Renata Tebaldi (Renata Tebaldi) |

Renata Tebaldi

Ga duk wanda ya ji Tebaldi, nasararta ba wani asiri ba ne. An bayyana su, da farko, ta ƙwararrun iyawar murya na musamman. Soprano mai ban mamaki ta lyric, wanda ba kasafai yake da kyau da ƙarfi ba, yana fuskantar kowace irin wahalhalu na nagarta, amma daidai da kowane inuwar bayyanawa. Masu sukar Italiyanci sun kira muryarta da abin al'ajabi, suna jaddada cewa sopranos masu ban mamaki da wuya su sami sassauci da tsabta na soprano na lyric.

An haifi Renata Tebaldi a ranar 1 ga Fabrairu, 1922 a Pesarro. Mahaifinta ɗan wasan kwaikwayo ne kuma yana wasa a ƙananan gidajen wasan opera a ƙasar, kuma mahaifiyarta ta kasance mawaƙa mai son. Tun tana ɗan shekara takwas, Renata ta fara nazarin piano tare da wani malami mai zaman kansa kuma ta yi alkawari cewa za ta zama ƙwararren ƙwararrun ƙwararrun piano. Tana da shekaru goma sha bakwai, ta shiga cikin Pesar Conservatory a piano. Duk da haka, ba da daɗewa ba masana sun ja hankali ga fitattun iyawarta, kuma Renata ta fara karatu tare da Campogallani a Conservatory na Parma a matsayin mawallafin murya. Bugu da ari, tana ɗaukar darussa daga shahararren ɗan wasan kwaikwayo Carmen Melis, kuma tana nazarin sassan opera tare da J. Pais.

Ranar 23 ga Mayu, 1944, ya fara halarta a Rovigo a matsayin Elena a cikin Mephistopheles na Boito. Amma bayan ƙarshen yaƙin, Renata ta ci gaba da yin wasan opera. A cikin kakar 194546, matashiyar mawaƙa tana rera waƙa a cikin Parma Teatro Regio, kuma a cikin 1946 ta yi a cikin Trieste a cikin Otello na Verdi. Wannan shi ne farkon kyakkyawar hanyar mai fasaha "The Song of Willow" da kuma addu'ar Desdemona "Ave Maria" ya ba da babbar tasiri ga jama'ar gari. Nasarar da aka samu a wannan ƙaramin garin Italiya ya ba ta damar yin wasan kwaikwayo a La Scala. Renata ya kasance cikin jerin mawakan da Toscanini ya gabatar a lokacin shirye-shiryensa na sabuwar kakar. A cikin wasan kwaikwayo na Toscanini, wanda ya faru a kan mataki na La Scala a ranar muhimmiyar ranar 11 ga Mayu, 1946, Tebaldi ya zama mai soloist kadai, wanda bai saba da masu sauraron Milanese ba.

Amincewa da Arturo Toscanini da babbar nasara a Milan sun buɗe dama ga Renata Tebaldi a cikin ɗan gajeren lokaci. "La divina Renata", kamar yadda ake kira mai zane a Italiya, ya zama abin sha'awa ga masu sauraron Turai da Amurka. Babu shakka cewa wasan opera na Italiya ya wadatar da gwaninta. An yarda da matashin mawaƙa nan da nan a cikin ƙungiyar kuma tuni a cikin kakar wasa ta gaba ta rera waƙa Elisabeth a Lohengrin, Mimi a La Boheme, Hauwa'u a Tannhäuser, sannan sauran manyan sassan. All m ayyukan da artist aka a hankali alaka da mafi kyaun gidan wasan kwaikwayo a Italiya, a kan mataki na abin da ta yi shekara bayan shekara.

Babban nasarorin da mawaƙin ya samu suna da alaƙa da gidan wasan kwaikwayo na La Scala - Marguerite a cikin Gounod's Faust, Elsa a cikin Wagner's Lohengrin, sassan soprano na tsakiya a cikin La Traviata, The Force of Destiny, Verdi's Aida, Tosca da La Boheme. Puccini.

Amma tare da wannan, Tebaldi ya sami nasarar rera waƙa a cikin 40s a cikin mafi kyawun wasan kwaikwayo a Italiya, kuma a cikin 50s - a ƙasashen waje a Ingila, Amurka, Austria, Faransa, Argentina da sauran ƙasashe. Na dogon lokaci, ta haɗu da ayyukanta na soloist a La Scala tare da wasan kwaikwayo na yau da kullun a Metropolitan Opera. Mawallafin ya haɗu tare da duk manyan masu gudanarwa na lokacinta, ya ba da kide-kide da yawa, kuma an yi rikodin rikodin.

Amma ko a tsakiyar 50s, ba kowa ya sha'awar Tebaldi ba. Ga abin da za ku iya karantawa a cikin littafin Giacomo Lauri-Volpi "Vocal Parallels" na Italiyanci:

“Da yake ita mawaƙi ce ta musamman, Renata Tebaldi, tana amfani da kalmomin wasanni, tana tafiyar da nisa ita kaɗai, kuma wanda ya yi gudu shi kaɗai yakan zo matakin ƙarshe. Ba ta da masu koyi ko kishiyoyi…Babu wanda zai tsaya mata kawai, har ma ya sanya ta a kalla kamar gasar. Duk wannan ba yana nufin yunƙurin raina darajar muryar ta ba ne. Akasin haka, ana iya jayayya cewa har ma da "Song of Willow" kadai da kuma addu'ar Desdemona da ke biye da ita sun shaida abin da ma'anar ma'anar kiɗan wannan mai fasaha mai basira ya iya cimma. Duk da haka, wannan bai hana ta fuskanci wulakanci na kasawa a cikin Milan samar da La Traviata, kuma a daidai lokacin da ta yi tunanin cewa ba za a iya warwarewa zukatan jama'a. Haushin wannan bacin rai ya ratsa ran matashin mai zane sosai.

An yi sa'a, ɗan lokaci kaɗan ya wuce kuma, tana yin wasan opera iri ɗaya a gidan wasan kwaikwayo na Neapolitan "San Carlo", ta koyi raunin nasara.

Waƙar Tebaldi yana ƙarfafa zaman lafiya kuma yana shafa kunne, yana cike da inuwa mai laushi da chiaroscuro. Halinta na narkar da ita a cikin muryarta, kamar yadda sugar ke narkewa a cikin ruwa, yana mai da shi dadi kuma ba a ganuwa.

Amma shekaru biyar sun shuɗe, kuma an tilasta wa Lauri-Volpi ya yarda cewa abubuwan da ya gani a baya suna buƙatar gyara sosai. "A yau," in ji shi, "wato, a cikin 1960, muryar Tebaldi tana da komai: tana da taushi, dumi, mai yawa kuma har ma a ko'ina." Tabbas, tun daga rabin na biyu na 50s, shaharar Tebaldi yana girma daga yanayi zuwa yanayi. Yawon shakatawa mai nasara a cikin manyan gidajen wasan kwaikwayo na Turai, cin nasara a cikin nahiyar Amurka, manyan nasarori a Opera Metropolitan… Daga cikin sassan da mawaƙin ya yi, wanda adadinsu ya kusan hamsin, ya zama dole a lura da sassan Adrienne. Lecouvreur a cikin opera na wannan sunan ta Cilea, Elvira a cikin Mozart's Don Giovanni, Matilda a cikin Rossini's Wilhelm Tell, Leonora a cikin Verdi's The Force of Destiny, Madame Butterfly a cikin opera na Puccini, Tatiana a cikin Eugene Onegin na Tchaikovsky na Tchaikovsky. Ikon Renata Tebaldi a cikin duniyar wasan kwaikwayo ba shi da tabbas. Kishiyarta daya tilo ita ce Mariya Callas. Kishiyarsu ta kara rura wutar tunanin masu sha'awar wasan opera. Dukansu biyu sun ba da gudummawa mai girma ga taskar fasahar murya na ƙarni namu.

"Ƙarfin fasaha na Tebaldi," ya jaddada sanannen ƙwararre a cikin fasahar murya VV Timokhin - a cikin murya mai ban sha'awa da ƙarfi, mai laushi da taushi a cikin lokutan waƙoƙi, kuma a cikin abubuwan ban mamaki masu ban sha'awa da zafin rai, kuma, haka ma. , a cikin fasaha mai ban mamaki na wasan kwaikwayo da kida mai girma ... Tebaldi yana da ɗayan kyawawan muryoyin mu na ƙarni. Wannan kayan aiki ne mai ban mamaki da gaske, har ma rikodin yana nuna fara'a. Muryar Tebaldi tana jin daɗi tare da sautin nasa na “mai kyalli”, “mai kyalli”, abin mamaki a sarari, daidai yake da kyau duka a cikin fortissimo da kuma a cikin pianissimo na sihiri a cikin babban rajista, kuma tare da tsawon kewayon, kuma tare da timbre mai haske. A cikin sassan da ke cike da tashin hankali mai ƙarfi, muryar mai zane tana sauti kamar sauƙi, kyauta, kuma cikin sauƙi kamar a cikin kwanciyar hankali, cantilena mai santsi. Rijistar ta tana da inganci daidai da kyau, da wadatar inuwa mai ƙarfi a cikin rera waƙa, ƙamus mai kyau, ƙwararriyar amfani da dukkan arsenal na launukan timbre ta mawaƙi na ƙara ba da gudummawa ga babban ra'ayi da take yi ga masu sauraro.

Tebaldi baƙon abu ne ga sha'awar "haske da sauti", don nuna sha'awar "Italiyanci" na musamman na raira waƙa, ba tare da la'akari da yanayin kiɗan (wanda har ma wasu fitattun masu fasahar Italiya sukan yi zunubi). Ta yi ƙoƙari ta bi kyakkyawan dandano da dabarar fasaha a cikin komai. Ko da yake a cikin wasan kwaikwayon nata, a wasu lokuta akwai wuraren da ba a ji su ba "na kowa", a gaba ɗaya, waƙar Tebaldi koyaushe tana burge masu sauraro sosai.

Yana da wuya a manta da tsananin sautin da aka gina a cikin monologue da wurin bankwana da danta ("Madama Butterfly"), tashin hankali na ban mamaki a wasan karshe na "La Traviata", halayyar "fades" da kuma taɓawa. ikhlasi na duet na ƙarshe a cikin "Aida" da launi mai laushi, bakin ciki na "fading" a ban kwana Mimi. Hankalin mutum ɗaya na mai zane ga aikin, alamar burinta na fasaha yana jin ta a kowane ɓangaren da ta yi waƙa.

Mawaƙin ko da yaushe yana da lokaci don gudanar da ayyukan kide kide da wake-wake, yin fina-finai na soyayya, waƙoƙin jama'a, da arias da yawa daga operas; a ƙarshe, don shiga cikin rikodin ayyukan operatic wanda ba ta da damar zuwa mataki; Masoyan rikodin phonograph sun gane a cikinta mai girma Madame Butterfly, ba su taɓa ganin ta a cikin wannan rawar ba.

Godiya ga tsari mai tsauri, ta sami damar kula da kyakkyawan siffar shekaru masu yawa. Lokacin da, ba da daɗewa ba kafin ranar haihuwarta ta hamsin, mai zane ya fara shan wahala daga cikar da ya wuce kima, a cikin 'yan watanni ta yi nasarar rasa fiye da kilo ashirin na nauyi kuma ta sake bayyana a gaban jama'a, mafi kyau da alheri fiye da kowane lokaci.

Masu sauraron kasarmu sun hadu da Tebaldi kawai a cikin kaka na 1975, riga a ƙarshen aikinta. Amma singer ya rayu har zuwa babban tsammanin, yin a Moscow, Leningrad, Kyiv. Ta rera arias daga wasan operas da ƙaramar murya tare da ikon nasara. “Kwarewar mawaƙin ba ta dace da lokaci ba. Har ila yau fasaharta tana jan hankali da alherinta da dabarar sahihanci, kamalar fasaha, daidaiton kimiyyar sauti. Masoyan mawaƙa dubu shida, waɗanda suka cika babban falon fadar Majalisa a wannan maraice, sun yi maraba da mawaƙa mai ban mamaki, ba su bar ta ta bar wurin na dogon lokaci ba, "in ji jaridar Sovetskaya Kultura.