Vincenzo Bellini (Vincenzo Bellini) |

Vincenzo Bellini

... Yana da wadata cikin ma'anar bakin ciki, ji na ɗaiɗaikun mutum, wanda ke tattare da shi kaɗai! J. Verdi

Mawaƙin Italiyanci V. Bellini ya shiga tarihin al'adun kiɗa a matsayin fitaccen masanin bel canto, wanda ke nufin kyakkyawan waƙa a cikin Italiyanci. A bayan ɗaya daga cikin lambobin zinare da aka bayar a lokacin rayuwar mawakin don girmama shi, an rubuta taƙaitaccen rubutu: “Mawallafin waƙoƙin Italiyanci.” Hatta gwanin G. Rossini ba zai iya lullube shahararsa ba. Kyautar waƙa ta ban mamaki da Bellini ya mallaka ta ba shi damar ƙirƙirar innation na asali masu cike da waƙoƙin sirri, masu iya yin tasiri ga mafi yawan masu sauraro. Waƙar Bellini, duk da rashin fasaha na zagaye-zagaye a cikinta, P. Tchaikovsky da M. Glinka, F. Chopin da F. Liszt sun ƙirƙira da dama ayyuka a kan jigogi daga operas na Italiyanci. Irin fitattun mawaƙa na ƙarni na 1825 kamar P. Viardot, 'yan'uwan Grisi, M. Malibran, J. Pasta, J. Rubini A. Tamburini da sauransu sun haskaka cikin ayyukansa. An haifi Bellini a cikin dangin mawaƙa. Ya sami ilimin kiɗan kiɗa a Neapolitan Conservatory na San Sebastiano. Wani dalibin shahararren mawaki N. Tsingarelli, Bellini ba da da ewa ba ya fara neman hanyarsa ta fasaha. Kuma gajeriyarsa, kawai shekaru goma (35-XNUMX) ayyukan da aka tsara ya zama shafi na musamman a cikin wasan kwaikwayo na Italiyanci.

Ba kamar sauran mawakan Italiyanci ba, Bellini ya kasance ba ruwansa da opera buffa, wannan nau'in na kasa da aka fi so. Tuni a farkon aikin - opera "Adelson da Salvini" (1825), wanda ya fara halarta a karon a Conservatory Theatre na Naples, da mawaki ta lyrical iyawa bayyana a fili. Sunan Bellini ya sami karbuwa sosai bayan samar da opera "Bianca da Fernando" ta gidan wasan kwaikwayo na Neapolitan San Carlo (1826). Bayan haka, tare da babban nasara, ana gudanar da fara wasan operas The Pirate (1827) da Outlander (1829) a gidan wasan kwaikwayo na La Scala a Milan. Ayyukan Capuleti da Montecchi (1830), wanda aka fara farawa a kan mataki na Fenice Theatre na Venetian, yana gaishe da masu sauraro da farin ciki. A cikin waɗannan ayyukan, ra'ayoyin kishin ƙasa sun sami kwazo da magana na gaskiya, mai ma'ana tare da sabon motsi na 'yantar da ƙasa wanda ya fara a Italiya a cikin 30s. karnin da ya gabata. Saboda haka da yawa daga cikin wasannin operas na Bellini sun kasance tare da nuna kishin ƙasa, kuma ana rera waƙoƙin waƙoƙin nasa a kan titunan biranen Italiya ba kawai ta wurin masu kallon wasan kwaikwayo ba, har ma da masu sana'a, ma'aikata, da yara.

Shahararriyar mawakin ta kara karfi bayan da aka kirkiro operas La sonnambula (1831) da Norma (1831), ta wuce Italiya. A shekara ta 1833 mawakin ya tafi Landan, inda ya yi nasarar gudanar da wasan operas dinsa. Sha'awar da ayyukansa suka yi akan IV Goethe, F. Chopin, N. Stankevich, T. Granovsky, T. Shevchenko ya shaida matsayinsu mai mahimmanci a cikin fasahar Turai na karni na XNUMX.

Jim kadan kafin mutuwarsa, Bellini ya koma Paris (1834). A can, don gidan Opera na Italiya, ya ƙirƙira aikinsa na ƙarshe - opera I Puritani (1835), farkon wanda Rossini ya ba da kyakkyawan nazari.

Dangane da adadin operas da aka ƙirƙira, Bellini yana ƙasa da Rossini da G. Donizetti - mawaƙin ya rubuta ayyukan wasan kida guda 11. Bai yi aiki da sauri da sauri ba kamar hazikan 'yan kasarsa. Wannan ya faru ne saboda tsarin aikin Bellini, wanda ya yi magana game da shi a cikin ɗayan wasiƙunsa. Karatun libretto, shiga cikin ilimin halin ɗan adam, yin aiki a matsayin hali, neman magana ta magana da kida na ji - irin wannan ita ce hanyar da marubucin ya zayyana.

A cikin ƙirƙirar wasan kwaikwayo na kiɗa na soyayya, mawaƙin F. Romani, wanda ya zama mawaƙinsa na dindindin, ya zama ainihin mutum mai tunani irin na Bellini. Tare da haɗin gwiwa tare da shi, mawallafin ya sami dabi'ar dabi'ar shigar da maganganun magana. Bellini ya san takamaiman takamaiman muryar ɗan adam. Sassan muryoyin operas ɗinsa na da matuƙar halitta kuma suna da sauƙin waƙa. Suna cike da fadin numfashi, ci gaba da ci gaban karin waƙa. Babu kayan ado da ba dole ba a cikinsu, saboda mawaki ya ga ma'anar kiɗan murya ba a cikin tasirin virtuoso ba, amma a cikin watsa motsin rai na ɗan adam. Da yake la'akari da ƙirƙirar kyawawan waƙoƙin waƙa da bayyana ra'ayi a matsayin babban aikinsa, Bellini bai ba da mahimmanci ga launi na orchestra da ci gaban symphonic ba. Duk da haka, duk da wannan, mawaki ya yi nasarar haɓaka wasan opera na Italiyanci mai ban mamaki zuwa sabon matakin fasaha, ta fuskoki da yawa yana tsammanin nasarorin G. Verdi da Italiyanci verists. A cikin falon gidan wasan kwaikwayo na La Scala na Milan akwai siffar marmara na Bellini, a ƙasarsa, a Catania, gidan opera yana ɗauke da sunan mawaki. Amma babban abin tunawa ga kansa mawaƙi ne ya halicce shi - su ne wasan kwaikwayo na ban mamaki, wanda har yau ba su bar matakai na yawancin wasan kwaikwayo na duniya ba.

I. Vetlitsyna

• opera Italiya bayan Rossini: aikin Bellini da Donizetti →

Dan Rosario Bellini, shugaban ɗakin sujada da malamin kiɗa a cikin iyalai masu daraja na birnin, Vincenzo ya sauke karatu daga Naples Conservatory "San Sebastiano", ya zama mai riƙe da karatunsa (malamansa Furno, Tritto, Tsingarelli). A cikin ɗakin ajiya, ya sadu da Mercadante (babban abokinsa na gaba) da Florimo (mawallafin tarihin rayuwarsa na gaba). A cikin 1825, a ƙarshen karatun, ya gabatar da opera Adelson da Salvini. Rossini yana son wasan opera, wanda bai bar mataki ba har tsawon shekara guda. A cikin 1827, wasan opera na Bellini The Pirate ya yi nasara a gidan wasan kwaikwayo na La Scala a Milan. A 1828, a Genoa, mawaki ya sadu da Giuditta Cantu daga Turin: dangantakar su za ta kasance har zuwa 1833. Shahararren mawakin yana kewaye da babban adadin magoya baya, ciki har da Giuditta Grisi da Giuditta Pasta, manyan 'yan wasansa. A London, "Sleepwalker" da "Norma" tare da sa hannu na Malibran sun sake yin nasara. A cikin Paris, mawaƙin yana da goyon bayan Rossini, wanda ya ba shi shawara mai yawa a lokacin aikin wasan kwaikwayo na opera I Puritaniya, wanda aka karɓa da sha'awar da ba a saba ba a 1835.

Tun daga farkon, Bellini ya iya jin abin da ya zama ainihin asali na musamman: kwarewar dalibi na "Adelson da Salvini" ba kawai farin ciki na nasarar farko ba, amma har ma da damar yin amfani da shafuka masu yawa na opera a cikin wasan kwaikwayo na kiɗa na gaba. ("Bianca da Fernando", "Pirate", Outlander, Capulets da Montagues). A cikin opera Bianca e Fernando (sunan jarumin ya canza zuwa Gerdando don kada ya cutar da Sarkin Bourbon), salon, har yanzu a ƙarƙashin rinjayar Rossini, ya riga ya iya samar da nau'i-nau'i na kalmomi da kiɗa, su m, jituwa mai tsabta da maras kyau, wanda alama da maganganu masu kyau. A fadi da numfashi na arias, da m tushen da yawa al'amurran da suka shafi na daya irin tsarin (misali, na karshe na farko aiki), intensifying da melodic tashin hankali kamar yadda muryoyin shiga, shaida ga gaske wahayi, riga mai iko da iya. raya masana'antar kiɗa.

A cikin "Pirate" harshen kiɗa yana ƙara zurfi. An rubuta a kan tushen bala'in soyayya na Maturin, sanannen wakilin "wallafe-wallafen ban tsoro", wasan opera ya kasance tare da nasara kuma ya ƙarfafa tunanin Bellini na gyarawa, wanda ya bayyana kansa a cikin kin amincewa da busassun recitative tare da aria wanda ya kasance gaba daya. ko kuma an raba su da kayan ado na yau da kullun da reshe ta hanyoyi daban-daban, suna nuna hauka na jaruma Imogen, ta yadda ko da sautin murya ya kasance ƙarƙashin bukatun hoton wahala. Tare da sashin soprano, wanda ya fara jerin shahararrun "mahaukacin aria", ya kamata a lura da wani muhimmin nasara na wannan opera: haihuwar jarumin tenor (Giovanni Battista Rubini ya yi aiki a matsayinsa), mai gaskiya, kyakkyawa, rashin jin daɗi, ƙarfin hali. kuma m. A cewar Francesco Pastura, wani mai sha’awar aikin mawaƙin kuma mai bincike a kan aikin mawaƙin, “Bellini ya yi niyyar tsara waƙar opera tare da ƙwazo na mutumin da ya san cewa makomarsa ta dogara da aikinsa. Babu shakka daga wannan lokacin ya fara aiki bisa ga tsarin, wanda daga baya ya gaya wa abokinsa daga Palermo, Agostino Gallo. Mawaƙin ya haddace ayoyin kuma, ya kulle kansa a cikin ɗakinsa, yana karanta su da ƙarfi, “yana ƙoƙarin canza halin da ya furta waɗannan kalmomi.” Yayin da yake karantawa, Bellini ya saurari kansa sosai; canje-canje daban-daban a cikin shiga cikin sannu a hankali sun juya zuwa bayanan kiɗa… ”Bayan nasarar nasarar Pirate, wadatar da ƙwarewa da ƙarfi ba kawai a cikin fasaharsa ba, har ma a cikin ƙwarewar mawallafin - Romani, wanda ya ba da gudummawa ga libretto, Bellini ya gabatar a cikin Genoa na sake fasalin Bianchi da Fernando kuma ya sanya hannu kan sabon kwangila tare da La Scala; kafin ya saba da sabon libretto, ya rubuta wasu motifs a cikin bege na haɓaka su "na ban mamaki" a cikin opera. A wannan lokacin zaɓin ya faɗi akan Prevost d'Harlincourt's Outlander, wanda JC Cosenza ya daidaita a cikin wasan kwaikwayo wanda aka shirya a 1827.

Wasan opera na Bellini, wanda aka yi a dandalin shahararren gidan wasan kwaikwayo na Milan, ya samu karbuwa cikin farin ciki, da alama ya fi The Pirate, kuma ya haifar da doguwar cece-kuce kan batun kade-kade na ban mamaki, karatun waka ko waka na bayyana ra'ayinsu dangane da tsarin al'ada, bisa ga al'ada. mafi tsarki siffofin. Wani mai sukar jaridar Allgemeine Musicalische Zeitung ya gani a cikin Outlander wani yanayi na Jamus da aka sake fasalin da hankali, kuma wannan abin lura ya tabbata ta hanyar sukar zamani, yana mai jaddada kusancin opera ga soyayya na The Free Gunner: wannan kusancin yana bayyana duka a cikin sirrin. babban hali, kuma a cikin nunin alaƙar da ke tsakanin mutum da yanayi, da kuma yin amfani da abubuwan tunawa da ke hidima ga manufar mawaƙa don "sa zaren makirci ko da yaushe ya zama mai ma'ana da daidaituwa" (Lippmann). Ƙarfafa lafazin lafuzzan haruffa tare da faɗaɗa numfashi yana haifar da haɓakar siffofi, lambobi ɗaya suna narke cikin waƙoƙin zance waɗanda ke haifar da ci gaba da gudana, "zuwa maɗaukakin waƙa" jerin (Kambi). Gabaɗaya, akwai wani abu na gwaji, Nordic, marigayi na gargajiya, kusa da "sautin zuwa etching, jefa a cikin jan karfe da azurfa" (Tintori).

Bayan nasarar operas Capulets e Montagues, La sonnambula da Norma, an yi tsammanin gazawar da babu shakka a cikin 1833 ta opera Beatrice di Tenda dangane da bala'i na Cremonese romantic CT Fores. Mun lura da aƙalla dalilai guda biyu na gazawar: gaggawar aiki da makirci mai ban tsoro. Bellini ya zargi mawallafin libertit Romani, wanda ya mayar da martani da caccakar mawakin, wanda ya haifar da rashin jituwa a tsakaninsu. Opera, a halin yanzu, bai cancanci irin wannan fushin ba, saboda yana da fa'ida mai yawa. An bambanta ƙungiyoyin mawaƙa da mawaƙa ta hanyar kyawawan kayan aikinsu, kuma ana bambanta sassan solo da kyawun zane na yau da kullun. Har zuwa wani lokaci, tana shirya wasan opera na gaba - "Puritani", ban da kasancewa ɗaya daga cikin mafi kyawun tsammanin salon Verdi.

A ƙarshe, mun kawo kalmomin Bruno Cagli - suna nufin La Sonnambula, amma ma'anarsu ta fi girma kuma ta dace da dukan aikin mawaki: "Bellini ya yi mafarkin zama magajin Rossini kuma bai ɓoye wannan a cikin wasiƙunsa ba. Amma ya kasance sane da yadda yake da wuya a kusanci hadadden tsari da ci gaba na ayyukan marigayi Rossini. Da yawa fiye da yadda ake tsammani, Bellini, a lokacin ganawa da Rossini a shekara ta 1829, ya ga tazarar da ke raba su kuma ya rubuta: “Zan yi rubutu da kaina, bisa ga hankali, tun da zafin ƙuruciya. Na yi gwaji sosai.” Wannan jumla mai wahala duk da haka tana magana a fili game da ƙin yarda da sophistication na Rossini ga abin da ake kira "hankali na yau da kullun", wato, mafi sauƙin tsari.

Mr. Marchese

Opera:

"Adelson da Salvini" (1825, 1826-27) "Bianca da Gernando" (1826, under the title "Bianca and Fernando", 1828) "Pirate" (1827) "Bare" (1829) "Zaira" (1829) " Capulets da Montecchi (1830) "Somnambula" (1831) "Norma" (1831) "Beatrice di Tenda" (1833) "The Puritans" (1835)