Wilhelmine Schröder-Devrient |

Wilhelmine Schröder-Devrient

An haifi Wilhelmina Schroeder a ranar 6 ga Disamba, 1804 a Hamburg. Ita ce 'yar mawaƙin baritone Friedrich Ludwig Schröder da shahararriyar 'yar wasan kwaikwayo Sophia Bürger-Schröder.

A lokacin da wasu yara ke ba da lokaci a wasanni marasa kulawa, Wilhelmina ya riga ya koyi babban yanayin rayuwa.

Ta ce: “Tun ina ɗan shekara huɗu, na riga na yi aiki kuma na sami gurasa. Sannan shahararriyar 'yan wasan ballet Kobler ta zagaya Jamus; ta kuma isa Hamburg, inda ta samu nasara musamman. Mahaifiyata, mai karɓuwa sosai, wani tunani ya ɗauke ni, nan da nan ta yanke shawarar yin rawa daga gare ni.

Malamin rawa na dan Afirka ne; Allah ya san yadda ya ƙare a Faransa, yadda ya ƙare a Paris, a cikin corps de ballet; Daga baya ya koma Hamburg, inda ya ba da darussa. Wannan mutumin, mai suna Lindau, bai yi fushi sosai ba, amma mai saurin fushi, mai tsauri, wani lokacin har ma da zalunci…

A lokacin da na kai shekara biyar na riga na iya fara fitowa a Pas de chale daya da kuma rawan jirgin ruwa na Ingilishi; Suka sa mini hula mai launin toka mai launin shuɗi, kuma a ƙafafuna sun sa takalma da tafin katako. Game da wannan karo na farko, kawai na tuna cewa masu sauraro sun yarda da ɗan ƙaramin biri, malamina ya yi farin ciki da yawa, kuma mahaifina ya ɗauke ni gida a hannunsa. Mahaifiyata ta yi mini alkawari tun da safe ko dai in ba ni 'yar tsana ko kuma za ta yi mini bulala, gwargwadon yadda na kammala aikina; kuma na tabbata cewa tsoro ya ba da gudummawa sosai ga sassauƙa da sauƙi na gaɓoɓin yara na; Na san mahaifiyata ba ta son wasa.

A 1819, tana da shekaru goma sha biyar, Wilhelmina ta fara fitowa a wasan kwaikwayo. A wannan lokacin, danginta sun ƙaura zuwa Vienna, kuma mahaifinta ya rasu shekara guda da ta shige. Bayan dogon karatu a makarantar ballet, ta yi tare da babban nasara rawar da Aricia a cikin "Phaedra", Melitta a "Sappho", Louise a cikin " yaudara da soyayya ", Beatrice a "The Bride na Messina", Ophelia a "Hamlet". . A lokaci guda kuma, ikonta na kiɗa ya bayyana a fili sosai - muryarta ta zama mai ƙarfi da kyau. Bayan ya yi karatu tare da malaman Viennese D. Motsatti da J. Radiga, Schroeder ya canza wasan kwaikwayo zuwa wasan opera bayan shekara guda.

Ta halarta a karon ya faru a Janairu 20, 1821 a cikin rawar da Pamina a Mozart ta The Magic sarewa a kan mataki na Viennese Kärntnertorteatr. Takardun kade-kaden na wannan rana sun yi kamar sun zarce juna wajen fyaucewa, suna murnar zuwan wani sabon mawaki a fagen.

A watan Maris na wannan shekarar, ta taka rawar Emeline a cikin Swiss Family, wata daya daga baya - Mary a Gretry's Bluebeard, da kuma lokacin da Freischutz aka farko mataki a Vienna, da rawar da Agatha aka bai wa Wilhelmina Schroeder.

Ayyukan Freischütz na biyu, a ranar 7 ga Maris, 1822, an ba da shi a aikin fa'idar Wilhelmina. Weber da kansa ya gudanar, amma jin daɗin magoya bayansa ya sa wasan kwaikwayon kusan ba zai yiwu ba. Sau hudu ana kiran maestro zuwa dandalin, an sha ruwa da furanni da kasidu, daga karshe kuma an sami laurel a kafafunsa.

Wilhelmina-Agatha ya raba nasarar maraice. Wannan ita ce mai farin gashi, waccan halitta mai tsarki, tawali’u wadda mawaki kuma mawaki ya yi mafarki da ita; wannan yaro mai tawali’u, mai kunya wanda ke tsoron mafarkai ya ɓata a cikin mafarkai, kuma a halin yanzu, ta wurin ƙauna da bangaskiya, a shirye yake ya ci dukan ƙarfin jahannama. Weber ya ce: "Ita ce Agatha ta farko a duniya kuma ta zarce duk abin da na yi tunanin ƙirƙirar wannan rawar."

Ainihin shahara na matashi singer ya kawo wasan kwaikwayon na Leonora a cikin "Fidelio" na Beethoven a 1822. Beethoven ya yi mamaki sosai kuma ya nuna rashin jin daɗi, ta yaya za a ba da irin wannan matsayi mai girma ga irin wannan yaro.

Kuma ga wasan kwaikwayon… Schroeder – Leonora ta tattara ƙarfinta ta jefa kanta tsakanin mijinta da wuƙar kisa. Mummunan lokacin ya iso. Kungiyar makada tayi shiru. Amma wani ruhun yanke kauna ya mallake ta: da ƙarfi da fili, fiye da kukan, ta fashe daga gare ta: “Ka kashe matarsa ​​tukuna!” Tare da Wilhelmina, wannan shi ne ainihin kukan mutumin da ya kuɓuta daga mummunan tsoro, sautin da ya girgiza masu sauraro ga bargon ƙasusuwa. Sai kawai a lokacin da Leonora, ga addu'ar Florestan: "matata, menene kuka sha wahala saboda ni!" - ko dai da hawaye, ko da farin ciki, ya ce masa: "Ba komai, kome, kome!" - kuma ta fada hannun mijinta - sai kawai kamar nauyin ya fadi daga zukatan 'yan kallo kuma kowa ya yi nishi. Aka yi tafawa da alama ba ta da iyaka. A actress samu ta Fidelio, kuma ko da yake daga baya ta yi aiki tukuru da kuma tsanani a kan wannan rawa, babban fasali na rawa ya kasance iri ɗaya kamar yadda aka halitta a maraice. Beethoven kuma ya sami Leonora nasa a cikin ta. Tabbas ba zai iya jin muryarta ba, sai dai daga yanayin fuskarta, daga abin da aka bayyana a fuskarta, a cikin idanuwanta, yana iya yin la'akari da rawar da ta taka. Bayan ya gama wasan sai yaje wajenta. Idanunsa ya saba yana kallonta cikin kauna. Tafad'a mata a kumatu, yayi mata godiya akan Fidelio, sannan yayi mata alkawarin zai rubuta mata sabuwar opera, alqawarin da yakasance bai cika ba. Wilhelmina bai sake saduwa da babban mai zane ba, amma a cikin dukkan yabon da shahararren mawakin ya sha daga baya, wasu kalmomin Beethoven sun kasance mafi girman lada.

Ba da da ewa Wilhelmina ya sadu da actor Karl Devrient. Wani kyakykyawan mutum mai kyawawan halaye ba jimawa ya mallaki zuciyarta. Aure tare da ƙaunataccen mafarki ne da ta yi fata, kuma a lokacin rani na 1823 aurensu ya faru a Berlin. Bayan tafiya na ɗan lokaci a Jamus, ma'auratan masu fasaha sun zauna a Dresden, inda dukansu biyu suka yi alkawari.

Auren bai yi farin ciki ba a kowace hanya, kuma ma’auratan sun sake aurensu a hukumance a shekara ta 1828. Wilhelmina ya ce: “Ina bukatan ’yanci don kada in mutu a matsayin mace da ’yar fasaha.”

Wannan ’yancin ya jawo mata sadaukarwa da yawa. Wilhelmina dole ne ya rabu da yaran da take ƙauna. Kulawar yara - tana da 'ya'ya maza biyu da mata biyu - ita ma ta rasa.

Bayan saki daga mijinta, Schroeder-Devrient yana da hadari da wahala lokaci. Art ya kasance kuma ya kasance mata har zuwa ƙarshen wani al'amari mai tsarki. Ƙirƙirarta ba ta dogara da wahayi kaɗai ba: aiki tuƙuru da kimiyya sun ƙarfafa hazakar ta. Ta koyi zane, sassaka, ta san harsuna da yawa, ta bi duk abin da aka yi a kimiyya da fasaha. Ta yi tawaye cikin fushi da ra'ayin banza na cewa baiwa ba ta buƙatar kimiyya.

"A cikin dukan karni," in ji ta, "mun nema, cimma wani abu a cikin fasaha, kuma mai zane ya mutu, ya mutu don fasaha, wanda ya yi tunanin cewa an cimma burinsa. Tabbas, yana da sauƙin gaske, tare da sutura, don ajiye duk wata damuwa game da rawar ku har zuwa wasan kwaikwayo na gaba. A gare ni abin ya gagara. Bayan tafawa mai karfi, da furanni, nakan shiga dakina, kamar in duba kaina: me nayi yau? Dukansu sun yi mini kyau; damuwa ya kama ni; dare da rana na yi ta tunani domin in cimma abin da ya dace.

Daga 1823 zuwa 1847, Schröder-Devrient ya rera waka a gidan wasan kwaikwayo na Kotun Dresden. Clara Glumer ta rubuta a cikin bayaninta: “Dukkan rayuwarta ba komai ba ne illa jerin gwanon nasara a cikin biranen Jamus. Leipzig, Vienna, Breslau, Munich, Hanover, Braunschweig, Nuremberg, Prague, Pest, kuma mafi sau da yawa Dresden, alternately bikin ta isowa da kuma bayyanar a kan matakai, sabõda haka, daga Jamus Sea zuwa Alps, daga Rhine zuwa Oder. Sunanta ya buga, jama'a masu sha'awa suka maimaita. Serenades, wreaths, wakoki, cliques da tafi sun gaishe ta kuma sun gan ta, kuma duk waɗannan bukukuwan sun shafi Wilhelmina kamar yadda shahara ta shafi mai fasaha na gaske: sun tilasta mata ta tashi sama da girma a cikin fasaharta! A wannan lokacin, ta ƙirƙiri wasu mafi kyawun matsayinta: Desdemona a 1831, Romeo a 1833, Norma a 1835, Valentine a 1838. Gabaɗaya, daga 1828 zuwa 1838, ta koyi sabbin operas talatin da bakwai.

Jarumar ta yi alfahari da shaharar da ta yi a cikin jama'a. Talakawan ma'aikata sun cire huluna a lokacin da suka hadu da ita, 'yan kasuwan da suka gan ta suka tura juna suna kiran sunanta. Sa’ad da Wilhelmina ke shirin barin filin wasan gaba ɗaya, wani masassaƙin wasan kwaikwayo da gangan ya kawo ‘yarsa ’yar shekara biyar zuwa atisayen: “Ka duba wannan matar da kyau,” ya ce wa ƙaramar, “Wannan ita ce Schroeder-Devrient. Kada ku kalli wasu, amma kuyi ƙoƙarin tunawa da wannan har tsawon rayuwar ku.

Duk da haka, ba Jamus kaɗai ta iya godiya da hazakar mawaƙin ba. A cikin bazara na 1830 Wilhelmina aka tsunduma zuwa Paris na tsawon watanni biyu da darektan na Italian Opera, wanda ya umurci Jamus troupe daga Aachen. "Na tafi ba don daukaka ta kawai ba, game da darajar kiɗan Jamus ne," in ji ta, "idan ba ku so ni, Mozart, Beethoven, Weber dole ne ya sha wahala daga wannan! Abin da ke kashe ni ke nan!”

A watan Mayu XNUMX, mawaƙin ya fara fitowa a matsayin Agatha. Gidan wasan kwaikwayo ya cika. Masu sauraro suna jiran wasan kwaikwayo na zane-zane, wanda kyawunsa ya bayyana ta hanyar al'ajabi. A bayyanarta, Wilhelmina ya ji kunya sosai, amma nan da nan bayan duet tare da Ankhen, babbar tafi ta ƙarfafa ta. Daga baya kuma sai sha'awar jama'a ta yi karfi har mawakin ya fara waka har sau hudu ya kasa, saboda ba a jin kungiyar makada. A ƙarshen aikin, an shayar da ita da furanni a cikin cikakkiyar ma'anar kalmar, kuma a wannan maraice sun yi mata ado - Paris ta gane mawaƙa.

"Fidelio" ya yi ma fi girma mamaki. Masu suka sun yi magana game da ita kamar haka: “An haife ta musamman don Fidelio na Beethoven; Bata rera waka irin na sauran, ba ta magana irin na sauran, kwata-kwata aikinta bai dace da kowace fasaha ba, kamar ba ta ma tunanin abin da take a dandalin! Ta fi yin waƙa da ranta fiye da muryarta… ta manta da masu sauraro, ta manta da kanta, ta zama cikin jiki a cikin mutumin da ta zayyana. ”… .. , wanda bai taba faruwa ba.

Fidelio ya biyo bayan Euryant, Oberon, Iyalin Swiss, Budurwar Vestal da Satar daga Seraglio. Duk da gagarumar nasarar da aka samu, Wilhelmina ya ce: “A Faransa ne kawai na fahimci yanayin waƙarmu sarai, kuma ko da yaya Faransawa suka yarda da ni, ya fi farin ciki a gare ni in karɓi jama’ar Jamus, na sani. cewa ta fahimce ni, yayin da salon Faransanci ya zo farko."

A shekara mai zuwa, singer ya sake yin wasa a babban birnin Faransa a Opera na Italiya. A fafatawa da shahararriyar Malibran, an gane ta a matsayin daidai.

Haɗin kai a Opera na Italiya ya ba da gudummawa sosai ga shahararta. Monck-Mazon, darektan Opera na Italiyanci na Jamus a London, ya shiga tattaunawa da ita kuma a ranar 3 ga Maris, 1832, ya shiga cikin sauran lokutan wannan shekara. A karkashin kwangilar, an yi mata alkawarin fan dubu 20 da fa'ida cikin watanni biyu.

A London, ana sa ran za ta yi nasara, wanda ya kasance daidai da nasarar Paganini. A theater aka gaisheta da tafi. Masu fada a ji na Ingila sun ɗauki aikin fasaha su saurare ta. Babu wani wasan kwaikwayo da zai yiwu ba tare da mawaƙin Jamus ba. Duk da haka, Schroeder-Devrient ya yi la'akari da duk waɗannan alamun kulawa: "Lokacin wasan kwaikwayon, ban san cewa sun fahimce ni ba," in ji ta, "mafi yawan jama'a kawai sun yi mamakin ni a matsayin wani abu mai ban mamaki: ga al'umma, na ba komai bane illa abin wasan yara wanda yanzu yake cikin salon kuma wanda gobe, watakila, za'a watsar dashi…”

A watan Mayun 1833, Schroeder-Devrient ya sake komawa Ingila, ko da yake a shekarar da ta gabata ba ta karbi albashinta ba ta amince da kwangilar. A wannan lokacin ta sanya hannu kan kwangila tare da gidan wasan kwaikwayo "Drury Lane". Dole ne ta yi waƙa sau ashirin da biyar, ta karɓi fam arba'in don wasan kwaikwayo da fa'ida. Repertoire sun hada da: "Fidelio", "Freischütz", "Eurianta", "Oberon", "Iphigenia", "Vestalka", "Magic sarewa", "Jessonda", "Templar da Jessess", "Bluebeard", "Mai jigilar ruwa". “.

A cikin 1837, mawaƙin ya kasance a London a karo na uku, yana shiga cikin wasan opera na Ingilishi, a cikin gidajen wasan kwaikwayo biyu - Covent Garden da Drury Lane. Za ta fara fitowa a Fidelio a Turanci; wannan labarin ya tayar da mafi girman sha'awar Ingilishi. Mai zane a cikin mintuna na farko ya kasa shawo kan abin kunya. A cikin kalmomin farko da Fidelio ya ce, tana da lafazin ƙasashen waje, amma lokacin da ta fara rera waƙa, lafazin ya kasance da gaba gaɗi, ya fi daidai. Kashegari, takardun sun ba da sanarwar gaba ɗaya cewa Schroeder-Devrient ba ta taɓa rera waƙa mai daɗi kamar yadda ta yi a wannan shekara ba. "Ta shawo kan matsalolin harshe," in ji su, "kuma ta tabbatar da babu shakka cewa harshen Ingilishi a cikin farin ciki ya fi Jamusanci kamar Italiyanci kuma ya fi Turanci."

Fidelio ya biyo bayan Vestal, Norma da Romeo - babban nasara. Kololuwar ita ce wasan kwaikwayo a La sonnambula, wasan opera wanda da alama an ƙirƙira shi don Malibran da ba za a manta ba. Amma Amina Wilhelmina, bisa ga dukkan alamu, ta zarce dukkan magabata a kyau, dumi da gaskiya.

Nasarar ta raka mawakin nan gaba. Schröder-Devrient ya zama dan wasa na farko na sassan Adriano a cikin Wagner's Rienzi (1842), Senta a cikin Flying Dutchman (1843), Venus a Tannhäuser (1845).

Tun 1847, Schroeder-Devrient ya yi aiki a matsayin mawaƙa na ɗakin gida: ta zagaya a biranen Italiya, a Paris, London, Prague, da St. Petersburg. A cikin 1849, an kori mawaƙin daga Dresden saboda shiga cikin tashin hankali na Mayu.

Sai kawai a cikin 1856 ta sake fara yin waƙa a bainar jama'a a matsayin mawaƙin ɗakin. Muryar ta a lokacin ba ta da aibi gabaki ɗaya, amma har yanzu ana bambanta wasan kwaikwayon ta hanyar tsarkin innation, ƙamus daban-daban, da zurfin shiga cikin yanayin hotunan da aka ƙirƙira.

Daga bayanin kula Clara Glumer:

“A shekara ta 1849, na sadu da Mrs. Schröder-Devrient a Cocin St. Paul da ke Frankfurt, wani masani ne ya gabatar da ita kuma ya yi sa’o’i masu daɗi da ita. Bayan wannan ganawar ban dade da ganinta ba; Na san cewa ’yar wasan kwaikwayo ta bar filin wasa, ta auri wani mai martaba daga Livland, Herr von Bock, kuma ta zauna a gidan mijinta, yanzu a Paris, yanzu a Berlin. A 1858 ta isa Dresden, inda a karon farko na sake ganinta a cikin wani wasan kwaikwayo na wani matashi mai zane: ta bayyana a gaban jama'a a karon farko bayan shekaru da yawa na shiru. Ba zan taba mantawa da lokacin da doguwar bajintar mai zanen ta bayyana a gidan wasan kwaikwayo, ya gamu da hayaniya ta jama'a; tabe baki amma har yanzu tana murmushi, ta yi godiya, ta yi nishi, kamar ta sha a cikin radadin rayuwa bayan dogon rashi, a karshe ta fara waka.

Ta fara da Schubert's Wanderer. A farkon bayanin kula na tsorata ba da gangan ba: ba ta iya yin waƙa, ina tsammanin, muryarta ba ta da ƙarfi, babu cikawa ko sautin waƙa. Amma ba ta kai ga kalmomin ba: "Und immer fragt der Seufzer wo?" ("Kuma ko da yaushe yakan yi tambaya - a ina?"), Kamar yadda ta riga ta mallaki masu sauraro, ta ja su tare, ta hanyar tilasta musu su matsa daga sha'awar da yanke ƙauna zuwa farin ciki na soyayya da bazara. Lessing ya ce game da Raphael cewa "idan ba shi da hannu, zai kasance har yanzu babban mai zane"; Hakazalika ana iya cewa Wilhelmina Schroeder-Devrient zai kasance babbar mawaƙa ko da ba tare da muryarta ba. Ƙarfi da fara'a na rai da gaskiya a cikin waƙarta cewa ba shakka, ba dole ba ne, kuma ba za mu ji wani abu makamancin haka ba!

Mawakin ya mutu a ranar 26 ga Janairu, 1860 a Coburg.

• Wakar 'yar wasan kwaikwayo mai ban tausayi →