Iano Tamar |

Iano Tamari

I-Medea yakhe ayikwazi ukubizwa ngokuthi ikhophi yokufundwa okuhle kuka-Maria Callas - izwi lika-Yano Tamar alifani nomsindo ongasoze walibaleka womanduleli wakhe oyinganekwane. Futhi nokho, izinwele zakhe ezimnyama ezimnyama namajwabu amehlo enziwe aminyene, cha, cha, yebo, futhi zisibhekisa esithombeni esakhiwe ngowesifazane ongumGreki ohlakaniphile eminyakeni eyikhulu edlule. Kukhona okufanayo emibhalweni yabo yokuphila. NjengoMaria, u-Yano wayenomama oqinile futhi onesifiso sokuvelela owayefuna indodakazi yakhe ibe umculi odumile. Kodwa ngokungafani noCallas, ongowokuzalwa eGeorgia akakaze ambambele amagqubu ngalezi zinhlelo zokuziqhenya. Ngokuphambene nalokho, u-Yano wazisola izikhathi ezingaphezu kwesisodwa ukuthi unina wafa ngaphambi kwesikhathi futhi akazange athole ukuqala komsebenzi wakhe ohlakaniphile. NjengoMaria, uYano kwadingeka afune ukuqashelwa phesheya, kuyilapho izwe lakubo licwile kwalasha wempi yombango. Kwabanye, ukuqhathanisa noCallas kwesinye isikhathi kungabonakala kukude futhi kuzwakale kungajabulisi, okuthile okufana nokukhangisa okushibhile. Kusukela ngo-Elena Souliotis, awukaze ube nonyaka lapho umphakathi ophakanyiswe ngokweqile noma ukugxekwa okunganaki kakhulu ungazange umemezele ukuzalwa komunye "uCallas" omusha. Yiqiniso, iningi lalezi “zindlalifa” alikwazanga ukuma liqhathaniswa negama elikhulu futhi lehla ngokushesha lisuka esiteji liye ekukhohlweni. Kodwa ukukhulunywa komculi ongumGreki eduze kwegama elithi Tamar kubonakala, okungenani namuhla, kufaneleka ngokuphelele - phakathi kwama-soprano amaningi amanje ahlobisa izigaba zemidlalo yaseshashalazini ehlukahlukene yomhlaba, ngeke uthole enye incazelo yezindima zayo. ejulile neyoqobo, egcwele umoya womculo owenziwayo .

U-Yano Alibegashvili (uTamar - isibongo somyeni wakhe) wazalelwa eGeorgia *, leyo minyaka eyayisemaphethelweni aseningizimu yombuso waseSoviet ongenamkhawulo. Wafunda umculo kusukela ebuntwaneni, futhi wathola imfundo yakhe yobungcweti eTbilisi Conservatory, waphothula upiyano, i-musicology kanye nezwi. Owesifazane osemusha waseGeorgia waya ukuthuthukisa amakhono akhe okucula e-Italy, e-Osimo Academy of Music, okuyinto ngokwayo akumangazi, ngoba emazweni angaphambili e-Eastern bloc kusenombono oqinile wokuthi othisha bangempela bezwi bahlala ezweni lakubo. ka bel canto. Ngokusobala, lokhu kugwetshwa akunasisekelo, kusukela ekuqaleni kwakhe eYurophu emkhosini waseRossini ePesaro ngo-1992 njengoba i-Semiramide yaphenduka yaba nomuzwa emhlabeni we-opera, okwathi ngemva kwalokho uTamar waba isivakashi esamukelekile ezindlini ezihamba phambili ze-opera eYurophu.

Yini eyamangaza izilaleli ezifunayo kanye nabagxeki abathintekayo ekusebenzeni komculi osemusha waseGeorgia? I-Europe sekuyisikhathi eside yazi ukuthi i-Georgia icebile ngamaphimbo amahle kakhulu, nakuba abaculi abavela kuleli zwe, kuze kube muva nje, abazange bavele esiteji saseYurophu kaningi. I-La Scala ikhumbula izwi elimangalisayo likaZurab Anjaparidze, uHerman ku-Queen of Spades wenza umbono ongenakucimeka kumaNtaliyane emuva ngo-1964. Kamuva, ukuchazwa kwangempela kweqembu le-Othello nguZurab Sotkilava kwabangela ukungqubuzana okukhulu phakathi kwabagxeki, kodwa akuzange kwenzeke. washiya noma ubani engenandaba. Ngama-80s, uMakvala Kasrashvili wenza ngempumelelo i-repertoire kaMozart e-Covent Garden, eyihlanganisa ngempumelelo nezindima zikaVerdi noPuccini kuma-opera, lapho wezwa khona ngokuphindaphindiwe e-Italy nasezigabeni zaseJalimane. I-Paata Burchuladze yigama elijwayeleke kakhulu namuhla, i-granite bass yayo eye yavusa ukuthakaselwa kwabathandi bomculo baseYurophu. Kodwa-ke, umthelela walaba baculi ezithamelini wavela ekuhlanganiseni okuphumelelayo kwesimo saseCaucasia nesikole samazwi saseSoviet, esifaneleka kakhulu izingxenye zasekupheleni kwe-Verdi nama-operas e-verist, kanye nezingxenye ezinzima ze-repertoire yaseRussia (okuyinto nakho kungokwemvelo, njengoba ngaphambi kokuwa kombuso wamaSoviet, amazwi egolide aseGeorgia ayefuna ukuqashelwa ngokuyinhloko eMoscow naseSt.

U-Yano Tamar uwucekele phansi lo mbono ngokudlala kwakhe kokuqala, ekhombisa isikole sangempela se-bel canto, esiwufanelekela kahle umdlalo we-opera wase-Bellini, Rossini kanye ne-Verdi yokuqala. Ngawo kanye unyaka olandelayo waqala ukubonakala e-La Scala, ecula kulesi siteji u-Alice e-Falstaff kanye no-Lina e-Verdi ethi Stiffelio futhi wahlangana nezihlakaniphi ezimbili zesikhathi sethu ku-conductor u-Riccardo Muti no-Gianandrea Gavazeni. Kwabe sekuba nochungechunge lwama-premieres e-Mozart - Elektra e-Idomeneo e-Geneva naseMadrid, i-Vitellia evela ku-Mercy of Titus eParis, eMunich naseBonn, uDonna Anna enkundleni yaseshashalazini yaseVenetian La Fenice, Fiordiligi ePalm Beach. Phakathi kwezingxenye zomculo wakhe waseRussia** kusasele u-Antonida ku-A Life for the Tsar ka-Glinka, eyenziwa ngo-1996 kuMkhosi weBregenz owawuqhutshwa u-Vladimir Fedoseev futhi waphinde wangenela “i-belkant” yendlela yakhe yokudala: njengoba wazi, Kuwo wonke umculo waseRussia, ama-opera kaGlinka asondelene kakhulu namasiko wezihlakaniphi "zokucula okuhle".

Ngo-1997 wamletha esiteji esidumile se-Vienna Opera njengoLina, lapho umlingani ka-Yano kwakunguPlacido Domingo, kanye nomhlangano neqhawekazi elidumile le-Verdi - u-Lady Macbeth omele igazi, uTamar akwazi ukuhlanganisa ngendlela yokuqala. UStefan Schmöhe, ngemva kokuzwa uTamar kule ngxenye eCologne, wabhala: “Izwi lensizwa yaseGeorgia uYano Tamar lincane kakhulu, kodwa libushelelezi ngendlela engenakuqhathaniswa futhi lilawulwa umculi kuwo wonke amarejista. Futhi yizwi elinjalo elifaneleka kakhulu esithombeni esidalwe ngumculi, obonisa iqhawekazi lakhe elinegazi hhayi njengomshini wokubulala ongenaluzwela futhi osebenza ngokuphelele, kodwa njengowesifazane othanda ukuvelela ofuna ngazo zonke izindlela ongazisebenzisa. ithuba elinikezwe ukudalelwa. Eminyakeni eyalandela, uchungechunge lwezithombe ze-Verdi lwaqhutshekwa noLeonora wase-Il trovatore emkhosini owaba yikhaya lakhe e-Puglia, e-Desdemona, owaculwa e-Basel, i-Marquise evela eNkosini engavamile ukuzwakala Ihora, aqala ngayo ukucula. isiteji seCovent Garden, u-Elisabeth waseValois e-Cologne futhi, kunjalo, u-Amelia e-Masquerade Ball e-Vienna (lapho umlingani wakhe u-Lado Ataneli, naye owayengu-Staatsoper oqalayo, wenza njengozakwethu ka-Yano endimeni kaRenato), mayelana noBirgit Popp. wabhala: “U-Jano Tamar ucula isiqephu sentaba egonyelwe njalo kusihlwa ngokusuka enhliziyweni, ngakho idili lakhe no-Neil Shicoff linikeza abathandi bomculo injabulo enkulu.

Ejulisa ubungcweti bakhe ku-opera yothando futhi enezela ohlwini lwabathakathi abadlalwa, ngo-1999 uTamar wacula ingoma kaHaydn ethi Armida eMkhosini weSchwetzingen, kwathi ngo-2001 eTel Aviv, okokuqala ngqa, waphendukela esicongweni se-bel canto opera, iNorma kaBellini. . “UNorm usewumdwebo nje,” kusho lo mculi. “Kodwa ngiyajabula ngokuthi ngithole ithuba lokuthinta lo msebenzi wobungcweti.” U-Yano Tamar uzama ukwenqaba iziphakamiso ezingahambelani nekhono lakhe lokukhuluma, futhi kuze kube manje uye wavumela ukuncenga okuphikelelayo kwe-impresario, edlala i-verist opera. Ngo-1996, wacula indima yesihloko ku-Iris kaMascagni e-Rome Opera ngaphansi kwenduku ka-maestro G. Gelmetti, kodwa uyazama ukungaphindi isipiliyoni esinjalo, esikhuluma ngokuvuthwa kochwepheshe kanye nekhono lokukhetha ingoma ezwakalayo. I-discography yomculi osemusha ayikabi yinhle, kodwa useqophe izingxenye zakhe ezinhle kakhulu - i-Semiramide, i-Lady Macbeth, i-Leonora, i-Medea. Uhlu olufanayo luhlanganisa ingxenye ye-Ottavia ku-opera engavamile ka-G. Pacini ethi Usuku Lokugcina LwasePompeii.

Ukudlala esiteji seDeutsche Oper eBerlin ngo-2002 akusona isikhathi sokuqala u-Yano Tamar ehlangana nendima yesihloko emdlalweni womculo we-action we-action amathathu ka-Luigi Cherubini. Ngo-1995, usevele wacula i-Medea - enye yezingxenye ezichitha igazi kakhulu mayelana nokuqukethwe okumangalisayo kanye yinkimbinkimbi yezwi lezingxenye ze-opera repertoire yomhlaba - emkhosini we-Martina Francia e-Puglia. Nokho, ngokokuqala ngqá wabonakala esiteji enguqulweni yokuqala yesiFulentshi yale opera enezingxoxo zokuxoxisana, umculi ayibheka njengeyinkimbinkimbi kakhulu kunenguqulo eyaziwa kakhulu yesiNtaliyane enezibuyekezo ezihambisana nayo kamuva ezingezwe umbhali.

Ngemuva komdlalo wakhe wokuqala omuhle ngo-1992, phakathi neminyaka eyishumi yomsebenzi wakhe, uTamar ukhule waba i-prima donna yangempela. U-Yano angeke athande ukuqhathaniswa njalo - ngumphakathi noma izintatheli - nozakwabo abadumile. Ngaphezu kwalokho, umculi unesibindi nesibindi sokuhumusha izingxenye ezikhethiwe ngendlela yakhe, abe nesitayela sakhe sokuqala, sokuqala. Lezi zifiso zibuye zivumelane kahle nokuchazwa kwabesifazane kwengxenye yeMedea, ayihlongoze esiteji seDeutsche Oper. UTamari ubonisa isangoma esinomona futhi, ngokuvamile, umbulali ononya wabantwana bakhe siqu, hhayi njengesilwane, kodwa njengowesifazane ocasulwe ngokujulile, ophelelwe yithemba futhi oqhoshayo. U-Yano uthi, “Ukungajabuli kwakhe kuphela nokuba sengozini okuvusa kuye isifiso sokuziphindiselela.” Umbono onjalo wobubele wombulali wezingane, ngokusho kukaTamari, ufakwe ku-freetto yesimanje ngokuphelele. U-Tamar ukhomba ukulingana kwendoda nowesifazane, umqondo oqukethwe emdlalweni we-Euripides, futhi ohola i-heroine, eyingxenye yendabuko, yama-archaic, ngamazwi ka-Karl Popper, "ovaliwe" umphakathi, esimweni esinjalo esingenathemba. Ukuhumusha okunjalo kuthola umsindo okhethekile ngokunembile kulokhu kukhiqizwa kukaKarl-Ernst no-Urzel Herrmann, lapho abaqondisi bezama ukugqamisa ezingxoxweni zezingxoxo izikhathi ezimfushane zokusondelana ezazikhona esikhathini esidlule phakathi kweMedea noJason: futhi nakuzo iMedea ibonakala njenge owesifazane ongazi muntu owesabayo.

Abagxeki bancome umsebenzi wokugcina womculi eBerlin. U-Eleonore Büning we-Frankfurter Allgemeine uyaphawula: “I-Soprano Jano Tamar inqoba yonke imigoqo yezwe ngokucula okuthinta inhliziyo nokucula okumnandi ngempela, okusenza sikhumbule ubuciko be-Callas enkulu. Akagcini nje ngokunikeza iMedea yakhe ngezwi eliqinile nelimangalisayo, kodwa futhi unikeza indima imibala ehlukene - ubuhle, ukuphelelwa ithemba, ukudangala, ukufutheka - konke okwenza umthakathi abe ngumuntu odabukisayo ngempela. U-Klaus Geitel ubize ukufundwa kwengxenye yeMedea ngokwesimanje kakhulu. “Nkk. UTamari, ngisho nasephathini enjalo, ugxila ebuhleni nasekuzwaneni. IMedea yakhe ingeyabantu besifazane, ayihlanganise lutho nombulali wezingane omubi ovela enganekwaneni yasendulo yamaGreki. Uzama ukwenza izenzo zeqhawekazi lakhe ziqondakale kumbukeli. Uthola imibala yokucindezeleka nokuzisola, hhayi nje ukuziphindiselela. Ucula ngesisa, ngemfudumalo nomuzwa omkhulu.” Ngokulandelayo, uPeter Wolf uyabhala: “UTamari uyakwazi ukudlulisela ngobuqili ukuhlushwa kweMedeya, isangoma nomfazi owaliweyo, ezama ukuvimbela imizwa yakhe yokuziphindiselela endodeni ayenza yaba namandla ngomlingo wayo ngokukhohlisa uyise nokubulala umfowabo; esiza uJason ukuthi afeze abekufuna. I-anti-heroine enyanyeka ukwedlula u-Lady Macbeth? Yebo, futhi cha ngesikhathi esifanayo. Egqoke kakhulu ezibomvu, engathi ugezwe ngamanzi anegazi, uTamari upha umlaleli ukucula okubusayo, akuthathele wena, ngoba muhle. Izwi, ngisho kuwo wonke amarejista, lifinyelela ukushuba okukhulu endaweni yokubulawa kwabafana abancane, futhi nalapho livusa uzwelo oluthile ezilalelini. Ngamafuphi nje, kukhona inkanyezi yangempela esiteji, enakho konke ukwakheka okuba uLeonora okahle kuFidelio esikhathini esizayo, futhi mhlawumbe iqhawekazi le-Wagnerian. Ngokuqondene nabathandi bomculo waseBerlin, babheke ngabomvu ukubuya komculi waseGeorgia ngo-2003 esiteji seDeutsche Oper, lapho ezophinde avele phambi komphakathi ku-opera yaseCherubini.

Ukuhlanganiswa kwesithombe nobuntu bomculi, okungenani kuze kube umzuzu wokubulawa kwezingane, kubukeka kuzwakala ngendlela engavamile. Ngokuvamile, u-Yano uzizwa engakhululekile uma ebizwa ngokuthi i-prima donna. “Namuhla, ngeshwa, awekho ama-prima donnas angempela,” kuphetha yena. Uya ngokuya ebanjwa umuzwa wokuthi uthando lwangempela lobuciko luya kulahleka kancane kancane. “Ngaphandle kwezimbalwa, njengoCecilia Bartoli, akekho omunye ocula ngenhliziyo nangomphefumulo,” kusho lo mculi. U-Yano uthola ukucula kuka-Bartoli kukuhle ngempela, mhlawumbe okuyisibonelo kuphela esifanele ukulingiswa.

UMedea, uNorma, uDonna Anna, uSemiramide, uLady Macbeth, u-Elvira (“Ernani”), u-Amelia (“Un ballo in maschera”) - empeleni, umculi usecule izingxenye eziningi ezinkulu ze-soprano repertoire eqinile, abekwazi kuphela iphupho lapho eshiya ikhaya lakhe eyoqhubeka nezifundo zabo e-Italy. Namuhla, uTamari uzama ukuthola izinhlangothi ezintsha ezingxenyeni ezijwayelekile ngomkhiqizo omusha ngamunye. Le ndlela imenza ahlotshaniswe noCallas omkhulu, okwathi, ngokwesibonelo, nguyena kuphela owenza indima enzima kakhulu kaNorma cishe izikhathi ezingamashumi amane, ehlala eletha ama-nuances amasha esithombeni esidaliwe. U-Yano ukholelwa ukuthi wayenenhlanhla endleleni yakhe yokudala, ngoba njalo ngezikhathi zokungabaza nokusesha okubuhlungu kokudala, wayehlangana nabantu abadingekayo, njengoSergio Segalini (umqondisi wezobuciko we-Martina Francia festival - ed.), owaphathisa umculi osemusha. ukwenza ingxenye eyinkimbinkimbi kakhulu yeMedea emkhosini ePuglia futhi akazange enze iphutha kuwo; noma u-Alberto Zedda, owakhetha i-Semiramide kaRossini ekuqaleni kwakhe e-Italy; futhi, yiqiniso, uRiccardo Muti, u-Yano abe nenhlanhla yokusebenza naye eLa Scala ohlangothini luka-Alice futhi owameluleka ukuthi angajahi ukukhulisa i-repertoire, ethi isikhathi singumsizi ongcono kakhulu wokukhula kochwepheshe bomculi. U-Yano walalela lesi seluleko ngokuzwela, wasibheka njengelungelo elikhulu lokuhlanganisa umsebenzi kanye nempilo yomuntu siqu. Ngokwakhe, wanquma kube kanye: kungakhathaliseki ukuthi uthando lwakhe lomculo lukhulu kangakanani, umndeni wakhe uza kuqala, bese kuba umsebenzi wakhe.

Ekulungiseleleni lesi sihloko, kwasetshenziswa izinto ezivela emshinini wokunyathelisa waseJalimane.

A. Matusevich, operanews.ru

Ulwazi oluvela ku-Big Opera Dictionary of Kutsch-Riemens Singers:

* U-Yano Tamar wazalwa ngo-Okthoba 15, 1963 eKazbegi. Waqala ukudlala esiteji ngo-1989 e-Opera House yenhloko-dolobha yaseGeorgia.

** Lapho ecula yedwa we-Tbilisi Opera House, uTamar wenza izingxenye eziningi ze-repertoire yaseRussia (Zemfira, Natasha Rostova).