Richard Wagner |

Richard wagner

R. Wagner shi ne mawaƙin Jamus mafi girma a ƙarni na 1834, wanda ya yi tasiri sosai ga bunƙasa ba kawai kiɗan al'adun Turai ba, har ma da al'adun fasaha na duniya gaba ɗaya. Wagner bai sami ilimin kida na yau da kullun ba, kuma a cikin ci gabansa a matsayin mai kula da kiɗan ya wajaba a kansa. Idan aka kwatanta da wuri, sha'awar mawaƙin, waɗanda suka fi mayar da hankali kan nau'in wasan opera, sun bayyana. Daga farkon aikinsa, wasan opera na soyayya The Fairies (1882), zuwa wasan kwaikwayo na asiri na kiɗa Parsifal (XNUMX), Wagner ya kasance mai goyon baya ga babban wasan kwaikwayo na kiɗa, wanda ta hanyar ƙoƙarinsa ya canza kuma ya sake sabuntawa.

Da farko, Wagner bai yi tunanin sake fasalin wasan opera ba - ya bi al'adun gargajiya na wasan kwaikwayo na kiɗa, ya nemi ya mallaki nasarar magabata. Idan a cikin "Fairies" Jamus romantic opera, don haka brilliantly gabatar da "The Magic Shooter" na KM Weber, ya zama abin koyi, sa'an nan a cikin opera "Haramta Love" (1836) ya kasance mafi shiryar da hadisai na Faransa comic opera. . Duk da haka, waɗannan ayyukan farko ba su ba shi amincewa ba - Wagner ya jagoranci rayuwar mawaƙin wasan kwaikwayo a cikin waɗannan shekarun, yana yawo a birane daban-daban na Turai. Domin wani lokaci ya yi aiki a Rasha, a Jamus gidan wasan kwaikwayo na birnin Riga (1837-39). Amma Wagner… kamar da yawa daga cikin mutanen zamaninsa, babban birnin al'adu na Turai ya jawo hankalinsa a wancan lokacin, wanda a lokacin duniya ta amince da shi a matsayin Paris. Buri mai haske na matashin mawakin ya dushe lokacin da ya fuskanci gaskiyar abin da ba shi da kyau kuma aka tilasta masa ya jagoranci rayuwar talakan mawaƙin waje, yana rayuwa ba tare da ayyukan banza ba. Canji mai kyau ya zo a cikin 1842, lokacin da aka gayyace shi zuwa matsayin Kapellmeister a shahararren gidan wasan opera a babban birnin Saxony - Dresden. A ƙarshe Wagner ya sami damar gabatar da abubuwan da ya tsara a cikin wasan kwaikwayo ga masu sauraron wasan kwaikwayo, kuma wasan opera na uku, Rienzi (1840), ya sami karɓuwa mai ɗorewa. Kuma wannan ba abin mamaki ba ne, tun da Faransanci Grand Opera ya zama abin koyi ga aikin, manyan wakilan da suka fi dacewa su ne mashawartan G. Spontini da J. Meyerbeer. Bugu da ƙari, mawaƙin yana da rawar da ya taka a matsayi mafi girma - irin waɗannan mawaƙa irin su tenor J. Tihachek da kuma babbar mawaƙa-yar wasan kwaikwayo V. Schroeder-Devrient, wanda ya shahara a lokacinta a matsayin Leonora a cikin opera kawai na L. Beethoven Fidelio, ya yi. a gidan wasan kwaikwayo.

3 operas da ke kusa da lokacin Dresden suna da yawa gama gari. Don haka, a cikin Flying Dutchman (1841), wanda aka kammala a jajibirin tafiya zuwa Dresden, tsohon labari game da wani jirgin ruwa mai yawo da la'ananne ga laifukan da suka gabata, wanda kawai za a iya samun ceto ta hanyar sadaukarwa da ƙauna mai tsabta, ya zo rayuwa. A cikin opera Tannhäuser (1845), mawaƙin ya juya zuwa ga tatsuniyar mawaƙin Minnesinger, wanda ya sami tagomashin allahn arna Venus, amma saboda wannan ya sami la'anar Cocin Roman. Kuma a ƙarshe, a cikin Lohengrin (1848) - watakila mafi mashahurin wasan kwaikwayo na Wagner - wani jarumi mai haske ya bayyana wanda ya sauko zuwa duniya daga gidan sama - Grail mai tsarki, da sunan yaki da mugunta, zagi da zalunci.

A cikin waɗannan wasan kwaikwayo, mawaƙin har yanzu yana da alaƙa da hadisai na soyayya - jarumawansa sun rabu da dalilai masu karo da juna, lokacin da mutunci da tsabta suka yi adawa da zunubin sha'awar duniya, amana marar iyaka - yaudara da cin amana. Hakanan jinkirin labarun yana da alaƙa da soyayya, lokacin da ba haka ba ne abubuwan da suka faru da kansu suke da mahimmanci, amma ji da suke tada a cikin ruhin jarumin waƙar. Wannan shi ne tushen irin wannan muhimmiyar rawar ta hanyar tattaunawa mai zurfi da tattaunawa na 'yan wasan kwaikwayo, yana bayyana gwagwarmayar cikin gida na burinsu da manufofinsu, wani nau'i na "harshen rai" na fitaccen ɗan adam.

Amma ko da a cikin shekarun aiki a cikin sabis na kotu, Wagner yana da sababbin ra'ayoyi. Yunkurin aiwatar da su shi ne juyin juya halin da ya barke a yawancin kasashen Turai a shekara ta 1848 kuma bai wuce Saxony ba. A Dresden ne aka yi bore da makami don adawa da tsarin mulkin sarauta, karkashin jagorancin abokin Wagner, dan adawar Rasha M. Bakunin. Tare da halayen halayensa, Wagner ya shiga cikin wannan tashin hankali kuma, bayan shan kashi, an tilasta shi ya gudu zuwa Switzerland. Wani lokaci mai wahala ya fara a cikin rayuwar mawaki, amma yana da amfani sosai ga aikinsa.

Wagner ya sake tunani kuma ya fahimci matsayinsa na fasaha, haka kuma, ya tsara manyan ayyuka waɗanda, a ra'ayinsa, fasaha ya fuskanta a cikin wasu ayyukan fasaha (a cikin su, Opera da Drama - 1851 yana da mahimmanci). Ya ƙunshi ra'ayoyinsa a cikin ma'auni mai mahimmanci "Ring of the Nibelungen" - babban aikin rayuwarsa.

Tushen babban abin halitta, wanda a cikakke ya mamaye maraice na wasan kwaikwayo na 4 a jere, ya ƙunshi tatsuniyoyi da tatsuniyoyi tun zamanin da arna - Nibelungenlied na Jamus, sagas na Scandinavian da aka haɗa a cikin Dattijo da ƙaramin Edda. Amma tatsuniyar maguzawa tare da alloli da jarumawanta sun zama mawaƙiya wata hanya ce ta fahimi da nazarin fasaha na matsaloli da savanin gaskiyar bourgeois na zamani.

Abubuwan da ke cikin tetralogy, waɗanda suka haɗa da wasan kwaikwayo na kiɗa The Rhine Gold (1854), Valkyrie (1856), Siegfried (1871) da Mutuwar Allolin (1874), suna da yawa sosai - wasan operas yana da haruffa da yawa waɗanda suka shiga ciki. hadaddun dangantaka, wani lokacin har ma a cikin muguwar gwagwarmaya, rashin daidaituwa. Daga cikin su akwai mugun Nibelung dwarf Alberich, wanda ya sace dukiyar zinariya daga 'ya'ya mata na Rhine; wanda ya mallaki dukiyar, wanda ya yi nasarar ƙirƙira zobe daga cikinta, an yi masa alkawarin zai mallaki duniya. Alberich yana adawa da allahn mai haske Wotan, wanda ikonsa na yaudara ne - shi bawa ne na yarjejeniyoyin da kansa ya kulla, wanda mulkinsa ya dogara. Bayan ya ɗauki zoben zinariya daga Nibelung, ya kawo mummunan la'ana a kan kansa da iyalinsa, wanda kawai jarumin mutum wanda ba shi da bashi ba zai iya ceton shi. Jikansa, mai sauƙin zuciya da rashin tsoro Siegfried, ya zama irin wannan gwarzo. Ya kayar da babban dodon Fafner, ya mallaki zoben da ake so, ya tada jaruma Brunhilde mai barci, teku mai zafi ya kewaye shi, amma ya mutu, an kashe shi ta hanyar zalunci da yaudara. Tare da shi, tsohuwar duniya, inda yaudara, son kai da rashin adalci suka yi mulki, ita ma tana mutuwa.

Babban babban shiri na Wagner yana buƙatar sabbin hanyoyin aiwatarwa, waɗanda ba a taɓa jin su ba a baya, sabon garambawul. Mawaƙin ya kusan watsi da tsarin lambar da aka saba - daga cikakkiyar aria, ƙungiyar mawaƙa, gungu. Madadin haka, sun yi ƙarar kalmomin monologues da tattaunawa na haruffa, waɗanda aka tura cikin waƙa mara iyaka. Broad waƙa ya haɗu a cikin su tare da bayyanawa a cikin sassan murya na sabon nau'in, wanda a cikin abin da ke tattare da cantilena mai ban sha'awa da halayyar magana mai ban sha'awa ba a fahimta ba.

Babban fasalin fasalin wasan opera na Wagnerian yana da alaƙa da rawar musamman na ƙungiyar makaɗa. Ba ya iyakance kansa ga kawai goyon bayan waƙar murya, amma yana jagorantar layinsa, wani lokacin ma yana magana da gaba. Bugu da ƙari, ƙungiyar mawaƙa ta zama mai ɗaukar ma'anar aikin - a cikinta ne manyan jigogi na kiɗa suka fi sauti - leitmotifs waɗanda suka zama alamomin haruffa, yanayi, har ma da ra'ayoyin ra'ayi. Leitmotifs suna jujjuya juna cikin sauƙi, suna haɗuwa cikin sauti lokaci ɗaya, suna canzawa akai-akai, amma duk lokacin da mai sauraro ya gane su, wanda ya ƙware ma'anar ma'anar da aka sanya mana. A kan babban ma'auni, wasan kwaikwayo na kiɗa na Wagnerian ya kasu kashi zuwa tsawaita, ingantattun al'amuran, inda akwai ɗimbin raƙuman motsin rai da faɗuwa, tashi da faɗuwar tashin hankali.

Wagner ya fara aiwatar da babban shirinsa a cikin shekarun hijira na Swiss. Amma rashin yiwuwar ganin kan mataki 'ya'yan itãcen sa na titanic, da gaske maras misaltuwa iko da kuma m aiki karya ko da irin wannan babban ma'aikaci - da abun da ke ciki na tetralogy aka katse shekaru da yawa. Kuma kawai abin da ba zato ba tsammani na rabo - goyon bayan matashin Bavarian sarki Ludwig ya busa sabon ƙarfi a cikin mawaki kuma ya taimaka masa ya kammala, watakila mafi girman ƙirƙirar fasahar kiɗan, wanda shine sakamakon ƙoƙarin mutum ɗaya. Don mataki na tetralogy, an gina wani gidan wasan kwaikwayo na musamman a birnin Bayreuth na Bavaria, inda aka fara yin dukan tetralogy a 1876 kamar yadda Wagner ya nufa.

Baya ga Ring na Nibelung, Wagner ya ƙirƙira a cikin rabin na biyu na karni na 3. 1859 ƙarin manyan ayyuka. Wannan ita ce opera "Tristan da Isolde" (1867) - waƙar yabo ga ƙauna ta har abada, wanda aka rera a cikin tatsuniyoyi na zamanin da, mai launi tare da rikice-rikice masu tayar da hankali, cike da ma'anar rashin yiwuwar sakamako mai mutuwa. Kuma tare da irin wannan aikin da aka nutsar da shi cikin duhu, haske mai ban sha'awa na bikin jama'a wanda ya lashe wasan opera The Nuremberg Mastersingers (1882), inda a budaddiyar gasar mawaka ta fi cancanta, wanda aka nuna da kyauta ta gaskiya, ta yi nasara, da kai. - gamsuwa da wauta mediocrity pedantic an kunyata. Kuma a ƙarshe, halitta ta ƙarshe na maigidan - "Parsifal" (XNUMX) - ƙoƙari na kiɗa da mataki-mataki suna wakiltar yunƙurin 'yan uwantaka na duniya, inda aka yi nasara da ikon mugunta da ba za a iya cin nasara ba kuma hikima, adalci da tsarki sun yi mulki.

Wagner ya mallaki matsayi na musamman a cikin kiɗan Turai na ƙarni na XNUMX - yana da wahala a ambaci mawaƙin da ba zai taɓa rinjayarsa ba. Binciken Wagner ya shafi ci gaban wasan kwaikwayo na kiɗa a cikin ƙarni na XNUMX. – mawaƙa sun koyi darussa daga wurinsu, amma sai suka koma ta hanyoyi daban-daban, ciki har da waɗanda suka saba wa waɗanda babban mawaƙin Jamus ya zayyana.

M. Tarakanov

• Rayuwa da aikin Wagner →
• Richard Wagner. "Rayuwa ta" →
• Bikin Bayreuth →
• Jerin ayyukan Wagner →

Darajar Wagner a cikin tarihin al'adun kiɗan duniya. Siffarsa ta akida da kirkira

Wagner yana ɗaya daga cikin manyan masu fasaha waɗanda aikinsu ya yi tasiri sosai a kan ci gaban al'adun duniya. Hazakarsa ta kasance a duniya: Wagner ya shahara ba kawai a matsayin marubucin fitattun halittun kiɗa ba, har ma a matsayin jagora mai ban mamaki, wanda, tare da Berlioz, shine wanda ya kafa fasahar zamani na gudanarwa; ya kasance ƙwararren mawaƙi-mawallafin wasan kwaikwayo - mahaliccin libretto na operas ɗinsa - kuma ƙwararren ɗan jarida, masanin wasan kwaikwayo na kiɗa. Irin wannan aiki iri-iri, haɗe da kuzari da kuzari wajen tabbatar da ƙa'idodinsa na fasaha, ya ja hankalin kowa ga mutuntaka da kiɗan Wagner: nasarorin da ya samu na akida da ƙirƙira sun tada zazzafar muhawara a lokacin rayuwar mawakin da kuma bayan mutuwarsa. Har yau ba su ragu ba.

"A matsayin mawaki," in ji PI Tchaikovsky, "Wagner ba shakka yana daya daga cikin manyan mutane masu ban mamaki a rabi na biyu na wannan (wato, XIX. - MD) ƙarni, kuma tasirinsa a kan kiɗa yana da girma.” Wannan tasiri ya kasance da yawa: ya bazu ba kawai ga gidan wasan kwaikwayo na kiɗa ba, inda Wagner ya yi aiki mafi yawa a matsayin marubucin wasan kwaikwayo goma sha uku, amma har ma da ma'anar fasahar kiɗa; Gudunmawar Wagner a fagen nuna sha'awar shirin ita ma tana da muhimmanci.

“… Ya yi fice a matsayin mawakin opera,” in ji NA Rimsky-Korsakov. “Wasan operas nasa,” AN Serov ya rubuta, “… sun shiga cikin jama’ar Jamus, sun zama taska ta hanyarsu, ba kasa da operas na Weber ko ayyukan Goethe ko Schiller ba. "An ba shi kyauta mai girma na waƙa, ƙirƙira mai ƙarfi, tunaninsa yana da girma, yunƙurinsa ya yi ƙarfi, fasahar fasaharsa ta kasance mai girma..." - wannan shine yadda VV Stasov ya bayyana mafi kyawun bangarorin gwanin Wagner. Kiɗa na wannan mawaƙi mai ban mamaki, a cewar Serov, ya buɗe "hangen nesa, marar iyaka" a cikin fasaha.

Bayar da yabo ga hazaka na Wagner, jaruntakarsa a matsayin ƙwararren ɗan wasan kwaikwayo, manyan jiga-jigan kiɗan Rasha (musamman Tchaikovsky, Rimsky-Korsakov, Stasov) sun soki wasu abubuwan da ke faruwa a cikin aikinsa waɗanda suka shagaltu da ayyukan ainihin hoton. rayuwa. Gabaɗayan ƙa'idodin fasaha na Wagner, kyawawan ra'ayoyinsa kamar yadda aka yi amfani da su ga wasan kwaikwayo na kiɗa an fuskanci suka musamman mai zafi. Tchaikovsky ya fadi hakan a takaice kuma a takaice: "Lokacin da nake sha'awar mawakin, ba ni da tausayi ga abin da ke cikin al'adun Wagnerian." Ra'ayoyin da Wagner ke ƙauna, da hotunan aikinsa na opera, da hanyoyin tsarin kiɗan su kuma an yi jayayya.

Koyaya, tare da sukar da suka dace, gwagwarmayar gwagwarmaya don tabbatar da asalin ƙasa Rasha gidan wasan kwaikwayo na kiɗa ya bambanta da Jamus operatic art, wani lokaci ya haifar da yanke hukunci. Game da wannan, MP Mussorgsky ya yi daidai: "Muna yawan tsawatar wa Wagner, kuma Wagner yana da ƙarfi da ƙarfi a cikin cewa yana jin fasaha kuma yana jan shi…".

Wani gwagwarmaya mai daci ya taso game da sunan da dalilin Wagner a cikin kasashen waje. Tare da m magoya wanda suka yi imani da cewa daga yanzu a kan gidan wasan kwaikwayo ya kamata ci gaba kawai tare da Wagnerian hanya, akwai kuma mawaƙa da suka gaba daya ya ƙi akida da fasaha darajar Wagner ta ayyukan, ya gani a cikin tasirinsa kawai m sakamakon ga juyin halittar m art. Wagnerians da abokan hamayyarsu sun tsaya a wurare masu gaba da juna ba tare da sulhu ba. Bayyana wasu lokuta daidaitattun tunani da abubuwan lura, sun gwammace su rikita waɗannan tambayoyin tare da kimarsu na son zuciya maimakon taimakawa wajen warware su. Irin waɗannan matsananciyar ra'ayi ba su raba su ta hanyar manyan mawaƙa na kasashen waje na rabin na biyu na karni na XNUMX - Verdi, Bizet, Brahms - amma har ma, sun fahimci basirar Wagner don basira, ba su yarda da komai a cikin kiɗansa ba.

Ayyukan Wagner ya haifar da kima masu cin karo da juna, saboda ba kawai ayyukansa masu yawa ba, amma har ma da hali na mawaki ya rabu da mafi tsanani sabani. Ta hanyar daya gefe daya daga cikin bangarori na hadaddun siffar mahalicci da mutum, masu neman gafara, da kuma masu cin zarafi na Wagner, sun ba da ra'ayi mara kyau game da muhimmancinsa a tarihin al'adun duniya. Domin sanin ainihin ma'anar wannan ma'anar, dole ne mutum ya fahimci hali da rayuwar Wagner a cikin dukkanin hadaddun su.

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Kulli biyu na sabani yana kwatanta Wagner. A gefe guda, waɗannan sabani ne tsakanin ra'ayin duniya da kerawa. Tabbas, mutum ba zai iya ƙaryata dangantakar da ke tsakanin su ba, amma aikin mawaki Wagner mai nisa ya zo daidai da ayyukan Wagner - mai haɓakawa marubuci-jama'a, wanda ya bayyana ra’ayoyi da yawa game da al’amuran siyasa da na addini, musamman a lokacin ƙarshe na rayuwarsa. A daya bangaren kuma, kyawawan ra'ayinsa da na zamantakewa da siyasa sun yi karo da juna sosai. Wani dan tawaye mai tawaye, Wagner ya riga ya zo juyin juya halin 1848-1849 tare da ra'ayin duniya mai matukar rudani. Haka ya kasance har ma a cikin shekarun da juyin juya halin Musulunci ya sha kaye, lokacin da akidar mayar da martani ta sanya guba a cikin tunanin mawakin da gubar bacin rai, ta haifar da yanayi na son zuciya, kuma ta kai ga kafa ra'ayoyin kasa-chauvinist ko na malamai. Duk wannan ba zai yiwu ba sai dai a bayyana a cikin ma'ajin da ya saba wa binciken akida da fasaha.

Amma Wagner yana da kyau kwarai a cikin hakan, duk da haka m ra'ayoyi na ra'ayi, duk da rashin zaman lafiyarsu. gaskiya nunawa a cikin fasaha na fasaha muhimman abubuwan da ke faruwa na gaskiya, wanda aka bayyana - a cikin misali, siffa ta alama - sabani na rayuwa, sun yi tir da duniyar jari-hujja na karya da yaudara, sun fito da wasan kwaikwayo na manyan buri na ruhaniya, da karfi mai karfi don farin ciki da ayyukan jaruntaka da ba a cika ba. , karya fata. Babu wani mawaƙi ɗaya na lokacin bayan Beethoven a cikin ƙasashen waje na ƙarni na XNUMX da ya iya haɓaka irin wannan babban hadaddun abubuwan konawa na zamaninmu kamar Wagner. Saboda haka, ya zama “masu-mulkin tunani” na tsararraki da yawa, kuma aikinsa ya ɗauki babban matsala mai ban sha'awa na al'adun zamani.

Wagner bai ba da cikakkiyar amsa ga muhimman tambayoyin da ya yi ba, amma fa'idarsa ta tarihi ta ta'allaka ne da cewa ya gabatar da su sosai. Ya sami damar yin hakan ne saboda ya mamaye dukkan ayyukansa da kiyayyar da ba za ta iya daidaitawa ga zaluncin jari hujja ba. Duk abin da ya bayyana a cikin ka'idodin ka'idar, duk wani ra'ayi na siyasa na ra'ayi ya kare, Wagner a cikin aikinsa na kiɗa ya kasance a koyaushe a gefen waɗanda ke neman yin amfani da dakarun su don tabbatar da ka'idar da ta dace da mutuntaka a rayuwa, a kan waɗanda suka kasance. nutse a cikin wani fadama. kananan-bourgeois jin dadi da son kai. Kuma, watakila, babu wanda ya yi nasara da irin wannan lallashi na fasaha da kuma karfi wajen nuna bala'in rayuwar zamani, gubar da wayewar bourgeois ta shafa.

Bayyanar da ke nuna adawa da jari-hujja yana ba wa aikin Wagner babban mahimmancin ci gaba, ko da yake ya kasa fahimtar cikar abubuwan abubuwan da ya kwatanta.

Wagner shine babban mai zanen Romantic na ƙarshe na karni na 1848. Ra'ayoyin Romantic, jigogi, hotuna an daidaita su a cikin aikinsa a cikin shekarun juyin juya hali; shi ne ya raya su daga baya. Bayan juyin juya halin na XNUMX, da yawa daga cikin mashahuran mawaƙa, a ƙarƙashin rinjayar sababbin yanayi na zamantakewa, saboda sakamakon da ya fi dacewa da rikice-rikice na aji, sun canza zuwa wasu batutuwa, sun canza zuwa matsayi na gaskiya a cikin ɗaukar hoto (misali mafi ban mamaki). wannan shine Verdi). Amma Wagner ya kasance mai son soyayya, ko da yake rashin daidaituwa ya kuma bayyana a cikin gaskiyar cewa a cikin matakai daban-daban na aikinsa, siffofi na hakika, sa'an nan kuma, akasin haka, romanticism na rayayye ya bayyana a cikinsa.

Wannan sadaukarwa ga jigon soyayya da kuma hanyoyin bayyana shi ya sanya shi matsayi na musamman a tsakanin yawancin mutanen zamaninsa. Kaddarorin mutum ɗaya na halin Wagner, rashin gamsuwa na har abada, rashin natsuwa, su ma sun shafa.

Rayuwar sa cike take da hawa da sauka da ba a saba gani ba, sha’awa da lokuta na yanke kauna mara iyaka. Dole ne in shawo kan cikas marasa adadi don ciyar da sabbin dabaru na. Shekaru, wani lokacin shekaru da yawa, sun shude kafin ya sami damar jin yawan abubuwan da ya tsara. Ya zama dole a sami ƙishirwa mai ƙishirwa don kerawa don yin aiki a cikin waɗannan yanayi masu wahala kamar yadda Wagner ya yi aiki. Hidima ga fasaha shine babban abin da ya zaburar da rayuwarsa. ("Ba na wanzu don samun kuɗi, amma don ƙirƙirar," in ji Wagner cikin alfahari). Abin da ya sa, duk da munanan kuskuren akida da rushewar, dogara ga ci gaban al'adu na Jamus music, ya samu irin wannan fitacciyar m sakamakon: bin Beethoven, ya raira waƙa da jaruntakar mutum m, kamar Bach, tare da ban mamaki dũkiya na inuwa, ya bayyana. duniyar abubuwan da suka shafi ruhaniya na ɗan adam da kuma bin hanyar Weber, wanda ke kunshe cikin kiɗan hotuna na almara da tatsuniyoyi na al'ummar Jamus, sun haifar da kyawawan hotuna na yanayi. Irin waɗannan nau'o'in mafita na akida da fasaha da kuma cim ma ƙwarewa sune halayen mafi kyawun ayyukan Richard Wagner.

Jigogi, hotuna da makircin operas na Wagner. Ka'idodin wasan kwaikwayo na kiɗa. Siffofin harshen kiɗan

Wagner a matsayin mai fasaha ya ɗauki salo a cikin yanayin haɓakar zamantakewar Jamus kafin juyin juya hali. A cikin waɗannan shekarun, ba wai kawai ya tsara ra'ayoyinsa na ado da kuma tsara hanyoyin da za a canza gidan wasan kwaikwayo na kiɗa ba, amma kuma ya bayyana da'irar hotuna da makircin kusa da kansa. A cikin 40s, lokaci guda tare da Tannhäuser da Lohengrin, Wagner yayi la'akari da tsare-tsaren duk operas da ya yi aiki a cikin shekaru masu zuwa. (Waɗannan su ne Tristan da Parsifal, ra'ayin wanda ya balaga a cikin shekarun juyin juya halin juyin juya halin Musulunci; wannan yana bayyana tasirin mummunan yanayi fiye da sauran ayyukan.). Ya fi zana abubuwa don waɗannan ayyukan daga tatsuniyoyi da tatsuniyoyi. Abubuwan da ke cikin su, duk da haka, sun yi masa hidima asali aya don kerawa mai zaman kanta, kuma ba ƙarshe manufa. A ƙoƙarin jaddada tunani da yanayi kusa da zamani, Wagner ya sa tushen wakoki na jama'a don sarrafa su kyauta, ya sabunta su, domin, in ji shi, kowane tsarar tarihi na iya samun ta cikin tatsuniya. da batu. Hankalin ma'auni da dabara ya ci amanar shi a lokacin da ra'ayoyin ra'ayoyin ra'ayi suka rinjayi ma'anar ma'anar tatsuniyoyi, amma a yawancin lokuta, lokacin da ake sabunta makirci da hotuna, mawaki ya yi nasarar kiyaye mahimmancin gaskiyar waƙar jama'a. Cakuda irin waɗannan halaye daban-daban shine ɗayan mafi kyawun halayen wasan kwaikwayo na Wagnerian, duka ƙarfinsa da rauninsa. Duk da haka, yana nufin almara makirce-makircen da hotuna, Wagner ya ja hankalin zuwa ga su zalla m fassarar - wannan, bi da bi, ya haifar da gwagwarmaya mai cin karo da juna tsakanin ka'idodin "Siegfriedian" da "Tristanian" a cikin aikinsa.

Wagner ya juya zuwa ga tsoffin almara da hotuna na almara saboda ya sami manyan makirci masu ban tsoro a cikinsu. Ba shi da sha'awar ainihin halin da ake ciki na nesa mai nisa ko tarihin tarihi, ko da yake a nan ya sami nasarori da yawa, musamman a cikin Nuremberg Mastersingers, wanda a cikinsa ya fi bayyana dabi'un gaskiya. Amma sama da duka, Wagner ya nemi ya nuna wasan kwaikwayo na motsin rai na haruffa masu ƙarfi. Gwagwarmayar almara na zamani don farin ciki ya kasance yana kunshe da hotuna daban-daban da makircin operas dinsa. Wannan shi ne ɗan ƙasar Holland Flying, wanda kaddara ke motsa shi, da lamiri mai azabtarwa, mai tsananin mafarkin zaman lafiya; wannan Tannhäuser ne, wanda ya rabu da sha'awar sha'awar sha'awa mai cin karo da juna da kuma rayuwa mai tsauri; wannan Lohengrin ne, an ƙi, mutane ba su fahimta ba.

Gwagwarmayar rayuwa a ra'ayin Wagner yana cike da bala'i. Soyayya ta ƙone Tristan da Isolde; Elsa (a Lohengrin) ta mutu, ta karya haramcin ƙaunataccenta. Abin takaici shine siffa mara aiki na Wotan, wanda, ta hanyar karya da yaudara, ya sami ikon ruɗi wanda ya kawo baƙin ciki ga mutane. Amma makomar fitaccen jarumin Wagner, Sigmund, shi ma abin takaici ne; har ma da Siegfried, nesa da guguwar wasan kwaikwayo na rayuwa, wannan butulci, ɗan ɗabi'a mai ƙarfi, an yanke masa hukuncin mutuwa. A ko'ina da ko'ina - bincike mai raɗaɗi don farin ciki, sha'awar cim ma ayyukan jaruntaka, amma ba a ba su don gane ba - ƙarya da yaudara, tashin hankali da yaudara sun shiga rayuwa.

A cewar Wagner, ceto daga wahala da sha'awar farin ciki ke haifarwa cikin ƙauna marar son kai: ita ce mafi girman bayyanar ƙa'idar ɗan adam. Amma kada kauna ta kasance mai ɗorewa—rayuwa ta tabbata cikin nasara. Don haka, sana'ar Lohengrin - mai kare wanda ake zargi Elsa wanda ba shi da laifi - shine gwagwarmayar 'yancin nagarta; feat shine manufa ta rayuwa ta Siegfried, ƙaunar Brunnhilde tana kiransa zuwa sabbin ayyukan jaruntaka.

Duk wasan operas na Wagner, wanda ya fara daga balagaggen ayyukan 40s, suna da fasali na gama-gari na akida da haɗin kai na ra'ayi na kiɗa da ban mamaki. Juyin juya hali na 1848-1849 ya nuna wani muhimmin mataki a cikin juyin halittar akida da fasaha na mawaki, wanda ya kara dagula rashin daidaiton aikinsa. Amma ainihin ainihin ma'anar neman hanyoyin shigar da wasu tabbatattun da'irar ra'ayoyi, jigogi, da hotuna ba su canza ba.

Wagner ya shiga wasan operas dinsa hadin kai na ban mamaki magana, wanda don haka ya buɗe aikin a cikin ci gaba, rafi mai ci gaba. Ƙarfafa ka'idar tunani, sha'awar watsa gaskiya ta hanyoyin rayuwar tunani ya wajabta irin wannan ci gaba. Wagner ba shi kaɗai ba ne a cikin wannan nema. Mafi kyawun wakilan wasan kwaikwayo na opera na karni na XIX, na gargajiya na Rasha, Verdi, Bizet, Smetana, sun cimma daidai, kowannensu a hanyarsa. Amma Wagner, ya ci gaba da abin da magabacinsa nan da nan a cikin kiɗan Jamus, Weber, ya zayyana, ya ci gaba da haɓaka ƙa'idodin. saboda ci gaba a cikin nau'in kiɗa da ban mamaki. Daban-daban na wasan kwaikwayo, al'amuran, har ma da zane-zane, ya haɗu tare a cikin wani aiki mai tasowa kyauta. Wagner ya arzuta hanyoyin bayyanawa ta opera tare da nau'ikan magana guda ɗaya, tattaunawa, da manyan gine-gine na ban mamaki. Amma da yake mai da hankali sosai ga nuna duniyar ciki ta haruffa ta hanyar nuna yanayin yanayi na zahiri, lokuta masu tasiri, ya gabatar da sifofi na son rai da rikitarwa na tunani a cikin kiɗan sa, wanda hakan ya haifar da fa'ida, ya lalata sigar, ya sa ta sako-sako. amorphous. Duk wannan ya tsananta rashin daidaito na wasan kwaikwayo na Wagnerian.

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Ɗaya daga cikin mahimman hanyoyin bayyana shi shine tsarin leitmotif. Ba Wagner ne ya ƙirƙira shi ba: abubuwan kiɗan da suka haifar da wasu ƙungiyoyi tare da takamaiman al'amuran rayuwa ko hanyoyin tunani waɗanda mawaƙa na juyin juya halin Faransa na ƙarshen ƙarni na XNUMX, na Weber da Meyerbeer suka yi amfani da su a fagen kiɗan kiɗan ta Berlioz. , Liszt da sauransu. Amma Wagner ya sha bamban da magabatansa da na zamaninsa a cikin faffadan amfani da wannan tsarin. (Masu tsattsauran ra'ayi na Wagnerians sun lalata nazarin wannan batu, suna ƙoƙarin haɗa mahimmancin leitmotif ga kowane batu, har ma da jujjuyawar shiga, da kuma ba da duk wani leitmotifs, ko ta yaya za su kasance, tare da kusan cikakken abun ciki.).

Duk wani babban wasan opera na Wagner ya ƙunshi leitmotifs ashirin da biyar zuwa talatin waɗanda ke mamaye masana'anta. (Duk da haka, a cikin operas na 40s, adadin leitmotifs bai wuce goma ba.). Ya fara tsara wasan opera tare da haɓaka jigogin kiɗa. Don haka, alal misali, a cikin zane-zane na farko na "Ring of the Nibelungen" an nuna wani tattakin jana'izar daga "Mutuwar alloli", wanda, kamar yadda aka ce, ya ƙunshi hadaddun jigogi mafi mahimmanci na jaruntaka na tetralogy; Da farko, an rubuta overture don The Meistersingers - yana gyara babban jigon wasan opera, da dai sauransu.

Hasashen kirkire-kirkire na Wagner ba ya ƙarewa a cikin ƙirƙirar jigogi na ban mamaki kyakkyawa da filastik, waɗanda yawancin abubuwan al'ajabi na rayuwa ke nunawa kuma gabaɗaya. Sau da yawa a cikin waɗannan jigogi, an ba da haɗin gwiwar kwayoyin halitta na ka'idodin bayyanawa da hoto, wanda ke taimakawa wajen daidaita hoton kiɗan. A cikin operas na 40s, an ƙara waƙar waƙa: a cikin manyan jigogi-hotuna, an bayyana fuskoki daban-daban na abubuwan mamaki. Ana kiyaye wannan hanyar siffanta kiɗan a cikin ayyukan da suka gabata, amma jarabar Wagner ga ruɗewar falsafa wani lokaci yana haifar da leitmotifs marasa mutumci waɗanda aka ƙirƙira don bayyana ra'ayoyi. Wadannan dalilai ne takaice, ba su da dumin numfashin mutum, ba su da ikon ci gaba, kuma ba su da alaka ta ciki da juna. Don haka tare da jigogi- hotuna bayyana jigogi-alamomi.

Ba kamar na ƙarshe ba, mafi kyawun jigogi na wasan kwaikwayo na Wagner ba sa rayuwa daban a duk lokacin aikin, ba sa wakiltar abubuwan da ba su canzawa ba. A maimakon haka. Akwai fasalulluka gama gari a cikin manyan dalilai, kuma tare suna samar da wasu rukunin jigogi waɗanda ke bayyana inuwa da darajar ji ko cikakkun bayanai na hoto ɗaya. Wagner yana haɗa jigogi daban-daban da motifs ta hanyar sauye-sauye masu sauƙi, kwatance ko haɗuwa da su a lokaci guda. Rimsky-Korsakov ya rubuta: "Ayyukan da mawaƙin ya yi akan waɗannan abubuwan yana da ban mamaki sosai."

Hanyar ban mamaki na Wagner, ƙa'idodinsa na nuna alamar wasan opera yana da tasiri babu shakka akan fasahar zamani na gaba. Mafi girma mawaƙa na wasan kwaikwayo na wasan kwaikwayo a rabi na biyu na karni na XNUMX da na XNUMX sun yi amfani da wani nau'i na nasarorin fasaha na tsarin Wagnerian leitmotif, ko da yake ba su yarda da iyakarsa ba (alal misali, Smetana da Rimsky-Korsakov, Puccini). da kuma Prokofiev).

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Fassarar muryar da ta fara a cikin wasan operas na Wagner shima alama ce ta asali.

Yaƙi da waƙar da ba ta dace ba a cikin ma'ana mai ban mamaki, ya yi iƙirarin cewa kiɗan murya ya kamata ya dogara ne akan haifuwa na sauti, ko kuma, kamar yadda Wagner ya ce, lafazin magana. "Waƙar ban mamaki," in ji shi, "yana samun tallafi a cikin aya da harshe." Babu wasu sabbin abubuwa a cikin wannan bayanin. A cikin XVIII-XIX ƙarni, da yawa composers juya zuwa embodiment na magana intonations a music domin sabunta cikin intonational tsarin na ayyukansu (misali, Gluck, Mussorgsky). Babban sanarwar Wagnerian ya kawo sabbin abubuwa da yawa a cikin kiɗan karni na XNUMX. Daga yanzu, ba zai yiwu a koma ga tsohon tsarin waƙar wasan kwaikwayo ba. Sabbin ayyuka na ƙirƙira waɗanda ba a taɓa ganin irinsu ba sun taso a gaban mawaƙa - masu yin wasan operas na Wagner. Amma, bisa la’akari da ra’ayoyinsa na zayyanawa, wani lokaci ɗaya-gefe ya nanata abubuwan da ke ɓata wa waƙoƙi, yana ƙasƙantar da ci gaban ƙa’idar murya ga ci gaban symphonic.

Tabbas, shafuka masu yawa na wasan operas Wagner suna cike da cikakken jinni, waƙar murya iri-iri, suna isar da ingantattun inuwar bayyanawa. Wasan operas na 40s suna da wadata a cikin irin wannan waƙar, daga cikinsu Flying Dutchman ya yi fice don ɗakin ajiyar kiɗa na jama'a, da Lohengrin saboda jin daɗin sa da dumin zuciya. Amma a cikin ayyuka na gaba, musamman a cikin "Valkyrie" da "Meistersinger", ɓangaren murya yana da babban abun ciki, yana samun babban matsayi. Mutum zai iya tunawa da "waƙar bazara" na Sigmund, magana ɗaya game da takobi Notung, duet soyayya, tattaunawa tsakanin Brunnhilde da Sigmund, bankwana na Wotan; a cikin "Meistersingers" - waƙoƙin Walter, Saƙon monologues na Sax, waƙoƙinsa game da Hauwa'u da mala'ikan mai yin takalma, quintet, mawaƙa na jama'a; Bugu da kari, takobi ƙirƙira waƙoƙi (a cikin opera Siegfried); labarin Siegfried akan farauta, Brunhilde's mutuwa monologue ("Mutuwar alloli"), da dai sauransu. Amma akwai kuma shafukan da maki inda sautin part ko dai ya sami wani karin gishiri pompous sito, ko, akasin haka, an koma relegated. zuwa matsayin abin da aka zaɓa na zaɓi ga ɓangaren ƙungiyar makaɗa. Irin wannan cin zarafi na ma'auni na fasaha tsakanin ka'idodin murya da kayan aiki shine halayyar rashin daidaituwa na ciki na wasan kwaikwayo na Wagnerian.

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Nasarorin da Wagner ya samu a matsayin ɗan wasan kwaikwayo, wanda ya tabbatar da ka'idodin shirye-shirye a cikin aikinsa, ba za a iya jayayya ba. Ya overtures da makada gabatarwa (Wagner ya ƙirƙira wasan kwaikwayo guda huɗu (zuwa operas Rienzi, The Flying Dutchman, Tannhäuser, Die Meistersingers) da gabatarwar kade-kade uku da aka kammala (Lohengrin, Tristan, Parsifal).), tazara mai ma'ana da zane-zane masu yawa da aka bayar, a cewar Rimsky-Korsakov, "mafi kyawun abu don kiɗan gani, kuma inda rubutun Wagner ya zama daidai da ɗan lokaci, a can ya zama mai girma da ƙarfi tare da filastik. na hotunansa, godiya ga wanda ba a iya kwatanta shi ba , kayan aiki na fasaha da kuma magana. Tchaikovsky daidai yake da kidan waƙar waƙar Wagner, yana lura a cikinta "kyakkyawan kayan aikin da ba a taɓa ganin irinsa ba", "wani abin al'ajabi na masana'anta masu jituwa da polyphonic". V. Stasov, kamar Tchaikovsky ko Rimsky-Korsakov, wanda ya la’anci aikin Wagner na opera don abubuwa da yawa, ya rubuta cewa ƙungiyar makaɗarsa “sabbi ce, mai arziki, sau da yawa tana ba da launi, cikin waƙa da fara’a na masu ƙarfi, amma kuma mafi taushin hali. da launuka masu ban sha'awa na son rai. ”…

Tuni a cikin ayyukan farko na 40s, Wagner ya sami haske, cikawa da wadatar sautin makaɗa; gabatar da abun da ke ciki sau uku (a cikin "Ring of the Nibelung" - quadruple); ya yi amfani da kewayon kirtani da yawa, musamman a kashe kuɗin rajista na sama (dabarun da ya fi so shine babban tsari na kirtani na divisi); ya ba da maƙasudin maƙasudi ga kayan aikin tagulla (irin su ƙaƙƙarfan ƙaho uku da ƙaho uku a cikin ɓacin rai na Tannhäuser, ko unisons na tagulla a kan motsin jituwa na kirtani a Ride na Valkyries da Ingantattun Wuta, da sauransu) . Haɗa sautin manyan ƙungiyoyi uku na ƙungiyar mawaƙa ( kirtani, itace, jan ƙarfe), Wagner ya sami sassauci, canjin filastik na masana'anta na symphonic. Ƙwararrun ƙwararrun ƙwararru ta taimaka masa a cikin wannan. Bugu da ƙari, ƙungiyar makaɗarsa ba kawai launuka ba ne, har ma da halaye, mai hankali da amsawa ga haɓakar ji da yanayi masu ban mamaki.

Wagner kuma mai kirkire-kirkire ne a fagen jituwa. A cikin neman mafi kyawun tasirin bayyanawa, ya ƙara ƙarfin magana ta kiɗa, yana cike ta da chromatisms, sauye-sauye, hadaddun hadaddun mawaƙa, ƙirƙirar rubutun polyphonic "multilayered", ta amfani da ƙarfin hali, gyare-gyare na ban mamaki. Waɗannan binciken wasu lokuta suna haifar da tsananin salo, amma ba su sami halayen gwaje-gwajen da ba su dace ba.

Wagner ya yi kakkausar suka ga binciken "haɗin kiɗa don nasu, kawai saboda ra'ayinsu." Da yake jawabi ga matasa mawaƙa, ya roƙe su “kada su juya tasirin jituwa da ƙungiyar makaɗa zuwa ƙarshen kanta.” Wagner ya kasance mai adawa da jajircewa mara tushe, ya yi gwagwarmaya don bayyana gaskiyar ji da tunanin dan Adam, kuma a wannan bangaren ya ci gaba da alaka da al'adun gargajiya na Jamusanci, ya zama daya daga cikin fitattun wakilansa. Amma duk tsawon rayuwarsa mai cike da sarkakiya a fasaha, wani lokacin ra'ayoyin karya sun tafi da shi, sun karkace daga hanya madaidaiciya.

Ba tare da gafarta wa Wagner don ruɗinsa ba, lura da manyan sabani a cikin ra'ayoyinsa da kerawa, ƙin halayen halayen a cikin su, muna godiya sosai ga ƙwararren ɗan wasan Jamus, wanda ya kare manufofinsa bisa ƙa'ida kuma tare da tabbaci, haɓaka al'adun duniya tare da kyawawan abubuwan kida.

M. Druskin

• Rayuwa da aikin Wagner →

Idan muna so mu yi jerin haruffa, al'amuran, kayayyaki, abubuwan da ke da yawa a cikin wasan kwaikwayo na Wagner, duniyar tatsuniya za ta bayyana a gabanmu. Dodanni, dwarfs, ƙattai, alloli da aljanu, mashi, kwalkwali, takuba, ƙaho, zobe, ƙahoni, garayu, tutoci, guguwa, bakan gizo, swans, kura, tafkuna, koguna, duwatsu, wuta, tekuna da jiragen ruwa a kansu, abubuwan banmamaki masu banmamaki. da bacewa, kwanonin guba da abubuwan sha na sihiri, ɓarna, dawakai masu tashi, ƙauyuka masu sihiri, kagara, fadace-fadace, kololuwar da ba za a iya mantawa da su ba, tsayin sama mai tsayi, ƙarƙashin ruwa da ramin duniya, lambunan furanni, bokaye, jarumai matasa, mugayen halittu masu banƙyama, budurwa da har abada abadin. matasa beauties , firistoci da knights, m masoya, wayo sages, iko masu mulki da masu mulki fama da mugun sihiri ... Ba za ka iya cewa sihiri mulki a ko'ina, maita, da kuma m baya na duk abin da yake gwagwarmaya tsakanin nagarta da mugunta, zunubi da ceto. , duhu da haske. Don bayyana duk wannan, kida dole ne ya kasance mai ban sha'awa, sanye da tufafi masu ban sha'awa, cike da ƙananan bayanai, kamar babban labari na gaskiya, wanda aka yi wahayi zuwa ga fantasy, wanda ke ciyar da kasada da soyayya na chivalric wanda wani abu zai iya faruwa. Ko da lokacin da Wagner ya ba da labari game da al'amuran yau da kullum, daidai da mutane na yau da kullum, yakan yi ƙoƙari ya rabu da rayuwar yau da kullum: don nuna ƙauna, ƙa'idodinta, raini ga hatsarori, 'yancin kai marar iyaka. Duk abubuwan ban sha'awa sun taso a gare shi ba zato ba tsammani, kuma kiɗan ya zama na halitta, yana gudana kamar babu cikas a cikin hanyarsa: akwai wani iko a cikinsa wanda ba tare da son rai ya rungumi duk wata rayuwa mai yuwuwa kuma ya juya ta cikin mu'ujiza. Yana da sauƙi kuma a fili ba tare da ɓata lokaci ba yana motsawa daga kwaikwayo na kiɗa kafin karni na XNUMX zuwa mafi kyawun sabbin abubuwa, zuwa kiɗan na gaba.

Shi ya sa Wagner nan da nan ya sami daukakar mai juyi daga al'ummar da ke son juyin juya hali masu dacewa. Ya zama kamar mutum ne kawai wanda zai iya aiwatar da nau'ikan gwaji iri-iri ba tare da turawa na gargajiya ba. A gaskiya ma, ya yi fiye da haka, amma wannan ya bayyana a fili daga baya. Duk da haka, Wagner bai yi ciniki a cikin fasaharsa ba, ko da yake yana da sha'awar haskakawa (ban da kasancewarsa haziƙin kiɗa, ya kuma mallaki fasahar jagora da kuma babbar hazaka a matsayin mawallafin mawaƙa da wallafe-wallafe). Art ko da yaushe ya kasance a gare shi abin gwagwarmayar ɗabi'a, wanda muka bayyana a matsayin gwagwarmaya tsakanin nagarta da mugunta. Ita ce ta hana duk wani motsi na 'yanci na farin ciki, mai jin daɗin kowane yalwa, kowane buri zuwa waje: buƙatun zalunci don tabbatar da kai ya zama fifiko a kan haɓakar dabi'ar mawaƙi kuma ya ba wa mawaƙan waka da kaɗe-kaɗen gine-ginen tsawaitawa waɗanda ke gwada zalunci. hakurin masu saurare da gaggawar zuwa ga karshe. Wagner, a gefe guda, ba shi da gaggawa; ba ya son ya kasance ba shiri don lokacin da za a yanke hukunci na karshe kuma ya nemi jama'a da kada su bar shi shi kadai a cikin neman gaskiya. Ba za a iya cewa a yin haka yana nuna hali kamar ɗan adam: a bayan kyawawan halayensa a matsayinsa na ɗan wasan kwaikwayo mai ladabi ya ta'allaka ne wanda ba ya ƙyale mu mu ji daɗin aƙalla sa'a guda na kiɗa da wasan kwaikwayo cikin lumana: yana buƙatar mu, ba tare da lumshe ido ba. ido, ka kasance a wurin ikirari na zunubai da sakamakon da ya taso daga wadannan ikirari. Yanzu da yawa, ciki har da na ƙwararrun operas na Wagner, suna jayayya cewa irin wannan gidan wasan kwaikwayo bai dace ba, cewa bai cika yin amfani da nasa binciken ba, kuma hasashe mai ban sha'awa na mawallafin ya ɓace a kan rashin jin daɗi, tsayin daka. Wataƙila haka; wanda ke zuwa gidan wasan kwaikwayo saboda wani dalili, wane don wani; a halin yanzu, a cikin wasan kwaikwayo na kiɗa babu canons (kamar yadda, hakika, babu wani a cikin kowane fasaha), aƙalla canons na priori, tun da kowane lokaci an haife su ta hanyar basirar mai zane, al'adunsa, zuciyarsa. Duk wanda, sauraron Wagner, ya gundura saboda tsayi da yalwar cikakkun bayanai a cikin aikin ko kwatancin, yana da hakkin ya gundura, amma ba zai iya tabbatar da wannan amincewar cewa wasan kwaikwayo na ainihi ya kamata ya bambanta ba. Bugu da ƙari, wasan kwaikwayo na kiɗa daga karni na XNUMX zuwa yau yana cike da maɗaukakin tsayi.

Tabbas, a cikin gidan wasan kwaikwayo na Wagnerian akwai wani abu na musamman, wanda bai dace ba har ma da zamaninsa. An kafa shi a lokacin farin ciki na melodrama, lokacin da rawar murya, kade-kade da nasarorin wannan nau'in ke ƙarfafawa, Wagner ya sake ba da shawarar manufar wasan kwaikwayo na duniya tare da cikakkiyar fifiko na almara, abubuwan tatsuniya, wanda yayi daidai da komawa zuwa gidan wasan kwaikwayo na almara da kayan ado na Baroque, wannan lokacin yana wadatar da ƙungiyar makaɗa mai ƙarfi da ɓangaren murya ba tare da ƙawance ba, amma ya daidaita daidai da hanyar wasan kwaikwayo na ƙarni na XNUMX da farkon ƙarni na XNUMX. Languor da kuma amfani da haruffa na wannan gidan wasan kwaikwayo, da ban mamaki yanayi kewaye da su da kuma m aristocracy samu a cikin mutum na Wagner tabbatacce, balaga, m mabiyi. Sautin wa'azi da abubuwan al'ada na operas ɗinsa sun samo asali ne tun a gidan wasan kwaikwayo na baroque, wanda wa'azin oratori da manyan gine-ginen opera waɗanda ke nuna nagarta sun ƙalubalanci tunanin jama'a. Yana da sauƙi a haɗa tare da wannan yanayin na ƙarshe na almara na jarumtaka na Kiristanci, wanda babban mawaƙinsa a cikin gidan wasan kwaikwayo na kida babu shakka Wagner. A nan da wasu abubuwa da dama da muka yi nuni da su, a dabi’ance ya na da magabata a zamanin soyayya. Amma Wagner ya zubar da jini a cikin tsofaffin samfurori, ya cika su da makamashi kuma a lokaci guda bacin rai, wanda ba a taɓa gani ba har sai lokacin, sai dai a cikin tsammanin da ba a iya kwatantawa ba: ya gabatar da ƙishirwa da azabar 'yanci na asali a cikin karni na goma sha tara na Turai, haɗe da shakka game da iyawarsa. A wannan ma'anar, almara na Wagnerian sun zama labarai masu dacewa a gare mu. Suna haɗuwa da tsoro tare da fashewa na karimci, jin dadi tare da duhu na kadaici, tare da fashewar sauti - rage ƙarfin sauti, tare da waƙa mai laushi - ra'ayi na komawa ga al'ada. Mutumin yau ya gane kansa a wasan operas na Wagner, ya ishe shi jin su, kada ya gan su, ya sami siffar sha'awarsa, sha'awarsa da sha'awarsa, neman wani sabon abu, kishirwar rayuwa, aikin zazzaɓi da zazzaɓi. , akasin haka, sanin rashin ƙarfi wanda ke danne duk wani aikin ɗan adam. Kuma tare da jin daɗin hauka, yana shanye “aljanna ta wucin gadi” da waɗannan katakai suka halitta, waɗannan katako, masu ƙamshi kamar furanni na dawwama.

G. Marchesi (E. Greceanii ya fassara)