Gaetano Donizetti (Gaetano Donizetti) |

UGaetano Donizetti

Izingoma zika-Donizetti zijabulisa umhlaba ngokujabula kwazo okujabulisayo. UHeine

U-Donizetti uyithalente elithuthuka kakhulu elithola ukuthambekela kwe-Renaissance. G. Mazzini

Umculo Donizetti uyamangalisa, muhle, uyamangalisa! V. Bellini

U-G. Donizetti - omele isikole se-opera yothando sase-Italy, isithixo sabalandeli be-bel canto - uvele endaweni ye-operatic yase-Italy ngesikhathi lapho "uBellini wayefa futhi uRossini ethule." Umnikazi wesipho esingapheli somculo, ithalenta elijulile lobunkondlo kanye nomuzwa wemidlalo yaseshashalazini, u-Donizetti udale ama-opera angama-74, aveza ububanzi nokuhlukahluka kwethalente lakhe lomqambi. Umsebenzi wokudlala kaDonizetti uhluke ngendlela engavamile ezinhlotsheni: lawa ama-melodrama ezenhlalo nezengqondo (“Linda di Chamouni” – 1842, “Gemma di Vergi” – 1834), amadrama omlando namaqhawe (“Velisario” – 1836, “The Siege of Calais” - 1836, "Torquato Tasso" - 1833, "Mary Stuart" - 1835, "Marina Faliero" - 1835), ama-lyric-dramatic operas ("Lucia di Lammermoor" - 1835, "Intandokazi" - 1840, "Maria di Rogan" - 1843), ama-melodramas abuhlungu ("Lucretia Borgia" - 1833, "Anne Boleyn" - 1830). Ikakhulukazi ama-opera abhalwe ngohlobo lwe-buffa, ama-farces omculo ("Castle of the Invalids" - 1826, "New Pursonyak" - 1828, "Crazy by Order" - 1830), ama-comic opera ("I-Love's Potion" - 1832, "Don Pasquale” – 1843), ama-comic opera anezingxoxo zokuxoxisana (Indodakazi Yebutho – 1840, uRita – edlalwa ngo-1860) kanye nama-operas e-buffa afanele (The Governor in Difficulty – 1824, The Night Bell – 1836).

Ama-opera ka-Donizetti ayizithelo zomsebenzi womqambi ocophelela ngendlela engavamile kuwo womabili umculo ne-libretto. Njengoba ayengumculi ofunde kabanzi, wasebenzisa imisebenzi ka-V. Hugo, A. Dumas-father, V. Scott, J. Byron kanye no-E. Scribe, yena ngokwakhe wazama ukubhala i-libretto, futhi waqamba izinkondlo ezihlekisayo ngokuphelele.

Emsebenzini wokusebenza we-Donizetti, izikhathi ezimbili zingahlukaniswa ngokwemibandela. Emisebenzini yokuqala (1818-30), ithonya likaG. Rossini libonakala kakhulu. Nakuba ama-opera engalingani kokuqukethwe, ikhono kanye nokubonakaliswa kobuntu bombhali, kuwo u-Donizetti ubonakala njengomculi omkhulu womculo. Isikhathi sokuvuthwa kokudala komqambi siwela kuma-30s - ingxenye yokuqala ye-40s. Ngalesi sikhathi, udala imisebenzi yobuciko engene emlandweni womculo. Injalo “intsha njalo, ihlale ithandeka” (A. Serov) i-opera ethi “Love Potion”; “enye yamadayimane amsulwa e-opera yase-Italy” (G. Donati-Petteni) “Don Pasquale”; "Lucia di Lammermoor", lapho uDonizetti eveza khona konke ubuqili bokuhlangenwe nakho okungokomzwelo komuntu onothando (De Valori).

Ukuqina komsebenzi womqambi kuyingqayizivele ngempela: “Indlela uDonizetti aqamba ngayo umculo kalula, ikhono lokubamba ngokushesha umcabango womculo, kwenza kube nokwenzeka ukuqhathanisa inqubo yomsebenzi wakhe nokuthela kwemvelo kwezihlahla zezithelo eziqhakazayo” ( Donati- Petteni). Ngokulinganayo kalula, umbhali waba yingcweti kwezitayela ezahlukene zezwe kanye nezinhlobo ze-opera. Ngaphandle kwama-opera, u-Donizetti wabhala ama-oratorio, ama-cantatas, ama-symphonies, ama-quartets, ama-quintets, izingoma ezingokomoya nezomculo.

Ngaphandle, ukuphila kukaDonizetti kwakubonakala kuwukunqoba okuqhubekayo. Eqinisweni, kwakungenjalo. “Ukuzalwa kwami ​​kufihliwe,” kubhala umqambi, “ngoba ngazalelwa ngaphansi komhlaba, endaweni engaphansi yoMsele iBorgo, lapho umsebe welanga wawungazange ungene khona.” Abazali bakaDonizetti babengabantu abampofu: uyise wayengumlindi, unina wayengumeluki. Lapho eneminyaka engu-9, uGaetano ungena eSimon Mayr Charitable Music School futhi uba umfundi ongcono kakhulu lapho. Lapho eneminyaka engu-14, wathuthela e-Bologna, lapho afunda khona e-Lyceum of Music no-S. Mattei. Amakhono avelele kaGaetano aqala ukuvezwa esivivinyweni ngo-1817, lapho kwenziwa khona imisebenzi yakhe ye-symphonic kanye ne-cantata. Ngisho naseLyceum, uDonizetti wabhala ama-opera angu-3: Pygmalion, Olympias kanye neThe Wrath of Achilles, futhi kakade ngo-1818 i-opera yakhe ethi Enrico, Count of Burgundy yadlalwa ngempumelelo eVenice. Naphezu kokuphumelela kwe-opera, kwakuyinkathi enzima kakhulu ekuphileni komqambi: izivumelwano zokuqamba azikwazanga ukuphetha, umndeni wawudinga usizo lwezezimali, futhi labo abasondelene naye babengamqondi. USimon Mayr wahlela ukuba uDonizetti enze isivumelwano neRome Opera ukuze aqambe i-opera ethi Zoraida yaseGranata. Ukukhiqizwa kwaba yimpumelelo, kodwa ukugxekwa okwawela kumqambi osemusha kwakunonya oludelelayo. Kodwa lokhu akuzange kumphule uDonizetti, kodwa kwaqinisa amandla akhe emzamweni wokuthuthukisa amakhono akhe. Kodwa amashwa alandelana ngokulandelana: okokuqala indodana yomqambi iyafa, bese abazali bayo, umkakhe othandekayo uVirginia, engakafiki ngisho neminyaka engu-30 ubudala: “Ngingedwa emhlabeni, futhi ngisaphila!” U-Donizetti wabhala edangele. Ubuciko bamsindise ekuzibulaleni. Isimemo sokuya eParis siyalandela maduze. Lapho ubhala i-romantic, ekhangayo, "Indodakazi Yebutho", i-"Favorite" enhle kakhulu. Yomibili le misebenzi, kanye ne-Polievkt yobuhlakani, yamukelwa ngentshiseko. I-opera yokugcina ka-Donizetti ithi u-Catarina Cornaro. Yadlalwa eVienna, lapho ngo-1842 uDonizetti wathola isihloko somqambi wenkantolo yase-Austria. Ngemva kuka-1844, ukugula kwengqondo kwaphoqa uDonizetti ukuba ayeke ukuqamba futhi kwabangela ukufa kwakhe.

Ubuciko bukaDonizetti, obumele isitayela sokucula sokuhlobisa, bebuyinto ephilayo futhi yemvelo. "U-Donizetti wabamba yonke intokozo nosizi, izinkathazo nezinkathazo, zonke izifiso zabantu abavamile zothando nobuhle, wabe eseziveza ngezingoma ezimnandi ezisahlala enhliziyweni yabantu" (uDonati-Petteni).

M. Dvorkina

• I-opera yase-Italy ngemva kukaRossini: umsebenzi kaBellini noDonizetti →

Indodana yabazali abampofu, ithola uthisha wokuqala kanye nomzuzi kumuntu kaMayr, bese ifunda e-Bologna Musical Lyceum ngaphansi kokuqondisa kukaPadre Mattei. Ngo-1818, i-opera yakhe yokuqala, u-Enrico, Count of Burgundy, yadlalwa eVenice. Ngo-1828 washada nomculi nomdlali wepiyano uVirginia Vasselli. Ngo-1830, i-opera u-Anna Boleyn yadlalwa ngokunqoba enkundleni yemidlalo yaseshashalazini yaseCarcano eMilan. E-Naples, unesikhundla sokuba umqondisi wemidlalo yaseshashalazini kanye nesikhundla sokuba uthisha e-conservatory, kuyilapho ehlonishwa kakhulu; nokho, ngo-1838, uMercadante waba umqondisi we-conservatory. Lokhu kwaba igalelo elikhulu kumqambi. Ngemva kokushona kwabazali bakhe, amadodana amathathu nomkakhe, yena (naphezu kwezindaba eziningi zothando) uhlala yedwa, impilo yakhe iyanyakaziswa, kuhlanganise nomsebenzi omangalisayo, we-titanic. Ngemva kokuba umbhali kanye nomqondisi wamakhonsathi azimele eNkantolo yaseVienna, uphinde waveza amandla akhe amakhulu. Ngo-1845 wagula kakhulu.

“Ngazalelwa ngaphansi komhlaba e-Borgo Canal: umsebe wokukhanya awuzange ungene endaweni engaphansi komhlaba, lapho ngehla khona izitebhisi. Futhi, njengesikhova, sindiza siphuma esidlekeni, ngangihlale ngithwele izinto ezimbi noma ezijabulisayo. Lawa magama angakaDonizetti, ngaleyo ndlela wayefuna ukunquma imvelaphi yakhe, isiphetho sakhe, esimakwe ngenhlanganisela ebulalayo yezimo, okuyinto, nokho, engazange imvimbele ekushintsheni amasu abucayi, ngisho abuhlungu futhi abuhlungu emsebenzini wakhe wokusebenza ngokuhlekisa nangokuqondile. iziqephu ze-farcical. "Lapho umculo wamahlaya uzalwa ekhanda lami, ngizwa ukubhoboza okwedlulele ohlangothini lwako lwesobunxele, lapho kubucayi, ngizwa ukubhoboza okufanayo kwesokudla," umqambi waphikisana nokukhuluma okungaqondakali, njengokungathi ufuna ukukhombisa ukuthi imibono ivela kalula kanjani ingqondo yakhe. . “Uyasazi isiqubulo sami? Ngokushesha! Mhlawumbe lokhu akufanele ukugunyazwa, kodwa lokho engikwenze kahle kwakuhlale kwenziwa ngokushesha, "wabhalela u-Giacomo Sacchero, omunye wama-librettists akhe, futhi imiphumela, nakuba ingahlali njalo, iqinisekisa ukufaneleka kwalesi sitatimende. Ubhala ngokunembile uCarlo Parmentola: “Ukungalingani kwemibhalo kaDonizetti manje sekuyindawo evamile yokugxekwa, kanye nomsebenzi wakhe wokudala ocakwe mhlophe, izizathu ezivame ukufunwa eqinisweni lokuthi ngaso sonke isikhathi wayeqhutshwa iminqamulajuqu engenakuguqulwa. Kodwa-ke, iqiniso liwukuthi ngisho nalapho esengumfundi e-Bologna, lapho engasheshiswanga lutho, wasebenza kanzima futhi waqhubeka esebenza ngesivinini esifanayo ngisho nalapho, ekugcineni esezuze ukuchuma, waqeda isidingo sokuqamba ngokuqhubekayo. Mhlawumbe lesi sidingo sokudala ngokuqhubekayo, kungakhathaliseki izimo zangaphandle, ngezindleko zokunciphisa ukulawula ukunambitheka, kwakuyisici sobuntu bakhe obungenakuphumula njengomculi wothando. Futhi-ke, wayengomunye walabo abaqambi okwathi, ngemva kokushiya amandla kaRossini, babeqiniseka ngokwengeziwe ngesidingo sokulandela izinguquko ekuthandeni.

UPiero Mioli uyabhala: “Iminyaka engaphezu kweshumi ithalenta likaDonizetti elihlangene liye lavezwa ngokukhululekile nangokuhlukahluka emidlalweni ye-opera ebucayi, engathi sína namahlaya ngokuvumelana nomkhuba we-opera wase-Italy ongaphezu kwengxenye yekhulu, owenziwa samuntu ngaleso sikhathi. emfanekisweni we-Rossini enhle, ngenkathi iqala kusukela kuma-30s XNUMXs, ukukhiqizwa ohlotsheni olubucayi kuzuza inzuzo enkulu, njengoba, nokho, lokhu kwakudingeka ngenkathi ezayo ye-romanticism kanye nesibonelo somuntu owayephila ngaleso sikhathi njengoBellini, uma inkundla yemidlalo yaseshashalazini iRossini izisungula e-Italy eshumini lesibili nelesithathu lekhulu lesi-XNUMX, uma inkundla yemidlalo yaseshashalazini i-Verdi idlulela kwelesihlanu, eyesine ekaDonizetti.

Esebenzisa lesi sikhundla esiyinhloko, u-Donizetti, ngenkululeko yakhe yokuphefumulelwa, wagijimela ekufanekiseni okuhlangenwe nakho okuyiqiniso, anikeze khona ububanzi obufanayo, ebakhulula, uma kudingekile, ezidingweni ezihlosiwe nezisebenzayo zokulandelana okumangalisayo. Ukusesha komqambi okushisayo kwamenza wakhetha isiphetho sochungechunge lwe-opera njengowukuphela kweqiniso elidingekayo ukuze aqonde isakhiwo. Kwakuyilesi sifiso seqiniso ngesikhathi esifanayo sondla ugqozi lwakhe lwamahlaya, ngenxa yalokho, ngokudala ama-caricatures nama-caricatures, waba umbhali omkhulu kunabo bonke bamahlaya omculo ngemva kukaRossini, futhi wanquma ithuba lakhe esikhathini sakhe sokuvuthwa kwezinhlelo zamahlaya eziphawulwe hhayi nje ngokuhlekisa okudabukisayo. , kodwa ngobumnene nangobuntu. . NgokukaFrancesco Attardi, “i-opera buffa enkathini Yezothando yayiwukulinganisa, uvivinyo olunengqondo nolungokoqobo lwezifiso ezinhle zomculo wekhulu leshumi nesishiyagalolunye. I-opera buffa, njengokungathi, ingenye ingxenye yemali, isikhuthaza ukuba sicabange kabanzi nge-opera seria. ukube bekuwumbiko ngesakhiwo senhlalo yonxiwankulu.

Ifa elikhulu likaDonizetti, osalinde ukuqashelwa okufanele, likufanele ngokufanelekile ukuhlolwa okujwayelekile isikhulu emkhakheni wokufunda umsebenzi womqambi njengoba uGuglielmo Barblan simnikeza: “Kuyocaca nini kithi ukubaluleka kobuciko bukaDonizetti? Umcabango owawumsinda isikhathi esingaphezu kwekhulu leminyaka wamveza njengengcweti, nakuba eyingcweti, kodwa ethathwe ukukhanya kwakhe okumangalisayo phezu kwazo zonke izinkinga ukuze azinikele emandleni okushisekela isikhashana ugqozi. Ukubheka ngokushesha ama-opera angu-Donizetti ayishumi nambili, ukuvuselelwa okuphumelelayo kwesimanje kwama-opera asekhohliwe kufakazela, ngokuphambene nalokho, ukuthi uma kwezinye izimo umbono onjalo ungase ungabi ubandlululo, khona-ke emisebenzini yakhe ebalulekile ... uDonizetti wayengumculi owaziyo umthwalo wemfanelo womsebenzi ayewuphathisiwe futhi ebhekisisa isiko laseYurophu, lapho abona khona ngokucacile ukuphela kwendlela yokuhambisa i-melodrama yethu ezikhundleni ezilula eziwunikeze ubuzwe bezifundazwe, ezazibizwa ngamanga ngokuthi "isiko" .

G. Marchesi (ihunyushwe ngu-E. Greceanii)

Ukwakhiwa:

ama-opera (74), okuhlanganisa noMadness (Una Follia, 1818, Venice), Poor wandering virtuosos (I piccoli virtuosi ambulanti, 1819, Bergamo), uPeter the Great, i-Russian Tsar, noma umbazi waseLivonia (Pietro il grande Czar delle Russie o Il Falegname di Livonia, 1819, Venice), Rural wedding (Le Nozze in villa, 1820-21, Mantua, carnival), Zoraida Pomegranate (1822, theatre “Argentina”, Rome), Chiara and Serafina, or Pirates (1822, theatre “ La Scala”, Milan), Happy delusion (Il fortunato inganno, 1823, theatre “Nuovo”, Naples), Governor in difficulty (L'Ajo nell'imbarazzo, also known as Don Gregorio, 1824, theatre “Valle”, Rome) , Castle of the Invalids (Il Castello degli invalidi, 1826, Carolino Theatre, Palermo), Izinyanga Eziyisishiyagalombili Emahoreni Amabili, noma Ukudingiswa eSiberia (Otto mesi in due ore, ossia Gli Esiliati in Siberia, 1827, Nuovo Theatre , Naples), U-Alina, iNdlovukazi yaseGolconda (Alina regina di Golconda, 1828, Carlo Felice Theatre, Genoa), Pariah (1829, San Carlo Theatre, Naples), Elizabeth in the Castle Kenilw orth (Elisabetta al castello di Kenilworth, obizwa nangokuthi. I-Kenilworth Castle, esekelwe kunoveli kaW. Scott, 1829, ibid.), Anne Boleyn (1830, Carcano Theatre, Milan), Hugo, Count of Paris (1832, La Scala Theatre, Milan), Love Potion (L' Elisir d'amore, 1832, Canobbiana Theatre, Milan), Parisina (ngemuva kuka-J. Byron, 1833, Pergola Theatre, Florence), Torquato Tasso (1833, Valle Theatre, Rome), Lucrezia Borgia (ngokusekelwe emdlalweni wegama elifanayo V. . Hugo, 1833, La Scala Theatre, Milan), Marino Faliero (okusekelwe emdlalweni wegama elifanayo ka-J. Byron, 1835, Italien Theatre, Paris), Mary Stuart (1835, La Scala Theatre, Milan), Lucia di Lammermoor (ngokusekelwe kunoveli kaW. Scott “The Lammermoor Bride”, 1835, the San Carlo Theatre, Naples), Belisarius (1836, Fenice Theatre, Venice), The Siege of Calais (L'Assedio di Calais, 1836, theatre ” San Carlo, Naples), Pia de'Tolomei (1837, Apollo Theatre, Venice), Robert Devereux, or Earl of Essex (1837, San Carlo Theatre, Naples), Maria Di Rudenz (1838, theatre ” Fenice, Venice ), Indodakazi Yebutho(La fille du régiment, 1840, Opera Comique, Paris), Martyrs (Les Martyrs, uhlelo olusha lwePolyeuctus, olusekelwe enhlekeleleni kaP. Corneille, 1840, iGrand Opera Theatre, Paris), Intandokazi (1840, ibid. ), Adelia, noma Indodakazi Yomcibisheli (Adelia, mayelana neLa figlia dell'arciere, 1841, yaseshashalazini ” Apollo, Rome), Linda di Chamouni (1842, Kärntnertorteatr, Vienna), Don Pasquale (1843, Italien Theatre, Paris) , Maria di Rohan (Maria dl Rohan ku-Il conte di Chalais, 1843, Kärntnertorteatr) , Vienna), Don Sebastian wasePortugal (1843, Grand Opera Theatre, Paris), Caterina Cornaro (1844, San Carlo Theatre, Naples) nabanye; 3 ama-oratorio, 28 cantata, 16 ama-symphony, 19 quartets, 3 quintets, umculo wesonto, imisebenzi eminingi yezwi.