Beniamino Gigli |

Beniamino gigli

I-Puccini. "Ukufuna". “E lucevan le stelle” (Beniamino Gigli)

Izwi elingenakulibaleka

Sikumema “eshalofini lezincwadi” lethu. Namuhla sizokhuluma ngoBeniamino Gigli (1890-1957) kanye nencwadi yakhe ethi "Memoirs" (1957). Yanyatheliswa ngesiRashiya ngo-1964 yinhlangano yokushicilela i-Muzyka futhi sekuyisikhathi eside yaba yivelakancane yezincwadi. Njengamanje, indlu yokushicilela umculo "Classics-XXI" ilungiselela ukukhulula uhlelo olusha (olunwetshiwe nolwengeziwe) lwalezi zinkumbulo ngamazwana ka-E. Tsodokov. Incwadi izoba nesihloko esisha esithi, “Ngangingafuni ukuhlala ethunzini likaCaruso.” Sinikeza abafundi isihloko sesethulo salolu hlobo.

Cishe isigamu sekhulu leminyaka, uBeniamino Gigli, i-tenor emangalisayo, owenza izinhliziyo zezinkulungwane zabantu kuwo wonke amagumbi omhlaba, emahholo ekhonsathi, ezinkundleni zemidlalo yeshashalazi, nezamukeli zomsakazo, washona. NjengoCaruso, ungasho ngaye - umculi odumile. Isho ukuthini inganekwane? Kulapho, ngokuzwakala nje kwegama lomculi, ngisho nabantu abakude kakhulu nobuciko benqekuzisa amakhanda ukuze baqonde futhi babonise ukuncoma (nakuba, mhlawumbe, abazange bamlalele). Kodwa kwakukhona abanye abadlali abahle kakhulu ngesikhathi sika-Gigli - Martinelli, Pertile, Skipa, Lazaro, Til, Lauri-Volpi, Fleta ... omunye umthandi womculo noma uchwepheshe uzokwengeza ohlwini lwezintandokazi zakhe. Ngamunye wabo muhle ngendlela yakhe, futhi kweminye imidlalo wazuza impumelelo, mhlawumbe ngisho nangaphezu kukaGigli. Kodwa ohlwini lwe "legendary", lapho amagama anjenge-Chaliapin, Ruffo, Callas, Del Monaco (iCaruso isivele kuxoxwe ngayo), akunjalo! Yini eyanikeza uGigli ithuba lokungena kule “club of the elite”, le Areopagus eculayo?

Umbuzo awulula njengoba kubonakala. Ake sizame ukuyiphendula. Eqinisweni, kukhona, njengokungathi, izingxenye ezimbili kunoma iyiphi indaba yempumelelo, inkazimulo. Enye izinsiza zangaphakathi zomuntu, amakhono akhe, izici zobuntu; okunye - izimo zangaphandle ezibe nomthelela ekufezweni komgomo. Umgomo womdwebi uyafana - ukuzuza ukuqashelwa. Futhi wonke umdali ubeka (uma kungenjalo ukuhlakazeka), ngisho noma enganakile, ngoba ubuciko buwumzwelo wemvelo wokuzibonakalisa, kuyilapho ukuziveza kudinga impumelelo, ukuqonda engxenyeni yomphakathi, noma okungenani ingxenye yayo ekhanyisiwe.

Ake siqale ngezimo zangaphandle. Bathanda umculi ekukhuphukeni kwakhe e-Olympus. Omunye wabo, ngokumangazayo, ulele "ekuntuleni" okuthile kwesipho sezwi (ngokusho kochwepheshe abaningi, futhi phakathi kwabo i-tenor edumile uLauri-Volpi, esizokhuluma ngayo kamuva) - izwi lomculi, indlela yokukhipha umsindo. Ifana kakhulu nekaKaruzov. Lokhu kwenza ukuthi uLauri-Volpi, encwadini yakhe eyaziwa kakhulu ethi "Vocal Parallels", ngisho nokubhalisa uGigli ohlwini lwama "epigons" lwesiNtaliyane esikhulu. Masingahluleli ngokuqinile ozakwethu-imbangi, ukukhetha kwakhe kuyaqondakala. Kodwa ngemva kwakho konke, umculi ngokwakhe wazizwa lokhu kuhlotshaniswa nomanduleli wakhe, wazizwa ikakhulukazi ngemva kokuqoshwa kokuqala ekuphileni kwakhe: "Kwakuyinto engavamile neze ukuhlala buthule esihlalweni futhi ulalele izwi lakho siqu. Kodwa okunye okwangihlaba umxhwele nakakhulu - ngokushesha ngabona ukufana okumangalisayo kwezwi lami naleli engalizwa ngayizolo, lapho bedlala irekhodi nerekhodi likaCaruso. Lezi zimfanelo zezwi le-tenor esencane zakhanga futhi zavusa isithakazelo kuye, futhi kwakukhona nesimo esibuhlungu: ekuqaleni kwempilo, ngaphambi kokufinyelela amashumi amahlanu, uCaruso uyafa. Bonke abathandi bezwi balahlekelwe. Ubani ozothatha indawo yakhe - "i-niche" engenalutho kufanele ihlalwe ngumuntu! UGigli ngalesi sikhathi uyadlondlobala, usanda kuqala ngempumelelo umsebenzi wakhe enkundleni yemidlalo yeshashalazi ethi "Metropolitan". Ngokwemvelo, amehlo aphendukela kuye. Kumele kwengezwe lapha ukuthi umqondo wombono womphakathi waseMelika, nesifiso sawo "sezemidlalo" sokubeka yonke into endaweni yawo futhi unqume okungcono kakhulu, nawo wadlala indima ebalulekile kule ndaba (kahle, iqiniso lokuthi okungcono kakhulu emhlabeni ngokuqinisekile phakathi kwabaculi bethiyetha “yabo” , akusho lutho).

Esinye isici esiyinhloko sangaphandle empumelelweni emangalisayo kwaba ukuthuthukiswa okusheshayo kwamafilimu omsindo nomsakazo. Ukuqala kwefilimu ka-Gigli ebabazekayo efilimini yango-1935 ethi Forget Me Not (ngengoma yegama elifanayo lika-Ernesto de Curtis) kwaphawula ukuqala kochungechunge lwamafilimu ngokubamba iqhaza kwakhe, ngokungangabazeki kwabamba iqhaza elibalulekile ekudaleni udumo lomhlaba. Lo mculi wayephinde abe phambili ekusakazeni ama-opera emsakazweni (1931) - mhlawumbe omunye wemisebenzi eyaphumelela kakhulu embonini yamasiko yaseMelika, eyasusa ngokushesha i-opera esigabeni semibukiso yezicukuthwane yayisa kweyentando yeningi kanye nenqwaba.

Ngakho konke lokhu okungenhla, angifuni neze ukubukela phansi ukufaneleka namakhono kaGigli, okuzoxoxwa ngakho manje. Ubulungiswa nje budinga ukusho iqiniso elingenakuphikwa lokuthi kungakhathaliseki ukuthi yiliphi ithalente, ikakhulukazi emkhakheni wezobuciko obudlalwayo kanye ne-ephemerality yayo yesikhashana yokuba "lapha futhi manje", akunakwenzeka ukuba "inganekwane" ngaphandle kwezindlela ezengeziwe zokungena ekuqapheleni kwabantu abaningi.

Ake sikhokhele, ekugcineni, ku-Gigli ngokwakhe, ngesipho sakhe esimangalisayo sokucula. Kunzima kakhulu ukusho noma yini entsha mayelana nalokhu. Amagama amaningi, imisebenzi eminingi. Indida ukuthi mhlawumbe into engcono kakhulu ngaye kwakunguLauri-Volpi ofanayo, owayeqinile kakhulu kuye (ngendlela, encwadini yakhe ekhuluma ngabahlabeleli, okwakushiwo kakade ekuqaleni kwalesi sihloko, uGigli uzinikele endaweni eyengeziwe. kuneCaruso). Phela, ubuchwepheshe bangempela (uLauri-Volpi ayenabo ngezinga elikhulu) buhlala bunqoba noma yikuphi ukucwasa. Futhi lapha, ngemva kwezingxoxo mayelana ne-falsetto kanye “nezwi elikhalayo” lomdwebi, ukuvuma izono ezibalulekile kuyalandela: “Umbala omuhle ngokumangalisayo wamanothi erejista emaphakathi, isayensi yomsindo wemvelo, umculo ocashile…”, “Ngo-Mashi” naku-“La Gioconda” … akekho noyedwa umculi wezwi owayidlula ngomqondo wepulasitiki, ubuhle kanye nokulingana komugqa womsindo.

U-Gigli ukwazile ukuthola inhlanganisela ekhaliphile phakathi komculo oqinisekisiwe kanye nokusebenza okungenasici kombhalo wombhali kanye naleso silinganiso sokwenza inkululeko nokukhululeka okuthinte umlaleli ngendlela engenakuvinjelwa, okwenza umphumela "okwamanje nalapha" wesenzo esiqhubekayo soku- ukudala phakathi komqambi nomculi. Eya “kumlaleli”, akazange neze aweqe lowo mugqa oyingozi ohlukanisa ubuciko bangempela, “ukuba lula okuphakeme” nobuqili kanye nesizukulwane sakudala. Mhlawumbe into ethile ye-narcissism yayikhona ekuculeni kwakhe, kodwa ngaphakathi kwemingcele enengqondo, lesi akusona isono esinjalo. Uthando lomdwebi ngalokho akwenzayo nendlela akwenza ngayo ludluliselwa emphakathini futhi lufake isandla ekudaleni umoya we-catharsis.

Ukulingiswa komculo kokucula kukaGigli nakho kuchazwa ngabaningi. I-legato emangalisayo, umsindo wokuphulula ku-mezza voce - konke lokhu kuyaziwa. Ngizofaka isici esisodwa nje: amandla angena omsindo, umculi, njengokungathi, "uvula" lapho kudingekile ukuthuthukisa ngokuphawulekayo ukusebenza. Ngesikhathi esifanayo, akadingi ukuphendukela ekuphoqeni, ukumemeza, lokhu kwenziwa ngendlela engaqondakali, ngaphandle komzamo obonakalayo, kodwa kudala umuzwa wokungezwani nokuhlasela komsindo.

Amagama ambalwa kufanele anikezelwe ekukhuthaleni kukaGigli. Inani elikhulu lemidlalo (ngisho naseholidini, lapho umculi enikeza amakhonsathi enhlangano) iyamangalisa. Iphinde yaba enye yezingxenye zempumelelo. Kulokhu kufanele sengeze ukuzithiba ekuqondeni amakhono omuntu, okungajwayelekile kubaculi. Emakhasini encwadi ungafunda ngesimo sengqondo somculi ku-repertoire yakhe. Ngakho-ke, isibonelo, kuphela ngo-1937 umculi wanquma ukwenza njengoRadamès (Aida), ngo-1939 njengoManrico (Il Trovatore). Ngokuvamile, ukuguquka kwakhe kusuka kumculo wezingoma ukuya kwemangalisa kakhulu, noma isimo sakhe sengqondo mayelana nokwenza (noma esikhundleni sokungenzi) repertoire kaRossini kungabhekwa njengezibonelo zokuzihlola okunekhono. Nokho, lokhu akusho ukuthi i-repertoire yakhe yayilinganiselwe. Bangaki abangaziqhayisa ngezingxenye ezingamashumi ayisithupha ezenziwe (i-Pavarotti, isibonelo, ingaphansi kwamashumi amathathu)? Phakathi kwabahamba phambili: uFaust (Mephistopheles kaBoito), Enzo (La Gioconda kaPonchielli), Lionel (Marta kaFlotova), Andre Chenier ku-opera kaGiordano enegama elifanayo, Des Grieux kuManon Lescaut kaPuccini, Cavaradossi eTosca nabanye abaningi. okunye.

Kungaba iphutha ukuthi ungathinti isihloko - uGigli ungumlingisi. Abantu abaningi ababephila ngaleso sikhathi bayaqaphela ukuthi ubuciko obumangalisayo babuyinto ebuthakathaka ethalenteni lomculi. Mhlawumbe lokhu kunjalo. Kodwa ngenhlanhla, ubuciko bokucula, ngisho nokudlala, ngokuyinhloko kuwubuciko bomculo. Futhi lokho okubonwayo okungenzeka futhi okungagwemeki kubantu besikhathi esizayo mayelana nokulingisa kuka-Gigli, ukuziphatha kwakhe esiteji kuthinta thina, abalaleli bokuqoshiwe kwakhe, kancane kancane.

Asikho isidingo sokwethula i-biography yomculi kulesi sihloko sesethulo. U-Gigli ngokwakhe wenza lokhu ngemininingwane ethile emibhalweni yakhe. Akunangqondo ukuphawula ngenani lezinkulumo zakhe ezizimele mayelana nobuciko bezwi, ngoba lolu daba lucashile, futhi konke okungaphikiswa kulokhu kuzophinde kube yi-subjective.

Ngiyaqiniseka ukuthi ukufunda lezi zinkumbulo kuzoletha injabulo yangempela kumfundi. Uzophasa impilo yengcweti enkulu kukho konke ukuhlukahluka kwayo: kusukela ebuntwaneni obuncane besifundazwe e-Recanati kuya kuma-premiere agqamile e-Metropolitan, kusukela emihlanganweni nabadobi abalula base-Italy kuya kumadili anamakhanda athweswe umqhele. Intshisekelo engangabazeki izobangelwa iziqephu ezingazange zifakwe ezinhlelweni zangaphambilini ngezizathu zemibono - impilo yomculo yase-Italy phakathi neMpi Yezwe Yesibili kanye nemininingwane yemihlangano noHitler, uMussolini kanye namazinga aphezulu e-Third Reich. Le ncwadi igcwaliswe yizingcezu zesikhumbuzo sendodakazi yomculi, u-Rina Gigli, eshicilelwe okokuqala ngesiRashiya.

E. Tsodokov

Ufunde e-Academy yaseSanta Cecilia eRoma (1911-1914) ngaphansi kuka-Antonio Cotogni no-Enrico Rosati. Owine Emncintiswaneni Wamazwe Ngamazwe Wokucula eParma (1914). Ngawo lowo nyaka wenza i-debut yakhe eRovigo njengo-Enzo (La Gioconda kaPonchielli). Ekuqaleni komsebenzi wakhe, wenza eGenoa, Bologna, Palermo, Naples, Rome ("Manon Lescaut", "Tosca", "Intandokazi"). Ngo-1918, ngesimemo sika-Arturo Toscanini, wenza i-debut yakhe eLa Scala njengoFaust (Mephistopheles by Boito). Ngo-1919 wacula ngempumelelo enkulu eColon Theatre ingxenye yeGennaro ku-Donizetti's Lucrezia Borgia. Kusukela ngo-1920 kuya ku-1932 wadlala kuMetropolitan Opera (waqala ukudlala njengoFaust eMephistopheles). Kusukela ngo-1930 usedlale kaningi eCovent Garden. Wenze ingxenye yeRadamès ngesizini yokuqala yomkhosi weBaths of Caracalla (1937). Ngo-1940 wacula emdlalweni kaDonizetti owawungavamile ukwenziwa i-Polieuctus (La Scala).

Inkazimulo kaGigli ilethe ukusebenza kwezingxenye ze-lyrical tenor. Phakathi kwabahamba phambili kukhona uNemorino ku-L'elisir d'amore, Cavaradossi eTosca, u-Andre Chenier okwi-opera kaGiordano enegama elifanayo. Kwakusengxenyeni yesibili yeminyaka yawo-1930 lapho uGigli aqala khona ukwenza ezinye izindima ezimangalisayo: Radamès (1937), Manrico (1939). Encwadini yakhe yezikhumbuzo, u-Gigli waveza ngokuqondile ukuthi ukukhetha okuqinile kwe-repertoire, okuhambisana namakhono akhe okukhuluma, kwaholela emsebenzini omude futhi ophumelelayo, owaphela ngo-1955 kuphela. Umculi wenza kumafilimu ("Giuseppe Verdi" , 1938; "Pagliacci", 1943; "Wena, injabulo yami", "Izwi enhliziyweni yakho" nabanye). Umbhali wezinkumbulo (1943). Okurekhodiwe kufaka phakathi u-Radamès (oqhutshwa uSerafin, EMI), uRudolf (oqhutshwa u-U. Berrettoni, uNimbus), uTurridou (ophethwe umbhali, uNimbus).

E. Allenova