Ramon Vargas |

Ramon Vargas

An haifi Ramon Vargas a birnin Mexico kuma shi ne na bakwai a cikin iyali mai yara tara. Yana da shekaru tara, ya shiga ƙungiyar mawaƙa na yara maza na Cocin Madonna na Guadalupe. Darektan kiɗan sa firist ne wanda ya yi karatu a Kwalejin Santa Cecilia. Lokacin da yake da shekaru goma, Vargas ya fara halarta a karon a matsayin soloist a gidan wasan kwaikwayo na Arts. Ramon ya ci gaba da karatunsa a Cibiyar Kiɗa ta Cardinal Miranda, inda Antonio Lopez da Ricardo Sanchez suka kasance shugabanninsa. A cikin 1982, Ramón ya fara halartan taro na Hayden a Lo Special, Monterrey, kuma ya lashe Gasar Vocal ta Carlo Morelli. A cikin 1986, mai zane ya lashe gasar Enrico Caruso Tenor a Milan. A wannan shekarar, Vargas ya koma Ostiriya kuma ya kammala karatunsa a makarantar vocal na Vienna State Opera karkashin jagorancin Leo Müller. A cikin 1990, mai zane ya zaɓi hanyar "mai zane-zane mai kyauta" kuma ya sadu da sanannen Rodolfo Celletti a Milan, wanda har yanzu shine malamin muryarsa har yau. A karkashin jagorancinsa, ya yi manyan ayyuka a Zurich ("Fra Diavolo"), Marseille ("Lucia di Lammermoor"), Vienna ("Magic sarewa").

A cikin 1992, Vargas ya fara halarta a karon kasa da kasa mai ban tsoro: New York Metropolitan Opera ta gayyaci dan kasuwa don maye gurbin Luciano Pavarotti a Lucia de Lammermoor, tare da Yuni Anderson. A cikin 1993 ya fara halarta a La Scala a matsayin Fenton a cikin sabon samarwa na Falstaff wanda Giorgio Strehler da Riccardo Muti suka jagoranta. A cikin 1994, Vargas ya sami dama mai girma don buɗe kakar a taron tare da jam'iyyar Duke a Rigoletto. Tun daga wannan lokacin, ya kasance abin ado na duk manyan matakai - Metropolitan, La Scala, Covent Garden, Bastille Opera, Colon, Arena di Verona, Real Madrid da sauransu.

A tsawon rayuwarsa, Vargas ya yi ayyuka fiye da 50, daga cikinsu akwai: Riccardo in Un ballo in maschera, Manrico a Il trovatore, taken rawa a Don Carlos, Duke a Rigoletto, Alfred a La traviata. J. Verdi, Edgardo a cikin "Lucia di Lammermoor" da Nemorino a cikin "Love Potion" na G. Donizetti, Rudolph a cikin "La Boheme" na G. Puccini, Romeo a cikin "Romeo da Juliet" na C. Gounod, Lensky a cikin "Eugene" Onegin” na P. Tchaikovsky. Daga cikin fitattun ayyukan mawaƙin akwai rawar da Rudolf ya taka a cikin wasan opera na G. Verdi “Luise Miller”, wanda ya fara yi a cikin wani sabon shiri a Munich, taken paria a cikin “Idomeneo” na W. Mozart a bikin Salzburg da kuma a cikin Paris; Chevalier de Grieux a cikin "Manon" na J. Massenet, Gabriele Adorno a cikin opera "Simon Boccanegra" na G. Verdi, Don Ottavio a cikin "Don Giovanni" a Metropolitan Opera, Hoffmann a cikin "Tales of Hoffmann" na J. Offenbach a La Scala.

Ramon Vargas yana ba da kide kide da wake-wake a duk duniya. Repertoire na kide-kide nasa yana da ban sha'awa a cikin iyawar sa - wannan waƙar Italiya ce ta gargajiya, da kuma Lieder na Jamusanci, da kuma waƙoƙin mawakan Faransanci, Sifen da Mexico na ƙarni na 19th da 20th.

Dan wasan Mexican Ramón Vargas yana ɗaya daga cikin manyan mawaƙa na zamaninmu, yana yin nasara a kan mafi kyawun matakai na duniya. Fiye da shekaru goma da suka wuce, ya shiga cikin gasar Enrico Caruso a Milan, wanda ya zama mashigin ruwa a gare shi zuwa kyakkyawar makoma. A lokacin ne fitaccen ɗan wasa Giuseppe Di Stefano ya ce game da matashin ɗan ƙasar Mexico: “A ƙarshe mun sami wanda ya rera waƙa da kyau. Vargas yana da ƙaramin ƙaramar murya, amma yanayi mai haske da fasaha mai kyau.

Vargas ya yi imanin cewa arziki ya same shi a babban birnin Lombard. Ya yi waƙa da yawa a Italiya, wanda ya zama gidansa na biyu. Shekarar da ta gabata ta gan shi yana aiki tare da manyan shirye-shiryen wasan kwaikwayo na Verdi: a La Scala Vargas ya rera waka a Requiem da Rigoletto tare da Riccardo Muti, a Amurka ya yi rawar Don Carlos a cikin opera na wannan suna, ba tare da ma'anar kiɗan Verdi ba. , wanda ya rera a New York. York, Verona da kuma Tokyo. Ramon Vargas yana magana da Luigi Di Fronzo.

Yaya kuka kusanci waƙa?

Na yi kusan shekaru ɗaya da ɗana Fernando yanzu - biyar da rabi. Na rera waƙa a ƙungiyar mawaƙa na yara na Cocin Madonna na Guadalupe da ke birnin Mexico. Daraktan kiɗanmu firist ne wanda ya yi karatu a Accademia Santa Cecilia. Wannan shi ne yadda tushen kida na ya kasance: ba kawai a fannin fasaha ba, har ma da ilimin salon. Mun rera waƙa musamman kiɗan Gregorian, amma kuma muna yin waƙa da yawa daga ƙarni na sha bakwai da na sha takwas, gami da fitattun kayan aikin Mozart da Vivaldi. An yi wasu abubuwan da aka tsara a karon farko, kamar Mass na Paparoma Marcellus Palestrina. Abu ne na ban mamaki kuma mai matuƙar lada a rayuwata. Na ƙare na fara fitowa a matsayin ɗan solo a gidan wasan kwaikwayo na Arts lokacin ina ɗan shekara goma.

Wannan ko shakka babu cancantar wasu malamai…

Ee, ina da wani fitaccen malamin mawaƙa, Antonio Lopez. Ya yi taka tsantsan game da yanayin muryar dalibansa. Sabanin abin da ke faruwa a Amurka, inda yawan mawakan da suka fara gudanar da sana’a ke da sha’awa idan aka kwatanta da yawan masu murya da nazarin sauti. Wannan saboda dole ne malami ya ƙarfafa ɗalibin ya bi takamaiman yanayinsa, yayin da ake amfani da hanyoyin tashin hankali. Mafi sharrin malamai suna tilasta maka ka kwaikwayi wani salon waka. Kuma wannan yana nufin ƙarshe.

Wasu, kamar Di Stefano, suna jayayya cewa malamai ba su da mahimmanci idan aka kwatanta da ilhami. Kun yarda da wannan?

Ainihin yarda. Domin lokacin da babu hali ko murya mai kyau, ko da albarkar Paparoma ba zai iya sa ka rera waƙa ba. Akwai, duk da haka, keɓancewa. Tarihin wasan kwaikwayo ya san manyan muryoyin "sanya", kamar Alfredo Kraus, alal misali (ko da yake dole ne a ce ni dan Kraus ne). Kuma, a gefe guda, akwai masu fasaha waɗanda aka ba su da ƙwararrun ƙwararrun halitta, kamar José Carreras, wanda shine ainihin kishiyar Kraus.

Shin gaskiya ne cewa a farkon shekarun nasarar ku kuna zuwa Milan akai-akai don yin karatu tare da Rodolfo Celletti?

Maganar gaskiya shekaru kadan da suka gabata na dauki darasi daga gare shi, kuma yau muna haduwa. Celletti mutum ne kuma malami na babbar al'ada. Mai hankali da dandano mai kyau.

Wane darasi manyan mawaka suka koya wa masu fasahar zamanin ku?

Dole ne a farfado da tunanin wasan kwaikwayo da dabi'arsu ta kowane hali. Sau da yawa ina tunani game da salon waƙoƙin da ya bambanta irin waɗannan masu wasan kwaikwayo irin su Caruso da Di Stefano, amma kuma game da ma'anar wasan kwaikwayo da aka rasa a yanzu. Ina tambayarka ka fahimce ni daidai: tsabta da daidaito na philological dangane da asali suna da mahimmanci, amma kada mutum ya manta game da sauƙi mai sauƙi, wanda, a ƙarshe, yana ba da mafi kyawun motsin zuciyarmu. Dole ne kuma a guji wuce gona da iri.

Kuna yawan ambaton Aureliano Pertile. Me yasa?

Domin, ko da yake muryar Pertile ba ta kasance ɗaya daga cikin mafi kyau a duniya ba, an kwatanta ta da tsaftar sautin sauti da bayyanawa, ɗaya daga cikin nau'i. Daga wannan ra'ayi, Pertile ya koyar da darasi wanda ba za a manta da shi ba a cikin salon da ba a fahimta sosai a yau. Daidaitonsa a matsayin mai fassara, waƙa ba tare da kururuwa da kururuwa ba, ya kamata a sake kimantawa. Pertile ya bi al'adar da ta zo daga baya. Ya ji kusa da Gigli fiye da Caruso. Ni kuma mai himma ne ga Gigli.

Me yasa akwai masu gudanarwa "dace" don wasan opera da wasu marasa kula da nau'in?

Ban sani ba, amma ga singer wannan bambanci yana taka muhimmiyar rawa. Lura cewa wani nau'i na ɗabi'a kuma ana iya lura da shi a tsakanin wasu masu sauraro: lokacin da mai gudanarwa ya ci gaba, ba ya kula da mawaƙa a kan mataki. Ko kuma lokacin da wasu manyan sandar madugu suka “rufe” muryoyin da ke kan mataki, suna nema daga ƙungiyar makaɗa da sauti mai ƙarfi da haske. Akwai, duk da haka, masu gudanarwa waɗanda ke da kyau a yi aiki tare da su. Sunaye? Muti, Levine dan Viotti. Mawakan da suke jin daɗi idan mawaƙin ya yi waƙa da kyau. Jin daɗin kyakkyawan bayanin kula kamar suna wasa da singer.

Menene bikin Verdi da ya gudana a ko'ina a cikin 2001 ya zama duniyar opera?

Wannan muhimmin lokaci ne na haɓakar haɗin gwiwa, saboda Verdi shine kashin bayan gidan opera. Ko da yake ina son Puccini, Verdi, daga ra'ayi na, shine marubucin da ya ƙunshi ruhun melodrama fiye da kowa. Ba wai kawai don kiɗan ba, amma saboda dabarar wasan tunani tsakanin haruffa.

Yaya ra'ayin duniya ke canzawa idan mawaƙi ya sami nasara?

Akwai haɗarin zama ɗan jari-hujja. Don samun ƙarin motoci masu ƙarfi, ƙarin kaya masu kyau, gidaje a duk sasanninta na duniya. Dole ne a guji wannan haɗari saboda yana da matukar muhimmanci kada ku bar kuɗi ya yi tasiri a kan ku. Ina ƙoƙarin yin aikin agaji. Ko da yake ni ba mai bi ba ne, ina ganin ya kamata in koma cikin al'umma abin da yanayi ya ba ni na kiɗa. A kowane hali, haɗarin yana wanzu. Yana da mahimmanci, kamar yadda karin magana ke cewa, kada a rikita nasara da cancanta.

Shin nasarar da ba zato ba tsammani za ta iya kawo cikas ga aikin mawaƙa?

A wata ma'ana, eh, kodayake ba wannan ba shine ainihin matsalar ba. A yau, iyakokin opera sun faɗaɗa. Ba wai don kawai, an yi sa'a, babu yaƙe-yaƙe ko annoba da ke tilasta wa gidajen wasan kwaikwayo rufe da kuma sanya kowane birane da ƙasashe ba za su iya isa ba, amma saboda opera ya zama wani abu na duniya. Matsalar ita ce duk mawaƙa suna son yin balaguro a duniya ba tare da kin gayyatar gayyata a nahiyoyi huɗu ba. Ka yi tunanin babban bambanci tsakanin abin da hoton yake shekaru ɗari da suka shige da kuma abin da yake a yau. Amma wannan hanyar rayuwa tana da wahala da wahala. Bugu da kari, akwai lokacin da aka yanke a cikin wasan kwaikwayo: aria biyu ko uku, wani shahararren duet, gungu, kuma ya isa. Yanzu suna yin duk abin da aka rubuta, idan ba ƙari ba.

Kuna kuma son kiɗa mai haske…

Wannan shine tsohon sha'awata. Michael Jackson, Beatles, masu fasaha na jazz, amma musamman ma waƙar da mutane suka ƙirƙira, ƙananan sassa na al'umma. Ta hanyarsa, mutanen da ke shan wahala suna bayyana ra'ayoyinsu.

Tattaunawa da Ramon Vargas da aka buga a cikin mujallar Amadeus a cikin 2002. Bugawa da fassara daga Italiyanci ta Irina Sorokina.