U-Adriana noLeonora Baroni, Georgina, Maupin (Leonora Baroni) |

Leonora Baroni

I-prima donnas yokuqala

Avele nini ama-prima donnas? Ngemva kokuvela kwe-opera, yebo, kodwa lokhu akusho nhlobo ukuthi ngesikhathi esifanayo. Lesi sihloko sathola amalungelo okuba yisakhamuzi ngesikhathi umlando oneziyaluyalu noguquguqukayo we-opera wawudlulele kude nonyaka wokuqala, futhi uhlobo lwalolu hlobo lobuciko lwazalelwa endaweni ehlukile kunabadlali abahlakaniphile ababeyimele. "I-Daphne" ka-Jacopo Peri, umdlalo wokuqala owawugcwele umoya wobuntu basendulo futhi ofanelwe igama le-opera, wenzeka ekupheleni kwekhulu le-1597. Ngisho nosuku oluqondile luyaziwa - unyaka wama-XNUMX. Umdlalo wenziwa endlini yezicukuthwane ze-Florentine u-Jacopo Corsi, isiteji kwakuyihholo elivamile lokwamukela abantu. Ayengekho amakhethini noma imihlobiso. Nokho, lolu suku luphawula inguquko emlandweni womculo nethiyetha.

Cishe iminyaka engamashumi amabili i-Florentines efunde kakhulu—kuhlanganise nesazi somculo u-Count Bardi, izimbongi u-Rinuccini noCabriera, abaqambi uPeri, uCaccini, uMarco di Gagliano, kanye noyise wesazi sezinkanyezi esikhulu uVincenzo Galilei—babedidekile ngokuthi bangazivumelanisa kanjani nezimo eziphakeme. idrama yamaGreki asendulo ezidingweni zesitayela esisha. Babeqiniseka ukuthi esiteji se-Athene yasendulo, izinhlekelele zika-Aeschylus noSophocles azizange zifundwe futhi zidlalwe kuphela, kodwa futhi zahlabelela. Kanjani? Kuseyimpicabadala. Ku-“Dialogue” eyehlela kithi, uGalileo uchaze inkolelo yakhe emshweni othi “Oratio harmoniae domina absoluta” (Inkulumo iyinkosikazi ephelele yokuvumelana - lat.). Kwakuyinselelo evulekile yesiko eliphakeme le-Renaissance polyphony, eyafinyelela ukuphakama kwayo emsebenzini wasePalestrina. Ingqikithi yalo kwakuwukuthi leli gama lalicwila kuyi-polyphony eyinkimbinkimbi, ekuxhumaneni okunekhono kwemigqa yomculo. Imuphi umphumela ama-logo, okuwumphefumulo wawo wonke umdlalo, uma kungekho nelilodwa igama lalokho okwenzeka esiteji elingaqondwa?

Akumangazi ukuthi kwenziwa imizamo eminingi yokwenza umculo usebenze ngendlela emangalisayo. Ukuze izethameli zingacikeki, umsebenzi onzima kakhulu wahlanganiswa nokufakwa komculo okufakwe ezindaweni ezingafaneleki kakhulu, imidanso eya emashumini ayisishiyagalolunye nothuli lwamamaski alahliwe, ama-comic interludes nekhwaya nama-canzones, ngisho nama-comedies-madrigals aphelele eyabuza ikhwaya yaphendula. Lokhu kwakunqunywa uthando lwemidlalo yaseshashalazini, imaski, i-grotesque futhi, okokugcina, nomculo. Kodwa ukuthambekela okungokwemvelo kwamaNtaliyane, akhonze umculo nemidlalo yaseshashalazini njengabanye abantu, kwaholela endleleni ezungezayo ekuveleni kwe-opera. Yiqiniso, ukuvela kwedrama yomculo, lo manduleli we-opera, kungenzeka kuphela ngaphansi kwesimo esisodwa esibaluleke kakhulu - umculo omnandi, ojabulisa kakhulu indlebe, kwadingeka uhoxiswe ngenkani endimeni yokuphelezela eyayizohambisana nezwi elilodwa elihlukanisiwe ne-polyphonic. ukwehluka, ekwazi ukuphimisa amagama, kanjalo Kungaba yizwi lomuntu kuphela.

Akunzima ukucabanga ukuthi izethameli zamangala kangakanani ekuculweni kokuqala kwe-opera: amazwi abaculi ayengasenami emisindo yomculo, njengoba kwakunjalo kuma-madrigals abawathandayo, ama-villanellas nama-frottolas. Ngokuphambene nalokho, abadlali basho ngokucacile umbhalo wengxenye yabo, bethembele kuphela ekusekelweni kwe-orchestra, ukuze izethameli ziqonde wonke amagama futhi zilandele ukuthuthukiswa kwesenzo esiteji. Umphakathi, ngakolunye uhlangothi, wawuhlanganisa abantu abafundile, ngokunembile, kwabakhethiwe, ababengaphansi kwesigaba esiphezulu somphakathi - kwabahlonishwayo kanye nama-patricians - lapho umuntu angalindela khona ukuqonda emisha. Noma kunjalo, amazwi agxekayo awazange athathe isikhathi eside ukufika: agxeka "ukuphindaphinda okuyisicefe", acasulwa ukuthi abeka umculo ngemuva, futhi akhala ngokuntula kwawo ngezinyembezi ezibuhlungu. Ngokuhambisa kwabo, ukuze kujabulise izethameli, ama-madrigals nama-ritornellos bethulwe emdlalweni, futhi indawo yayihlotshiswe ngokufana ne-backstage ukuze ivuselele. Nokho idrama yomculo kaFlorentine yahlala ingumbukwane wezihlakaniphi nezicukuthwane.

Ngakho, ngaphansi kwezimo ezinjalo, ingabe ama- prima donnas (noma noma yini ayebizwa ngayo ngaleso sikhathi?) ayengaba ababelethisi lapho kuzalwa i-opera? Kuvele ukuthi abesifazane babambe iqhaza elibalulekile kuleli bhizinisi kusukela ekuqaleni. Nanjengabaqambi. U-Giulio Caccini, naye owayengumculi nomqambi wamadrama omculo, wayenamadodakazi amane, futhi wonke ayedlala umculo, acula, adlala izinsimbi ezihlukahlukene. Okwazi kakhulu kubo, uFrancesca, ogama lakhe linguCecchina, wabhala i-opera Ruggiero. Lokhu akuzange kubamangaze abantu ababephila ngaleso sikhathi - bonke “ama-virtuoso”, njengoba abaculi babebizwa kanjalo, babethole imfundo yomculo. Emaphethelweni ekhulu lesi-XNUMX, uVittoria Arkilei wayethathwa njengendlovukazi phakathi kwabo. U-Aristocratic Florence umdumise njengomethuli wohlobo olusha lobuciko. Mhlawumbe kuyo kufanele abheke isibonelo se-prima donna.

Ehlobo lika-1610, intombazane yaseNeapolitan yavela edolobheni elalisebenza njengendawo yokuzalwa kwe-opera. U-Adriana Basile wayaziwa ezweni lakubo njengenhlabamkhosi futhi ejabulela umusa wenkantolo yaseSpain. Weza eFlorence ngenxa yesimemo sezikhulu zakhe zomculo. Ukuthi ucule ngani asazi. Kodwa ngokuqinisekile kwakungewona ama-opera, ayengaziwa kangako ngaleso sikhathi, nakuba udumo luka-Ariadne kaClaudio Monteverdi lwafinyelela eningizimu ye-Italy, futhi uBasile wenza i-aria edumile - Isikhalazo sika-Ariadne. Mhlawumbe ingoma yakhe yayihlanganisa ama-madrigals, amagama abhalwe umfowabo, futhi umculo, ikakhulukazi u-Adriana, waqanjwa umlandeli wakhe nomthandi wakhe, uCardinal Ferdinand Gonzaga oneminyaka engamashumi amabili ubudala ovela emndenini ohloniphekile wase-Italy owawubusa eMantua. Kodwa kukhona okunye okubalulekile kithi: U-Adriana Basile usibekele u-Vittoria Arcilei. Ngani? Izwi, ubuciko bokusebenza? Angeke kwenzeke, ngoba njengoba singacabanga, abathandi bomculo we-Florentine babenezidingo eziphakeme. Kodwa u-Arkilei, nakuba emncane futhi emubi, wazigcina esiteji ngokuzethemba okukhulu, njengoba kufanele intokazi yeqiniso yomphakathi. U-Adriana Basile ungenye indaba: akazange athande izethameli ngokucula nokudlala isiginci kuphela, kodwa futhi nezinwele ezinhle ezimhlophe phezu kwamalahle amnyama, amehlo e-Neapolitan kuphela, isibalo esiphelele, intelezi yabesifazane, ayisebenzisa ngobuciko.

Umhlangano phakathi kuka-Arkileia kanye no-Adriana omuhle, owaphela ekunqobeni kwenkanuko phezu kwengokomoya (ukukhanya kwawo kuye kwafinyelela kithi phakathi namakhulu eminyaka amaningi), wadlala indima ebalulekile kulawo mashumi eminyaka akude lapho kuzalwa i-prima donna yokuqala. Ekuqaleni kwe-opera ye-Florentine, eduze kwenganekwane engalawuleki, kwakunesizathu nekhono. Ayenganele ukwenza i-opera nomlingiswa wayo oyinhloko - "i-virtuoso" - isebenze; lapha kwakudingeka amanye amandla amabili okudala - ubuhlakani bobuciko bomculo (uClaudio Monteverdi waba yilo) kanye ne-eros. I-Florentines yakhulula izwi lomuntu kusukela emakhulwini eminyaka engaphansi komculo. Kusukela ekuqaleni, iphimbo eliphezulu lesifazane lenza samuntu ama-pathos ngencazelo yalo yasekuqaleni - okungukuthi, ukuhlupheka okuhambisana nenhlekelele yothando. UDaphne, u-Eurydice no-Ariadne, ababephindaphindwa ngokungapheli ngaleso sikhathi, babengazithinta kanjani izilaleli zabo ngendlela ehlukile kunokuhlangenwe nakho kothando okutholakala kubo bonke abantu ngaphandle kokuhlukana, okwakudluliselwa ezilalelini kuphela uma igama eliculwa lihambisana ngokugcwele nakho konke ukubukeka kwezwi. umculi? Kuphela ngemva kokuba ukungabi nangqondo kunqobe ngokuqonda, futhi ukuhlupheka esiteji kanye nokungaqiniseki kwesenzo kwakha umhlabathi ovundile wazo zonke izingxabano ze-opera, lapho ihora lishaya khona ukubonakala komdlali we-actress, esinelungelo lokumbiza ngokuthi okokuqala ngqa.

Ekuqaleni wayengowesifazane ohlakaniphile owayedlala phambi kwezithameli ze-chic ngokulinganayo. Kusesimweni sokunethezeka okungenamkhawulo kuphela lapho kwadalwa khona isimo esikuye yedwa - isimo sokuthakasela inkanuko, inkanuko nowesifazane kanjalo, hhayi umuntu onekhono njengo-Arkileya. Ekuqaleni, sasingekho isimo esinjalo, naphezu kobukhazikhazi benkantolo yaseMedici, hhayi eFlorence ngezingcweti zayo zobuhle be-opera, noma eRoma yamapapa, lapho ama-castrati ayesethathe isikhathi eside esikhundleni sabesifazane futhi ebaxosha esiteji, noma ngaphansi isibhakabhaka esiseningizimu yeNaples, njengokungathi sivuma ukucula . Yakhiwa eMantua, idolobhana elincane elisenyakatho ye-Italy, elalisebenza njengendawo yokuhlala yamakhosi anamandla, futhi kamuva enhloko-dolobha ejabulayo yomhlaba - eVenice.

U-Adriana Basile omuhle, okukhulunywe ngaye ngenhla, weza eFlorence ezokuthutha: eshade noMuzio Baroni waseVenetian, wayeya naye enkantolo yoMbusi waseMantua. Lona wakamuva, uVincenzo Gonzaga, wayengumuntu onelukuluku lokufuna ukwazi owayengalingani phakathi kwababusi beBaroque yokuqala. Ukuba nezinto ezingabalulekile, ezicindezelwe nhlangothi zonke yizifunda ezinamandla zamadolobha, njalo ngaphansi kosongo lokuhlaselwa yiParma elwayo ngenxa yefa, uGonzaga akazange alijabulele ithonya lezombangazwe, kodwa walinxephezela ngokudlala indima ebalulekile emkhakheni wezamasiko. . Imikhankaso emithathu emelene namaTurkey, lapho yena, i-crusader engasekho, ebambe iqhaza kumuntu wakhe, waze wagula nge-gout ekamu laseHungary, wamqinisekisa ukuthi ukutshala izigidi zakhe kuzimbongi, abaculi nabaculi kunenzuzo enkulu, futhi. okubaluleke kakhulu, kumnandi kakhulu kunamasosha, imikhankaso yezempi kanye nezinqaba.

Umbusi owayenesifiso sokuvelela wayefisa ukwaziwa njengomvikeli oyinhloko wamamyuziyamu e-Italy. I-blond enhle, i-cavalier emnkantsheni wamathambo akhe, i-swordsman enhle kakhulu futhi igibele, ayizange imvimbe ukudlala i-harpsichord nokuqamba ama-madrigals ngethalente, nakuba engavamile. Kwakungenxa yemizamo yakhe kuphela lapho ukuziqhenya kwe-Italy, imbongi uTorquato Tasso, akhululwa endlini yezindela eFerrara, lapho ayegcinwe khona phakathi kwezihlanya. URubens wayengumdwebi wakhe wasenkantolo; UClaudio Monteverdi wahlala iminyaka engamashumi amabili nambili enkantolo yaseVincenzo, lapha wabhala "Orpheus" futhi "Ariadne".

Ubuciko nama-eros bekuyingxenye ebalulekile ye-elixir yokuphila eyabhebhethekisa lesi sithandi sempilo emnandi. Maye, othandweni wabonisa ukunambitheka okubi kakhulu kunobuciko. Kuyaziwa ukuthi ngesikhathi ethatha umhlalaphansi e-incognito ubusuku bonke nentombazane ekamelweni le-tavern, emnyango lapho umbulali oqashiwe wayeqamekele, ekugcineni, ngephutha, wafaka insangu yakhe kwenye. Uma ngesikhathi esifanayo kwaculwa ingoma engenangqondo yoMbusi waseMantua, kungani ungathandi isigcawu esifanayo esaphinde sakhiqizwa ku-opera ye-Verdi edumile? Abaculi babeyithanda kakhulu inkosana. Wathenga enye yazo, u-Caterina Martinelli, e-Rome futhi wayinikeza umqeqeshi weqembu lenkantolo u-Monteverdi njengoqeqeshelwe umsebenzi - amantombazane amancane ayeyisidlo esimnandi kakhulu se-gourmet endala. UKaterina wayengenakuvinjelwa e-Orpheus, kodwa lapho eneminyaka eyishumi nanhlanu wathathwa ukufa okungaqondakali.

Manje uVincenzo usebheke “inhlabamkhosi evela emithambekeni yasePosillipo,” u-Adriana Baroni waseNaples. Amahemuhemu ngobuhle bakhe nethalente lokucula afinyelela enyakatho ye-Italy. Nokho, u-Adriana, njengoba naye ezwile ngombusi waseNaples, ungabi yisiwula, wanquma ukuthengisa ubuhle bakhe nobuciko bakhe ngangokunokwenzeka.

Akuwona wonke umuntu ovumayo ukuthi u-Baroni ufanelwe isihloko sokuhlonipha i-prima donna yokuqala, kodwa lokho ongeke ukuphike ukuthi kulokhu ukuziphatha kwakhe kwakungehluke kakhulu emikhubeni eyihlazo ye-prima donnas edume kakhulu ye-heyday ye-opera. Eqondiswa umzwelo wakhe wemvelo wesifazane, wenqaba iziphakamiso ezihlakaniphile ze-duke, wabeka phambili iziphakamiso eziphikisanayo ezazinenzuzo enkulu kuye, waphendukela osizweni lwabaxhumanisi, lapho umfowabo kaDuke wadlala indima ebaluleke kakhulu. Kwaba buhlungu nakakhulu ngoba isikhulu esineminyaka engamashumi amabili ubudala, esasiphethe isikhundla sikakhadinali eRoma, sasiyinhloko phezu kothando no-Adrian. Ekugcineni, umculi wabeka imibandela yakhe, kuhlanganise nesigatshana lapho, ukuze kugcinwe idumela lakhe njengowesifazane oshadile, kwakubekwe ukuthi wayengeke angenele inkonzo kaDon Juan odumile, kodwa ngomkakhe, nokho, kwase kuyisikhathi eside ekhishiwe emisebenzini yakhe yomshado. Ngokwesiko elihle lamaNeapolitan, u-Adriana weza nawo wonke umndeni wakhe njengesinamathiselo - umyeni wakhe, umama wakhe, amadodakazi akhe, umfowabo, udadewabo - kanye nezinceku. Ukusuka eNaples kwakubukeka njengomkhosi wasenkantolo - izixuku zabantu zibuthene ezinqoleni ezilayishiwe, zijabule lapho zibona umculi ezimthandayo, izibusiso zokuhlukana zabelusi abangokomoya zazizwakala njalo.

E-Mantua, i-cortege yamukelwa ngokulinganayo. Sibonga u-Adriana Baroni, amakhonsathi asenkantolo kaDuke athole ubuhlakani obusha. Ngisho ne-Monteverdi eqinile yazisa ithalenta le-virtuoso, ngokusobala wayengumthuthukisi onekhono. Yiqiniso, abakwaFlorentines bazama ngazo zonke izindlela ukukhawulela zonke lezo zindlela abadlali abazidlayo ababehlobisa ngazo ukucula kwabo - babebhekwa njengokungahambelani nesitayela esiphezulu sedrama yomculo yasendulo. UCaccini omkhulu ngokwakhe, okukhona abaculi abambalwa, uxwayise ngokuhlobisa ngokweqile. Yini iphuzu?! Ukuzwela nokucula, okwakufuna ukuphumela ngaphandle kokuphindaphinda, ngokushesha kwangena emdlalweni womculo ngendlela ye-aria, futhi ukudlala kwekhonsathi kwavula i-virtuoso emangalisayo njengo-Baroni ngamathuba abanzi kakhulu okumangaza izethameli ngama-trill, ukuhlukahluka kanye amanye amadivaysi alolu hlobo.

Kumelwe kucatshangwe ukuthi, njengoba esenkantolo yaseMantua, u-Adriana wayengenakukwazi ukugcina ubumsulwa bakhe isikhathi eside. Umyeni wakhe, ethole i-sinecure enomona, ngokushesha wathunyelwa njengomphathi endaweni ekude ye-duke, futhi yena ngokwakhe, ehlanganyela isiphetho sabanduleli bakhe, wabeletha ingane uVincenzo. Ngokushesha ngemva kwalokho, umbusi washona, futhi uMonteverdi wavalelisa eMantua wathuthela eVenice. Lokhu kwaqeda inkathi yobuciko eMantua, u-Adriana asayithola. Ngaphambi nje kokufika kwakhe, uVincenzo wakha inkundla yakhe yokhuni ukuze kukhiqizwe i-Ariadne kaMonteverdi, lapho, ngosizo lwezintambo nemishini, ukuguqulwa okuyisimangaliso kwenziwa esiteji. Ukuthembisana umshado kwendodakazi kaDuke kwakuzofika, futhi i-opera yayizoba isenzakalo esivelele kulo mcimbi. Lesi siteji sikanokusho sidle ama-skudi ayizigidi ezimbili. Ukuze siqhathanise, ake sithi uMonteverdi, umqambi ongcono kakhulu wangaleso sikhathi, wathola ama-scud angamashumi amahlanu ngenyanga, kanti u-Adrian cishe amakhulu amabili. Ngisho nangaleso sikhathi, ama-prima donnas ayebhekwa njengenani eliphakeme kunababhali bemisebenzi abayenzayo.

Ngemva kokushona kukaDuke, inkantolo kanokusho yomxhasi, kanye ne-opera kanye ne-harem, yawela ekuwohlokeni okuphelele ngaphansi komthwalo wezigidi zezikweletu. Ngo-1630, i-landsknechts ye-imperial general Aldringen - izigebengu nabashisi - yaqeda idolobha. Amaqoqo kaVincenzo, imibhalo yesandla eyigugu kakhulu kaMonteverdi yabhubha emlilweni - kwasinda kuphela isigameko esidabukisayo sokukhala kwakhe ku-Ariadne. Isizinda sokuqala se-opera saphenduka amanxiwa adabukisayo. Okuhlangenwe nakho kwakhe okudabukisayo kwabonisa zonke izici nokungqubuzana kwalolu hlobo lobuciko oluyinkimbinkimbi ekuqaleni kwentuthuko: ukumosha nokukhalipha, ngakolunye uhlangothi, nokuqothuka okuphelele, ngakolunye, futhi okubaluleke kakhulu, umoya ogcwele inkanuko, ngaphandle kwalokho. ngeke kube khona i-opera ngokwayo noma i-prima donna. .

Manje u-Adriana Baroni uvela eVenice. IRiphabhulikhi yaseSan Marco yaba ngumlandeli womculo weMantua, kodwa wentando yeningi futhi wanquma, ngakho-ke yaba nomthelela omkhulu esiphethweni se-opera. Futhi hhayi kuphela ngoba, kuze kube sekufeni kwakhe okuseduze, uMonteverdi wayengumqhubi wesonto lombhishobhi futhi wadala imisebenzi yomculo ebalulekile. I-Venice ngokwayo yavula amathuba amahle okuthuthukisa idrama yomculo. Kwakusesinye sezifundazwe ezinamandla kakhulu e-Italy, nenhloko-dolobha ecebe ngendlela emangalisayo eyayihambisana nempumelelo yayo yezombangazwe nemibuthano yokunethezeka eyayingakaze ibonwe. Uthando lwe-masquerade, lokuphindukuzalwa, lwanikeza i-charm engavamile hhayi kuphela kumkhosi we-Venetian.

Ukulingisa nokudlala umculo kwaba uhlobo lwesibili lwabantu abajabule. Ngaphezu kwalokho, akubona abacebile kuphela ababebambe iqhaza kwezokuzijabulisa zalolu hlobo. I-Venice yayiyiriphabhulikhi, nakuba yayiyizicukuthwane, kodwa umbuso wonke wawuhlala kwezohwebo, okusho ukuthi izinga eliphansi labantu lalingakwazi ukukhishwa kwezobuciko. Umculi waba umpetha enkundleni yemidlalo yaseshashalazini, umphakathi wafinyelela kuyo. Kusukela manje kuqhubeke, ama-opera kaHonor noCavalli awalalelwa hhayi yizivakashi ezimenyiwe, kodwa yilabo abakhokhele ukungena. I-Opera, eyayiwukuzilibazisa okubili eMantua, yaphenduka ibhizinisi elinenzuzo.

Ngo-1637, umndeni we-patrician Throne wakha indlu yokuqala ye-opera yomphakathi eSan Cassiano. Ihluke kakhulu ku-palazzo yakudala enenkundla yemidlalo yaseshashalazini, njengesibonelo, iTeatro Olimpico eVicenza, esekhona kuze kube namuhla. Isakhiwo esisha, esibukeka ngendlela ehluke ngokuphelele, sahlangabezana nezidingo ze-opera kanye nenjongo yayo yomphakathi. Inkundla ihlukaniselwe izethameli ngekhethini, osekunesikhathi ibafihlele izimanga. Umphakathi ovamile wawuhlala ezitebeleni emabhentshini enziwe ngokhuni, futhi izicukuthwane zazihlala emabhokisini amakhasimende ayevame ukuwaqashisela umkhaya wonke. Indawo yokulala yayiyigumbi elijulile elivulekile lapho ukuphila kwezwe kwakudlondlobala khona. Lapha, akubona kuphela abalingisi ababeshayelwa ihlombe noma bethethiswa, kodwa kwakuvame ukuhlelwa izinsuku zothando eziyimfihlo. I-opera boom yangempela yaqala eVenice. Ekupheleni kwekhulu lesi-XNUMX, okungenani kwakhiwe amathiyetha ayishumi nesishiyagalombili lapha. Bahluma, base bewela ekuboleni, base bedlulela ezandleni zabanikazi abasha futhi baphinde bavuselele - yonke into incike ekudumeni kwemidlalo kanye nokukhanga kwezinkanyezi zesiteji se-opera.

Ubuciko bokucula basheshe bazuza izici zesiko eliphezulu. Kuyavunywa ukuthi igama elithi "coloratura" lafakwa ekusetshenzisweni komculo ngumqambi waseVenetian uPietro Andrea Ciani. Amavesi e-Virtuoso - ama-trills, izikali, njll. - ukuhlobisa ingoma eyinhloko, bajabulisa indlebe. Imemo eyahlanganiswa ngo-1630 umqambi ongumRoma uDomenico Mazzocchi yabafundi bakhe ifakazela ukuthi zaziphakeme kangakanani izimfuneko zabaculi be-opera. “Okokuqala. Ekuseni. Ihora lokufunda amavesi e-opera anzima, ihora lokufunda ama-trills, njll., ihora lokuzivivinya ngokushelelayo, ihora lokuphindaphinda, ihora lokuphimisela phambi kwesibuko ukuze uzuze ukuma okuhambisana nesitayela somculo. Okwesibili. Ngemva kwesidlo sasemini. Ithiyori yesigamu sehora, i-counterpoint yesigamu sehora, izincwadi eziyingxenye yehora. Usuku lonke lwalunikezelwe ekuqambeni ama-canzonette, ama-motets noma amahubo.

Ngokunokwenzeka, ukufaneleka kwendawo yonke kanye nokucophelela kwemfundo enjalo kwakungafiseki. Kwakubangelwa isidingo esinzima, ngoba abaculi abasebasha babephoqeleka ukuba bancintisane nabathenwa, abathenwa ebuntwaneni. Ngomthetho kapapa, abesifazane baseRoma babenqatshelwe ukudlala esiteji, futhi indawo yabo yathathwa amadoda aphucwe ubudoda. Ngokucula, amadoda azenzela amaphutha esiteji se-opera somuntu okhuluphele ongacacile. I-soprano yokwenziwa yesilisa (noma i-alto) yayinobubanzi obukhulu kunezwi lemvelo lesifazane; kwakungekho ukucwazimula kowesifazane noma imfudumalo kuye, kodwa kwakukhona amandla ngenxa yesifuba esinamandla kakhulu. Uzothi – okungezona ezemvelo, okunganambitheki kahle, okungcolile ... Kodwa ekuqaleni i-opera yayibonakala ingeyona eyemvelo, ingeyokuzenzela futhi inokuziphatha okubi. Akukho ukuphikisa okwasiza: kwaze kwaba sekupheleni kwekhulu le-1601, elaphawulwa ubizo lukaRousseau lokubuyela emvelweni, indoda engaphelele yayibusa inkundla yokuhlinzwa eYurophu. Ibandla liyishaye indiva indaba yokuthi amakhwaya esonto agcwaliswa emthonjeni ofanayo nakuba lokhu kubhekwa njengento embi. Ngo-XNUMX, i-castrato-sopranist yokuqala yavela endlini yesonto likapapa, ngendlela, engumfundisi.

Ezikhathini zakamuva, ama-castrati, njengamakhosi eqiniso omdlalo we-opera, aphululwa futhi ashawa ngegolide. Omunye wabadume kakhulu - uCaffarelli, owayehlala ngaphansi kukaLouis XV, wakwazi ukuthenga i-duchy yonke ngemali yakhe, futhi uFarinelli owayengadumile kangako wayethola amafranc ayizinkulungwane ezingamashumi amahlanu ngonyaka evela eNkosini uPhilip V yaseSpain ngenxa nje yokujabulisa inkosi enesizungu nsuku zonke. ngama-opera arias amane.

Nokho, kungakhathaliseki ukuthi ama-castrati ayenziwe unkulunkulu, i-prima donna ayizange ihlale emthunzini. Wayenamandla onawo, ayengawasebenzisa ngosizo lwezindlela ezingokomthetho ze-opera - amandla owesifazane. Izwi lakhe lalizwakala ngendlela yesitayela esicolisisiwe esithinta wonke umuntu - uthando, inzondo, umona, ukulangazelela, ukuhlupheka. Sizungezwe izinganekwane, isibalo somculi ogqoke izembatho zikanokusho sasigxilisa isifiso somphakathi ozimiso zawo zokuziphatha zazinqunywa amadoda. Vumela izikhulu zingakubekezeleli neze ukuba khona kwabahlabeleli bemvelaphi elula - isithelo esinqatshelwe, njengoba wazi, sihlala simnandi. Yize izindawo zokuphuma esteji bezikhiyiwe futhi zigadwa ukuze kube nzima ukungena emabhokisini amnyama abanumzane, uthando lwazinqoba zonke izithiyo. Phela, kwakulingeka kakhulu ukuba nento etusekayo emhlabeni wonke! Emakhulwini eminyaka, i-opera isebenze njengomthombo wamaphupho othando ngenxa yama-prima donnas aqhathanisa kahle nezihlabani zanamuhla zaseHollywood ngokuthi angenza okwengeziwe.

Eminyakeni yezinxushunxushu yokwakhiwa kwe-opera, kulahlekile imikhondo ka-Adriana Baroni. Ngemva kokushiya i-Mantua, manje uvela eMilan, bese e-Venice. Ucula izindima eziyinhloko kuma-opera kaFrancesco Cavalli, owayedumile ngalezo zinsuku. Umqambi wayeneqhaza elimangalisayo, yingakho u-Adriana ebonakala esiteji kaningi. Izimbongi zikhazimulisa uBaroni omuhle ngamasonethi, odadewabo nabo benza umsebenzi wodumo lomculi. U-Adriana osekhulile uyaqhubeka nokujabulisa abalandeli bethalente lakhe. Nansi indlela umshayi wevayolo kaKhadinali Richelieu, uPater Mogard, ayichaza ngayo i-idyll yekhonsathi yomkhaya wakwaBaroni: “Umama (u-Adriana) edlala ihabhu, indodakazi eyodwa idlala ihabhu, kanti eyesibili (uLeonora) idlala i- theorbo. Ikhonsathi yamazwi amathathu nezinsimbi zomculo ezintathu yangijabulisa kakhulu kangangokuba kwabonakala kimina ukuthi angiseyena umuntu nje ofayo, kodwa ngase ngikanye nezingelosi.

Ekugcineni ephuma esiteji, u-Adriana omuhle wabhala incwadi engabizwa ngokufanelekile ngokuthi isikhumbuzo sodumo lwakhe. Futhi, okwakuyivelakancane ngaleso sikhathi, yanyatheliswa eVenice ngaphansi kwegama elithi "Theatre of Glory Signora Adriana Basile." Ngaphandle kwezikhumbuzo, yayiqukethe izinkondlo izimbongi nabanumzane ababezibeka ezinyaweni ze-diva yaseshashalazini.

Inkazimulo ka-Adriana yazalwa kabusha enyameni nasegazini lakhe - endodakazini yakhe uLeonora. Lesi sakamuva saze sadlula unina, nakuba u-Adriana esengowokuqala emkhakheni we-opera. ULeonora Baroni wabamba amaVenetians, amaFlorentines namaRoma, edolobheni laphakade wahlangana neNgisi enkulu uMilton, owacula ngaye kwelinye lama-epigrams akhe. Abamhloniphayo bahlanganisa nenxusa laseFrance eRoma, uGiulio Mazzarino. Ngemva kokuba umxazululi onamandla onke wesiphetho saseFrance njengoKhadinali Mazarin, wamema uLeonora neqembu labaculi base-Italy eParis ukuze amaFulentshi akwazi ukujabulela i-bel canto ebabazekayo. Maphakathi nekhulu lesi-XNUMX (umqambi uJean-Baptiste Lully noMoliere ngaleso sikhathi babengabengqondongqondo), inkantolo yaseFrance yalalela okokuqala ngqa i-opera yase-Italy ngokubamba iqhaza kwe-"virtuoso" enkulu kanye ne-castrato. Ngakho inkazimulo ye-prima donna yawela imingcele yezifunda futhi yaba isihloko sokuthekelisa kazwelonke. Ubaba ofanayo uMogar, encoma ubuciko bukaLeonora Baroni eRoma, ikakhulukazi wayencoma ikhono lakhe lokunciphisa umsindo ukuze enze umehluko ocashile phakathi kwezigaba zechromatic ne-enharmony, okwakuwuphawu lwemfundo yomculo kaLeonora ejulile. Akumangalisi ukuthi, phakathi kwezinye izinto, wayedlala i-viola ne-orbo.

Elandela isibonelo sikanina, walandela indlela yempumelelo, kodwa i-opera yathuthuka, udumo lukaLeonora lwadlula olukamama wakhe, lwadlulela ngale kweVenice futhi lwasakazeka kulo lonke elase-Italy. Wayezungezwe nokudunyiswa, izinkondlo zinikezelwe kuye ngesiLatini, isiGreki, isiNtaliyane, isiFulentshi neSpanishi, eshicilelwe eqoqweni Izimbongi Zodumo lukaSignora Leonora Baroni.

Wayaziwa, kanye no-Margherita Bertolazzi, njengengcweti enkulu yosuku lokuqala lokuduma kwe-opera yase-Italy. Kubonakala sengathi umona nokunyundela kwakufanele kusibekele ukuphila kwakhe. Akwenzekanga lutho. Ukuxabana, ukucaca kanye nokungashintshi okwagcina sekujwayelekile kuma-prima donnas, uma kubhekwa ulwazi olwehlele kithi, bekungeyona imvelo kumakhosikazi okuqala ezwi. Kunzima ukusho ukuthi kungani. Kuphakathi kwaseVenice, eFlorence naseRoma ngesikhathi seBaroque yokuqala, naphezu kokomela injabulo, ukuziphatha okuqinile kwakusabusa, noma kwakukhona ama-virtuosos ambalwa, futhi labo ababengaqapheli ukuthi amandla abo ayemakhulu kangakanani. Kuphela ngemva kokuba i-opera ishintshe ukubonakala kwayo okwesithathu ngaphansi kwelanga elishisayo laseNaples, kanye ne-aria da capo, futhi ngemva kwayo izwi eliyinkimbinkimbi kakhulu lazinza ngokugcwele emdlalweni wangaphambili we-musica, abagibeli bokuqala, izifebe nezigebengu. avele phakathi kwabalingisi-abaculi.

Umsebenzi okhazimulayo, isibonelo, wenziwa nguJulia de Caro, indodakazi yompheki nomculi ozulazulayo, owaba intombazane yasemgwaqweni. Wakwazi ukuhola i-opera house. Ngemva kokubulala umyeni wakhe wokuqala futhi washada nengane yomfana, wabhokwa waxoshwa. Kwadingeka acashe, ngokuqinisekile hhayi ngesikhwama semali esingenalutho, futhi ahlale engabonakali zonke izinsuku zakhe.

Umoya we-Neapolitan wozungu, kodwa kakade ezingeni lezombangazwe nezwe, ugcwele yonke i-biography kaGeorgina, enye yezinto ezihlonishwa kakhulu phakathi kwama-prima donnas okuqala aseBaroque yokuqala. Lapho eseRoma, akazange athandeke kupapa futhi wasongelwa ngokuthi uzoboshwa. Wabalekela eSweden, ngaphansi kwendodakazi engaziwa kaGustavus Adolf, iNdlovukazi uChristina. Ngisho nangaleso sikhathi, yonke imigwaqo yayivulekele ama-prima donnas aseYurophu! UChristina wayenobuthakathaka obunjalo ku-opera kangangokuthi kwakungeke kuthethelelwe ukuthula ngaye. Esesilahlile isihlalo sobukhosi, waguqukela ebuKatolika, wathuthela eRoma, futhi ngemizamo yakhe kuphela abesifazane bavunyelwa ukucula endlini yokuqala ye-opera yomphakathi eTordinon. Ukuvinjelwa kukapapa akuzange kumelane nezintelezi zama-prima donnas, futhi bekungaba kanjani ngenye indlela uma ukhadinali oyedwa ngokwakhe esiza abalingisi, begqoke izingubo zamadoda, banyelele esiteji, kanti omunye - uRospigliosi, kamuva uPapa Clement IX, wabhala izinkondlo. kuLeonora Baroni futhi waqamba imidlalo.

Ngemuva kokushona kweNdlovukazi uChristina, uGeorgina uphinda avele phakathi kwezikhulu zezepolitiki. Uba yinkosikazi ye-Neapolitan Viceroy Medinaceli, okwathi, ngaphandle kwezindleko, wasekela i-opera. Kodwa ngokushesha waxoshwa, kwadingeka abalekele eSpain noGeorgina. Wabe esesukuma futhi, kulokhu waya esihlalweni sikangqongqoshe, kodwa ngenxa yozungu nozungu, waphonswa ejele, washonela khona. Kodwa lapho inhlanhla ifulathela i-Medinaceli, uGeorgina wabonisa isici somlingiswa esiye sabhekwa njengesivamile sama-prima donnas: ukwethembeka! Ngaphambilini, wabelana ngokukhazimula kwengcebo nobukhosi nesithandwa sakhe, kodwa manje wayesehlanganyela naye ubumpofu, yena ngokwakhe waya ejele, kodwa ngemva kwesikhathi esithile wakhululwa, wabuyela e-Italy futhi wahlala ngokunethezeka eRoma kwaze kwaba sekupheleni kwezinsuku zakhe. .

Isiphetho esinezivunguvungu kakhulu sasilindele i-prima donna emhlabathini waseFrance, phambi kwesiteji esinethezekile senkundla yemidlalo yaseshashalazini enhloko-dolobha yezwe - eParis. Ngemva kwengxenye yekhulu leminyaka kune-Italy, wezwa ubuhle be-opera, kodwa inkolo ye-prima donna yafinyelela eziqongweni ezingakaze zibonwe lapho. Amaphayona aseshashalazini yaseFrance kwakungokhadinali ababili kanye nezikhulu zezwe: uRichelieu, owasekela inhlekelele yezwe kanye noCorneille mathupha, noMazarin, owaletha i-opera yase-Italy eFrance, futhi wasiza amaFulentshi ukuba aqhubeke. I-Ballet sekuyisikhathi eside ijabulela umusa wenkantolo, kodwa inhlekelele ye-lyrical - i-opera - yathola ukuqashelwa okugcwele kuphela ngaphansi kukaLouis XIV. Ekubuseni kwakhe, umFulentshi wase-Italy, uJean-Baptiste Lully, owayengumpheki, umdansi nomdlali wevayolini, waba umqambi wenkantolo onethonya owabhala izinhlekelele zomculo ezidabukisayo. Kusukela ngo-1669, izigigaba ezinezingoma ezinenhlanganisela yomdanso eziphoqelekile zaboniswa endlini ye-opera yomphakathi, ebizwa ngokuthi iRoyal Academy of Music.

Imiklomelo ye-prima donna yokuqala enkulu yaseFrance ingekaMartha le Rochois. Wayenomanduleli ofanelekayo - u-Hilaire le Puy, kodwa ngaphansi kwakhe i-opera yayingakatholakali ngendlela yayo yokugcina. U-Le Puy ube nokuhlonishwa okukhulu - wabamba iqhaza emdlalweni lapho inkosi yayidansa khona umGibhithe. U-Martha le Rochois wayengemuhle neze. Abantu besikhathi sakhe bamveza njengowesifazane obuthakathaka, onezandla eziminyene ngendlela emangalisayo, okwaphoqeleka ukuthi azimboze ngamagilavu ​​amade. Kodwa wazi kahle indlela yokuziphatha esiteji, ngaphandle kwalokho izinhlekelele zasendulo zikaLully zazingeke zibe khona. U-Martha le Rochois wakhazinyuliswa ngokukhethekile u-Armida wakhe, owashaqisa izethameli ngokucula kwakhe okuthinta inhliziyo kanye nokuma kobukhosi. Umdlali we-actress usephenduke, omunye angase athi, ukuziqhenya kwezwe. Lapho eneminyaka engu-48 kuphela lapho eshiya khona isiteji, ethola isikhundla sokuba uthisha wezwi kanye nempesheni yokuphila yonke yama-franc ayinkulungwane. U-Le Rochois waphila impilo enokuthula, ehloniphekile, ekhumbuza izinkanyezi zeshashalazi zangaleso sikhathi, futhi wafa ngo-1728 eneminyaka engamashumi ayisikhombisa nesishiyagalombili. Kunzima nokukholwa ukuthi izimbangi zakhe zaziyizimbangi ezimbili ezidume kabi njengoDematin noMaupin. Lokhu kuphakamisa ukuthi akunakwenzeka ukusondela kuwo wonke ama-prima donnas ngezindinganiso ezifanayo. Kuyaziwa ngoDematin ukuthi waphonsa ibhodlela le-lapel potion ebusweni bowesifazane osemusha omuhle, owayebhekwa njengomuhle kakhulu, futhi umqondisi we-opera, owadlula kuye ekusakazeni izindima, wacishe wambulala ngezandla. lombulali oqashiwe. Enomona ngempumelelo kaRoshua, uMoreau nomunye umuntu, wayesezobathumela bonke emhlabeni olandelayo, kodwa “ushevu awulungiswanga ngesikhathi, futhi abaneshwa basinda ekufeni.” Kodwa kuMbhishobhi Omkhulu waseParis, owamkhohlisa nenye intokazi, nokho “wakwazi ukushelela ushevu osebenza ngokushesha, kangangokuthi ngokushesha wafela enqabeni yakhe yokuzijabulisa.”

Kodwa konke lokhu kubukeka njengomdlalo wezingane uma kuqhathaniswa nemigilingwane ye-Maupin ematasatasa. Kwesinye isikhathi zifana nezwe elihlanyayo lama-Musketeers amathathu kaDumas, nomehluko, nokho, ukuthi uma indaba yokuphila kaMaupin ibifakwe inoveli, ibingathathwa njengesithelo somcabango ocebile wombhali.

Imvelaphi yakhe ayikaziwa, kutholakala ngokunembile ukuthi wazalwa ngo-1673 eParis futhi intombazane nje yaphuma ukuyoshada nesikhulu. Lapho uMonsieur Maupin eshintshwa ukuze ayokhonza ezifundazweni, waba nokungacabangeli ukushiya umkakhe osemusha eParis. Njengoba ethanda imisebenzi yabesilisa kuphela, waqala ukuthatha izifundo zokubiya futhi ngokushesha wathandana nothisha wakhe omncane. Abathandi babalekela eMarseilles, futhi uMaupin washintsha ingubo yomuntu, futhi hhayi nje ngenxa yokungabonakali: cishe, wakhuluma ngesifiso sothando lobulili obufanayo, namanje engazi lutho. Futhi lapho intombazane encane ithandana nale nsizwa engamanga, uMaupin waqala ukuyihleka usulu, kodwa ngokushesha ubulili obungezona ezemvelo baba uthando lwakhe. Phakathi naleso sikhathi, njengoba besaphaze yonke imali ababenayo, ababaleki abambalwa bathola ukuthi ukucula kungaziphilisa ngisho nokuhileleka eqenjini le-opera lendawo. Lapha, uMaupin, osebenza endaweni kaMonsieur d'Aubigny, uthandana nentombazane evela emphakathini ophakeme waseMarseille. Abazali bakhe, yiqiniso, abafuni ukuzwa ngomshado wendodakazi yabo nosomahlaya osolisayo futhi ukuze bavikeleke bayayifihla endlini yezindela.

Imibiko yababhali bomlando kaMaupin mayelana nesiphetho sakhe esizayo, ngokubona komuntu, ingathathwa ngokokholo noma kubangelwe umcabango oyinkimbinkimbi wababhali. Kungenzeka futhi ukuthi bayisithelo sokuzazisa kwakhe - umuzwa ongaqondakali kaMaupin waphakamisa ukuthi idumela elibi kwesinye isikhathi lingashintshwa kalula libe yimali. Ngakho-ke, sifunda ukuthi uMaupin, kulokhu esesimweni sowesifazane, ungena endlini yezindela efanayo ukuze abe seduze nesithandwa sakhe, futhi ulinde isikhathi esikahle sokuphunyuka. Kubukeka kanjena uma kushone indela endala. UMaupin kuthiwa ugebha isidumbu sakhe asibeke embhedeni wesithandwa sakhe. Ngaphezu kwalokho, lesi simo siba yicala lobugebengu nakakhulu: uMaupin ubasa umlilo, kuqubuke ukwethuka, futhi esiphithiphithini esilandelayo, ugijima nentombazane. Nokho, icala liyatholwa, intombazane ibuyiselwa kubazali bayo, futhi uMaupin uyaboshwa, aquliswe icala futhi agwetshwe intambo. Kodwa ngandlela-thile uyakwazi ukuphunyuka, ngemva kwalokho umkhondo wakhe ulahlekile isikhashana - ngokusobala, uphila impilo ye-vagabond futhi ukhetha ukungahlali endaweni eyodwa.

E-Paris, uyakwazi ukuzibonakalisa ku-Lully. Ithalente lakhe liyaziwa, i-maestro iyamqeqesha, futhi ngesikhathi esifushane wenza i-debut yakhe e-Royal Academy ngaphansi kwegama lakhe langempela. Edlala ku-opera kaLully ethi Cadmus et Hermione, unqoba iParis, izimbongi zicula ngesihlabani esiphumayo. Ubuhle bakhe obumangalisayo, isimo sengqondo kanye nethalente lemvelo liheha izethameli. Wayephumelela ikakhulukazi endimeni yabesilisa, okungamangazi uma kubhekwa ukuthambekela kwakhe. Kodwa iParis ephanayo ibaphatha kahle. Lokhu kubonakala kuphawuleka ngokukhethekile uma sikhumbula ukuthi, ngokungafani nezinye izinqaba zobuciko be-operatic eFrance, ama-castrati awazange avunyelwe ukungena esiteji. Bazama ukungazibandakanyi ne-prima donna encane. Uke waxabana nozakwabo ongumculi ogama lakhe linguDumesnil, wacela uxolo kuye, futhi engakalutholi, wahlasela insizwa ephile kahle ngezibhakela ngokushesha kangangokuthi ayizange ibe naso nesikhathi sokucwayiza. Akagcinanga ngokumshaya, kodwa futhi wathatha ibhokisi lesinemfu newashi, okwathi ngokuhamba kwesikhathi kwaba ubufakazi obubalulekile bezinto ezibonakalayo. Lapho ngakusasa lo muntu ompofu eqala ukuchazela abalingani bakhe ukuthi imihuzuko yakhe eminingi yayiwumphumela wokuhlaselwa izigebengu, uMaupin wamemezela ngokunqoba ukuthi lona kwakuwumsebenzi wezandla zakhe futhi, ngenxa yokukholisa okukhulu, waphonsa izinto ezinyaweni zeqembu. isisulu.

Kodwa akugcini lapho. Wake wabonakala emcimbini, futhi imvunule indoda. Kwaqubuka ingxabano phakathi kwakhe nesinye sezihambeli, uMaupin wamphosela inselelo yokubamba iqhaza. Balwa ngamavolovolo. U-Mopan uvele waba umdubuli ohlakaniphe kakhulu futhi waphihliza ingalo yombangi. Ngaphezu kokulimala, waphinde wabhekana nokulimala kokuziphatha: icala lasakazwa esidlangalaleni, libethelela umfokazana unomphela esigxotsheni: wehlulwa ngowesifazane! Isigameko esimangalisa nakakhulu senzeke ebholeni likamaskandi - lapho uMaupin engadini yesigodlo walwa nezinkemba nezikhulu ezintathu ngasikhathi sinye. Ngokweminye imibiko, wabulala oyedwa wabo, ngokusho kwabanye - bobathathu. Kwakungenakwenzeka ukuvala ihlazo, iziphathimandla zaba nesithakazelo kubo, futhi uMaupin kwadingeka abheke izigaba ezintsha. Ukuhlala eFrance, ngokusobala, kwakuyingozi, bese sihlangana naye kakade eBrussels, lapho amukelwa khona ngokwemvelo njengenkanyezi ye-opera. Uthandana no-Elector Maximilian waseBavaria futhi uba yinkosikazi yakhe, engamvimbeli ukuba ahlupheke kakhulu ngenxa yemizwa engathandeki yentombazane kangangokuthi izama ngisho nokuzibeka izandla. Kodwa umvoti unomsebenzi omusha wokuzilibazisa, futhi yena - indoda ehloniphekile - ithumela i-Maupin izinkulungwane ezingamashumi amane zamafranc zesinxephezelo. UMaupin othukuthele uphonsa isikhwama semali ekhanda lesithunywa abese ethela umvoti ngamazwi okugcina. Kuphinde kuvele ihlazo, akasakwazi ukuhlala eBrussels. Uzama inhlanhla eSpain, kodwa wehlela phansi emphakathini futhi abe incekukazi kumuntu ongenandaba. Ulahlekile isikhathi eside - uyasuka futhi angene ngaphakathi - ezama ukuphinda anqobe isiteji saseParis, lapho anqobe khona ukunqoba okuningi. Futhi ngempela - i-prima donna ehlakaniphile ithethelelwe zonke izono zayo, ithola ithuba elisha. Kodwa, maye, akasafani. Indlela yokuphila yokonakala ayizange ibe yize kuye. Lapho eseneminyaka engamashumi amathathu nambili noma amashumi amathathu nane kuphela, uyaphoqeleka ukuthi aphume esiteji. Impilo yakhe eyengeziwe, ezolile futhi ondleke kahle, ayinandaba. Intabamlilo isiphumile!

Kunolwazi oluncane kakhulu olunokwethenjelwa mayelana nendlela yokuphila ehlukumezayo yalo wesifazane, futhi lokhu kude nokuhlukile. Ngendlela efanayo, ngisho namagama abasunguli bohlobo olusha lobuciko, ababesebenza emkhakheni we-opera ezinsukwini zokuqala zokuvela kwama-prima donnas, bacwila kuhwalala noma ebumnyameni obuphelele bokudalelwa. Kodwa akubalulekile kangako ukuthi i-biography kaMaupin iyiqiniso elingokomlando noma inganekwane. Into eyinhloko ukuthi ikhuluma ngokulungela komphakathi ukuthi zonke lezi zimfanelo zihlobene nayo yonke i-prima donna ebalulekile futhi icabangele ubulili bakhe, i-adventurism, ukuhlanekezelwa kwezocansi, njll.

K. Khonolka (ukuhumusha - R. Solodovnyk, A. Katsura)