UPauline Viardot-Garcia |

UPauline Viardot-Garcia

Imbongi yaseRussia uN. Pleshcheev wabhala ngo-1846 inkondlo ethi "To the Singer", enikezelwe kuViardo Garcia. Nasi isiqeshana salo:

Wabonakala kimi ... futhi wahlabelela ihubo elingcwele, - Futhi amehlo akhe avutha umlilo waphezulu ... Leso sithombe esiphaphathekile kuye ngabona uDesdemona, Lapho egoba ihabhu legolide, Mayelana nomzane wahlabelela iculo futhi waphazamisa ukububula. yalelo culo elidala. Wayeqonda ngokujule kangakanani, wafunda Lowo owayazi abantu nezimfihlo zezinhliziyo zabo; Futhi uma omkhulu evuka ethuneni, Wayeyobeka umqhele wakhe ebunzini lakhe. Ngezinye izikhathi uRosina osemncane wayebonakala kimi futhi enothando, njengobusuku bezwe lakubo ... Futhi ngilalela izwi lakhe lemilingo, Kulelo zwe elivundile ngalilangazelela ngomphefumulo wami, Lapho yonke into ithakazelisa indlebe, yonke into ijabulisa amehlo, Lapho i-vault of the vault. Isibhakabhaka sikhanya ngokuluhlaza okwesibhakabhaka kwaphakade, Lapho ama-nightingawing ebetha ikhwelo emagatsheni omthombe, nomthunzi womsayiphuresi uyazamazama ebusweni bamanzi!

UMichel-Ferdinanda-Pauline Garcia wazalelwa eParis ngo-July 18, 1821. Ubaba kaPolina, u-tenor Manuel Garcia ngaleso sikhathi wayeseqophelweni eliphezulu lodumo lwakhe. Umama uJoaquin Siches naye wayekade eyiciko futhi ngesinye isikhathi “wasebenza njengomhlobiso wesigcawu saseMadrid.” Unkulunkulukazi wakhe kwakunguPrincess Praskovya Andreevna Golitsyna, okwaqanjwa ngaye le ntombazane.

Uthisha wokuqala kaPolina kwakunguyise. NgoPolina, waqamba izivivinyo eziningana, canons kanye ariettas. Kuye, uPolina wazuza uthando lomculo we-J.-S. Bach. UManuel Garcia uthe: “Umculi wangempela kuphela ongaba umculi wangempela. Ukuze ukwazi ukuhlanganyela ngenkuthalo nangesineke emculweni, uPolina wathola isiteketiso se-Ant emndenini.

Lapho eneminyaka eyisishiyagalombili, uPolina waqala ukufunda ngokuvumelana nethiyori yokuqamba ngaphansi kokuqondisa kuka-A. Reicha. Wabe eseqala ukuthatha izifundo zepiyano eMeisenberg, wabe esefunda kuFranz Liszt. Kuze kube yilapho eneminyaka engu-15 ubudala, uPolina wayelungiselela ukuba ngumdlali wopiyano futhi waze wanikeza ubusuku bakhe e-Brussels "Artistic Circle".

Ngaleso sikhathi wayehlala nodadewabo, umculi omangalisayo uMaria Malibran. Emuva ngo-1831, uMaria watshela u-E. Leguva ngodadewabo: “Le ngane … izosibekela sonke.” Ngeshwa, uMalibran washona ekuseni kakhulu. UMaria akasizanga nje kuphela udadewabo ngokwezimali nangeseluleko, kodwa, ngaphandle kokusola yena, wadlala indima enkulu esiphethweni sakhe.

Umyeni kaPauline uzoba uLouis Viardot, umngane nomeluleki kaMalibran. Futhi umyeni kaMaria, uCharles Berio, wasiza umculi osemusha ukuba anqobe izinyathelo zokuqala ezinzima kakhulu endleleni yakhe yobuciko. Igama elithi Berio lamvulela iminyango yamahholo ekhonsathi. Eno-Berio, waqala ukwenza izinombolo eziyedwa esidlangalaleni - ehholo laseBrussels City Hall, kulokho okubizwa ngekhonsathi yabampofu.

Ehlobo lika-1838, uPolina noBerio bavakashela ekhonsathini eJalimane. Ngemva kwekhonsathi eDresden, uPolina wathola isipho sakhe sokuqala esibalulekile - i-emerald clasp. Imisebenzi iphinde yaba yimpumelelo eBerlin, Leipzig naseFrankfurt am Main. Khona-ke umculi wacula e-Italy.

Umdlalo wokuqala kaPauline esidlangalaleni eParis kwenzeka ngoDisemba 15, 1838, ehholo leRenaissance Theatre. Izithameli zamukele ngemfudumalo ukudlala komculi osemusha kwezingcezu ezimbalwa ezinzima ezidinga ubuqotho bangempela. NgoJanuwari 1839, XNUMX, u-A. de Musset washicilela isihloko ku-Revue de Demonde, lapho ayekhuluma "ngezwi nomphefumulo weMalibran", ukuthi "uPauline ucula njengoba ephefumula", ephetha yonke into ngezinkondlo ezinikezelwe ekuqaleni. kaPauline Garcia no-Eliza Rachel.

Entwasahlobo ka-1839, uGarcia wenza i-debut yakhe eRoyal Theatre eLondon njengoDesdemona e-Rossini's Otello. Iphephandaba laseRussia i-Severnaya Pchela libhale ukuthi “wavusa isasasa elikhulu kubathandi bomculo”, “wamukelwa ngehlombe futhi washayelwa ucingo kabili kusihlwa… kodwa ngokushesha babona amakhono akhe omculo amangalisayo, okumenza abe yilungu elifanelekile lomndeni wakwaGarcia, owaziwa emlandweni womculo kusukela ngekhulu lesi-XNUMX. Yiqiniso, izwi lakhe alikwazanga ukugcwalisa amahholo amakhulu, kodwa kufanele wazi ukuthi umculi usemncane kakhulu: uneminyaka eyishumi nesikhombisa kuphela. Ekulingiseni okumangalisayo, wazibonakalisa engudadewabo kaMalibran: wathola amandla ungqondongqondo weqiniso kuphela angaba nawo!

Ngo-Okthoba 7, 1839, uGarcia wenza i-debut yakhe ku-Italian Opera njengo-Desdemona e-Rossini's Otello. Umlobi u-T. Gautier wamukele kuye "inkanyezi yobukhulu bokuqala, inkanyezi enemisebe eyisikhombisa", ummeleli wobukhosi obukhazimulayo bobuciko bukaGarcia. Waphawula ukunambitheka kwakhe kwezimpahla zokugqoka, ezihluke kakhulu imvunulo ezivamile kubaculi base-Italy, “ukugqoka, ngokusobala, ku-wardrobe yezinja zesayensi.” UGauthier ubize izwi lomculi ngokuthi “ngelinye lamathuluzi omculo amahle kakhulu angazwakala.”

Kusukela ngo-Okthoba 1839 kuya ku-March 1840, uPolina wayeyinkanyezi eyinhloko ye-Italian Opera, "wayesezingeni eliphezulu kwezemfashini", njengoba kubikwe ku-Liszt M. D'Agout. Lokhu kufakazelwa yiqiniso lokuthi lapho nje egula, abaphathi bemidlalo yaseshashalazini bathembisa ukubuyisela imali emphakathini, nakuba uRubini, uTamburini noLablache behlala kulo mdlalo.

Kule sizini ucule ku-Otello, Cinderella, The Barber of Seville, Rossini's Tancrede nakuDon Giovanni kaMozart. Ngaphezu kwalokho, kumakhonsathi uPolina wenza imisebenzi kaPalestrina, Marcello, Gluck, Schubert.

Ngokudabukisayo, kwaba impumelelo eyaba umthombo wezinkinga nosizi okwalandela kumculi. Isizathu sabo siwukuthi abaculi abadumile uGrisi noPersiani “abamvumelanga uP. Garcia ukuba enze izingxenye ezibalulekile.” Futhi nakuba ihholo elikhulu, elibandayo le-Italian Opera lalingenalutho ngezikhathi eziningi zakusihlwa, uGrisi akazange avumele lowo owayeqhudelana naye osemusha ukuba angene. U-Polina wayengenakwenza lutho ngaphandle kokuvakasha phesheya. Maphakathi no-April, waya eSpain. Futhi ngo-Okthoba 14, 1843 enhloko-dolobha yaseRussia uPolina noLouis Viardot bafika.

I-opera yase-Italy yaqala isizini yayo eSt. Ngokuqala kwakhe, uViardot wakhetha indawo kaRosina kuThe Barber yaseSeville. Impumelelo yayiphelele. Abathandi bomculo baseSt. Petersburg bajabule kakhulu ngendawo yesifundo sokucula, lapho umculi ahlanganisa khona nethi Nightingale ka-Alyabyev ngokungalindelekile. Kuyaphawuleka ukuthi eminyakeni eminingi kamuva uGlinka ku-"Notes" yakhe waphawula: "I-Viardot yayinhle kakhulu."

URosina ulandelwe nguDesdemona ku-Otello kaRossini, u-Amina kuLa Sonnambula kaBellini, uLucia ku-Donizetti ethi Lucia di Lammermoor, uZerlina kuDon Giovanni kaMozart futhi, ekugcineni, iRomeo eMontecchi et Capulets kaBellini. Ngokushesha u-Viardot wajwayelana kakhulu nabameleli abangcono kakhulu be-intelligentsia yobuciko baseRussia: wayevame ukuvakashela indlu yaseVielgorsky, futhi iminyaka eminingi u-Count Matvey Yurevich Vielgorsky waba omunye wabangane bakhe abakhulu. Omunye wemidlalo wawuhanjelwe ngu-Ivan Sergeevich Turgenev, owasheshe wethulwa kusaziwayo owayevakashile. Njengo-AF Koni, "intshiseko yangena ekujuleni komphefumulo kaTurgenev futhi yahlala lapho unomphela, yathinta yonke impilo yomuntu siqu yalo muntu oyedwa."

Ngemva konyaka, inhloko-dolobha Russian waphinde wahlangana Viardot. Ugqame ku-repertoire ayijwayele futhi wawina izindondo ezintsha ku-Cinderella kaRossini, uDon Pasquale kaDonizetti kanye nekaNorma kaBellini. Kwenye yezincwadi azibhalela uGeorge Sand, uViardot wabhala: “Bona ukuthi izilaleli ezinhle kangakanani engihlangana nazo. Nguye ongenza ngiphumelele kakhulu.”

Kakade ngaleso sikhathi, umculi wabonisa isithakazelo umculo Russian. Isiqeshana sika-Ivan Susanin, uViardot asenza kanye noPetrov noRubini, sengezwe ku-Nightingale ka-Alyabyev.

U-AS Rozanov wabhala: – Ngalesi sikhathi, izingxenye zezingoma ezinezingoma ezihlekisayo kanye nezamahlaya zithathe indawo ehamba phambili kuqoqo lomculi. Ingxenye kaNorma igqamile kuyo, ukusebenza okudabukisayo kuchaze isikhathi esisha emsebenzini wokucula womculi. “Ukhwehlela olubi” lwashiya uphawu olungacimeki ezwini lakhe, okubangela ukuba lifiphale ngaphambi kwesikhathi. Noma kunjalo, amaphuzu afinyelela umvuthwandaba wokusebenza kukaViardot kumele abhekwe njengokudlala kwakhe njengoFidesz kuMprofethi, lapho yena, kakade engumculi ovuthiwe, ekwazile ukuzuza ukuvumelana okuphawulekayo phakathi kokuphelela kokusebenza kwezwi kanye nokuhlakanipha kokubonakaliswa okumangalisayo. wesithombe sasesiteji, “umvuthwandaba wesibili” wawuyingxenye ka-Orpheus, eyadlalwa uViardot ngokuthonya okukhaliphile, kodwa ngezwi elingaphelele. Iziqophamlando ezingabalulekile kangako, kodwa futhi impumelelo enkulu kwezobuciko, bekungokwe-Viardot izingxenye ze-Valentina, i-Sappho ne-Alceste. Kwakuyizo kanye lezi zindima, ezigcwele ingqondo edabukisayo, nakho konke ukuhlukahluka kwethalente lakhe laseshashalazini, ukuthi ngaphezu kwakho konke kwakuhambisana nendawo yokugcina imizwa ye-Viardot kanye nemvelo yethalente lakhe elivuthayo. Kungenxa yabo ukuthi uViardot, umlingisi ongumculi, wathola isikhundla esikhethekile kakhulu kwezobuciko be-opera nasemhlabeni wobuciko wekhulu lesi-1843.

Ngo-May 1845, abakwaViardots basuka eRussia, balibangisa eParis. Kulokhu uTurgenev wabajoyina. Futhi ekwindla, isizini yaseSt. Petersburg yaqala futhi kumculi. Izindima ezintsha zengezwe emaphathini akhe awathandayo - kuma-opera kaDonizetti noNicolai. Futhi phakathi nalokhu kuvakasha, u-Viardot wahlala eyintandokazi yomphakathi waseRussia. Ngeshwa, isimo sezulu esisenyakatho salimaza impilo yomculi, futhi kusukela ngaleso sikhathi waphoqeleka ukuba ashiye izinkambo ezivamile eRussia. Kodwa lokhu akukwazanga ukuphazamisa ubuhlobo bakhe “nezwe lesibili lobaba.” Enye yezincwadi azibhalela u-Matvey Vielgorsky iqukethe imigqa elandelayo: “Njalo lapho ngigibela inqola futhi ngiya e-Italian Theatre, ngizicabangela ngisendleleni eya e-Bolshoi Theatre. Futhi uma imigwaqo inenkungu encane, inkohliso iphelele. Kodwa lapho nje inqola ima, iyanyamalala, futhi ngiphefumule kakhulu.

Ngo-1853, uViardot-Rosina waphinde wanqoba umphakathi waseSt. U-II Panaev wazisa uTurgenev, owadingiselwa endaweni yakhe eSpasskoe-Lutovinovo, ukuthi uViardot “uqhulula umsindo eSt. Petersburg, lapho ecula – azikho izindawo.” Encwadini ethi The Prophet kaMeyerbeer, udlala enye yezindima zakhe ezinhle kakhulu - uFidesz. Amakhonsathi akhe alandelana, lapho evame ukucula izingoma zothando zikaDargomyzhsky noMikh. Vielgorsky Lona kwaba ukusebenza kokugcina umculi eRussia.

U-AS Rozanov uyabhala: “Ngobuciko bokukholisa okukhulu, lo mculi wafanekisa kabili izithombe zabesifazane baseBhayibhelini. Maphakathi nawo-1850s, wabonakala njengoMahala, unina kaSamsoni, ku-opera ethi Samson ka-G. Dupre (esiteji setiyetha encane emagcekeni e-"School of Singing" ye-tenor edumile) futhi, ngokusho kombhali , “yayinkulu futhi ijabulisa” . Ngo-1874, waba ngumdlali wokuqala wengxenye kaDelila ku-opera yaseSaint-Saens uSamson et Delilah. Ukusebenza kwendima ka-Lady Macbeth ku-opera yegama elifanayo ka-G. Verdi kungenye yezimpumelelo zokudala zika-P. Viardot.

Kwakubonakala sengathi iminyaka yayingenawo amandla phezu komculi. U-EI Apreleva-Blaramberg uyakhumbula: “Ngolunye lwezingoma zomculo “NgoLwesine” endlini kaViardot ngo-1879, lo mculi, ngaleso sikhathi owayesengaphansi kweminyaka engu-60 ubudala, “wazinikela” ezicelweni zokucula futhi wakhetha indawo yokulala ku-Verdi's Macbeth. U-Saint-Saens wahlala phansi ophiyano. UMadam Viardot wangena phakathi negumbi. Imisindo yokuqala yezwi lakhe yashaya ithoni engavamile; le misindo yayibonakala iphuma kanzima ensimbini ethile egqwalile; kodwa ngemva kwezinyathelo ezimbalwa izwi lase liyafudumala futhi liya ngokuya lithatha abalaleli ... Wonke umuntu wayegcwele ingoma engenakuqhathaniswa lapho umculi ohlakaniphile ehlanganiswe ngokuphelele nomlingisikazi ohlakaniphile. Akukho noyedwa umthunzi wesenzo esibi esibi somphefumulo wesifazane othukuthele owanyamalala ngaphandle kokulandela umkhondo, kwathi lapho, ehlisa izwi lakhe ku-pianissimo ephulula, lapho kuzwakala khona ukukhononda, nokwesaba, nokuhlukunyezwa, umculi wacula, ehlikihla ubuhle bakhe obumhlophe. izandla, ibinzana lakhe elidumile. "Awekho amakha e-Arabia azosula iphunga legazi kulezi zandla ezincane..." - ukuvevezela kwenjabulo kwagijima kubo bonke abalaleli. Ngesikhathi esifanayo - hhayi ukuthinta okukodwa kweshashalazi; isilinganiso kukho konke; isichazamazwi esimangalisayo: igama ngalinye laliphinyiswa ngokucacile; ukusebenza okuphefumulelwe, okuvutha amalangabi mayelana nomqondo wokudala we-okwenziwe kuqedele ukuphelela kokucula.

Ngemva kokushiya isiteji semidlalo yaseshashalazini, uViardot uzibonakalisa njengomculi wekamelo elikhulu. Indoda enethalente elinezinhlobonhlobo eziningi, uViardot naye waba ngumqambi onekhono. Ukunaka kwakhe njengombhali wezingoma zezwi kukhangwa ngokuyinhloko amasampula ezinkondlo zaseRussia - izinkondlo zikaPushkin, Lermontov, Koltsov, Turgenev, Tyutchev, Fet. Amaqoqo othando lwakhe anyatheliswa eSt. Petersburg futhi aziwa kabanzi. Ku-Libretto ye-Turgenev, wabhala ama-operettas amaningana - "Too My Wives", "The Last Sorcerer", "Cannibal", "Mirror". Kuyathakazelisa ukuthi ngo-1869 i-Brahms yenza umdlalo we-The Last Sorcerer e-Villa Viardot e-Baden-Baden.

Wanikela ingxenye ebalulekile yokuphila kwakhe ku-pedagogy. Phakathi kwabafundi nabafundi bakaPauline Viardot kukhona odumile uDesiree Artaud-Padilla, Baylodz, Hasselman, Holmsen, Schliemann, Schmeiser, Bilbo-Bachele, Meyer, Rollant nabanye. Abaculi abaningi baseRussia badlula esikoleni esihle kakhulu sokucula naye, kuhlanganise noF. Litvin, E. Lavrovskaya-Tserteleva, N. Iretskaya, N. Shtemberg.

UPauline Viardot washona ngobusuku bukaMeyi 17-18, 1910.