Charles Gounod |

Charles Gounod

Gounod. Faust. “Le veau dor” (F. Chaliapin)

Ubuciko yinhliziyo ekwazi ukucabanga. Sh. I-Gono

UC. Gounod, umbhali we-opera edume umhlaba wonke i-Faust, uthatha enye yezindawo ezihlonipheke kakhulu phakathi kwabaqambi bekhulu lesi-XNUMX. Wangena emlandweni womculo njengomunye wabasunguli bendlela entsha ohlotsheni lwe-opera, kamuva owathola igama elithi "lyric opera". Kunoma yiluphi uhlobo umqambi ayelusebenza, wayehlale ethanda ukuthuthukiswa komculo. Wayekholelwa ukuthi umculo uyohlale uwukuvezwa okumsulwa komcabango womuntu. Ithonya likaGounod lathinta umsebenzi wabaqambi u-J. Bizet no-J. Massenet.

Emculweni, uGounod njalo unqoba amazwibela; ku-opera, umculi wenza njengengcweti yezithombe zomculo kanye neciko elizwelayo, edlulisa ubuqiniso bezimo zempilo. Ngesitayela sakhe sokwethula, ubuqotho nobulula kuhlale kuhambisana nekhono eliphakeme kakhulu lokuqamba. Kwakungenxa yalezi zimfanelo lapho uP. Tchaikovsky awazisa khona umculo womqambi ongumFulentshi, owaze waqhuba ngisho ne-opera ethi Faust ePryanishnikov Theatre ngo-1892. Ngokusho kwakhe, uGounod “ungomunye wabambalwa esikhathini sethu ababhala hhayi emibonweni yakudala. , kodwa ngokufakwa kwemizwa.”

UGounod waziwa kangcono njengomqambi we-opera, ungumnikazi wama-opera angu-12, ngaphezu kwalokho wakha imisebenzi yamakwaya (ama-oratorios, izixuku, ama-cantata), ama-symphonies angu-2, izinsimbi zezinsimbi, izingcezu zepiyano, izingoma zothando ezingaphezu kuka-140 nezingoma, ama-duets, umculo waseshashalazini. .

UGounod wazalelwa emndenini womdwebi. Kakade ebuntwaneni, amakhono akhe okudweba nomculo abonakala. Ngemva kokushona kukayise, unina wanakekela imfundo yendodana yakhe (kuhlanganise nomculo). UGounod ufunde ithiyori yomculo no-A. Reicha. Umbono wokuqala we-opera house, owawuphethe i-opera ka-G. Rossini i-Otello, wanquma ukukhetha umsebenzi wesikhathi esizayo. Kodwa-ke, umama, efunde ngesinqumo sendodana yakhe futhi eqaphela ubunzima endleleni yomculi, wazama ukumelana.

Umqondisi we-lyceum lapho uGounod afunda khona wathembisa ukumsiza ukuba axwayise indodana yakhe ngalesi sinyathelo sobudedengu. Phakathi nekhefu phakathi kwamakilasi, wabiza uGounod wamnika ipheshana elinombhalo wesiLatini. Bekuwumbhalo wothando ovela ku-opera ka-E. Megul. Yiqiniso, uGounod wayengakawazi lo msebenzi. "Ngoshintsho olulandelayo, uthando lwabhalwa ..." kukhumbula umculi. “Bengingakaculi ingxenye yesiqephu sokuqala ngesikhathi ubuso bejaji lami bukhanya. Lapho ngiqeda, umqondisi wathi: “Hhayi-ke, manje ake siye ophiyaneni.” Nginqobile! Manje ngizobe sengihlome ngokugcwele. Ngaphinde ngalahlekelwa indlela engangiyiqambile ngayo, futhi ngamnqoba uMnu. Poirson, ekhala izinyembezi, ebamba ikhanda lami, wangiqabula futhi wathi: “Mntanami, yiba umculi!” Othisha bakaGounod eParis Conservatory kwakungabaculi abadumile u-F. Halévy, J. Lesueur kanye no-F .Paer. Kuphela ngemva komzamo wesithathu ngo-1839 lapho uGounod waba umnikazi Womklomelo Omkhulu WaseRoma we-cantata Fernand.

Inkathi yokuqala yokudala ibonakala ngokudlanga kwemisebenzi engokomoya. Ngo-1843-48. UGounod wayengumqondisi we-Church of Foreign Missions eParis. Wayehlose ngisho nokuthatha imiyalo engcwele, kodwa ngasekupheleni kwawo-40s. ngemva kokungabaza isikhathi eside ubuyela kwezobuciko. Kusukela ngaleso sikhathi, uhlobo lwe-operatic selube uhlobo oluhamba phambili emsebenzini kaGounod.

I-opera yokuqala ethi Sappho (emahhala ngu-E. Ogier) yadlalwa eParis e-Grand Opera ngo-August 16, 1851. Ingxenye eyinhloko yayibhalelwe uPauline Viardot ikakhulukazi. Kodwa-ke, i-opera ayizange ihlale ku-repertoire yeshashalazi futhi yahoxiswa ngemuva komdlalo wesikhombisa. G. Berlioz wanikeza ukubukeza okudabukisayo kwalo msebenzi emaphephandabeni.

Eminyakeni eyalandela, uGounod wabhala ama-opera ethi The Bloody Nun (1854), The Reluctant Doctor (1858), Faust (1859). Ku-“Faust” ka-IV Goethe, ukunaka kukaGounod kwakhangwa isiqephu esivela engxenyeni yokuqala yedrama.

Ohlelweni lokuqala, i-opera, ehloselwe ukudlalwa e-Theater Lyrique e-Paris, yayinezinkulumo nezingxoxo. Kwaze kwafika ngo-1869 lapho base beculwa khona ukuze bakhiqizwe eGrand Opera, kwaphinde kwafakwa ne-ballet Walpurgis Night. Naphezu kwempumelelo enkulu ye-opera eminyakeni eyalandela, abagxeki baye bahlambalaza kaningi umqambi ngokunciphisa ububanzi bomthombo wezincwadi nezinkondlo, begxile esiqeshini sezingoma ezivela empilweni kaFaust noMargarita.

Ngemva kokuvela kukaFaust, uFilemon noBaucis (1860), itulo elalibolekwe ku-Ovid's Metamorphoses; “Indlovukazi YaseSheba” (1862) esekelwe enganekwaneni yesi-Arabhu kaJ. de Nerval; UMireil (1864) kanye ne-opera yamahlaya ethi The Dove (1860), engazange ilethe impumelelo kumqambi. Kuyathakazelisa ukuthi uGounod wayenokungabaza ngendalo yakhe.

Isiqongo sesibili somsebenzi wokudlala kaGounod kwakuyi-opera ethi Romeo and Juliet (1867) (esekelwe kuW. Shakespeare). Umqambi wayisebenza ngesasasa elikhulu. “Ngiwabona ngokucacile womabili phambi kwami: Ngiyawezwa; kodwa ngibone kahle? Ngabe kuyiqiniso, ngabe ngizizwe kahle zombili izithandani? umqambi wabhalela umkakhe. I-Romeo noJuliet yadlalwa ngo-1867 ngonyaka we-World Exhibition eParis esiteji seTheatre Lyrique. Kuyaphawuleka ukuthi eRussia (eMoscow) kwenziwa ngemva kweminyaka engu-3 abaculi iqembu Italian, ingxenye Juliet yaculwa Desiree Artaud.

Ama-opera ethi The Fifth of March, Polievkt, kanye ne-Zamora's Tribute (1881) eyabhalwa ngemva kuka-Romeo noJuliet awazange abe yimpumelelo kakhulu. Iminyaka yokugcina yokuphila komqambi yaphinde yaphawuleka ngemizwa yabefundisi. Waphendukela ezinhlotsheni zomculo wamakhwaya - wadala i-grandiose canvas "Ukuhlawulela" (1882) kanye ne-oratorio "Ukufa Nokuphila" (1886), ukwakheka kwayo, njengengxenye ebalulekile, kuhlanganisa ne-Requiem.

Efa likaGounod kunemisebenzi emi-2 okuthi, njengokungathi, yandise ukuqonda kwethu ithalenta lomqambi futhi ifakaze ngamakhono akhe avelele okubhala. Enye yazo inikezelwe ku-opera ka-WA Mozart ethi “Don Giovanni”, enye iyinkumbulo ethi “Memoirs of an Artist”, lapho kwembulwa khona izici ezintsha zomlingiswa nobuntu bukaGounod.

L. Kozhevnikova

Isikhathi esibalulekile somculo wesiFulentshi sihlotshaniswa negama likaGounod. Ngaphandle kokushiya abafundi abaqondile - uGounod ubengazibandakanyi kwezokufundisa - waba nomthelela omkhulu kubantu besikhathi sakhe abancane. Kwathinta, okokuqala, ukuthuthukiswa kweshashalazi yomculo.

Ngama-50s, lapho "i-opera enkulu" ingena enkathini yobunzima futhi iqala ukuziphilisa, izitayela ezintsha zavela enkundleni yemidlalo yeshashalazi. Isithombe sothando semizwa eyihaba, eyihaba yobuntu obukhethekile sathathelwa indawo isithakazelo ekuphileni komuntu ovamile, ovamile, ekuphileni okuzungezile, emkhakheni wemizwa ejulile. Emkhakheni wolimi lomculo, lokhu kwaphawulwa ngokufuna ukuphila okulula, ubuqotho, imfudumalo yokukhuluma, ingoma. Ngakho-ke ukukhanga okubanzi kunangaphambili ezinhlotsheni zentando yeningi zengoma, ezothando, umdanso, imashi, ohlelweni lwesimanje lokuphimisela kwansuku zonke. Kwaba njalo umthelela wokuthambekela okungokoqobo okuqinisiwe kwezobuciko besimanje baseFrance.

Ukuseshwa kwezimiso ezintsha zomdlalo weshashalazi womculo nezindlela ezintsha zokukhuluma kwavezwa kwamanye ama-operas wamahlaya ka-Boildieu, u-Herold no-Halévy. Kodwa lezi zitayela zabonakala ngokugcwele kuphela ekupheleni kweminyaka yama-50s kanye nama-60s. Nalu uhlu lwemisebenzi edume kakhulu edalwe ngaphambi kweminyaka yama-70s, engasebenza njengezibonelo zohlobo olusha lwe-"lyrical opera" (kukhonjisiwe izinsuku zokuqala zale misebenzi):

1859 - "Faust" nguGounod, 1863 - "Pearl Seekers" Bizet, 1864 - "Mireille" Gounod, 1866 - "Minion" Thomas, 1867 - "Romeo noJuliet" Gounod, 1867 - "Ubuhle basePerth" 1868 Bizet, XNUMX - "Hamlet" nguTom.

Ngokubhukha okuthile, i-opera yokugcina ka-Meyerbeer ethi Dinora (1859) kanye nethi The African Woman (1865) ingafakwa kulolu hlobo.

Naphezu komehluko, ama-opera asohlwini anenombolo yezinto ezivamile. Phakathi nendawo kunomfanekiso wedrama yomuntu siqu. Ukuchazwa kwemizwa yezingoma kubhekwa kuqala; ngokudlulisa kwabo, abaqambi baphendukela kabanzi kusici sothando. Ukulingiswa kwesimo sangempela sesenzo nakho kubaluleke kakhulu, yingakho indima yamasu okukhiqiza uhlobo ikhula.

Kepha kukho konke ukubaluleka okuyisisekelo kwalokhu kunqoba okusha, i-lyric opera, njengohlobo oluthile lweshashalazi yomculo yaseFrance yekhulu lesi-XNUMX, ibintula ububanzi bemibono yayo yobuciko nobuciko. Okuqukethwe kwefilosofi yamanoveli kaGoethe noma izinhlekelele zikaShakespeare kwavela "kwehlisiwe" esiteji semidlalo yaseshashalazini, ukuthola ukubukeka kokuzithoba kwansuku zonke - izincwadi zakudala zenqatshelwe umqondo omkhulu ojwayelekile, ubukhali bokuveza izingxabano zempilo, kanye nobubanzi bangempela be izinkanuko. Emiculweni yomculo we-lyrical, ingxenye enkulu, yayiphawula izindlela zokubhekana namaqiniso kunokuba iveze inkulumo yayo egcwele igazi. Nokho, impumelelo yabo ngokungangabazeki yaba ukwenziwa kwentando yeningi kolimi lomculo.

UGounod wayengowokuqala phakathi kwabantu besikhathi sakhe owakwazi ukuhlanganisa lezi zimfanelo ezinhle ze-lyric opera. Lokhu ukubaluleka okuqhubekayo okungokomlando komsebenzi wakhe. Ngokuzwela ethumba inqolobane kanye nomlingiswa womculo wempilo yasemadolobheni - kwakungekhona ngaphandle kwesizathu ukuthi iminyaka eyisishiyagalombili (1852-1860) ehola i-Parisian "Orpheonists", - uGounod wathola izindlela ezintsha zomculo nokuzwakalayo okumangalisayo okuhlangabezana nezidingo ze isikhathi. Wathola emculweni we-opera wase-French nasemculweni wothando amathuba acebe kakhulu ezinhlamvu “ezinobudlelwane”, aqondile futhi angenangqondo, agcwele imizwa yentando yeningi. UTchaikovsky waphawula kahle ukuthi uGounod “ungomunye wabaqambi abambalwa esikhathini sethu ababhala hhayi emibonweni yakudala, kodwa ngokugxiliswa kwemizwa.” Eminyakeni lapho ithalente lakhe elikhulu likhula khona, okungukuthi, kusukela engxenyeni yesibili ye-50s kanye neminyaka yama-60, abazalwane baseGoncourt babenendawo evelele ezincwadini, ababezibheka njengabasunguli besikole esisha sobuciko - basibiza ngokuthi " esikoleni sokuzwela kwemizwa.” I-Gounod ingafakwa ngokwengxenye kuyo.

Nokho, “ukuqonda” awumthombo wamandla kuphela, kodwa futhi nobuthakathaka bukaGounod. Esabela ngokuthuthumela emibonweni yokuphila, wawela kalula emithonyeni ehlukahlukene yemibono, wayengazinzile njengomuntu kanye nomdwebi. Imvelo yakhe igcwele ukuphikisana: noma wagobisa ikhanda lakhe ngokuzithoba phambi kwenkolo, futhi ngo-1847-1848 waze wafuna ukuba u-abbot, noma wazinikela ngokuphelele ezinkanukweni zasemhlabeni. Ngo-1857, uGounod wayesesengozini enkulu yokugula ngengqondo, kodwa eminyakeni yama-60s wasebenza kakhulu, ekhiqiza. Emashumini amabili eminyaka alandela, ephinde ewela ngaphansi kwethonya elinamandla lemibono yabefundisi, wehluleka ukuhambisana namasiko athuthukayo.

U-Gounod akazinzile ezikhundleni zakhe zokudala - lokhu kuchaza ukungalingani kwezimpumelelo zakhe zobuciko. Ngaphezu kwakho konke, ejabulela ubuhle nokuguquguquka kwenkulumo, wakha umculo ophilayo, obonisa ngokuzwela ukuguquka kwezimo zengqondo, ogcwele umusa kanye nokukhanga kwenkanuko. Kodwa ngokuvamile amandla angokoqobo kanye nokuphelela kwenkulumo ekuboniseni ukuphikisana kwempilo, okungukuthi, lokho okuyisici ikhono Bizet, akwanele ithalente Gounod. Izimpawu zokuzwela ngezinye izikhathi zazingena emculweni wakamuva, futhi ubumnandi bomculo buthathe indawo yokujula kokuqukethwe.

Kodwa-ke, njengoba ethole imithombo yogqozi lwezingoma engakaze ihlolwe ngaphambili emculweni waseFrance, uGounod wenze okuningi kwezobuciko baseRussia, futhi i-opera yakhe iFaust ekudumeni kwayo yakwazi ukuncintisana nomdali ophakeme kakhulu wemidlalo yaseshashalazini yaseFrance yekhulu lesi-XNUMX - UCarmen ka-Bizet. Kakade nalo msebenzi, uGounod wabhala igama lakhe emlandweni hhayi kuphela isiFulentshi, kodwa futhi isiko lomculo emhlabeni.

* * *

Umbhali wama-opera ayishumi nambili, ezothando ezingaphezu kwekhulu, inqwaba yezingoma ezingokomoya aqala ngazo futhi waqeda umsebenzi wakhe, inqwaba yezinsimbi (kuhlanganise nama-symphonies amathathu, owokugcina wezinsimbi zomoya), uCharles Gounod wazalwa ngoJuni 17. , 1818. Uyise wayengumculi, umama wakhe engumculi osezingeni eliphezulu. Indlela yokuphila yomndeni, izithakazelo zawo zobuciko ezibanzi zaletha ukuthambekela kobuciko kweGounod. Uthole indlela yokuqamba ehlukahlukene kothisha abaningi abanezifiso ezihlukile zokudala (u-Antonin Reicha, uJean-Francois Lesueur, uFromental Halévy). Njengomzuzi weParis Conservatoire (waba ngumfundi eneminyaka eyishumi nesikhombisa), uGounod wachitha i-1839-1842 e-Italy, kwase - kafushane - eVienna naseJalimane. Izithombe ezinhle ezivela e-Italy zaziqinile, kodwa uGounod wadumala ngomculo wesimanje wase-Italy. Kodwa wawela ngaphansi kwesipelingi sikaSchumann noMendelssohn, ithonya labo elingazange lidlule ngaphandle komkhondo kuye.

Kusukela ekuqaleni kwawo-50s, uGounod uye wasebenza kakhulu empilweni yomculo yaseParis. I-opera yakhe yokuqala, iSappho, yadlala okokuqala ngo-1851; yalandelwa i-opera ethi The Bloodied Nun ngo-1854. Yomibili le midlalo, edlalwa e-Grand Opera, imakwe ngokungalingani, i-melodrama, ngisho nokugabadela kwesitayela. Abazange baphumelele. Okufudumale kakhulu kwakuwukuthi “Udokotela ngokungathandi” (ngokukaMolière), owaboniswa ngo-1858 “e-Lyric Theatre”: itulo lamahlaya, ukuhlelwa kwangempela kwesenzo, ukuphila kwabalingisi kwavusa izinhlangothi ezintsha zethalente likaGounod. Babonakala ngobuningi babo emsebenzini olandelayo. Kwakungu-Faust, owadlalwa enkundleni yemidlalo yaseshashalazini ngo-1859. Kwathatha isikhathi ukuthi izethameli zithandane ne-opera futhi zibone imvelo yayo entsha. Eminyakeni eyishumi kuphela kamuva wangena ku-Grand Orera, futhi izingxoxo zokuqala zathathelwa indawo amazwi okuphindaphinda futhi kwanezelwa izigcawu ze-ballet. Ngo-1887, ukusebenza kwekhulu amahlanu kweFaust kwaba lapha, futhi ngo-1894 ukusebenza kwayo kwenkulungwane kwagujwa (ngo-1932 - izinkulungwane ezimbili). (Ukukhiqizwa kokuqala kweFaust eRussia kwenzeka ngo-1869.)

Ngemva kwalo msebenzi obhalwe ngobuciko, ekuqaleni kwawo-60s, uGounod waqamba ama-comic opera amabili amaphakathi, kanye nethi The Queen of Sheba, esekelwe emoyeni wedrama yababhali be-Scribe-Meyerbeer. Khona-ke ngo-1863 inkondlo yembongi yeProvencal uFrederic Mistral "Mireil", uGounod wadala umsebenzi, amakhasi amaningi awo acacile, ahlaba umxhwele ngezingoma ezicashile. Izithombe zemvelo nempilo yasemaphandleni eningizimu ye-France zithole ukufana kwenkondlo emculweni (bona amakhwaya ezenzo I noma IV). Umqambi ukhiqize kabusha izingoma eziyiqiniso zeProvençal kumaphuzu akhe; isibonelo ingoma yothando endala ethi "O, Magali", edlala indima ebalulekile emdlalweni we-opera. Isithombe esimaphakathi sentombazane empofu uMireil, efa emzabalazweni wenjabulo nesithandwa sakhe, nayo ichazwe ngokufudumele. Noma kunjalo, umculo ka-Gounod, lapho kunomusa owengeziwe kune-plethora enamanzi, ungaphansi kongokoqobo kanye nobuhlakani kune-Bizet's Arlesian, lapho umkhathi weProvence udluliswa ngokuphelela okumangalisayo.

Impumelelo yokugcina ebalulekile kaGounod yobuciko i-opera ethi Romeo noJuliet. Ikhonjiswa okokuqala ngo-1867 futhi yaphawulwa ngempumelelo enkulu - phakathi neminyaka emibili kwenziwa imidlalo engamashumi ayisishiyagalolunye. Nakuba inhlekelele UShakespeare lapha uhunyushwa emoyeni idrama yezingoma, izinombolo ezingcono kakhulu ze-opera - futhi lezi zihlanganisa ama-duets amane abalingiswa abayinhloko (ebholeni, kuvulandi, ekamelweni likaJuliet kanye ne-crypt), i-waltz kaJuliet, i-cavatina ka-Romeo - banokushesha ngokomzwelo, ukuba neqiniso lokuphindaphinda nobuhle be-melodic obuyisici sesitayela somuntu ngamunye i-Gounod.

Imisebenzi yomculo neyeshashalazi eyabhalwa ngemva kwalokho iyinkomba yokuqala kwenhlekelele yemibono neyobuciko emsebenzini womqambi, ehambisana nokuqiniswa kwezakhi zabefundisi ekubukeni kwakhe umhlaba. Eminyakeni eyishumi nambili yokugcina yokuphila kwakhe, uGounod akazange abhale ama-opera. Wafa ngo-Okthoba 18, 1893.

Ngakho, “uFaust” kwakuyindalo yakhe engcono kakhulu. Lesi isibonelo sakudala se-French lyric opera, enabo bonke ubuhle bayo nokunye okushiyeka kwayo.

M. Druskin

Tindzaba

Ama-opera (inani angu-12) (izinsuku zikubakaki)

Sappho, libretto by Ogier (1851, editions new - 1858, 1881) The Bloodied Nun, libretto by Scribe and Delavigne (1854) The Unwitting Doctor, libretto by Barbier and Carré (1858) Faust, libretto by Barbier and Delavigne (1859) The Unwitting Doctor, libretto by Barbier and Carré (1869) Faust, libretto by Barbier and Delavigne edition – 1860) The Dove, libretto by Barbier and Carré (1860) Philemon and Baucis, freetto by Barbier and Carré (1876, new edition - 1862) “The Empress of Savskaya”, libretto by Barbier and Carre (1864) Mireille, libretto nguBarbier noCarré (1874, uhlelo olusha - 1867) Romeo and Juliet, libretto by Barbier and Carré (1888, uhlelo olusha - 1877) Saint-Map, libretto by Barbier and Carré (1878) Polyeuct, libretto by Barbier and Carré (1881 ) "Usuku lukaZamora", i-libretto kaBarbier noCarré (XNUMX)

Umculo endaweni yeshashalazi Amakhwaya enhlekeleleni kaPonsard ethi “Odysseus” (1852) Umculo wedrama kaLegouwe ethi “Two Queens of France” (1872) Umculo womdlalo kaBarbier uJoan of Arc (1873)

Imibhalo engokomoya 14 mass, 3 requiems, "Stabat mater", "Te Deum", "Te Deum", inombolo oratorios (phakathi kwabo - "Atonement", 1881; "Ukufa Nokuphila", 1884), 50 izingoma zomoya, phezu 150 chorales nezinye.

Umculo wezwi Izingoma zothando ezingaphezu kuka-100 (ezingcono kakhulu zishicilelwe emaqoqweni ama-4 ezingoma zothando ezingu-20 ngalinye), izingoma zomculo, amakwaya amaningi wesilisa anamazwi ama-4 ("ama-orpheonists"), i-cantata "Gallia" namanye.

Imisebenzi ye-Symphonic I-Symphony yokuqala ku-D enkulu (1851) i-Second Symphony Es-dur (1855) i-Little Symphony yezinsimbi zomoya (1888) nezinye.

Ngaphezu kwalokho, inani lezingcezu zepiyano nezinye izinsimbi zomculo eziyedwa, ama-chamber ensembles

Imibhalo yezincwadi "Izinkumbulo Zomculi" (eshicilelwe ngemva kokufa), inani lezindatshana