Pauline Viardot-Garcia |

Pauline Viardot-Garcia

Mawaƙin Rasha N. Pleshcheev ya rubuta a cikin 1846 waƙar "Ga Singer", sadaukar da Viardo Garcia. Ga gutsinsa:

Ta bayyana a gare ni ... kuma ta rera waƙa mai tsarki, - Kuma idanunta sun ƙone da wuta na allahntaka ... Wannan siffa mai haske a cikinta na ga Desdemona, lokacin da ta lanƙwasa a kan garaya na zinariya, Game da willow ya rera waƙa kuma ya katse nishin Wani mummunan ambaliya. na waccan tsohuwar wakar. Yadda ta yi zurfin fahimta, ta yi nazarin Wanda ya san mutane da sirrin zukatansu; Idan kuma babba ya tashi daga kabari sai ya dora rawaninsa a goshinta. Wani lokaci matashiya Rosina ta bayyana a gare ni kuma tana da sha'awa, kamar daren ƙasarta ta haihuwa… Da kuma sauraron muryarta ta sihiri, A cikin ƙasa mai albarka na yi burin raina, Inda komai ke sihirin kunne, komai yana faranta idanu, Inda vault na sararin sama yana haskakawa da shuɗi na har abada, Inda 'ya'yan dare suke busawa a kan rassan sycamore, Inuwar cypress kuma tana rawar jiki a saman ruwayen!

An haifi Michel-Ferdinanda-Pauline Garcia a birnin Paris a ranar 18 ga Yuli, 1821. Mahaifin Polina, maigidan Manuel Garcia a lokacin ya kasance a matsayi mafi girma na shahararsa. Uwar Joaquin Siches ita ma ta kasance mai fasaha a baya kuma a wani lokaci "ta yi aiki a matsayin kayan ado na yanayin Madrid." Mahaifiyarta ita ce Princess Praskovya Andreevna Golitsyna, bayan wanda aka sanya wa yarinya suna.

Malamin farko ga Polina shine mahaifinta. Domin Polina, ya hada da dama motsa jiki, canons da ariettas. Daga gare shi, Polina ta gaji ƙauna ga kiɗan J.-S. Bach. Manuel Garcia ya ce: "Mawaƙin gaske ne kaɗai zai iya zama mawaƙi na gaske." Don ikon yin aiki da hankali da haƙuri a cikin kiɗa, Polina ta karɓi sunan laƙabi a cikin iyali.

A shekaru takwas, Polina ya fara nazarin jituwa da ka'idar ka'idar a karkashin jagorancin A. Reicha. Sa'an nan ta fara daukar darussan piano daga Meisenberg, sa'an nan daga Franz Liszt. Har zuwa shekaru 15, Polina tana shirye-shiryen zama dan wasan pianist, har ma ta ba da maraice nata a Brussels "Artistic Circle".

Ta zauna a wannan lokacin tare da 'yar'uwarta, mawaƙa mai ban mamaki Maria Malibran. A shekara ta 1831, Maria ta gaya wa E. Leguva game da ’yar’uwarta: “Wannan yaron… zai shafe mu duka.” Abin takaici, Malibran ya mutu da wuri. Mariya ba kawai ta taimaka wa 'yar'uwarta kudi da shawara ba, amma, ba tare da zargin kanta ba, ta taka muhimmiyar rawa a cikin makomarta.

Mijin Pauline zai kasance Louis Viardot, abokin Malibran kuma mai ba da shawara. Kuma mijin Maria, Charles Berio, ya taimaka wa matashiyar mawaƙa ta shawo kan matakan farko mafi wuya a kan hanyarta ta fasaha. Sunan Berio ya bude mata kofofin shagali. Tare da Berio, ta fara gabatar da lambobin solo a bainar jama'a - a cikin zauren babban taron birnin Brussels, a cikin abin da ake kira kide kide da wake-wake na matalauta.

A lokacin rani na 1838, Polina da Berio sun tafi yawon shakatawa na Jamus. Bayan wasan kwaikwayo a Dresden, Polina ta sami kyautarta ta farko mai mahimmanci - abin da aka yi da Emerald. An kuma yi nasara a wasan kwaikwayo a Berlin, Leipzig da Frankfurt am Main. Sai mai zane ya rera waka a Italiya.

Pauline na farko a bainar jama'a a Paris ya faru ne a ranar 15 ga Disamba, 1838, a cikin zauren gidan wasan kwaikwayo na Renaissance. Masu sauraro da kyau sun karɓi wasan kwaikwayon matashin mawaƙin na wasu sassa na fasaha da yawa waɗanda ke buƙatar nagarta ta gaske. A Janairu 1839, XNUMX, A. de Musset ya buga wani labarin a cikin Revue de Demonde, wanda ya yi magana game da "murya da ruhun Malibran", cewa "Pauline yana raira waƙa yayin da take numfashi", yana kawo ƙarshen komai tare da waƙoƙin da aka keɓe don farawa. Pauline Garcia da Eliza Rachel.

A cikin bazara na 1839, Garcia ta fara halarta ta farko a gidan wasan kwaikwayo na Royal a London a matsayin Desdemona a cikin Otello na Rossini. Jaridar Rasha Severnaya Pchela ta rubuta cewa "ta tada sha'awar masu sha'awar kiɗa", "An karɓe ta da tafi tare da kiranta sau biyu da maraice ... Da farko ta kasance mai jin kunya, kuma muryarta ta yi rawar jiki saboda manyan bayanai; amma ba da daɗewa ba sun gane basirarta na ban mamaki, wanda ya sa ta zama memba na iyali Garcia, wanda aka sani a tarihin kiɗa tun karni na XNUMX. Gaskiya ne, muryarta ba za ta iya cika manyan dakunan ba, amma dole ne a san cewa mawaƙan har yanzu matashi ne: tana da shekaru goma sha bakwai kawai. A cikin wasan kwaikwayo mai ban mamaki, ta nuna kanta a matsayin 'yar'uwar Malibran: ta gano ikon da kawai mai hazaka na gaske zai iya samu!

A ranar 7 ga Oktoba, 1839, Garcia ya fara halarta a Opera na Italiya a matsayin Desdemona a Otello na Rossini. Marubucin T. Gautier ya yi maraba da ita "tauraro na farkon girma, tauraro mai haskoki bakwai", wakilin daular fasaha mai daraja na Garcia. Ya lura da ɗanɗanonta a cikin tufafi, don haka ya bambanta da kayan ado na yau da kullun ga masu sha'awar Italiyanci, "tufafi, a fili, a cikin tufafi don karnukan kimiyya." Gauthier ya kira muryar mai zane "ɗaya daga cikin manyan kayan aikin da ake iya ji."

Daga Oktoba 1839 zuwa Maris 1840, Polina ita ce babbar tauraro na opera na Italiya, ta kasance "a zenith of fashion", kamar yadda aka ruwaito ga Liszt M. D'Agout. Wannan ya tabbatar da cewa da zarar ta kamu da rashin lafiya, masu kula da wasan kwaikwayo sun yi tayin mayar da kuɗin ga jama'a, kodayake Rubini, Tamburini da Lablache sun kasance a cikin wasan kwaikwayo.

A wannan kakar ta rera waƙa a Otello, Cinderella, The Barber of Seville, Rossini's Tancrede da Mozart's Don Giovanni. Bugu da ƙari, a cikin kide-kide, Polina ta yi ayyukan Palestrina, Marcello, Gluck, Schubert.

Abin ban mamaki, nasara ce ta zama tushen matsaloli da bakin ciki ga mawakin. Dalilinsu shi ne cewa mashahuran mawaƙa Grisi da Farisa “ba su ƙyale P. Garcia ya yi manyan sassa ba.” Kuma ko da yake babban ɗakin opera na Italiyanci ya kasance babu kowa a mafi yawan maraice, Grisi bai bar matashin dan takara ya shiga ba. Polina ba ta da wani zabi illa yawo kasashen waje. A tsakiyar Afrilu, ta tafi Spain. Kuma Oktoba 14, 1843, ma'aurata Polina da Louis Viardot isa a babban birnin kasar Rasha.

Wasan opera na Italiya ya fara kakarsa a St. Petersburg. Don halarta ta na farko, Viardot ya zaɓi matsayin Rosina a cikin Barber na Seville. Nasarar ta cika. Masoyan kade-kade na St. Petersburg sun yi matukar farin ciki da wurin darasin waka, inda ba zato ba tsammani mai zane ya hada da Nightingale na Alyabyev. Yana da mahimmanci cewa shekaru da yawa bayan haka Glinka a cikin "Notes" ya lura: "Viardot ya yi kyau."

Rosina ta biyo bayan Desdemona a cikin Otello na Rossini, Amina a Bellini's La Sonnambula, Lucia a cikin Donizetti's Lucia di Lammermoor, Zerlina a Mozart's Don Giovanni da, a ƙarshe, Romeo a Bellini's Montecchi et Capulets. Viardot nan da nan ya yi kusanci da mafi kyawun wakilai na masu fasaha na Rasha: sau da yawa ta ziyarci gidan Vielgorsky, kuma shekaru da yawa Count Matvey Yurevich Vielgorsky ya zama ɗaya daga cikin abokanta mafi kyau. Ɗaya daga cikin wasan kwaikwayon ya sami halartar Ivan Sergeevich Turgenev, wanda ba da daɗewa ba aka gabatar da shi ga wani mashawarcin ziyara. Kamar yadda AF Koni, "sha'awa ta shiga cikin ran Turgenev zuwa zurfinsa kuma ya kasance a can har abada, yana shafar rayuwar mutum ɗaya."

Bayan shekara guda, manyan biranen Rasha sun sake saduwa da Viardot. Ta haskaka a cikin sanannun repertoire kuma ta sami sabon nasara a cikin Cinderella na Rossini, Donizetti's Don Pasquale da Bellini's Norma. A cikin ɗaya daga cikin wasiƙun da ta aika zuwa ga George Sand, Viardot ta rubuta: “Dubi irin ƙwararrun masu sauraro da nake hulɗa da su. Ita ce ta sa na yi babban ci gaba.”

Tuni a wancan lokacin, mawaƙin ya nuna sha'awar kiɗan Rasha. An ƙara wani guntu daga Ivan Susanin, wanda Viardot ya yi tare da Petrov da Rubini, a cikin Nightingale na Alyabyev.

"Lokacin da ya dace na muryarta ya faɗi a lokutan 1843-1845," in ji AS Rozanov. – A wannan lokacin, ɓangarorin waƙoƙi-mai ban mamaki da ɓangarorin kade-kade sun mamaye babban matsayi a cikin repertore na mawaƙin. Bangaren Norma ya fito daga gare ta, mummunan wasan kwaikwayon ya bayyana sabon lokaci a cikin aikin opera na singer. “Tari marar lahani” ta bar alamar da ba za a iya gogewa a muryarta ba, wanda hakan ya sa ta shuɗe da wuri. Duk da haka, da culminating maki a cikin operatic aiki na Viardot dole ne da farko a yi la'akari da ayyukanta a matsayin Fidesz a cikin Annabi, inda ta, riga balagagge singer, gudanar don cimma wani gagarumin jituwa tsakanin kamala na vocal yi da hikimar ban mamaki embodiment. na hoton mataki, "mafi na biyu" shine ɓangaren Orpheus, wanda Viardot ya buga tare da lallashi mai haske, amma ƙasa da cikakkiyar murya. Ƙananan matakai masu mahimmanci, amma kuma manyan nasarorin fasaha, sun kasance ga Viardot sassan Valentina, Sappho da Alceste. Wannan shi ne daidai wadannan matsayin, cike da bala'i Psychology, tare da dukan bambance-bambancen da ta wasan kwaikwayo gwaninta, cewa mafi yawan abin da ya dace da wani tunanin sito na Viardot da kuma yanayin ta haske temperamental iyawa. Godiya gare su ne Viardot, mawaƙa-yar wasan kwaikwayo, ta sami matsayi na musamman a cikin fasahar wasan opera da duniyar fasaha ta ƙarni na XNUMX. "

A cikin Mayu 1845, Viardots ya bar Rasha, ya nufi Paris. A wannan lokacin Turgenev ya shiga su. Kuma a cikin fall, lokacin St. Petersburg ya sake farawa don mawaƙa. An ƙara sabbin ayyuka zuwa ɓangarorin da ta fi so - a cikin operas na Donizetti da Nicolai. Kuma a lokacin wannan ziyarar, Viardot ya kasance mafi so ga jama'ar Rasha. Abin takaici, yanayin arewacin ya lalata lafiyar mai zane, kuma tun daga lokacin an tilasta mata barin yawon shakatawa na yau da kullum a Rasha. Amma wannan ba zai iya katse dangantakarta da "ƙasar uba ta biyu ba." Ɗaya daga cikin wasiƙun da ta aika zuwa ga Matvey Vielgorsky ya ƙunshi waɗannan layi: "Duk lokacin da na shiga cikin karusa kuma na je gidan wasan kwaikwayo na Italiya, ina tunanin kaina a kan hanyar zuwa Bolshoi Theatre. Idan kuma tituna sun dan yi hazo, to yaudarar ta cika. Amma da karusar ta tsaya, sai ta bace, sai na ja numfashi.

A 1853, Viardot-Rosina ya sake cin nasara a kan jama'ar St. Petersburg. II Panaev ya sanar da Turgenev, wanda aka kai shi gudun hijira zuwa gidansa Spaskoe-Lutovinovo, cewa Viardot "ya yi rawar jiki a St. Petersburg, lokacin da ta yi waƙa - babu wurare." A cikin Meyerbeer's The Prophet, ta taka ɗayan mafi kyawun matsayinta - Fidesz. Kade-kade da wake-wakenta na bibiyar daya bayan daya, inda ta rika rera wakokin soyayya na Dargomyzhsky da Mikh. Vielgorsky Wannan shi ne wasan karshe na singer a Rasha.

"Tare da lallashi na fasaha, mawaƙa sau biyu ta ƙunshi hotunan matan Littafi Mai Tsarki," in ji AS Rozanov. – A tsakiyar 1850s, ta bayyana a matsayin Mahala, mahaifiyar Samson, a cikin opera Samson ta G. Dupre (a kan mataki na wani karamin gidan wasan kwaikwayo a cikin harabar sanannen tenor ta "School of Singing") kuma, bisa ga marubucin. , ya kasance "mai girma da ban sha'awa" . A cikin 1874, ta zama ɗan wasan farko na ɓangaren Delilah a cikin opera na Saint-Saens' Samson et Delila. Ayyukan aikin Lady Macbeth a cikin opera na wannan sunan ta G. Verdi yana daya daga cikin nasarorin da P. Viardot ya samu.

Da alama shekarun ba su da iko akan mawakin. EI Apreleva-Blaramberg ya tuna: "A ɗaya daga cikin "Alhamis" na kiɗa a gidan Viardot a shekara ta 1879, mawaƙin, wanda a lokacin ya kasance ƙasa da shekaru 60, "ya mika wuya" don neman waƙa kuma ya zaɓi wurin barci daga Macbeth na Verdi. Saint-Saens ya zauna a piano. Madame Viardot ta shiga tsakiyar dakin. Sautunan muryarta na farko sun buge da wani bakon sautin guttural; waɗannan sautunan kamar suna fitowa da ƙyar daga wasu m kayan aiki; amma tuni bayan ƴan ma'auni muryar ta ƙara ɗumama da kama masu sauraro ... Kowa ya cika da wasan kwaikwayo mara misaltuwa wanda ƙwararren mawakin ya haɗu gaba ɗaya tare da ƙwararren ɗan wasan kwaikwayo mai ban tausayi. Babu wata inuwa guda ta muguwar ta'addanci na ruhin macen da ta bace ba tare da an gano ta ba, kuma lokacin da ta rage muryarta zuwa wani lallausan lallausan pianissimo, inda aka ji koke-koke, da tsoro, da azaba, sai mawakiyar ta rera waka, tana shafa mata farar kyau. hannaye, sanannen maganarta. "Ba wani ƙamshi na Larabawa da zai goge warin jini daga waɗannan ƙananan hannayen..." - wani rawar jin daɗi ya ratsa duk masu sauraro. A lokaci guda - ba alamar wasan kwaikwayo ɗaya ba; auna a cikin komai; ƙamus mai ban mamaki: kowace kalma an faɗi a sarari; ilhami, wasan wuta dangane da ra'ayin kirkire-kirkire na abin da aka yi ya kammala cikakkiyar waka.

Bayan ya bar wasan kwaikwayo, Viardot ya bayyana kansa a matsayin babban mawaƙa na ɗakin. Mutum ne mai hazaka da yawa, Viardot kuma ya zama ƙwararren mawaki. Hankalinta a matsayin marubucin waƙoƙin murya ya fi jan hankalin samfurori na wakokin Rasha - wakoki na Pushkin, Lermontov, Koltsov, Turgenev, Tyutchev, Fet. An buga tarin labaran soyayya a St. Petersburg kuma an san su sosai. A kan libretto na Turgenev, ta kuma rubuta operettas da yawa - "Matan Nawa", "Mai sihiri na Ƙarshe", "Cannibal", "Madubi". Yana da ban sha'awa cewa a cikin 1869 Brahms ya gudanar da wasan kwaikwayon The Last Sorcerer a Villa Viardot a Baden-Baden.

Ta sadaukar da wani muhimmin bangare na rayuwarta ga ilimin tarbiyya. Daga cikin yara da daliban Pauline Viardot akwai shahararrun Desiree Artaud-Padilla, Baylodz, Hasselman, Holmsen, Schliemann, Schmeiser, Bilbo-Bachele, Meyer, Rollant da sauransu. Yawancin mawaƙa na Rasha sun shiga makarantar murya mai kyau tare da ita, ciki har da F. Litvin, E. Lavrovskaya-Tserteleva, N. Iretskaya, N. Shtemberg.

Pauline Viardot ya mutu a daren 17-18 ga Mayu, 1910.