Thomas Hampson |

Thomas Hampson

Mawaƙin Ba'amurke, ɗaya daga cikin fitattun mawaƙa na zamaninmu. Wani ɗan wasan kwaikwayo na musamman na Verdi repertoire, mai fassara da dabara na kiɗan murya na ɗaki, mai sha'awar kiɗan marubutan zamani, malami - Hampson yana cikin mutane goma sha biyu. Thomas Hampson yayi magana game da wannan duka da ƙari ga ɗan jarida Gregorio Moppi.

Kusan shekara guda da ta wuce, EMI ta fito da CD ɗin ku tare da rikodi na aria daga operas na Verdi. Yana da ban sha'awa cewa ƙungiyar Orchestra na Zamani na Haskakawa suna tare da ku.

Wannan ba neman kasuwanci bane, kawai ku tuna nawa na rera tare da Harnoncourt! A yau akwai halin yin kiɗan opera ba tare da yin tunani sosai game da ainihin yanayin rubutun ba, game da ruhinsa na gaskiya da kuma dabarun da aka wanzu a lokacin bayyanar rubutun. Manufar fayafai na shine komawa ga sautin asali, zuwa zurfin ma'anar da Verdi ya sanya a cikin kiɗan sa. Akwai ra'ayoyi game da salon sa waɗanda ban raba su ba. Misali, stereotype na "Verdi baritone". Amma Verdi, mai hazaka, bai haifar da halayen halayen halayen ba, amma ya kayyade jihohin tunanin mutum wanda ke canzawa akai-akai: saboda kowane opera yana da asalinsa kuma kowane ɗan wasan kwaikwayo yana ba da yanayi na musamman, canza launin muryarsa. Wanene wannan “Verdi baritone”: Mahaifin Jeanne d'Arc, Count di Luna, Montfort, Marquis di Posa, Iago… wanene cikinsu? Wani batu shine legato: lokuta daban-daban na kerawa, halaye daban-daban. Verdi yana da nau'ikan legato daban-daban, tare da adadi mara iyaka na piano, pianissimo, mezzo-forte. Yadda za a furta Count di Luna. Dukanmu mun san cewa wannan mutum ne mai wahala, mai matsala: amma duk da haka, a lokacin aria Il balen del suo sorriso, yana ƙauna, cike da sha'awa. A wannan lokacin shi kadai. Kuma me yake waka? Serenade kusan mafi kyau fiye da na Don Juan's serenade Deh, vieni alla finestra. Na faɗi duk wannan ba don Verdi na ba shine mafi kyawun abin da zai yiwu, kawai ina so in isar da ra'ayina.

Menene repertoire na Verdi?

A hankali yana fadadawa. A bara a Zurich na rera Macbeth dina na farko. A Vienna a 2002 na shiga cikin sabon samarwa ta Simon Boccanegra. Waɗannan matakai ne masu mahimmanci. Tare da Claudio Abbado zan yi rikodin sashin Ford a Falstaff, tare da Nikolaus Harnoncourt Amonasro a Aida. Yana da ban dariya, dama? Harnoncourt rikodin Aida! Mawaƙin da ya yi waƙa da kyau, daidai, daidai ba ya burge ni. Yana bukatuwa da halin mutuntaka. Verdi yana buƙatar wannan. Lallai, babu cikakkiyar soprano na Verdi, cikakkiyar Verdi baritone… Na gaji da waɗannan rarrabuwa masu sauƙi da sauƙi. “Dole ne ku haskaka rayuwa a cikinmu, a kan matakin mu mutane ne. Muna da rai,” halayen Verdi sun gaya mana. Idan, bayan dakika talatin na kiɗan Don Carlos, ba ku jin tsoro, kada ku ji girman waɗannan alkaluma, to, wani abu ba daidai ba ne. Aikin mai zane shi ne ya tambayi kansa dalilin da ya sa halin da yake fassara yake aikatawa yadda yake yi, har ya fahimci yadda rayuwar mai hali take a waje.

Kun fi son Don Carlos a cikin Faransanci ko Italiyanci?

Ba zan so in zabi tsakanin su ba. Tabbas, wasan opera guda daya tilo da ya kamata a rera a cikin Faransanci ita ce Sicilian Vespers, saboda ba a iya gabatar da fassararsa ta Italiyanci. Kowane bayanin kula na Don Carlos an ɗauka cikin Faransanci ta Verdi. Wasu jumlolin an ce na Italiyanci ne. A'a, wannan kuskure ne. Wannan jumlar Faransanci ce. Don Carlos na Italiyanci wani wasan opera ne da aka sake rubutawa: fasalin Faransanci ya fi kusa da wasan kwaikwayo na Schiller, yanayin auto-da-fé cikakke ne a cikin sigar Italiyanci.

Me zaku iya cewa game da jujjuyawar baritone na sashin Werther?

Yi hankali, Massenet bai canza sashin ba, amma ya sake rubuta shi don Mattia Battistini. Wannan Werther yana kusa da manic depressive romantic Goethe. Wani ya kamata ya gabatar da wasan opera a cikin wannan sigar a Italiya, zai zama lamari na gaske a duniyar al'ada.

Kuma Doctor Faust Busoni?

Wannan wani shiri ne da aka dade ana mantawa da shi, wasan opera da ke tabo manyan matsalolin rayuwar dan Adam.

Matsayi nawa kuka taka?

Ban sani ba: a farkon aikina, na rera waƙa da yawa na ƙananan sassa. Misali, wasan farko na Turai ya faru a matsayin gendarme a cikin wasan opera na Poulenc Breasts of Tiresias. A yau, ba al'ada ba ne a tsakanin matasa su fara da kananan ayyuka, sannan suna korafin cewa sana'arsu ta yi kadan! Ina da debuts har zuwa 2004. Na riga na rera Onegin, Hamlet, Athanael, Amfortas. Ina so in koma operas irin su Pelléas da Mélisande da Billy Budd.

Na sami ra'ayi cewa an cire waƙoƙin Wolf daga repertoire na ƙarya…

Yana ba ni mamaki cewa a Italiya wani zai iya sha'awar wannan. A kowane hali, ranar tunawa da Wolf na zuwa nan ba da jimawa ba, kuma waƙarsa za ta yi sauti sau da yawa cewa mutane za su ce "ya isa, mu matsa zuwa Mahler". Na rera Mahler a farkon sana’ata, sannan na ajiye shi a gefe. Amma zan koma wurinsa a 2003, tare da Barenboim.

bazarar da ta gabata kun yi a Salzburg tare da shirin kide-kide na asali…

Wakokin Amurka sun ja hankalin mawakan Amurka da Turawa. Tushen ra’ayi na shi ne son sake ba wa jama’a wadannan wakoki, musamman wadanda mawakan turawa, ko Amurkawa mazauna Turai suka tsara. Ina aiki a kan wani babban aiki tare da Library of Congress don gano tushen al'adun Amurka ta hanyar dangantaka tsakanin waƙa da kiɗa. Ba mu da Schubert, Verdi, Brahms, amma akwai al'adu cycles cewa sau da yawa intersent tare da gagarumin igiyoyi a falsafa, tare da mafi muhimmanci fadace-fadace ga dimokuradiyya ga kasar. A {asar Amirka, an sami sauye-sauye a hankali a cikin al'adar kiɗan da ba a sani ba har kwanan nan.

Menene ra'ayin ku game da mawaki Bernstein?

Shekaru goma sha biyar daga yanzu, Lenny za a fi tunawa da shi a matsayin mawaki fiye da babban jagoran ƙungiyar makaɗa.

Game da kiɗan zamani fa?

Ina da ra'ayoyi masu ban sha'awa don kiɗan zamani. Yana jan hankalina har abada, musamman kiɗan Amurka. Wannan tausayin juna ne, ya nuna cewa da yawa daga cikin mawaƙa sun rubuta, suna rubutawa kuma za su rubuta mini. Misali, Ina da aikin haɗin gwiwa tare da Luciano Berio. Ina tsammanin cewa sakamakon zai zama zagayowar waƙoƙi tare da ƙungiyar makaɗa.

Shin ba kai ne ka yi wahayi zuwa ga Berio don shirya makada biyu na Mahler, Fruhe Lieder ba?

Wannan ba gaskiya bane gaba ɗaya. Wasu daga cikin Maƙaryata, tare da rakiyar piano ta matashin Mahler, wanda Berio ya shirya don ƙungiyar makaɗa, sun riga sun wanzu a cikin tsararrun marubucin don kayan kida. Berio ya kammala aikin, ba tare da taɓa ainihin layin muryar ba ko kaɗan. Na taba wannan waƙar a 1986 lokacin da na rera waƙoƙi biyar na farko. Bayan shekara guda, Berio ya shirya wasu ƴan ƴan guda kuma, tunda mun riga mun sami haɗin gwiwa, ya ce in yi su.

Kuna cikin koyarwa. Sun ce manyan mawakan nan gaba za su fito daga Amurka…

Ban ji labarinsa ba, watakila saboda koyarwar da nake yi a Turai! A gaskiya, ba ni da sha'awar inda suka fito, daga Italiya, Amurka ko Rasha, saboda ban yi imani da wanzuwar makarantun kasa ba, amma na gaskiya da al'adu daban-daban, wanda hulɗar ta ba da mawaƙa, duk inda ya fito. , kayan aikin da ake buƙata don mafi kyawun shiga cikin abin da yake waƙa. Burina shine in sami daidaito tsakanin ruhi, motsin rai da halayen zahiri na ɗalibin. Tabbas, ba za a iya rera Verdi kamar Wagner ba, da Cola Porter kamar Hugo Wolf. Don haka, ya zama dole a san iyakoki da inuwar kowane harshe da kuke waƙa a cikinsa, da nau'ikan al'adun haruffan da kuka kusanci, don samun damar fahimtar motsin zuciyar da mawakin yake bayarwa a cikin harshensa na asali. Alal misali, Tchaikovsky ya fi damuwa da neman kyakkyawan lokacin kiɗa fiye da Verdi, wanda sha'awar, akasin haka, ya mayar da hankali ga kwatanta hali, a kan magana mai ban mamaki, wanda ya shirya, watakila, don sadaukar da kyawawan dabi'u. maganar. Me yasa wannan bambancin ya taso? Ɗaya daga cikin dalilan shine harshen: an san cewa harshen Rashanci ya fi girma.

Aikin ku a Italiya?

Wasan da na fara yi a Italiya shine a 1986, ina rera The Magic Horn of the Boy Mahler a cikin Trieste. Bayan haka, shekara guda bayan haka, ya shiga cikin wasan kwaikwayo na La bohème a Roma, wanda Bernstein ya gudanar. Ba zan taba mantawa da shi ba. A bara na rera waka a cikin oratorrio Iliya na Mendelssohn a Florence.

Wasan operas fa?

Ba a bayar da shiga cikin wasannin opera ba. Ya kamata Italiya ta dace da rhythm ɗin da duk duniya ke aiki. A Italiya, an ƙayyade sunayen a kan fastocin a ƙarshe, kuma ban da gaskiyar cewa, watakila, na kashe kuɗi da yawa, na san inda kuma a cikin abin da zan rera a 2005. Ban taɓa raira waƙa a La Scala ba, amma tattaunawar. suna gudana ne game da shiga cikin ɗaya daga cikin wasannin da za a buɗe lokutan nan gaba.

Tattaunawa da T. Hampson da aka buga a mujallar Amadeus (2001) Bugawa da fassara daga Italiyanci ta Irina Sorokina