Daniel Francois Esprit Auber |

UDaniel Auber

Ober. "Fra Diavolo". U-Agnes osemncane (N. Figner)

Ilungu le-Institute of France (1829). Lapho esemncane, wayedlala i-violin, waqamba ezothando (zanyatheliswa). Ngokuphikisana nezifiso zabazali bakhe, abamlungiselela umsebenzi wokuhweba, wazinikela emculweni. Isipiliyoni sakhe sokuqala, esaseyizimfundamakhwela, emculweni waseshashalazini kwakuyi-opera yamahlaya ethi Iulia (1811), eyagunyazwa uL. Cherubini (ngaphansi kokuqondisa kwakhe, u-Aubert wafunda ukuqamba kamuva).

Imidlalo yamahlaya yokuqala ka-Aubert, ethi, The Soldiers at Rest (1813) kanye neTestamente (1819), awazange aqashelwe. Udumo lwamlethela i-opera yamahlaya ethi The Shepherdess - umnikazi wenqaba (1820). Kusukela kuma-20s. U-Aubert waqala ukusebenzisana okunezithelo isikhathi eside nombhali wemidlalo u-E. Scribe, umbhali we-freetto yama-opera akhe amaningi (owokuqala kuwo kwakunguLeicester noSnow).

Ekuqaleni komsebenzi wakhe, u-Aubert wathonywa u-G. Rossini no-A. Boildieu, kodwa kakade i-opera yamahlaya i-Mason (1825) ifakazela ukuzimela kokudala kanye nokuvela komqambi. Ngo-1828, i-opera ethi The Mute from Portici (Fenella, lib. Scribe kanye no-J. Delavigne), eyasungula udumo lwakhe, yadlalwa ngempumelelo enkulu. Ngo-1842-71 u-Aubert wayengumqondisi weParis Conservatoire, kusukela ngo-1857 futhi wayengumqambi wenkantolo.

U-Ober, kanye no-J. Meyerbeer, ungomunye wabadali bohlobo lwe-opera olukhulu. I-opera ethi The Thulisa evela ku-Portici ingeyalolu hlobo. Itulo layo - ukuvukela umbuso kwabadobi baseNeapolitan ngo-1647 ngokumelene nabagqilazwa baseSpain - lalihambisana nesimo somphakathi ngobusuku bangaphambi kweNguquko kaJulayi ka-1830 eFrance. Ngokuma kwayo, i-opera yasabela ezidingweni zezithameli ezithuthukile, ngezinye izikhathi ibangela ukusebenza kwezinguquko (ukubonakaliswa kokushisekela izwe emdlalweni we-1830 eBrussels kwasebenza njengesiqalo sokuvukela okwaholela ekukhululweni kweBelgium ekubuseni kwamaDashi). E-Russia, ukusebenza kwe-opera ngesiRashiya kwavunyelwa ukucwaninga kwe-tsarist kuphela ngaphansi kwesihloko esithi The Palermo Bandits (1857).

Lena i-opera yokuqala enkulu esekelwe esakhiweni somlando wangempela, abalingiswa abangewona amaqhawe asendulo, kodwa abantu abavamile. U-Aubert uhumusha itimu yobuqhawe ngamaphimbo anesigqi ezingoma zomdabu, imidanso, kanye nezingoma zempi namamashi e-Great French Revolution. I-opera isebenzisa amasu okuqhathanisa idrama, amakhwaya amaningi, uhlobo olukhulu nezigcawu zamaqhawe (emakethe, ukuvukela umbuso), izimo ezijabulisayo (indawo yokuhlanya). Indima yeqhawekazi iphathiswe i-ballerina, eyavumela umqambi ukuthi agcwalise amaphuzu ngeziqephu ze-orchestra eziveza ngokomfanekiso ezihambisana nomdlalo wesiteji ka-Fenella, futhi ethule izici ze-ballet ephumelelayo ku-opera. I-opera ethi The Mute evela ku-Portici ibe nomthelela ekuthuthukisweni okuqhubekayo kwe-opera yamaqhawe neyothando.

U-Aubert ungummeleli omkhulu kunawo wonke we-French comic opera. I-opera yakhe uFra Diavolo (1830) imake isiteji esisha emlandweni walolu hlobo. Phakathi kwama-opera amaningi amahlaya avelele: "Ihhashi Lethusi" (1835), "i-Black Domino" (1837), "Amadayimane omqhele" (1841). U-Aubert wayethembele emasikweni ongcweti be-French comic opera yekhulu le-18. (U-FA Philidor, u-PA Monsigny, u-AEM Gretry), kanye nomuntu omdala wesikhathi sakhe u-Boildieu, bafunde okuningi kubuciko bukaRossini.

Ngokubambisana noMbhali, u-Aubert udale uhlobo olusha lohlobo lwe-opera yamahlaya, olubonakala ngezizaga ezivusa amadlingozi, ngezinye izikhathi zezinganekwane, izenzo ezithuthukayo ngokwemvelo nezisheshayo, ezigcwele izimo ezimangalisayo, ezidlalayo, ngezinye izikhathi ezimbi.

Umculo ka-Aubert unobuhlakani, ukhombisa ngokuzwela ukushintshashintsha kwesenzo samahlaya, ugcwele ukukhanya okuhle, umusa, ubumnandi nokucwebezela. Ihlanganisa ukuculwa komculo wansuku zonke waseFrance (ingoma nomdanso). Amaphuzu akhe amakwa ngokusha nokuhlukahluka komculo, isigqi esibukhali, esiphundu, nama-orchestra avamile acashile futhi anamandla. U-Aubert wasebenzisa izinhlobo ezihlukahlukene ze-ariose nezingoma, wethula ngobungcweti amaqoqo namakhwaya, awahumusha ngendlela edlalwayo, ephumelelayo, enza izigcawu zohlobo olujabulisayo, ezinemibalabala. Ukuzala kokudala kwahlanganiswa e-Aubert ngesipho sokuhlukahluka nobusha. U-AN Serov unikeze ukuhlolwa okuphezulu, incazelo ecacile kumqambi. Ama-opera ahamba phambili ka-Aubert agcine ukuduma kwawo.

EF Bronfin

Ukwakhiwa:

ama-opera - UJulia (uJulie, 1811, inkundla yangasese enqabeni yaseChime), uJean de Couvain (uJean de Couvain, 1812, ibid.), Amasosha aphumule (Le séjour militaire, 1813, Feydeau Theatre, Paris), iTestamente, noma amanothi othando (Le testament ou Les billets doux, 1819, Opera Comic Theatre, Paris), Shepherdess - umnikazi wenqaba (La bergère châtelaine, 1820, ibid.), Emma, ​​​​noma isithembiso sokunganaki (Emma ou La promesse imprudente, 1821, ibid. same), Leicester (1823, ibid.), Snow (La neige, 1823, ibid.), Vendome eSpain (Vendome en Espagne, kanye noP. Herold, 1823, King's Academy of Music kanye Dance, Paris) , Court Concert (Le concert à la cour, ou La débutante, 1824, Opera Comic Theatre, Paris), Leocadia (Léocadie, 1824, ibid.), Bricklayer (Le maçon, 1825, ibid.), Shy ( Le timide , ou Le nouveau séducteur, 1825, ibid.), Fiorella (Fiorella, 1825, ibid.), Thulisa from Portici (La muette de Portici, 1828, King's Academy of Music and Dance, Paris), Bride (La fiancée, 1829, Opéra Comique, Paris), Fra D iavolo (F ra Diavolo, ou L'hôtellerie de Terracine, 1830, ibid.), God and Bayadère (Le dieu et la bayadère, ou La courtisane amoureuse, 1830, King. I-Academy of Music and Dance, eParis; indima ye-bayadère ethule isp. ballerina M. Taglioni), Love potion (Le philtre, 1831, ibid.), Marquise de Brenvilliers (La marquise de Brinvilliers, kanye nabanye abaqambi abayisi-8, 1831, Opera Comic Theatre, Paris), Oath (Le serment , ou Les faux -monnayeurs, 1832, King's Academy of Music and Dance, Paris), Gustav III, or Masquerade Ball (Gustave III, ou Le bal masqué, 1833, ibid.), Lestocq, ou L' intrigue et l'amour, 1834, Opera Comic, Paris), The Bronze Horse (Le cheval de bronze, 1835, ibid; in 1857 reworked into grand opera), Acteon (Actéon, 1836, ibid), White Hoods (Les chaperons blancs, 1836, ibid.), Envoy (L'ambassadrice, 1836, ibid.), Black Domino (Le domino noir, 1837, ibid.), Fairy Lake (Le lac des fées, 1839, King's Academy Music and Dance”, Paris), Zanetta (Zanetta, ou Jouer avec le feu, 1840, Opera Comic Theatre, Paris), Crown Diamonds (Les diamants de la couronne, 1841, ibid.), Duke of Olonne (Le duc d 'Olonne, 1842, ibid.), Isabelo sikaDeveli (La ingxenye du diable, 1843, ibid.), Siren (La sirène, 1844,ibid.), Barcarolle, noma Uthando Nomculo (La barcarolle ou L'amour et la musique, 1845, ibid.), Haydée (Haydée, ou Le secret, 1847, ibid.), Prodigal son (L'enfant prodigue, 1850) , Inkosi. I-Academy of Music and Dance, Paris), Zerlina (Zerline ou La corbeille d'oranges, 1851, ibid), Marco Spada (Marco Spada, 1852, Opera Comic Theatre, Paris; ngo-1857 yabuyekezwa yaba yi-ballet), uJenny Bell (Jenny Bell , 1855, ibid.), Manon Lescaut (Manon Lescaut, 1856, ibid.), Circassian woman (La circassienne, 1861, ibid.), Bride of King de Garbe (La fiancée du roi de Garbe, 1864, ibid.) , Usuku Lokuqala Lwenjabulo (Le premier jour de bonheur, 1868, ibid.), Iphupho Lothando (Rêve d'amour, 1869, ibid.); izintambo. ama-quartets (angashicilelwe), njll.