varlaam a Boris Godunov.

Mawaƙin C. Cui ya rubuta game da aikin sashen Farlaf: “Me zan iya cewa game da Mista Petrov? Yadda za a bayyana duk harajin mamaki ga gwaninta na ban mamaki? Yadda za a isar da duk dabara da dabi'un wasan; amincin magana ga mafi ƙarancin inuwa: waƙa mai hankali sosai? Bari mu ce kawai daga cikin ayyuka masu yawa masu basira da asali da Petrov ya halitta, aikin Farlaf yana daya daga cikin mafi kyau.

da VV Stasov daidai yayi la'akari da aikin Petrov na aikin Farlaf a matsayin abin koyi wanda duk masu yin wannan rawar ya kamata su kasance daidai.

A ranar 4 ga Mayu, 1856, Petrov ya fara taka rawar Melnik a cikin Rusalka na Dargomyzhsky. Sukar ya ɗauki wasansa kamar haka: "Za mu iya cewa ta hanyar ƙirƙirar wannan rawar, babu shakka Mista Petrov ya sami haƙƙi na musamman ga taken mai fasaha. Yanayin fuskarsa, ƙwararren karatunsa, bayyanannen furcin da ba a saba gani ba… an kawo fasahar kwaikwayonsa zuwa ga kamala wanda a cikin aiki na uku, a bayyanarsa kawai, ba tare da jin ko da kalma ɗaya ba tukuna, ta yanayin fuskarsa, ta hanyar girgiza. motsin hannayensa, a bayyane yake cewa Miller mara tausayi ya haukace. "

Shekaru goma sha biyu bayan haka, mutum zai iya karanta bita mai zuwa: "Ayyukan Melnik yana ɗaya daga cikin nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan da Petrov ya kirkira a cikin wasan operas guda uku na Rasha, kuma yana da wuya cewa kerawansa na fasaha bai kai mafi girman iyaka a Melnik ba. A cikin dukkan matsayi daban-daban na Melnik, wanda ya nuna kwadayi, hidima ga Yarima, farin ciki a ganin kudi, yanke ƙauna, rashin hankali, Petrov daidai yake da girma.

Don haka dole ne a ƙara da cewa babban mawaƙi kuma ya kasance gwani na musamman na wasan murya na ɗakin. Masu zamani sun bar mana shaida da yawa na yadda Petrov ya ba da mamaki game da fassarar soyayyar Glinka, Dargomyzhsky, Mussorgsky. Tare da ƙwararrun masu ƙirƙira kiɗa, Osip Afanasyevich za a iya kiran shi lafiya da wanda ya kafa fasahar muryar Rasha duka a kan wasan opera da kuma a kan wasan kide kide.

Ƙarshe mai ban mamaki da haɓakar mai fasaha a cikin ƙarfi da haske ya samo asali ne a cikin shekarun 70s, lokacin da Petrov ya ƙirƙiri ƙwararrun murya da ƙwararrun matakai; Daga cikin su akwai Leporello ( "The Stone Guest"), Ivan da Mummunan ("Bawan Pskov"), Varlaam ("Boris Godunov") da sauransu.

Har zuwa karshen kwanakinsa, Petrov bai rabu da mataki ba. A cikin ma'anar Mussorgsky, ya "a kan gadon mutuwarsa, ya ƙetare matsayinsa."

Mawakin ya mutu a ranar 12 ga Maris, 1878.

References: Glinka M., Bayanan kula, "Tsohon Rasha", 1870, juzu'i. 1-2, MI Glinka. Gadon adabi, vol. 1, M.-L., 1952; Stasov VV, OA Petrov, a cikin littafin: Rasha zamani Figures, vol. 2, St. Petersburg, 1877, shafi. 79-92, guda, a cikin littafinsa: Labarai game da kiɗa, vol. 2, M., 1976; Lvov M., O. Petrov, M.-L., 1946; Lastochkina E., Osip Petrov, M.-L., 1950; Gozenpud A., Gidan wasan kwaikwayo na Musical a Rasha. Daga asalin zuwa Glinka. Essay, L., 1959; nasa, gidan wasan kwaikwayo na opera na Rasha na karni na 1, (vol. 1836) - 1856-2, (vol. 1857) - 1872-3, (vol. 1873) - 1889-1969, L., 73-1; Livanova TN, Opera zargi a Rasha, vol. 1, ba. 2-2, juzu'i. 3, ba. 4-1966, M., 73-1 (Batun XNUMX tare da VV Protopopov).