U-Giuseppe Verdi (Giuseppe Verdi) |

UGiuseppe Verdi

Njenganoma yiliphi ithalente elihle. U-Verdi ubonisa ubuzwe bakhe kanye nenkathi yakhe. Uyimbali yenhlabathi yakhe. Uyizwi le-Italy yesimanje, hhayi i-Italy elele ngokuvilapha noma ejabule ngokunganaki emidlalweni yamahlaya kanye ne-pseudo-serious opera kaRossini noDonizetti, hhayi i-Italiya yase-Bellini ekhalayo, kodwa i-Italy yaphaphama, i-Italy ikhathazwa yipolitiki. iziphepho, e-Italy, zinesibindi futhi zinothando lokufutheka. A. Serov

Akekho owayengazizwa impilo engcono kunoVerdi. A. Boito

I-Verdi iyinhlangano yakudala yesiko lomculo lase-Italy, omunye wabaqambi ababaluleke kakhulu bekhulu lama-26. Umculo wakhe ubonakala ngenhlansi yezinkinga zomphakathi eziphakeme ezingashabalali ngokuhamba kwesikhathi, ukunemba okungenakuphikwa ekufanekisweni kwezinqubo eziyinkimbinkimbi ezenzeka ekujuleni komphefumulo womuntu, izicukuthwane, ubuhle kanye nomculo ongashi. Umqambi wasePeru ungumnikazi wama-opera angama-XNUMX, imisebenzi yokomoya nezinsimbi, ezothando. Ingxenye ebaluleke kakhulu yefa le-Verdi yokudala ama-opera, amaningi awo (i-Rigoletto, i-La Traviata, i-Aida, i-Othello) eye yazwakala kusukela ezigabeni zezindlu ze-opera emhlabeni jikelele iminyaka engaphezu kwekhulu. Imisebenzi yezinye izinhlobo, ngaphandle kwe-Requiem ephefumulelwe, cishe ayaziwa, imibhalo yesandla eminingi yayo ilahleke.

U-Verdi, ngokungafani nabaculi abaningi bekhulu lesi-XNUMX, akazange amemezele izimiso zakhe zokudala ezinkulumweni zohlelo emaphephandabeni, akazange ahlobanise umsebenzi wakhe nokugunyazwa kobuhle bendlela ethile yobuciko. Noma kunjalo, indlela yakhe yokudala ende, enzima, engadlali ngaso sonke isikhathi futhi enomqhele wokunqoba yayiqondiswe emgomweni ohlupheke kakhulu futhi oqaphelayo - ukuzuzwa kwamaqiniso omculo emdlalweni we-opera. Impilo kukho konke ukungqubuzana kwayo iyindikimba enkulu yomsebenzi womqambi. Ububanzi bokufana kwayo babubanzi ngendlela engavamile - kusukela ezingxabanweni zomphakathi kuya ekubhekaneni nemizwa emphefumulweni womuntu oyedwa. Ngesikhathi esifanayo, ubuciko bukaVerdi buphethe umuzwa wobuhle obukhethekile nokuvumelana. “Ngithanda yonke into enhle kwezobuciko,” kusho umqambi. Umculo wakhe ubuye waba yisibonelo sobuciko obuhle, obuqotho nobunogqozi.

Eyazi ngokusobala imisebenzi yakhe yokudala, u-Verdi akazange akhathale ekufuneni izinhlobo eziphelele kakhulu zokufanekisa imibono yakhe, ezifuna kakhulu kuyena, kwabakhululi benkululeko nabadlali. Wayevame ukukhetha isisekelo sombhalo we-libretto, exoxwa ngokuningiliziwe nama-librettists yonke inqubo yokudalwa kwayo. Ukusebenzisana okuhle kakhulu kwaxhumanisa umqambi nababhali benkululeko abafana no-T. Solera, F. Piave, A. Ghislanzoni, A. Boito. U-Verdi wayefuna iqiniso elimangalisayo kubaculi, wayengakubekezeleli noma yikuphi ukubonakaliswa kwamanga esiteji, ubuhle obungenangqondo, engafakwanga imizwa ejulile, engathethelelwa ngesenzo esimangalisayo. “…Isiphiwo esihle kakhulu, umphefumulo kanye nobuciko besiteji” - lezi yizimfanelo abezazisa kakhulu kubadlali. Ukusebenza kwama-opera “okunenjongo, nenhlonipho” kwakubonakala kudingekile kuye; "... lapho ama-opera engeke enziwe ngobuqotho bawo - ngendlela abehloswe ngayo umqambi - kungcono ukungawadlali nhlobo."

U-Verdi waphila impilo ende. Wazalelwa emndenini womgcini wendlu yezihambi. Othisha bakhe kwakuwumculi wesonto ledolobhana u-P. Baistrocchi, kwase kuba ngu-F. Provezi, owayephila impilo yomculo e-Busseto, kanye nombhidisi weshashalazi yaseMilan i-La Scala V. Lavigna. Umqambi ovuthiwe kakade, uVerdi wabhala: “Ngafunda eminye yemisebenzi engcono kakhulu yesikhathi sethu, hhayi ngokuyitadisha, kodwa ngokuyizwa enkundleni yemidlalo yeshashalazi ... ngabe ngiqamba amanga uma ngingathi ebusheni bami angizange ngiphumelele ukufunda okude nokuqinile … isandla sami siqine ngokwanele ukuphatha inothi ngendlela engifisa ngayo, futhi ngizethemba ngokwanele ukuthola imiphumela ebengiyihlosile isikhathi esiningi; futhi uma ngibhala noma yini ngokungahambisani nemithetho, kungenxa yokuthi umthetho oqondile awunginiki lokho engikufunayo, futhi ngenxa yokuthi angiyibheki yonke imithetho eyamukelwa kuze kube namuhla njengemihle ngaphandle kwemibandela.

Impumelelo yokuqala yomqambi osemusha yayihlotshaniswa nokukhiqizwa kwe-opera Oberto enkundleni yemidlalo yaseshashalazini yaseLa Scala eMilan ngo-1839. Ngemva kweminyaka emithathu, i-opera uNebukadinesari (uNabucco) yadlalwa enkundleni yemidlalo yaseshashalazini efanayo, eyaletha umbhali udumo olubanzi 3). Ama-opera okuqala omqambi avela phakathi nenkathi yokuvukela umbuso e-Italy, eyayibizwa ngokuthi inkathi yeRisorgimento (isiNtaliyane - imvuselelo). Umzabalazo wokubumbana nokuzimela kwe-Italy wawugubuzele bonke abantu. U-Verdi akakwazanga ukuma eceleni. Wakubona ngokujulile ukunqoba nokunqotshwa kwenhlangano yezinguquko, nakuba ayengazibheki njengosopolitiki. Ama-opera wamaqhawe-patriotic we-1841s. - "Nabucco" (40), "Lombards in the First Crusade" (1841), "Battle of Legnano" (1842) - kwakuyindlela yokusabela ezenzakalweni zenguquko. Iziqephu zebhayibheli nezomlando zala ma-opera, kude nesimanje, zazicula ubuqhawe, inkululeko nokuzimela, ngakho-ke zazisondele ezinkulungwaneni zamaNtaliyane. "I-Maestro ye-Revolution yesiNtaliyane" - yile ndlela abantu besikhathi esibizwa ngayo uVerdi, umsebenzi wakhe owaduma ngokungavamile.

Kodwa-ke, izithakazelo zobuciko zomqambi osemncane azigcinanga nje endikimbeni yomzabalazo wamaqhawe. Lapho efuna iziqephu ezintsha, umqambi uphendukela kuma-classic ezincwadi zomhlaba: V. Hugo (Ernani, 1844), W. Shakespeare (Macbeth, 1847), F. Schiller (Louise Miller, 1849). Ukwandiswa kwezindikimba zokudala kwakuhambisana nokufuna izindlela ezintsha zomculo, ukukhula kwekhono lomqambi. Isikhathi sokuvuthwa kokudala saphawulwa ngonxantathu ophawulekayo wama-operas: Rigoletto (1851), Il trovatore (1853), La Traviata (1853). Emsebenzini kaVerdi, ngokokuqala ngqa, umbhikisho ophikisana nokungabi nabulungisa kwezenhlalakahle wazwakala ngokusobala. Amaqhawe ala ma-opera, anikezwe imizwa evuthayo, ehloniphekile, angqubuzana nezindinganiso zokuziphatha ezamukelwa ngokuvamile. Ukuphendukela emaqenjini anjalo kwakuyisinyathelo esinesibindi ngokwedlulele (uVerdi wabhala ngoLa Traviata: "Isakhiwo singeyesimanje. Omunye ubengeke athathe lesi sakhiwo, mhlawumbe, ngenxa yenhlonipho, ngenxa yenkathi, nangenxa yolunye ubandlululo oluyinkulungwane. … ngikwenze ngenjabulo enkulu).

Maphakathi nawo-50s. Igama likaVerdi laziwa kabanzi emhlabeni wonke. Umqambi uphetha izinkontileka hhayi kuphela nemidlalo yaseshashalazini yase-Italy. Ngo-1854 udala i-opera ethi “Sicilian Vespers” yeParisian Grand Opera, eminyakeni embalwa kamuva kwabhalwa ama-opera athi “Simon Boccanegra” (1857) kanye ne-Un ballo e-maschera (1859, yezinkundla zemidlalo yaseshashalazini zase-Italy iSan Carlo ne-Appolo). Ngo-1861, ngomyalo womqondisi weSt. Petersburg Mariinsky Theatre, uVerdi wadala i-opera ethi The Force of Destiny. Mayelana nokukhiqizwa kwayo, umqambi uya eRussia kabili. I-opera ayizange ibe yimpumelelo enkulu, nakuba umculo kaVerdi wawudumile eRussia.

Phakathi kwama-opera angama-60s. Ethandwa kakhulu kwakuyi-opera ethi Don Carlos (1867) esekelwe emdlalweni wegama elifanayo kaSchiller. Umculo ka-"Don Carlos", ogcwele ingqondo ejulile, ulindele iziqongo zobuciko bokudlala buka-Verdi - "Aida" kanye "no-Othello". I-Aida yabhalwa ngo-1870 ngokuvulwa kweshashalazi entsha eCairo. Izimpumelelo zawo wonke ama-opera adlule ahlanganiswe kuwo: ukuphelela komculo, umbala ogqamile, nokucija kwedramaturgy.

Ukulandela "u-Aida" kwadalwa "Requiem" (1874), okwathi ngemva kwalokho kwaba khona ukuthula okude (okungaphezu kweminyaka eyi-10) okubangelwa inhlekelele empilweni yomphakathi neyomculo. E-Italy, kwakugcwele uthando lomculo kaR. Wagner, kuyilapho isiko lesizwe lanyamalala. Isimo samanje sasingewona nje umzabalazo wokunambitha, izikhundla ezihlukene zobuhle, ngaphandle kwalokho umkhuba wobuciko ongenakucatshangwa, nokuthuthukiswa kwazo zonke ubuciko. Kwakuyisikhathi sokubeka phambili amasiko ezwe obuciko, okwatholwa ngokujulile ikakhulukazi abathanda ubuciko base-Italy. UVerdi wacabanga ngale ndlela: “Ubuciko ngezabo bonke abantu. Akekho okholelwa kulokhu ngokuqinile ukwedlula mina. Kodwa ithuthuka ngayinye. Futhi uma amaJalimane enomkhuba wobuciko ohlukile kunathi, ubuciko bawo buhluke kakhulu kowethu. Ngeke sikwazi ukuqamba njengamaJalimane…”

Ecabanga ngekusasa lomculo wase-Italy, ezizwa enesibopho esikhulu saso sonke isinyathelo esilandelayo, u-Verdi waqala ukusebenzisa umqondo we-opera Othello (1886), eyaba ubuciko bobuciko bangempela. "I-Othello" iyincazelo engenakuqhathaniswa yendaba kaShakespearean ohlotsheni lwe-operatic, isibonelo esiphelele sedrama yomculo neyengqondo, indalo eyadalwa umqambi wayo yonke impilo yakhe.

Umsebenzi wokugcina we-Verdi - i-opera yamahlaya i-Falstaff (1892) - iyamangaza ngokujabula nekhono layo elingenakuqhathaniswa; kubonakala sengathi ivula ikhasi elisha emsebenzini womqambi, okuthe, ngeshwa, akuzange kuqhutshekwe. Impilo yonke kaVerdi ikhanyiswa ukuqiniseka okujulile ngokunemba kwendlela ekhethiwe: “Maqondana nobuciko, nginemicabango yami, izinkolelo zami, ezicacile kakhulu, ezinembayo kakhulu, engingakwazi kuzo, futhi okungafanele, yenqaba.” L. Escudier, omunye wababephila ngesikhathi somqambi, wamchaza ngokufaneleka kakhulu: “UVerdi wayenezinkanuko ezintathu kuphela. Kodwa bafinyelela amandla amakhulu: uthando lobuciko, umuzwa wesizwe nobungane. Intshisekelo yomsebenzi oshisekayo neyiqiniso we-Verdi ayinciphisi. Ezizukulwaneni ezintsha zabathandi bomculo, ihlala iyindinganiso yakudala ehlanganisa ukucaca komcabango, ugqozi lomuzwa nokuphelela komculo.

A. Zolotykh

• Indlela yokudala ka-Giuseppe Verdi →
• Isiko lomculo wase-Italy engxenyeni yesibili yekhulu lesi-XNUMX →

I-Opera yayimaphakathi nezithakazelo zobuciko zikaVerdi. Esikhathini sokuqala somsebenzi wakhe, eBusseto, wabhala izinsimbi eziningi (imibhalo yabo yesandla ilahleke), kodwa akazange abuyele kulolu hlobo. Okuhlukile yi-quartet yeyunithi yezinhlamvu yango-1873, ebingahloselwe umqambi ukuthi isebenze esidlangalaleni. Ngayo leyo minyaka yobusha, ngokwemvelo yomsebenzi wakhe njenge-ogani, u-Verdi waqamba umculo ongcwele. Ngasekupheleni komsebenzi wakhe - ngemuva kwe-Requiem - udale eminye imisebenzi eminingi yalolu hlobo (i-Stabat mater, i-Te Deum neminye). Izothando ezimbalwa nazo zingezesikhathi sokuqala sokudala. Wanikela ngawo wonke amandla akhe ku-opera isikhathi esingaphezu kwengxenye yekhulu leminyaka, kusukela ku-Oberto (1839) kuya ku-Falstaff (1893).

U-Verdi ubhale ama-opera angamashumi amabili nesithupha, ayisithupha kuwo wanikeza inguqulo entsha, eguquguquke kakhulu. (Emashumini eminyaka, le misebenzi ibekwe kanje: ngasekupheleni kweminyaka engama-30 - 40 - ama-opera angu-14 (+1 kuhlelo olusha), ama-opera angu-50 - angu-7 (+1 kuhlelo olusha), ama-60 - ama-opera angu-2 (+2 entsha uhlelo), 70s - 1 opera, 80s - 1 opera (+2 kuhlelo olusha), 90s - 1 opera.) Kuyo yonke impilo yakhe ende, wahlala ethembekile emibonweni yakhe yobuhle. “Ngingase ngingabi namandla okwanele ukufeza lokho engikufunayo, kodwa ngiyazi engikulwelayo,” kubhala u-Verdi ngo-1868. La mazwi angachaza wonke umsebenzi wakhe wokudala. Kodwa ngokuhamba kweminyaka, izimiso zobuciko zomqambi zahluka kakhulu, futhi ikhono lakhe laba eliphelele, lahlonishwa.

U-Verdi wayefuna ukuhlanganisa idrama "eqinile, elula, ephawulekayo." Ngo-1853, ebhala i-La Traviata, wabhala: “Ngiphupha ngeziqephu ezintsha ezinkulu, ezinhle, ezihlukahlukene, ezinesibindi, nezinesibindi kakhulu ngaleso sikhathi.” Kwenye incwadi (yawo lowo nyaka) sifunda ukuthi: “Nginike isiqephu esihle, sokuqala, esithakazelisayo, esinezimo ezinhle kakhulu, izinkanuko - ngaphezu kwakho konke izinkanuko! ..”

Izimo ezimangazayo eziyiqiniso nezigcizelelwe, abalingiswa abachazwe ngokucacile - lokho, ngokusho kukaVerdi, kuyinto eyinhloko esakhiweni se-opera. Futhi uma emisebenzini yokuqala, inkathi yothando, ukuthuthukiswa kwezimo akuzange kube nomthelela ekudaluleni okungaguquki kwabalingiswa, khona-ke nge-50s umqambi waqaphela ngokucacile ukuthi ukujula kwalokhu kuxhumana kusebenza njengesisekelo sokudala iqiniso elibaluleke kakhulu. idrama yomculo. Kungakho, ngemva kokuthatha ngokuqinile indlela yokuba ngokoqobo, uVerdi wayilahla i-opera yesimanje yase-Italy ngeziqephu eziyisidina, eziyisidina, amafomu avamile. Ngenxa yobubanzi obanele bokubonisa ukuphikisana kokuphila, waphinde wayigxeka imisebenzi yakhe eyabhalwa ngaphambili: “Zinezigcawu ezithakazelisa kakhulu, kodwa azikho ukuhlukahluka. Zithinta uhlangothi olulodwa kuphela - oluphansi, uma uthanda - kodwa luhlala lufana.

Ngokuqonda kukaVerdi, i-opera ayinakucatshangwa ngaphandle kokucijiswa kokugcina kokungqubuzana. Izimo ezivusa amadlingozi, umqambi uthe, kufanele zidalule izinkanuko zomuntu ngesimo sazo, isimo somuntu ngamunye. Ngakho-ke, u-Verdi wamelana ngokuqinile nanoma yisiphi isimiso se-libretto. Ngo-1851, eqala umsebenzi ku-Il trovatore, uVerdi wabhala: “I-Cammarano ekhululekile (umdidiyeli okhululekile womculo we-opera.— IZe. MD) izohumusha ifomu, okungcono kimina, ngizokwaneliseka kakhulu. Ngonyaka odlule, ngemva kokuqamba i-opera esekelwe ohlelweni lweNkosi kaShakespeare uLear, uVerdi waveza: “ULear akufanele enziwe idrama ngendlela eyamukelwa ngokuvamile. Kungadingeka kutholakale uhlobo olusha, olukhulu, olungenalo ubandlululo.”

Isakhiwo seVerdi siyindlela yokuveza ngempumelelo umbono womsebenzi. Impilo yomqambi igcwele ukufunwa kwalezo ziqephu. Eqala ngo-Ernani, uphikelela efuna imithombo yemibhalo yemibono yakhe yokusebenza. Isazi esihle kakhulu sezincwadi zesiNtaliyane (nesiLatini), uVerdi wayeyazi kahle idrama yesiJalimane, isiFulentshi, nesiNgisi. Ababhali bakhe abathandayo nguDante, Shakespeare, Byron, Schiller, Hugo. (Mayelana noShakespeare, uVerdi wabhala ngo-1865: “Ungumbhali wami engimthandayo, engimazi kusukela ngisemncane futhi ngihlale ngimfunda.” Wabhala ama-opera amathathu ngeziqephu zikaShakespeare, waphupha ngeHamlet neThe Tempest, futhi wabuyela emsebenzini izikhathi ezine zeNkosi. Lear ”(ngo-1847, 1849, 1856 kanye no-1869); ama-opera amabili asekelwe ezakhiweni zika-Byron (uhlelo lukaKhayini olungakaqedwa), Schiller - amane, uHugo - amabili (icebo likaRuy Blas").

Isinyathelo sokudala sika-Verdi sasingagcini ekukhetheni isakhiwo. Wawuqondisa ngenkuthalo umsebenzi we-librettist. Umqambi wathi: “Angikaze ngibhale ama-opera ama-libretto aselungiselelwe enziwe othile oseceleni, angiqondi ukuthi angazalwa kanjani umdidiyeli wesikrini ongaqagela ukuthi yini engingayicula ku-opera.” Izincwadi eziningi zika-Verdi zigcwele iziyalezo zobuciko nezeluleko kubahlanganyeli bakhe bokubhala. Le miyalo ihlobene ngokuyinhloko nohlelo lwesimo se-opera. Umqambi wayefuna ukugxila okuphezulu kokuthuthukiswa kwesakhiwo somthombo wombhalo, futhi kulokhu - ukuncishiswa kwemigqa eseceleni yobuqili, ukucindezelwa kombhalo wedrama.

U-Verdi utshele abasebenzi bakhe ukuphenduka kwamazwi ayekudinga, isigqi samavesi kanye nenani lamagama adingekayo emculweni. Wanaka ngokukhethekile imishwana "eyisihluthulelo" embhalweni we-libretto, eklanyelwe ukuveza ngokucacile okuqukethwe kwesimo esithile esimangalisayo noma umlingiswa. "Akunandaba ukuthi leli noma lelo gama yilo, ibinzana elizojabulisa, libe nenhle," wabhala ngo-1870 ebhalela umgcini wenkululeko we-Aida. Ukuthuthukisa i-libretto ye-"Othello", wasusa ngokungadingekile, ngokombono wakhe, imishwana namagama, efuna ukuhlukahluka kwesigqi embhalweni, waphula "ubushelelezi" bevesi, elibopha ukuthuthukiswa komculo, lifinyelele ngokucacile nokufinyeleleka okukhulu.

Imibono ka-Verdi enesibindi ayizange ihlale ithola inkulumo efanele kubahlanganyeli bakhe bombhalo. Ngakho, ekwazisa kakhulu i-libretto ye-"Rigoletto", umqambi waphawula amavesi abuthakathaka kuwo. Okuningi akuzange kumnelise ku-dramaturgy ye-Il trovatore, i-Sicilian Vespers, uDon Carlos. Njengoba engazange azuze isimo esikholisayo ngokuphelele kanye nokuchazwa kwencwadi yombono wakhe omusha ku-freetto yeNkosi Lear, waphoqeleka ukuba ashiye ukuqedwa kwe-opera.

Ngokusebenza kanzima nama-librettists, u-Verdi ekugcineni wavuthwa umqondo wokuqanjwa. Ngokuvamile waqala umculo kuphela ngemva kokuthuthukisa umbhalo ophelele we-opera yonke.

UVerdi uthe into enzima kakhulu kuye “ukubhala ngokushesha ngokwanele ukuveza umbono womculo ngobuqotho azalwa ngawo engqondweni.” Uyakhumbula: “Lapho ngisemncane, ngangivame ukusebenza ngokungaphumuli kusukela ngehora lesine ekuseni kuze kube yihora lesikhombisa kusihlwa.” Ngisho nalapho esekhulile, lapho edala amaphuzu e-Falstaff, ngokushesha wadlala iziqephu ezinkulu eziqediwe, njengoba “esaba ukukhohlwa inhlanganisela ye-orchestra nenhlanganisela ye-timbre.”

Lapho edala umculo, u-Verdi wayecabanga ngamathuba okwenziwa kwawo esiteji. Exhunywe kuze kube maphakathi nawo-50s nemidlalo yaseshashalazini ehlukahlukene, wayevame ukuxazulula izingqinamba ezithile zedrama yomculo, kuye ngamandla okudlala iqembu elinikeziwe elalinawo. Ngaphezu kwalokho, u-Verdi wayengenasithakazelo kuphela ezimfanelweni zamazwi zabaculi. Ngo-1857, ngaphambi kokuqala kwefilimu ethi "Simon Boccanegra", waveza: "Indima kaPaolo ibaluleke kakhulu, kuyadingeka ngempela ukuthola i-baritone engaba umlingisi omuhle." Emuva ngo-1848, mayelana nokukhiqizwa okuhleliwe kweMacbeth eNaples, uVerdi wenqaba umculi uTadolini ayemnike wona, ngoba amakhono akhe okuphimisa nesiteji ayengahambisani nendima ayehlosiwe: "UTadolini unezwi elihle kakhulu, elicacile, elisobala, elinamandla, futhi II ngingathanda izwi lenkosikazi, eyisithulu, enokhahlo, edangele. U-Tadolini unokuthile okuyingelosi ezwini lakhe, futhi ngingathanda okuthile okudabukisayo ezwini lentokazi.

Lapho efunda ama-opera akhe, kuze kufike ku-Falstaff, u-Verdi wabamba iqhaza elibonakalayo, engenela emsebenzini womqhubi, enaka kakhulu abaculi, edabula ngokucophelela izingxenye kanye nabo. Ngakho-ke, umculi u-Barbieri-Nini, owadlala indima ka-Lady Macbeth ku-premiere ka-1847, wafakaza ukuthi umqambi wafunda i-duet naye izikhathi ezingu-150, efinyelela izindlela zokuzwakalisa izwi azidingayo. Wasebenza kanzima eneminyaka engu-74 nomculi odumile uFrancesco Tamagno, owadlala indima ka-Othello.

U-Verdi unake ngokukhethekile ukuchazwa kwesiteji kwe-opera. Izincwadi zakhe ziqukethe izitatimende eziningi ezibalulekile ngalezi zindaba. U-Verdi wabhala: “Wonke amandla esiteji anikeza umuzwa omangalisayo, hhayi nje ukusakazwa komculo wama-cavatina, ama-duets, amafayineli, njll. Mayelana nokukhiqizwa kwe-The Force of Destiny ngo-1869, wakhononda ngomgxeki, owabhala kuphela ohlangothini lwezwi lomculi: bathi ... ". Ephawula umculo wabaculi, umqambi wagcizelela: “I-opera—ngiqonde kahle—okungukuthi, idrama yomculo wesiteji, yanikezwa kancane kakhulu. Kuphambene nalokhu ekhipha umculo esiteji futhi uVerdi wabhikisha: ukubamba iqhaza ekufundeni nasekuhleleni imisebenzi yakhe, wayefuna iqiniso lemizwa nezenzo kokubili ekuculeni nasekunyakazeni kwesiteji. U-Verdi wagomela ngokuthi kuphela ngaphansi kwesimo sobunye obumangalisayo bazo zonke izindlela zokubonisa isiteji somculo lapho umdlalo we-opera ungaqedwa.

Ngakho-ke, kusukela ekukhethweni kwesakhiwo emsebenzini onzima no-librettist, lapho edala umculo, ngesikhathi sokubonakaliswa kwesiteji - kuzo zonke izigaba zokusebenza ku-opera, kusukela ekukhulelweni kuya esiteji, intando ye-master imperious ibonakala, eyahola ngokuzethemba isiNtaliyane. ubuciko bomdabu kuye ezindaweni eziphakeme. iqiniso.

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Izimiso zokusebenza zika-Verdi zakhiwa ngenxa yeminyaka eminingi yomsebenzi wokudala, umsebenzi omkhulu ongokoqobo, kanye nokufuna okuqhubekayo. Wayesazi kahle isimo seshashalazi yomculo yangaleso sikhathi eYurophu. Echitha isikhathi esiningi phesheya, uVerdi wajwayelana namaqembu amahle kakhulu eYurophu - ukusuka eSt. Petersburg kuya eParis, eVienna, eLondon, eMadrid. Wayewazi ama-opera abaqambi abakhulu besikhathi samanje. (Mhlawumbe u-Verdi wezwa ama-opera kaGlinka e-St. Petersburg. Emtatsheni wezincwadi womuntu siqu womqambi wase-Italy kwakukhona ingoma ethi “The Stone Guest” kaDargomyzhsky.). U-Verdi wabahlola ngezinga elifanayo lokugxeka asondela ngalo emsebenzini wakhe. Futhi ngokuvamile akazange afanise impumelelo yobuciko yamanye amasiko esizwe, kodwa wawacubungula ngendlela yakhe, enqoba ithonya lawo.

Yile ndlela ayephatha ngayo amasiko omculo kanye nesiteji seshashalazi yaseFrance: ayaziwa kakhulu kuye, uma kuphela ngenxa yokuthi imisebenzi yakhe emithathu ("Sicilian Vespers", "Don Carlos", uhlelo lwesibili lwe "Macbeth") yabhalwa. okwesiteji saseParis. Isimo sakhe sengqondo esifanayo ngoWagner, ama-opera akhe, ikakhulukazi enkathi ephakathi, ayewazi, futhi amanye ayewazisa kakhulu (uLohengrin, uValkyrie), kodwa uVerdi waphikisana noMeyerbeer noWagner ngobuciko. Akazange alulaze ukubaluleka kwabo ekuthuthukiseni isiko lomculo lesiFulentshi noma lesiJalimane, kodwa wenqaba ithuba lokulingiswa kobugqila. UVerdi wabhala: “Uma amaJalimane, asuka eBach, efinyelela kuWagner, khona-ke enza njengamaJalimane angempela. Kodwa thina, inzalo yasePalestrina, silingisa uWagner, senza ubugebengu bomculo, sidala ubuciko obungadingekile futhi obuyingozi. “Sizizwa ngendlela ehlukile,” engeza.

Umbuzo wethonya likaWagner ubulokhu ushubile ikakhulukazi e-Italy kusukela ngeminyaka yama-60s; abaqambi abaningi abasebasha bamlalela (Abathanda kakhulu uWagner e-Italy kwakungumfundi kaLiszt, umqambi. J. Sgambatti, umqhubi G. Martucci, A. Boito (ekuqaleni komsebenzi wakhe wokudala, ngaphambi kokuhlangana noVerdi) nabanye.). UVerdi waphawula kabuhlungu: “Sonke - abaqambi, abagxeki, umphakathi - senze konke okusemandleni ukulahla ubuzwe bethu bomculo. Lapha sisethekwini elithulile ... esinye isinyathelo, futhi sizokwenziwa amaJalimane kulokhu, njengakuyo yonke enye into. Kwaba nzima futhi kwaba buhlungu kuye ukuzwa ezindebeni zentsha nakwabanye ababemgxeka amazwi okuthi imidlalo yakhe yangaphambili isiphelelwe yisikhathi, ayihlangabezani nezidingo zesimanje, kanti lezi zamanje, ziqala ngo-Aida, zilandela ezinyathelweni zikaWagner. “Yeka udumo, ngemva kweminyaka engamashumi amane yomsebenzi wokudala, ukuthi ngigcine sengiwumuntu othanda ukufunda!” Kubabaza uVerdi ngokucasuka.

Kodwa akazange akwenqabe ukubaluleka kokunqoba kobuciko kukaWagner. Umqambi waseJalimane wamenza wacabanga ngezinto eziningi, futhi ngaphezu kwakho konke mayelana nendima ye-orchestra ku-opera, eyayibukelwa phansi abaqambi base-Italy bengxenye yokuqala yekhulu lesi-XNUMX (kuhlanganise noVerdi ngokwakhe ekuqaleni komsebenzi wakhe), cishe. ukwandisa ukubaluleka kokuzwana (nalezi zindlela ezibalulekile zokukhuluma zomculo ezinganakwa ngababhali be-opera yase-Italy) futhi, ekugcineni, mayelana nokuthuthukiswa kwezimiso zokuthuthukiswa kokuphela ukuze kunqobe ukuhlukaniswa kwezinhlobo zesakhiwo senombolo.

Kodwa-ke, kuyo yonke le mibuzo, okubaluleke kakhulu kumdlalo womculo we-opera wengxenye yesibili yekhulu leminyaka, uVerdi wathola. zabo izixazululo ngaphandle kukaWagner. Ngaphezu kwalokho, wabachaza ngisho nangaphambi kokuba ajwayelane nemisebenzi yomqambi ohlakaniphile waseJalimane. Isibonelo, ukusetshenziswa kwe-“timbre dramaturgy” endaweni yokuvela kwemimoya ku-“Macbeth” noma ekubonisweni kokuduma kwezulu okusabekayo kokuthi “Rigoletto”, ukusetshenziswa kweyunithi yezinhlamvu ezihlukanisayo kurejista ephezulu esingenisweni sokugcina. isenzo se-"La Traviata" noma i-trombones ku-Miserere ye-"Il Trovatore" - lezi zinesibindi, izindlela zomculo zomculo zitholakala kungakhathaliseki ukuthi u-Wagner. Futhi uma sikhuluma ngethonya lanoma ubani ku-orchestra ye-Verdi, kufanele sikhumbule uBerlioz, owamazisa kakhulu futhi ayenobungane naye kusukela ekuqaleni kwawo-60s.

U-Verdi wayezimele kanjalo ekufuneni kwakhe ukuhlanganiswa kwezimiso zengoma-ariose (bel canto) kanye ne-declamatory (parlante). Wakha eyakhe "indlela exubile" ekhethekile (i-stilo misto), eyasebenza njengesisekelo sakhe sokudala izinhlobo zamahhala ze-monologue noma izigcawu zezingxoxo. I-aria ka-Rigoletto ethi "Courtesans, fiend of vice" noma i-duel yokomoya phakathi kwe-Germont ne-Violetta nayo yabhalwa ngaphambi kokujwayelana nama-opera ka-Wagner. Yiqiniso, ukujwayelana nabo kwasiza u-Verdi ukuba athuthukise ngesibindi izimiso ezintsha ze-dramaturgy, ezithinta ikakhulukazi ulimi lwakhe lwe-harmonic, olwaba yinkimbinkimbi futhi luguquguquka. Kodwa kukhona umehluko omkhulu phakathi kwezimiso zokudala zikaWagner noVerdi. Babonakala ngokucacile esimweni sabo sengqondo endimeni yezwi ku-opera.

Ngakho konke ukunaka u-Verdi akukhokhela i-orchestra ezingomeni zakhe zokugcina, waqaphela ukuthi isici sezwi nesomculo sihamba phambili. Ngakho, mayelana nemidlalo yokuqala kaPuccini, uVerdi wabhala ngo-1892: “Kimina kubonakala sengathi isimiso somculo we-symphonic siyabusa lapha. Lokhu kukodwa akukubi, kodwa umuntu kufanele aqaphele: i-opera i-opera, kanti i-symphony iyi-symphony.

"Izwi nomculo," kusho uVerdi, "kimi kuyohlale kuyinto ebaluleke kakhulu." Wasivikela ngentshiseko lesi sikhundla, ekholelwa ukuthi izici ezijwayelekile zezwe zomculo wase-Italy zithola ukubonakala kuso. Kuphrojekthi yakhe yokuguqulwa kwemfundo yomphakathi, eyethulwa kuhulumeni ngo-1861, uVerdi wakhuthaza ukuhlelwa kwezikole zamahhala zokucula kusihlwa, ngakho konke ukuvuselela okungenzeka komculo wezwi ekhaya. Eminyakeni eyishumi kamuva, wanxusa abaqambi abasha ukuba bafunde izincwadi zamazwi zesiNtaliyane zakudala, kuhlanganise nezincwadi zasePalestrina. Ekwenziweni kwezinto ezingavamile zesiko lokucula labantu, u-Verdi wabona isihluthulelo sokuthuthukiswa okuphumelelayo kwamasiko kazwelonke obuciko bomculo. Kodwa-ke, okuqukethwe akutshalile emiqondweni yethi “melodi” kanye “nomculo omnandi” kwashintsha.

Eminyakeni yokuvuthwa kokudala, wabaphikisa kakhulu labo ababehumusha le miqondo bebheke eceleni. Ngo-1871, uVerdi wabhala: “Umuntu akanakuba umshayi womculo kuphela! Kukhona okungaphezu komculo, kunokuvumelana - empeleni - umculo ngokwawo! .. “. Noma encwadini evela ngo-1882: “Umculo, ukuvumelana, ukuphindaphinda, ukucula okuvusa amadlingozi, imiphumela ye-orchestra nemibala kuyizinto nje. Yenza umculo omnandi ngalawa mathuluzi!..” Ekushiseni kwengxabano, uVerdi waze waveza izahlulelo ezizwakala zimxaka emlonyeni wakhe: “Imiculo ayenziwa ngezikali, ama-trill noma ama-groupetto ... Kukhona, isibonelo, imiculo ebhodini. ikwaya (evela eBellini's Norma. MD), umthandazo kaMose (ophuma emdlalweni owuchungechunge wegama elifanayo kaRossini.— Joh. MD), njll., kodwa abekho kuma-cavatinas we-Barber yaseSeville, i-Thieving Magpie, i-Semiramis, njll - Kuyini? "Noma yini oyifunayo, hhayi nje izingoma" (evela encwadini ka-1875.)

Yini eyabangela ukuhlaselwa okubukhali okungaka ngokumelene nezingoma zikaRossini ngumlandeli ongaguquki kanjalo nomsakazi wenkulumo-ze oqinile wamasiko omculo kazwelonke wase-Italy, okwakunguVerdi? Eminye imisebenzi eyabekwa phambili ngokuqukethwe okusha kwama-opera akhe. Ekuculeni, wayefuna ukuzwa "inhlanganisela yakudala ngokuphindaphinda okusha", futhi ku-opera - ukuhlonza okujulile nokuningi kwezici ngazinye zezithombe ezithile nezimo ezimangalisayo. Yilokhu abekulwela, ebuyekeza ukwakheka kwezwi lomculo wase-Italy.

Kepha ekusondeleni kukaWagner noVerdi ezinkingeni zedramaturgy, ngaphezu kwalokho kazwelonke umehluko, okunye isitayela isiqondiso sobuciko. Eqala njengothando, u-Verdi wavela njengengcweti enkulu ye-opera engokoqobo, kuyilapho u-Wagner ehlala enothando, nakuba emisebenzini yakhe yezikhathi ezihlukahlukene zokudala izici zamaqiniso zabonakala ngezinga elikhulu noma elincane. Lokhu ekugcineni kunquma umehluko emibonweni eyabajabulisa, izingqikithi, izithombe, okuphoqe uVerdi ukuthi aphikisane nekaWagner ethi “idrama yomculo»ukuqonda kwakho»idrama yasesiteji yomculo".

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Akubona bonke abantu ababephila ngesikhathi esifanayo ababeqonda ubukhulu bezenzo zokudala zika-Verdi. Nokho, kungaba iphutha ukukholelwa ukuthi iningi labaculi base-Italy engxenyeni yesibili yekhulu le-1834 lalingaphansi kwethonya likaWagner. U-Verdi wayenabasekeli bakhe kanye nabalingani bakhe emzabalazweni wemibono ye-operatic kazwelonke. Owayephila ngesikhathi sakhe u-Saverio Mercadante naye waqhubeka nokusebenza, njengomlandeli we-Verdi, u-Amilcare Ponchielli (1886-1874, i-opera ehamba phambili ethi Gioconda - 1851; wayenguthisha kaPuccini) wazuza impumelelo enkulu. Umthala okhaliphile wabahlabeleli wathuthuka ngokwenza imisebenzi kaVerdi: Francesco Tamagno (1905-1856), Mattia Battistini (1928-1873), Enrico Caruso (1921-1867) nabanye. Umqhubi ovelele u-Arturo Toscanini (1957-90) wakhuliswa kule misebenzi. Ekugcineni, ngawo-1863, kwavela inqwaba yabaqambi base-Italy abasebasha, besebenzisa amasiko kaVerdi ngendlela yabo. Laba ngoPietro Mascagni (1945-1890, the opera Rural Honor – 1858), Ruggero Leoncavallo (1919-1892, the opera Pagliacci – 1858) kanye abanamakhono kakhulu kubo – Giacomo Puccini (1924-1893; impumelelo yokuqala ebalulekile I-opera "Manon", 1896; imisebenzi engcono kakhulu: "La Boheme" - 1900, "Tosca" - 1904, "Cio-Cio-San" - XNUMX). (Bajoyinwe ngu-Umberto Giordano, Alfredo Catalani, Francesco Cilea nabanye.)

Umsebenzi walaba baqambi ubonakala ngokukhangayo esihlokweni sesimanje, esibahlukanisa noVerdi, okwathi ngemva kukaLa Traviata akazange anikeze ukubonakaliswa okuqondile kwezihloko zesimanje.

Isisekelo sokuseshwa kobuciko kwabaculi abancane kwakuyinhlangano yemibhalo yama-80s, eholwa umlobi uGiovanni Varga futhi ebizwa ngokuthi "verismo" (i-verismo isho "iqiniso", "iqiniso", "ukwethembeka" ngesiNtaliyane). Emibhalweni yabo, ama-verists abonisa impilo yabalimi abacekelwe phansi (ikakhulukazi eningizimu ye-Italy) kanye nabampofu basemadolobheni, okungukuthi, abantu abampofu bezigaba zomphakathi, bechotshozwe inkambo yokuthuthuka konxiwankulu. Ekugxekweni okungenaluzwela kwezingxenye ezingezinhle zomphakathi wonxiwankulu, ukubaluleka okuqhubekayo komsebenzi wama-verists kwavezwa. Kepha ukuluthwa kwezinhlelo “ezinegazi,” ukudluliswa kwezikhathi ezivusa inkanuko, ukuvezwa kwezimfanelo zomzimba, nezilwane zomuntu kwaholela ekucabangeni kwemvelo, ekubonisweni okunciphayo kweqiniso.

Ngokwezinga elithile, lokhu kungqubuzana nakho kuyisici sabaqambi be-verist. U-Verdi akakwazanga ukuzwelana nokubonakaliswa kwemvelo kuma-opera abo. Emuva ngo-1876, wabhala: “Akukubi ukulingisa izinto ezingokoqobo, kodwa kungcono nakakhulu ukwenza into engokoqobo ... Ngokuyikopisha, ungenza isithombe kuphela, hhayi isithombe.” Kodwa u-Verdi akakwazanga ukusiza kodwa wamukele isifiso sababhali abasebasha sokuhlala bethembekile emithethweni yesikole se-opera sase-Italy. Okuqukethwe okusha abaphendukela kukho kwafuna ezinye izindlela zokukhuluma nezimiso zedramaturgy - okushukumisayo, okumangalisayo, okujabulile, okunamawala.

Kodwa-ke, emisebenzini engcono kakhulu yama-verists, ukuqhubeka nomculo we-Verdi kuzwakala ngokucacile. Lokhu kubonakala ikakhulukazi emsebenzini kaPuccini.

Ngakho-ke, esigabeni esisha, ezimweni zendikimba ehlukile nezinye iziza, izinhloso zobuntu, zentando yeningi zengcweti enkulu yase-Italy zakhanyisa izindlela zokuthuthukiswa okuqhubekayo kobuciko be-opera yaseRussia.

M. Druskin

Ukwakhiwa:

ama-opera - Oberto, Count of San Bonifacio (1833-37, owadlalwa ngo-1839, La Scala Theatre, Milan), King for an Hour (Un giorno di regno, kamuva wabizwa ngokuthi Imaginary Stanislaus, 1840, lapho labo), uNebuchadnezzar (Nabucco, 1841, eyadlalwa ngo-1842, ibid), iLombards in the First Crusade (1842, eyadlalwa ngo-1843, ibid; uhlelo lwesibili, ngaphansi kwesihloko esithi Jerusalem, 2, Grand Opera Theatre, Paris), Ernani (1847, theatre La Fenice, Venice), Two Foscari (1844, theatre Argentina, Rome), Jeanne d'Arc (1844, theatre La Scala, Milan), Alzira (1845, theatre San Carlo, Naples) , Attila (1845, La Fenice Theatre, Venice), Macbeth (1846, Pergola Theatre, Florence; uhlelo lwesibili, 1847, Lyric Theatre, Paris), Robbers (2, Haymarket Theatre, London), The Corsair (1865, Teatro Grande, Trieste), Battle of Legnano (1847, Teatro Argentina, Rome; ebuyekeziwe libretto, enesihloko esithi The Siege of Harlem, 1848), Louise Miller (1849, Teatro San Carlo, Naples), Stiffelio (1861, Grande Theatre, Trieste; Uhlelo lwesibili, ngaphansi kwesihloko Garol d, 1849, Tea tro Nuovo, Rimini), Rigoletto (1850, Teatro La Fenice, Venice), Troubadour (2, Teatro Apollo, Rome), Traviata (1857, Teatro La Fenice, Venice), Sicilian Vespers (French libretto by E. Scribe and Ch. IDuveyrier, ngo-1851, yadlalwa ngo-1853, eGrand Opera, eParis; Ushicilelo lwesibili olunesihloko esithi “Giovanna Guzman”, isiNtaliyane libretto ka-E. Caimi, 1853, Milan), Simone Boccanegra (libretto by FM Piave, 1854, Teatro La Fenice, Venice; Uhlelo lwesibili, libretto libuyekezwe ngu-A Boito, 1855, La Scala Theatre , Milan), Un ballo in maschera (2, Apollo Theatre, Rome), The Force of Destiny (libretto by Piave, 1856, Mariinsky Theatre, Petersburg, troupe Italian; edition 1857nd, libretto ibuyekezwe ngu-A. Ghislanzoni, 2, Teatro alla Scala, Milan), Don Carlos (French libretto by J. Mery and C. du Locle, 1881, Grand Opera, Paris; 1859nd edition, Italian libretto, revised A. Ghislanzoni, 1862, La Scala Theatre, Milan), Aida (2 , eyadlalwa ngo-1869, Opera Theatre, Cairo), Otello (1867, eyadlalwa ngo-2, La Scala Theatre, Milan), Falstaff (1884, eyadlalwa ngo-1870, ibid.), eyekwaya nopiyano - Umsindo, icilongo (amagama kaG. Mameli, 1848), i-Anthem of the Nations (cantata, amagama ka-A. Boito, adlalwa ngo-1862, eCovent Garden Theatre, eLondon), imisebenzi yomoya - I-Requiem (yabaculi abacula yedwa abangu-4, ikwaya ne-orchestra, eyadlalwa ngo-1874, eMilan), uPater Noster (umbhalo kaDante, wekwaya enamazwi angu-5, owadlalwa ngo-1880, eMilan), u-Ave Maria (umbhalo kaDante, we-soprano ne-orchestra yezintambo , eyadlalwa ngo-1880, eMilan), Izingoma Ezine Ezingcwele (I-Ave Maria, yekwaya enamazwi amane; i-Stabat Mater, yekwaya enamazwi ama-4 ne-orchestra; Le laudi alla Vergine Maria, yekwaya yabesifazane enamazwi amane; uTe Deum, wekhwaya kanye ne-orchestra;ngo-4-4, eyadlalwa ngo-1889, eParis); okwezwi nopiyano - 6 ezothando (1838), Exile (ballad for bass, 1839), Seduction (ballad for bass, 1839), Album - ezothando eziyisithupha (1845), Stornell (1869), nabanye; ama-ensembles wezinsimbi - i-quartet yezintambo (i-e-moll, eyenziwa ngo-1873, eNaples), njll.