Sannadka 2017 waxaa lagu xusay sannad-guuradii muhiimka ah ee fanka opera-ka adduunka - fannaanka caanka ah ee Yukreeniyaan Solomiya Krushelnytska wuxuu dhashay 145 sano ka hor. Cod jilicsan oo aan la ilaawi karin, oo ah ku dhawaad saddex octaves, heer sare oo tayada xirfadeed ee muusikiiste, muuqaal marxalad dhalaalaya. Waxaas oo dhami waxay ka dhigeen Solomiya Krushelnitskaya dhacdo gaar ah oo ku saabsan dhaqanka opera horaantii qarniyadii XNUMXaad iyo XNUMXaad.
Kartideeda aan caadiga ahayn waxa u riyaaqay dhegaystayaashii Talyaaniga iyo Jarmalka, Poland iyo Ruushka, Faransiiska iyo Ameerika. Xiddigaha Opera sida Enrico Caruso, Mattia Battistini, Tito Ruffa ayaa isla masraxa la heesay. Daawada caanka ah ee Toscanini, Cleofonte Campanini, Leopoldo Mugnone ayaa ku martiqaaday inay la shaqeyso.
Waxaa mahad iska leh Solomiya Kruchelnytska in Balanbaalis (Giacomo Puccini) uu wali ku jiro marxaladaha opera adduunka maanta. Waxqabadka qaybaha ugu muhiimsan ee heesaha ayaa noqday mid muhiim u ah halabuurrada kale. Bandhigyada ugu horreeya ee riwaayadaha "Salome", operas "Lorelei" iyo "Valli" ayaa noqday caan. Waxa lagu daray riwaayadda hawl-qabadka joogtada ah.
caruurnimadii iyo dhalinyaradii fannaanka
Waxay ku dhalatay Sebtembar 23, 1872 ee gobolka Ternopil ee qoys weyn oo heesa oo wadaad ah. Garashada awoodaha aan caadiga ahayn ee codka inantiisa, aabbaheed wuxuu siiyay waxbarasho muusik oo habboon. Waxay ku heesi jirtay heesihiisa, xitaa waxay haysay muddo.
Waxa uu ku taageeray in aanay raali ka ahayn in ay guursato nin aan la jeclayn oo ay nolosheeda u hurto fanka. Sababtoo ah gabadhu diidday inay guursato wadaadka mustaqbalka, dhib badan ayaa ka dhex muuqday qoyska. Gabdhihiisa kale mar dambe lama haasaawi jirin. Laakiin aabbuhu, si ka duwan Solomiya hooyadeed, wuxuu had iyo jeer ahaa dhinaca uu jecel yahay.
Fasalada konserfatifka ee Professor Valery Vysotsky muddo saddex sano ah waxay bixiyeen natiijooyin aad u fiican. Solomiya waxay ku soo bandhigtay masraxa Lviv Opera Theatre sida mezzo-soprano ee opera The Favorite (Gaetano Donizetti).
Thanks to aqoontii ay la lahayd xiddiga Talyaaniga Gemma Belliconi, Solomiya waxay bilowday inay wax ku barato Talyaaniga. Dabeecadda codkeedu maaha mezzo, laakiin waa soprano-riwaayad-soprano ah (tani waxaa xaqiijiyay macalinka caanka ah ee Milanese bel canto Fausta Crespi). Sidaa darteed, masiirka Solomiya wuxuu horeyba ugu xirnaa Talyaaniga. Magaca Solomiya ee Talyaanigu wuxuu ka dhigan yahay "keliya." Waxay haysatay dhibaato halis ah - waxay ahayd lagama maarmaan in "dib loo sameeyo" codkeeda mezzo ilaa soprano. Wax walba waxay ahayd inay meel eber ah ka soo bilowdaan.
Xusuus-qorkeeda, Elena (Krushelnitskaya walaashii) waxay wax ka qortay dabeecadda Solomiya: "Maalin walba waxay baratay muusikada iyo heesaha shan ama lix saacadood, ka dibna waxay tagtay casharro ku saabsan jilitaanka, waxay timid guriga iyada oo daalan. Laakiin waligeed waxba kama caban jirin. In ka badan hal mar ayaan is weydiiyey halka ay ka heshay xoog iyo tamar badan. Walaashay waxay aad u jeclayd muusiga iyo heesaha si xamaasad leh oo la'aantood ay u muuqatay in aanay nololi jiri doonin.
Solomiya, dabeecadeeda, waxay ahayd qof rajo wanaagsan leh, laakiin sabab qaar ka mid ah waxay had iyo jeer dareentay nooc ka mid ah nafteeda ku qanacsanayn. Mid kasta oo ka mid ah doorkeeda, waxay u diyaarisay si taxadar leh. Si ay qaybta u barato, Solomiya waxay u baahneyd oo keliya inay eegto qoraallada ay xaashida ka akhriday, marka la akhriyo qoraal daabacan. Waxaan ciyaarta ku bartay laba ama saddex maalmood gudahood. Laakiin taasi waxay ahayd bilawga shaqada.”
Bilowga xirfadda hal-abuurka
Laga soo bilaabo waraaqaha Mikhail Pavlik, waxaa la og yahay in Solomiya ay sidoo kale bartay halabuurka, waxay isku dayday inay iyadu qoraan muusikada. Laakin markaas ayay ka tagtay hal-abuurnimadan oo kale, iyada oo nafteeda u hibaynaysa oo keliya in ay heesto.
Sanadkii 1894-kii, heesaagu wuxuu heshiis la saxiixday guriga opera. Iyada oo ay weheliso kirayste caanka ah Alexander Mishuga, waxay ku heesi jirtay operas Faust, Il trovatore, Un ballo in maschera, Pebble. Dhammaan qaybaha opera-yada kuma wada habboonayn codkeeda. Qaybaha Margarita iyo Eleonora waxaa ka jiray jajabyo coloratura ah.
In kasta oo wax walba, heesaa ayaa maamulay. Si kastaba ha ahaatee, dhaleeceynta Polish waxay ku eedeeyeen Kruchelnytska inuu u heesay qaab Talyaani ah oo la sheegayo. Waxayna illowday wixii lagu baray muxaafid, iyadoo u nisbaynaysa ceebaheeda oo aanay lahayn. Dabcan, tani ma samayn karto la'aanteed "la xumeeyey" Professor Vysotsky iyo ardaydiisa. Sidaa darteed, ka dib markii uu ku jilay opera, Solomiya wuxuu mar kale ku noqday Talyaaniga si uu wax u barto.
"Sida ugu dhakhsaha badan ee aan imaado, halkaas oo dhowr sano ka hor Lvov ... dadweynaha halkaas ma i aqoonsan doonaan ... Waan u adkeysan doonaa ilaa dhamaadka oo isku dayi doonaa in aan ka dhaadhiciyo dhammaan niyad-jabkayaga in nafta Ruushku sidoo kale awood u leedahay in ay qaadato ugu yaraan. meesha ugu sarreysa adduunka muusigga,” ayay u qortay dadka ay yaqaaniin ee jooga Talyaaniga.
Waxay ku soo noqotay Lvov Janaayo 1895. Halkan heesaaga ayaa sameeyay "Manon" (Giacomo Puccini). Kadib waxay aaday Vienna macalinka caanka ah ee Gensbacher si ay u barato operas-ka Wagner. Solomiya waxay samaysay doorarka ugu muhiimsan ee ku dhawaad dhammaan riwaayadaha Wagner ee marxaladaha kala duwan ee adduunka. Waxaa loo tixgeliyey mid ka mid ah kuwa ugu waxqabadka wanaagsan halabuurkiisa.
Kadib waxaa jirtay Warsaw. Halkan waxa ay si degdeg ah u heshay ixtiraam iyo magac. Dadweynaha Poland iyo kuwa dhaleeceeyay waxay u tixgeliyeen inay tahay jilaa aan la dhaafin oo ka mid ah xisbiyada "Pebble" iyo "Countess". 1898-1902. Masraxa tiyaatarka Bolshoi ee Warsaw, Solomiya waxay la ciyaartay Enrico Caruso. Iyo sidoo kale Mattia Battistini, Adam Didur, Vladislav Floriansky iyo kuwa kale.
Solomiya Kruchelnytska: Dhaqdhaqaaq hal abuur leh
Muddo 5 sano ah, waxay ku soo bandhigtay doorarka operas: Tannhäuser iyo Valkyrie (Richard Wagner), Othello, Aida. Sidoo kale "Don Carlos", "Masquerade Ball", "Ernani" (Giuseppe Verdi), "African", "Robert the Devil" iyo "Huguenots" (Giacomo Meyerbeer), "Gabadha Cardinal" ("Yuhuud") ( Fromantal Halevi), "Demon" (Anton Rubinstein), "Werther" (Jules Massenet), "La Gioconda" (Amilcare Ponchielli), "Tosca" iyo "Manon" (Giacomo Puccini), "Waddanka Honor" (Pietro Mascagni), "Fra Devil" (Daniel Francois Aubert)," Maria di Rogan "(Gaetano Donizetti)," Barber ee Seville "(Gioacchino Rossini)," Eugene Onegin "," Boqoradda Spades "iyo" Mazepa "(Pyotr Tchaikovsky) Hero iyo Leander "( Giovanni Bottesini), "Pebble" iyo "Countess" (Stanislav Moniuszko), "Goplan" (Vladislav Zelensky).
Waxaa jiray dad reer Warsaw ah oo ku kacay aflagaado, daandaansi, aflagaado iyo aflagaado u geystay fanaanada. Waxay ku dhaqmeen saxaafadda oo ay qoreen in fannaanadu ay ka hesho lacag ka badan tan fannaaniinta kale. Isla mar ahaantaana, ma rabto inay ku heesto Polish, ma jecla muusigga Moniuszko iyo kuwa kale, Solomiya waxay ka xumaatay maqaalladan oo kale waxayna go'aansatay inay ka tagto Warsaw. Thanks to Libetsky's feuilleton "Talyaaniga Cusub", heesaagu wuxuu doortay repertoire Talyaani.
Sharaf iyo aqoonsi
Marka laga soo tago magaalooyinka iyo tuulooyinka Galbeedka Ukraine, Solomiya waxay ku heesay Odessa masraxa opera maxalli ah oo qayb ka ah koox Talyaani ah. Dabeecadda wanaagsan ee dadka deggan Odessa iyo kooxda Talyaanigu iyada ayaa sabab u ah joogitaanka tiro badan oo Talyaani ah oo magaalada jooga. Ma aha oo kaliya ku noolaa Odessa, laakiin sidoo kale waxay sameeyeen wax badan oo loogu talagalay horumarinta dhaqanka muusikada ee koonfurta Palmyra.
Ka shaqeynta tiyaatarada Bolshoi iyo Mariinsky, dhowr sano Solomiya Krushelnitskaya ayaa si guul leh u soo bandhigtay Pyotr Tchaikovsky.
Guido Marotta wuxuu ka yidhi tayada sare ee muusiga ee fannaanka: "Solomiya Krushelnitskaya waa muusikiiste cajiib ah oo leh dareen aad u horumarsan oo qaab nololeed leh. Waxay u ciyaartay biyaano si qurux badan, waxay baray buundooyin iyo doorar nafteeda, iyada oo aan caawinaad ka codsan khabiiro.
Sannadkii 1902, Kruchelnitskaya wuxuu ku soo booqday St. Petersburg, isagoo xitaa u heesay Ruushka Tsar. Kadibna waxay ku qabatay Paris iyada oo la socota tenor caanka ah Jan Reschke. Masraxa La Scala, waxay ku heesi jirtay riwaayadaha muusiga ee Salome, opera Elektra (by Richard Strauss), Phaedre (waxaa qoray Simon Maira), iyo kuwo kale, 1920kii, waxay ka soo muuqatay masraxa opera markii ugu dambeysay. Masraxa "La Scala" Solomiya wuxuu ku heesay opera "Lohengrin" (Richard Wagner).
Solomiya Kruchelnytska: Nolosha ka dib marxaladda Opera
Markii ay dhammaysatay shaqadeeda hawl-fulinta, Solomiya waxay bilawday inay heesto riwaayadda qolka. Intii ay ku safraysay Ameerika, waxay ku heesi jirtay toddobo luqadood (Talyaani, Faransiis, Jarmal, Ingiriis, Isbaanish, Polish, Ruush) gaboobay, heersare ah, jacayl, casri ah iyo heeso qaraami ah. Krushelnitskaya waxay ogaatay sida loo siiyo mid kasta oo iyaga ka mid ah dhadhan gaar ah. Ka dib oo dhan, waxay lahayd muuqaal kale oo qiimo leh - dareenka qaabka.
In 1939 (maalintii ka hor qaybinta Poland ee USSR hore iyo Germany), Kruchelnytska mar kale yimid Lvov. Waxay tan sameyn jirtay sanad walba si ay u aragto qoyskeeda. Si kastaba ha ahaatee, way ku soo noqon wayday Talyaaniga. Tan waxaa markii hore ka hortagay ku biirista Galicia ee USSR, ka dibna dagaalka.
Warfidiyeenada Soviet-ka ee dagaalka ka dib ayaa wax ka qoray Kruchelnytska rabitaan la'aanta inuu ka tago Lvov oo uu ku laabto Talyaaniga. Oo waxay soo xigatay erayada heesaha, kuwaas oo go'aansaday in ay ka wanaagsan tahay in ay noqoto qof Soviet ah marka loo eego "milyaneer Talyaani ah".
Dabeecad xooggan ayaa ka caawisay Solomiya inay ka badbaaddo murugada, iyo gaajada, iyo jirrada lugta jaban intii lagu jiray 1941-1945. Gabdho walaalo ah oo walaalo ah ayaa Solomiya caawiyey, waayo shaqo ma hayso, meelna laguma casuumin. Si dhib badan, xiddigii hore ee masraxa opera wuxuu shaqo ka helay Lviv Conservatory. Laakin dhalashadiisu waxay ku hadhay Talyaani. Si ay u hesho dhalashada Ukrain hantiwadaaga, waxay ku qasbanaatay in ay ogolaato iibinta guri guri oo ku yaala Talyaaniga. Lacagna siiya dawladii Soofiyeedka. Ka dib markii ay ka heshay dawladda Soofiyeeti boqolkiiba aan qiimo lahayn iibinta villa, shaqada macalinka, magaca shaqaale sharaf leh, borofisar, heesaagu wuxuu bilaabay shaqada barbaarinta.
In kasta oo iyada da'da, Solomiya Kruchelnitskaya sameeyey riwaayado keligiis da'da 77 jir. Sida laga soo xigtay mid ka mid ah dhagaystayaashii riwaayadaha:
"Waxay ku dhufatay qoto dheer ee soprano dhalaalaya, xoog leh, dabacsanaan leh, kaas oo, mahadnaqa awoodaha sixirka, u shubay sida qulqulka cusub ee jidhka jilicsan ee heesaha."
Fanaanku ma lahayn arday caan ah. Dad yar ayaa wakhtigaas dhammaystay waxbarashadooda ilaa sanadka 5-aad, wakhtiyadii dagaalka ka dib ee Lviv aad bay u adkeyd.
Aktarada caanka ah ayaa ku geeriyootay da’da 80 sano oo uu ku dhacay cudurka kansarka cunaha. Fanaanada ayaan cidna uga dacwoon xanuunkeeda, si degan ayay u geeriyootay, iyada oo aan soo jiidan dareen weyn.
Xusuusta halyeeyga muusiga Yukreeniyaan
Halabuurrada muusiga ayaa loo hibeeyey fannaanka, sawirro ayaa la sawiray. Dadka caanka ah ee dhaqanka iyo siyaasadda ayaa jeclaaday iyada. Kuwani waa qoraaga Vasily Stefanik, qoraaga iyo shakhsiga dadweynaha Mikhail Pavlik. Sidoo kale qareenka iyo siyaasiga Teofil Okunevsky, farmashiistaha gaarka ah ee boqorka Masar. Farshaxanistaha caanka ah ee reer Talyaani Manfredo Manfredini ayaa isku dilay jacayl aan loo meel dayin oo uu u qabay opera diva.
Waxaa lagu abaalmariyay ereyo: "aan la dhaafin", "kaliya", "gaar ah", "aan la barbar dhigi karin". Mid ka mid ah gabayaagii Talyaaniga ee ugu iftiimay dabayaaqadii XNUMXaad iyo horraantii qarniyadii XNUMXaad, Gabriele d'Annunzio. Wuxuu u hibeeyey aayadda "Xusuusta Gabayga" Krushelnitskaya, kaas oo markii dambe loo dhigay muusigga curiyaha Renato Brogi.
Solomiya Kruchelnytska waxay u dhigantaa tirooyinka caanka ah ee dhaqanka Yukreeniyaan: Ivan Franko, Mykola Lysenko, Vasily Stefanyk, Olga Kobylyanska. Fanaanada ayaa had iyo jeer ku soo bandhigta heeso hidaha iyo dhaqanka Yukreeniyaan marka ay timaado riwaayadaha, waligeedna kama jarin xiriirka dalkeeda.
Si aan caadi ahayn, Kruchelnitskaya laguma martiqaadin inuu ku heeso masraxa Opera House ee Kyiv. In kasta oo ay dhawr sano la shaqaynaysay maamulkiisa. Si kastaba ha ahaatee, waxa jiray wax joogto ah oo ku saabsan isbarbardhiggan. Fannaaniinta kale ee caanka ah ee Yukreeniyaanka ayaa lahaa isla qaddar la mid ah "aan la martiqaadin". Kani waa soloist ee Opera Vienna Ira Malaniuk iyo kiraystaha Wagner ee aan la dhaafin, soloist-ka Royal Opera Modest Mencinski.
Fanaanadu waxa ay ku noolayd nolol farxad leh sida xidigta opera ee heerka ugu horeysa. Laakiin waxay inta badan soo xigatay ardaydeeda ereyada Enrico Caruso in dhammaan dhalinyarada hamiga u leh opera, ay rabto inay ku qayliso:
"Xusuuso! Tani waa xirfad aad u adag. Xataa marka aad leedahay cod wanaagsan iyo waxbarasho adag, weli waa inaad si fiican u barataa doorar aad u weyn. Taasina waxay qaadataa sannado shaqo adag iyo xusuus gaar ah. Ku darso marxaladan xirfado, kuwaas oo sidoo kale u baahan tababar oo aanad samayn karin la'aanteed opera. Waa inaad awood u yeelatid inaad dhaqaaqdo, deyrto, dhacdid, aad dareento, iyo wixii la mid ah. Iyo, ugu dambeyntii, xaaladda hadda ee opera, waa lagama maarmaan in la ogaado luqadaha ajnabiga ah.
Saaxiibka Solomia Negrito da Piazzini (gabadha agaasimaha tiyaatarka ee Buenos Aires) ayaa xasuusisay in hal kirishbooy uusan wax hadal ah u jeedin iyada, isagoo aqoonsanaya adkaysi la'aanteeda. Laakin xataa daarijiyayaasha iyo fannaaniinta caanka ah waxay dhegaysanayeen talada iyo ra'yiga Sulomiya.
