Jules Massenet |

Jules Massenet

I-Massenet. I-Elegy (F. Chaliapin / 1931)

Akakaze uM. Massenet abonise kanye naku-"Werther" izimfanelo ezikhangayo zethalente ezamenza waba isazi-mlando somculo womphefumulo wesifazane. C. Debussy

Oh kanjani ukucanuzela kwenhliziyo Massenet!!! Futhi okucasula kakhulu kukho konke ukuthi kulokhu isicanucanu Ngizwa okuthile okuhlobene nami. P. Tchaikovsky

U-Debussy wangimangaza ngokuvikela lesi sithako (Manon kaMassenet). I. Stravinsky

Wonke umculi wase-French une-Massenet encane enhliziyweni yakhe, njengoba wonke ama-Italian ane-Verdi ne-Puccini kancane. F. Poulenc

Imibono ehlukene yabantu besikhathi samanje! Aziqukethe kuphela umzabalazo wokuthandwa kanye nezifiso, kodwa futhi nokungaqondakali komsebenzi ka-J. Massenet. Inzuzo eyinhloko yomculo wakhe isemiculweni, leyo, ngokusho komqambi u-A. Bruno, "uyoyibona phakathi kwezinkulungwane". Imvamisa axhumene eduze negama, yingakho ukuguquguquka kwawo okungavamile nokuzwakalayo. Umugqa phakathi komculo nokuphindaphinda cishe awubonakali, ngakho-ke izigcawu ze-opera zikaMassenet azihlukaniswa zibe izinombolo ezivaliwe neziqephu “zesevisi” ezizixhumayo, njengoba kwakunjalo ngabanduleli bakhe - Ch. Gounod, A. Thomas, F. Halevi. Izidingo zesenzo esihlukanisayo, ubuqiniso bomculo kwakuyizidingo zangempela zenkathi. I-Massenet iwahlanganise ngendlela yesiFulentshi kakhulu, ngezindlela eziningi evuselela amasiko asukela ku-JB Lully. Kodwa-ke, ukuphindaphinda kukaMassenet akusekelwe ekuphindaphindweni okunesizotha, okuzikhukhumezayo kwabalingisi abadabukisayo, kodwa enkulumweni yansuku zonke engenabuciko yomuntu olula. Lawa amandla amakhulu kanye nokuqala kwamazwi kaMassenet, lesi futhi isizathu sokwehluleka kwakhe lapho ephendukela enhlekeleleni yohlobo lwakudala (“The Sid” ngokusho kukaP. Corneille). Umculi womculo owazalwa, umculi wokunyakaza okuseduze komphefumulo, okwazi ukunikeza izinkondlo ezikhethekile ezithombeni zabesifazane, uvame ukuthatha iziqephu ezibuhlungu neziwubukhazikhazi ze-opera "enkulu". Ithiyetha ye-Opera Comique akwanele kuye, kufanele futhi abuse ku-Grand Opera, lapho enza khona cishe imizamo ye-Meyerbeerian. Ngakho-ke, ekhonsathini yomculo wabaqambi abahlukahlukene, uMassenet, ngasese kozakwabo, wengeza ibhendi enkulu yethusi kumaphuzu akhe futhi, evala izindlebe izethameli, uphenduke iqhawe losuku. I-Massenet ilindele ezinye zezimpumelelo zika-C. Debussy kanye no-M. Ravel (isitayela sokuphindaphinda ku-opera, amaphuzu avelele echord, ukwenziwa kwesitayela komculo wakuqala waseFrance), kodwa, ukusebenza ngokufana nawo, kusengaphakathi kobuhle bekhulu lesi-XNUMX.

Umsebenzi womculo kaMassenet waqala ngokungeniswa kwakhe ku-conservatory eneminyaka eyishumi. Ngokushesha umndeni uthuthela e-Chambéry, kodwa uJules akakwazi ukwenza ngaphandle kweParis futhi ubalekela ekhaya kabili. Umzamo wesibili kuphela owaba yimpumelelo, kodwa umfana oneminyaka eyishumi nane wayazi yonke impilo engazinzile ye-bohemia yobuciko echazwe kuZigcawu ... ngu-A. Murger (ayemazi mathupha, kanye nezibonelo zikaSchoenard noMusetta). Ngemva kokunqoba iminyaka yobumpofu, ngenxa yokusebenza kanzima, uMassenet uzuza uMklomelo Omkhulu WaseRoma, owamnika ilungelo lohambo lweminyaka emine oluya e-Italy. Esuka phesheya, ubuya ngo-1866 ephethe ama-franc amabili ephaketheni lakhe kanye nomfundi wepiyano, owabe eseba umkakhe. Umlando oqhubekayo we-Massenet uchungechunge oluqhubekayo lwempumelelo ehlala ikhula. Ngo-1867, kwadlalwa i-opera yakhe yokuqala, ethi, U-Anti Omkhulu, ngemva konyaka wathola umshicileli waphakade, futhi amasudi akhe e-orchestra aba yimpumelelo. Futhi-ke uMassenet wadala imisebenzi eyengeziwe evuthiwe nebalulekile: ama-opera uDon Cesar de Bazan (1872), Inkosi YaseLahore (1877), i-oratorio-opera uMary Magdalene (1873), umculo we-Erinyes ka-C. Leconte de Lily (1873) ngomculo odumile othi “Elegy”, ingoma yawo eyavela kudala ngo-1866 njengenye Yezingcezu Eziyishumi Zepiyano – umsebenzi wokuqala kaMassenet oshicilelwe. Ngo-1878, uMassenet waba uprofesa eParis Conservatory futhi wakhethwa njengelungu le-Institute of France. Uphakathi kokunakwa ngumphakathi, ujabulela uthando lomphakathi, waziwa ngokuba nenhlonipho engapheli kanye nobuhlakani bakhe. Umvuthwandaba womsebenzi kaMassenet ama-opera athi Manon (1883) noWerther (1886), futhi kuze kube namuhla azwakala ezitejini eziningi zeshashalazi emhlabeni wonke. Kuze kube sekupheleni kokuphila kwakhe, umqambi akazange anciphise umsebenzi wakhe wokudala: ngaphandle kokuphumula yena noma izilaleli zakhe, wabhala i-opera ngemva kwe-opera. Ikhono liyakhula, kodwa izikhathi ziyashintsha, futhi isitayela sakhe sihlala singashintshile. Isipho sokudala sincipha ngokuphawulekayo, ikakhulukazi kule minyaka eyishumi edlule, nakuba uMassenet esajabulela inhlonipho, udumo kanye nazo zonke izibusiso zomhlaba. Phakathi nale minyaka, i-operas Thais (1894) ene-Meditation edumile, i-Juggler of Our Lady (1902) ne-Don Quixote (1910, ngemva kuka-J. Lorrain), eyakhiwe ikakhulukazi u-F. Chaliapin, yabhalwa.

UMassenet akajulile, uthathwa njengesitha sakhe njalo nembangi yakhe u-K. Saint-Saens, "kodwa akunandaba." “… Ubuciko budinga amaciko azo zonke izinhlobo… Wayekhangayo, enekhono lokukhanga futhi enovalo, nakuba enomoya ongajulile… Ngokombono, angiluthandi lolu hlobo lomculo … Kodwa ungamelana kanjani lapho uzwa uManon ezinyaweni de Grieux ku-sacristy yaseSaint-Sulpice? Ungabanjwa kanjani ekujuleni komphefumulo ngalezi zinyembezi zothando? Indlela yokucabanga nokuhlaziya uma uthintwa?

Ihembe le-E

Indodana yomnikazi wemayini yensimbi, uMassenet ithola izifundo zayo zokuqala zomculo kunina; eParis Conservatoire wafunda noSavard, uLauren, uBazin, uReber noThomas. Ngo-1863 wanikezwa uMklomelo WaseRoma. Njengoba ezinikele ezinhlotsheni ezahlukene, ubuye asebenze ngokuzimisela emkhakheni weshashalazi. Ngo-1878, ngemva kokuphumelela kwe-The King of Lahore, waqokwa njengoprofesa wokuqamba e-Conservatory, isikhundla asibamba kwaze kwaba ngu-1896, lapho, esezuze udumo emhlabeni wonke, washiya zonke izikhundla, kuhlanganise nomqondisi we-Institut de France.

“UMassenet wazibona ngokugcwele, futhi lowo, owayefuna ukumhlaba, wakhuluma ngasese ngaye njengomfundi wombhali wezingoma osemfashinini uPaul Delmay, waqala ihlaya elibi. UMassenet, kunalokho, walingisa kakhulu, kuyiqiniso… ama-performances… Ngiyavuma, angiqondi ukuthi kungani kungcono ukuthanda izalukazi, abathandi baka-Wagner nabesifazane bendawo yonke, kunezintokazi ezinamakha ezingalidlali kahle kakhulu upiyano. Lokhu kugomela kukaDebussy, ngaphandle nje kwalokho, kuyinkomba enhle yomsebenzi kaMassenet kanye nokubaluleka kwawo esikweni lesiFulentshi.

Lapho uManon edalwa, abanye abaqambi base bevele bechazile umlingiswa we-opera yesiFulentshi phakathi nekhulu leminyaka. Cabanga nge-Gounod's Faust (1859), i-Les Troyens kaBerlioz engaqediwe (1863), kaMeyerbeer ethi The African Woman (1865), Thomas' Mignon (1866), Bizet's Carmen (1875), Saint-Saens' Samson and Delilah (1877), "The Tales". kaHoffmann” ngu-Offenbach (1881), “Lakme” kaDelibes (1883). Ngaphezu kokukhiqizwa kwe-opera, imisebenzi ebaluleke kakhulu kaCésar Franck, eyabhalwa phakathi kuka-1880 no-1886, eyadlala indima ebalulekile ekudaleni umoya ongaqondakali emculweni wokuphela kwekhulu leminyaka. Ngesikhathi esifanayo, uLalo wafunda ngokucophelela inganekwane, futhi uDebussy, owanikezwa uMklomelo WaseRoma ngo-1884, wayeseseduze nokwakhiwa kokugcina kwesitayela sakhe.

Ngokuqondene nezinye izinhlobo zobuciko, i-impressionism emdwebeni isivele yadlula ukusetshenziswa kwayo, futhi abadwebi baphendukela kukho kokubili okungokwemvelo kanye ne-neoclassical, ukuvezwa okusha nokumangalisayo kwamafomu, njenge-Cezanne. U-Degas no-Renoir bathuthela ngokucacile emfanekisweni wemvelo womzimba womuntu, kuyilapho u-Seurat ngo-1883 ebonisa umdwebo wakhe othi "Ukugeza", lapho ukunyakaza kwezibalo kwaphawula ukuphendukela esakhiweni esisha sepulasitiki, mhlawumbe esingokomfanekiso, kodwa sisabonakala futhi sicacile. . I-Symbolism yayisanda kuqala ukubonakala emisebenzini yokuqala kaGauguin. Isiqondiso semvelo (esinezici ezingokomfanekiso kusizinda senhlalo), kunalokho, sicacile kakhulu ngalesi sikhathi ezincwadini, ikakhulukazi kumanoveli kaZola (ngo-1880 uNana wavela, inoveli evela empilweni ye-coutesan). Emhlabeni womlobi, kwakhiwa iqembu eliphendukela esithombeni seqiniso elingathandeki noma okungenani elingajwayelekile lezincwadi: phakathi kuka-1880 no-1881, uMaupassant ukhetha indawo yokudayisa njengezinga lezindaba zakhe eqoqweni elithi "The House of Tellier".

Yonke le mibono, izinhloso kanye nokuthambekela kungatholakala kalula eManon, ngenxa yokuthi umqambi enze umnikelo wakhe kubuciko be-opera. Lesi siqalo esinesiyaluyalu salandelwa isevisi ende ye-opera, lapho kwatholakala khona izinto ezingafaneleki ngaso sonke isikhathi ukuze kwembule izimfanelo zomqambi kanye nobunye bomqondo wokudala abugcinwanga ngaso sonke isikhathi. Ngenxa yalokho, izinhlobo ezihlukahlukene zokuphikisana zibhekwa ezingeni lesitayela. Ngesikhathi esifanayo, ukusuka ku-verismo kuya ekuwohlokeni, kusuka enganekwaneni kuya endabeni yomlando noma engavamile esebenzisa izingxenye ezihlukahlukene zezwi ne-orchestra, uMassenet akazange azidumaze izethameli zakhe, uma kuphela ngenxa yomsindo oklanywe kahle kakhulu. Kunoma yimaphi ama-opera akhe, noma ngabe awaphumelelanga ngokuphelele, kunekhasi elikhumbulekayo eliphila impilo yokuzimela ngaphandle komongo ojwayelekile. Zonke lezi zimo zaqinisekisa impumelelo enkulu kaMassenet emakethe ye-discographic. Ekugcineni, izibonelo zakhe ezingcono kakhulu yilezo lapho umqambi eyiqiniso kuye ngokwakhe: izingoma zomculo kanye nentshiseko, isisa futhi ivusa inkanuko, edlulisela ukwesaba kwakhe ezingxenyeni zabalingiswa abayinhloko abahambisana naye kakhulu, abathandi, abanezici zabo ezingezona ezingavamile ekuthuthukisweni. yezixazululo ze-symphonic, ezizuzwe kalula futhi ngaphandle kwemikhawulo yabafana besikole.

G. Marchesi (ihunyushwe ngu-E. Greceanii)

Umbhali wama-opera angamashumi amabili nanhlanu, ama-ballet amathathu, ama-suites e-orchestra athandwayo (Neapolitan, Alsatian, Scenes Picturesque) kanye neminye imisebenzi eminingi kuzo zonke izinhlobo zobuciko bomculo, uMassenet ungomunye walabo baqambi okuphila kwabo kwakungazi izilingo ezinzima. Ikhono elihle kakhulu, izinga eliphezulu lekhono lobuchwepheshe kanye nobuciko bobuciko obucashile kwamsiza ukuba athole ukuqashelwa emphakathini ekuqaleni kwawo-70s.

Washeshe wathola okwakufanele ubuntu bakhe; esekhethe indikimba yakhe, wayengesabi ukuziphinda; Wabhala kalula, ngaphandle kokungabaza, futhi ngenxa yempumelelo wayeselungele ukwenza isivumelwano sokudala nokuthandwa okwakukhona komphakathi wonxiwankulu.

UJules Massenet wazalwa ngoMeyi 12, 1842, esemncane wangena eParis Conservatoire, athweswa kuyo iziqu ngo-1863. Ngemva kokuhlala njengomnqobi wayo iminyaka emithathu e-Italy, wabuyela eParis ngo-1866. Ukufuna okuphikelelayo kwezindlela zokudumisa kuyaqala. UMassenet ubhala kokubili ama-opera nama-suites e-orchestra. Kodwa ubuntu bakhe bubonakala ngokucacile emidlalweni yezwi ("Inkondlo Yomfundisi", "Inkondlo Yobusika", "Inkondlo ka-April", "Inkondlo ka-Okthoba", "Inkondlo Yothando", "Inkondlo Yezinkumbulo"). Le midlalo yabhalwa ngaphansi kwethonya likaSchumann; bachaza isici senqolobane yesitayela sezwi likaMassenet.

Ngo-1873, ekugcineni wathola ukuqashelwa - okokuqala ngomculo wenhlekelele ka-Aeschylus "Erinnia" (ehunyushwa ngokukhululekile nguLeconte de Lisle), bese - "idrama engcwele" "uMary Magdalene", eyenziwa ekhonsathini. Ngamazwi asuka enhliziyweni, u-Bizet uhalalisele uMassenet ngempumelelo yakhe: “Isikole sethu esisha asikaze sidale into efana nalena. Ungifake kumkhuhlane, sigelekeqe! O, wena, umculi ophakeme ... Dam it, ungihlupha ngokuthile! ..». “Kufanele simnake lo muntu,” uBizet ebhalela omunye wabangane bakhe. “Bheka, uzosixhuma ebhandeni.

U-Bizet wabona kusengaphambili ikusasa: ngokushesha yena ngokwakhe waphetha impilo emfushane, futhi uMassenet emashumini eminyaka azayo wathatha isikhundla esiphambili phakathi kwabaculi baseFrance besimanje. Iminyaka yama-70s kanye nama-80s kwakuyiminyaka ehlakaniphe kakhulu futhi enezithelo emsebenzini wakhe.

"UMariya Magdalene", ovula lesi sikhathi, usondelene kakhulu nomlingisi ku-opera kune-oratorio, kanti i-heroine, isoni esiphendukayo esasikholelwa kuKristu, esabonakala emculweni womqambi njengeParis yanamuhla, yayipendwe ngemibala efanayo. njengenkosi uManoni. Kulo msebenzi, umbuthano kaMassenet oyintandokazi wezithombe nezindlela zokukhuluma unqunyiwe.

Kuqala ngendodana kaDumas futhi kamuva iGoncourts, igalari yezinhlobo zabesifazane, enomusa futhi ethukile, ethatheka kalula futhi entekenteke, ezwelayo futhi ethatha amawala, yazisungula ezincwadini zesiFulentshi. Imvamisa lezi izoni eziphendukayo eziyengayo, “amakhosikazi asemhlabeni wonke”, aphupha ngokunethezeka kwendlu yomndeni, yenjabulo engathandeki, kodwa ephukile ekulweni neqiniso lonxiwankulu abangabazenzisi, abaphoqeleka ukuba balahle amaphupho, kothandekayo, kusukela. impilo… (Lokhu okuqukethwe amanoveli nemidlalo yendodana kaDumas: The Lady of the Camellias (inoveli - 1848, imidlalo yeshashalazi - 1852), Diana de Liz (1853), The Lady of the Half World (1855); bheka futhi incwadi amanoveli abazalwane baseGoncourt "Rene Mauprin" (1864), uDaudet "Sappho" (1884) nabanye.) Kodwa-ke, kungakhathaliseki ukuthi yiziphi iziza, izinkathi kanye namazwe (angempela noma eqanjiwe), uMassenet wabonisa owesifazane wombuthano wakhe wonxiwankulu, wabonisa izwe lakhe elingaphakathi ngozwela.

Abantu besikhathi sakhe babiza uMassenet ngokuthi “imbongi yomphefumulo wesifazane.”

Elandela uGounod, owayenethonya elinamandla kuye, uMassenet angakwazi, ngokuthethelelwa okukhulu nakakhulu, abekwe phakathi “kwesikole sokuzwela kwemizwa.” Kodwa ngokungafani noGounod ofanayo, owasebenzisa emisebenzini yakhe engcono kakhulu imibala ecebile nehlukahlukene eyakha ingemuva eliphokophelwe lempilo (ikakhulukazi e-Faust), i-Massenet icwengekile, ibukeka kahle, inengqondo kakhulu. Useduze nomfanekiso wokuthamba kwabesifazane, umusa, umusa wenyama. Ngokuvumelana nalokhu, i-Massenet yakha isitayela somuntu ngamunye, isimemezelo emnyombweni wayo, idlulisa ngobuqili okuqukethwe kombhalo, kodwa "ukuqhuma" kwemizwa okumnandi kakhulu, nokuvela ngokungalindelekile kwemizwa kuhlukaniswa nemisho yokuphefumula okubanzi:

Ingxenye ye-orchestra nayo ihlukaniswa ngobuqili bokuphela. Imvamisa kulapho kukhula khona umgomo we-melodic, onomthelela ekuhlanganisweni kwengxenye yezwi ephakathi, ethambile futhi entekenteke:

Indlela efanayo maduze izoba ejwayelekile kuma-opera ama-verists ase-Italy (Leoncavallo, Puccini); ukuqhuma kwemizwa yabo kuphela okunolaka futhi kunothando. EFrance, lokhu kuhunyushwa kwengxenye yezwi kwamukelwa abaqambi abaningi basekupheleni kwekhulu lesi-XNUMX nasekuqaleni kwekhulu le-XNUMX.

Kodwa emuva kuma-70s.

Ukuqashelwa okuwine ngokungalindelekile kukhuthaze i-Massenet. Imisebenzi yakhe ivame ukwenziwa kumakhonsathi (Izigcawu Eziyizithombe, i-Phaedra Overture, iThird Orchestral Suite, i-Sacred Drama Eve nezinye), kanti iGrand Opera ifaka i-opera ethi King Lagorsky (1877, evela empilweni yamaNdiya; izingxabano zenkolo zisebenza njengesizinda. ). Iphinde ibe yimpumelelo enkulu: UMassenet wathweswa umqhele wobungcweti bezemfundo - lapho eneminyaka engamashumi amathathu nesithupha waba yilungu le-Institute of France futhi maduzane wamenywa njengoprofesa endaweni yokugcina izingane.

Kodwa-ke, ku-"King of Lagorsk", futhi kamuva eyabhalwa ngokuthi "Esclarmonde" (1889), kusekuningi okuvela ohlelweni lwe-"grand opera" - lolu hlobo lwendabuko lwemidlalo yaseshashalazini yomculo yaseFrance osekuyisikhathi eside iqeda amathuba ayo obuciko. UMassenet wazithola ngokugcwele emisebenzini yakhe engcono kakhulu - "Manon" (1881-1884) kanye no "Werther" (1886, eyaboniswa eVienna ngo-1892).

Ngakho, lapho eneminyaka engamashumi amane nanhlanu, uMassenet wazuza udumo ayelufuna. Kodwa, eqhubeka nokusebenza ngamandla afanayo, eminyakeni engamashumi amabili nanhlanu eyalandela yokuphila kwakhe, akagcinanga nje ngokunweba umbono wakhe wobuciko nobuciko, kodwa wasebenzisa imiphumela yaseshashalazini kanye nezindlela zokukhuluma ayezithuthukisile ngaphambili ezinkundleni ezihlukahlukene zokusebenza. Futhi naphezu kweqiniso lokuthi ama-premiere ale misebenzi anikezwe ubukhazikhazi obuqhubekayo, iningi lazo alikhohliwe ngokufanelekile. Lawa ma-opera amane alandelayo nokho anesithakazelo esingangabazeki: "I-Thais" (1894, isiqephu senoveli ka-A. France sisetshenziswa), okuthi, ngobuqili bephethini yomculo, isondela ku-"Manon"; "I-Navarreca" (1894) kanye "noSappho" (1897), ebonisa amathonya aqinile (i-opera yokugcina yabhalwa ngokususelwa kunoveli ka-A. Daudet, itulo eliseduze ne-"Lady of the Camellias" kaDumas indodana, kanjalo nelika-Verdi elithi " La Traviata”; ku-“Sappho” amakhasi amaningi omculo othokozisayo, oyiqiniso); "Don Quixote" (1910), lapho uChaliapin ethusa izethameli endimeni yesihloko.

UMassenet wafa ngo-August 13, 1912.

Iminyaka eyishumi nesishiyagalombili (1878-1896) wafundisa ikilasi lokuqamba eParis Conservatoire, efundisa abafundi abaningi. Phakathi kwabo kwakukhona abaqambi u-Alfred Bruno, uGustave Charpentier, uFlorent Schmitt, uCharles Kouklin, inkakha yomculo waseRomania, uGeorge Enescu, nabanye kamuva abaduma eFrance. Kodwa ngisho nalabo abangazange bafunde noMassenet (ngokwesibonelo, uDebussy) bathonywa ukuzwela kwakhe okuthuthumelayo, okuguquguqukayo ekuchazeni, isitayela sezwi esizwakalayo.

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Ubuqotho benkulumo evusa amadlingozi, ubuqotho, ukuba neqiniso ekudluliselweni kwemizwa ethuthumelayo - lokhu ukufaneleka kwama-opera ka-Massenet, okwembulwe ngokusobala kakhulu ku-Werther kanye no-Manon. Kodwa-ke, umqambi wayevame ukuntula amandla owesilisa ekudluliseni izinkanuko zokuphila, izimo ezimangalisayo, okuqukethwe okungqubuzanayo, bese kuba yinkimbinkimbi, ngezinye izikhathi ubumnandi be-salon, bugqamile emculweni wakhe.

Lezi izimpawu eziyizimpawu zenkinga yohlobo lwesikhashana lwe-French "lyric opera", eyaqala ukwakheka ngeminyaka yama-60s, kwathi ngeminyaka yawo-70s yathatha ngokujulile izitayela ezintsha ezithuthukayo ezivela ezincwadini zesimanje, imidwebo, yaseshashalazini. Noma kunjalo, kakade izici zokukhawulela zembulwa kuye, ezishiwo ngenhla (endaweni enikezelwe kuGounod).

Ingcweti ye-Bizet yanqoba imikhawulo emincane "ye-lyric opera". Edlala futhi enweba okuqukethwe kwezingoma zakhe zakuqala zomculo nethiyetha, ebonisa ngeqiniso nangokujulile ukuphikisana kwezinto ezingokoqobo, wafinyelela eziqongweni zamaqiniso kuCarmen.

Kodwa isiko lokudlala lesiFulentshi alizange lihlale kuleli zinga, ngoba ongcweti balo abavelele bamashumi eminyaka okugcina ekhulunyaka lama-60 babengenakho ukunamathela okungaguquki kuka-Bizet ezimisweni zokugomela izimiso zabo zobuciko. Kusukela ekupheleni kwawo-1877, ngenxa yokuqiniswa kwezici zokusabela ekubukeni komhlaba, uGounod, ngemva kokudalwa kukaFaust, uMireil noRomeo noJuliet, wasuka emasikweni ezwe athuthukayo. U-Saint-Saens, naye, akazange abonise ukuvumelana okufanelekile ekusesheni kwakhe kokudala, wayene-eclectic, futhi kuphela kuSamsoni noDelila (1883) lapho azuza khona ngokuphawulekayo, nakuba kwakungeyona impumelelo ephelele. Ngokwezinga elithile, ezinye izimpumelelo emkhakheni we-opera nazo bezibheke ohlangothini olulodwa: iDelibes (Lakme, 1880), uLalo (Inkosi yeDolobha lase-Is, 1886), uChabrier (Gwendoline, XNUMX). Yonke le misebenzi yayihlanganisa iziqephu ezihlukene, kodwa ekuchazeni kwabo umculo, ama-opera "Grand" kanye "nomculo" weqa izinga elilodwa noma elinye.

UMassenet uphinde wazama isandla sakhe kuzo zombili lezi zinhlobo, futhi wazama ukuvuselela isitayela esiphelelwe yisikhathi “se-opera enkulu” ngamazwi aqondile, ukuqondakala kwezindlela zokukhuluma. Ngaphezu kwakho konke, wakhangwa yilokho uGounod akulungisa eFaust, okwasebenzela uMassenet njengemodeli yobuciko engafinyeleleki.

Kodwa-ke, impilo yenhlalo yaseFrance ngemuva kokuthi i-Paris Commune ibeke phambili imisebenzi emisha yabaqambi - kwakudingeka ukuveza ngokucacile izingxabano zangempela zangempela. U-Bizet ukwazile ukubathumba eCarmen, kodwa uMassenet wakubalekela lokhu. Wazivalela ohlotsheni lwe-lyrical opera, futhi waqhubeka enciphisa isihloko sayo. Njengengcweti enkulu, umbhali weManon kanye noWerther, vele, ubonise kancane emisebenzini yakhe ulwazi nemicabango yabantu besikhathi sakhe. Lokhu kwaba nomthelela ikakhulukazi ekuthuthukisweni kwezindlela zokuzwakalisa imizwa yenkulumo yomculo ezwelayo, ehambisana kakhulu nomoya wesimanje; izimpumelelo zakhe zibalulekile ekwakhiweni kwezigcawu “zokusebenzisa” izingoma ze-opera, nasekuchazeni okucashile okungokwengqondo kwe-orchestra.

Ngawo-90s, lolu hlobo lwe-Massenet oluyintandokazi lwase luzikhandle. Ithonya le-Italian operatic verismo liqala ukuzwakala (kuhlanganise nomsebenzi kaMassenet ngokwakhe). Kulezi zinsuku, izingqikithi zesimanje zigonyelwa kakhulu etiyetha yomculo yesiFulentshi. Okukhomba kulokhu ama-opera ka-Alfred Bruno (Iphupho elisuselwa kunoveli kaZola, 1891; Ukuvinjezelwa Kwemishini okusekelwe kuMaupassant, 1893, nabanye), angenazo izici zemvelo, futhi ikakhulukazi i-opera kaCharpentier uLouise. (1900), lapho ezicini eziningi yimpumelelo, nakuba kungacacile, ngendlela enganele ekhombisa izithombe zempilo yesimanje yaseParis.

Ukuhlelwa kwe-Pelléas et Mélisande kaClaude Debussy et Mélisande ngo-1902 kuvula inkathi entsha emculweni nasesikweni laseshashalazini laseFrance - impressionism iba inkambiso ehamba phambili yesitayela.

M. Druskin

Ukwakhiwa:

Ama-opera (inani angu-25) Ngaphandle kwemidlalo ye-opera ethi “Manon” kanye nethi “Werther”, yizinsuku zomdlalo wokuqala kuphela ezinikezwa kubakaki. "Ugogo", i-libretto ka-Adeny noGranvallet (1867) "Ful King's Cup", i-libretto kaGalle noBlo (1867) "Don Cesar de Bazan", i-libretto ka-d'Ennery, uDumanois noChantepie (1872) "Inkosi yaseLahore" , libretto by Galle (1877) Herodias, libretto by Millet, Gremont and Zamadini (1881) Manon, libretto by Méliac and Gilles (1881-1884) “Werther”, libretto by Blo, Mille and Gartmann (1886, premiere — 1892) The Sid”, libretto by d'Ennery, Blo and Galle (1885) «Ésclarmonde», libretto by Blo and Gremont (1889) The Magician, libretto by Richpin (1891) “Thais”, libretto by Galle (1894) “Portrait of Manon”, libretto by Boyer (1894) “Navarreca”, libretto by Clarty and Ken (1894) Sappho, libretto by Kena and Berneda (1897) Cinderella, libretto by Ken (1899) Griselda, freetto by Sylvester and Moran (1901) “ The Juggler of Our Lady”, libretto by Len (1902) Cherub, freetto by Croisset and Ken (1905) Ariana, libretto by Mendes (1906) Teresa, libretto by Clarty (1907) “Vakh” (1910) Don Quixote, libretto b y Ken (1910) Rome, libretto by Ken (1912) “Amadis” (posthumously) “Cleopatra”, libretto by Payen (posthumously)

Eminye i-musical-theatre kanye ne-cantata-oratorio iyasebenza Umculo wenhlekelele ka-Aeschylus “Erinnia” (1873) “Mary Magdalene”, idrama engcwele uHalle (1873) Eve, idrama engcwele uHalle (1875) Narcissus, i-antique idyll kaCollin (1878) “The Immaculate Virgin”, inganekwane engcwele. kaGrandmougins (1880) “Carillon”, ilingise kanye nenganekwane yokudansa (1892) “Izwe Lesithembiso”, oratorio (1900) Dragonfly, ballet (1904) “Spain”, ballet (1908)

Imisebenzi ye-Symphonic Pompeii, suite for orchestra (1866) First suite for orchestra (1867) “Hungarian Scenes” (Second suite for orchestra) (1871) “Picturesque Scenes” (1871) Third suite for orchestra (1873) Overture “Phaedra” (1874) “ Izigcawu ezimangalisayo ngokukaShakespeare” (1875) “Neapolitan Scenes” (1882) “Alsatian scenes” (1882) “Enchanting Scenes” (1883) nezinye.

Ngaphezu kwalokho, kunezingoma eziningi ezahlukene zepiyano, ezothando ezingaba ngu-200 ("Izingoma Eziseduze", "Inkondlo Yomfundisi", "Inkondlo Yobusika", "Inkondlo Yothando", "Inkondlo Yezinkumbulo" nezinye), isebenzela izinsimbi zegumbi. ama-ensembles.

Imibhalo yezincwadi "Izinkumbulo Zami" (1912)