Anatoly Ivanovich Orfenov |

Anatoly Orfenov

Kiraystaha Ruushka Anatoly Ivanovich Orfenov waxa uu ku dhashay 1908-dii qoyska wadaadka tuulada Sushki, gobolka Ryazan, oo aan ka fogayn magaalada Kasimov, oo ah hantidii hore ee amiirradii Tataarka. Reerku waxay lahaayeen siddeed carruur ah. Qof kastaa wuu gabyay. Laakiin Anatoly wuxuu ahaa midka kaliya, inkastoo dhammaan dhibaatooyinka, kuwaas oo noqday heesaa xirfadle ah. "Waxaan ku noolayn nalalka kerosene," heesaa ayaa dib u xasuusatay, "ma aanan haysan wax madadaalo ah, kaliya hal mar sannadkii, wakhtiga Christmas-ka, bandhigyada hiwaayadda ayaa la bixin jiray. Waxaan haysanay gramophone-ka oo aan bilownay fasaxyada, waxaanan dhageystay diiwaanka Sobinov, Sobinov wuxuu ahaa fanaanka aan jeclahay, waxaan rabay inaan wax ka barto, waxaan doonayay inaan ku dayo isaga. Ma laga yaabaa in ninka dhalinyarada ah uu u maleynayay in dhowr sano gudahood uu nasiib u yeelan doono inuu arko Sobinov, si uu ula shaqeeyo qaybihiisa ugu horreeya ee Opera.

Aabbihii qoyska ayaa dhintay 1920-kii, iyo nidaamka cusub, carruurta wadaadku kuma xisaabtami karin waxbarashada sare.

In 1928, Orfenov yimid Moscow, iyo bixinta qaar ka mid ah Ilaah waxa uu u suurtagashay in ay galaan laba dugsiyada farsamada hal mar - barbaarinta iyo fiidkii music (hadda Ippolitov-Ivanov Academy). Waxa uu bartay vocals fasalka macalinka tayada leh Alexander Akimovich Pogorelsky, oo raacaya dugsiga bel canto Talyaani (Pogorelsky ahaa arday Camillo Everardi), iyo Anatoly Orfenov lahaa ku filan stock this of aqoonta xirfadeed inta ka dhiman noloshiisa. Sameynta heesaha dhalinyarada ayaa dhacay xilli dib u cusboonaysiinta degdega ah ee masraxa opera, markii dhaqdhaqaaqa istuudiyaha uu noqday mid baahsan, isaga oo ka soo horjeeda jihada tacliinta ee semi-rasmiga ah ee tiyaatarada gobolka. Si kastaba ha noqotee, mindhicirrada isku midka ah ee Bolshoi iyo Mariinsky waxaa jiray dib-u-soo-kabashada dhaqamadii hore. Muujintii hal-abuurka leh ee jiilkii ugu horreeyay ee kiraystayaasha Soofiyeedka, oo ay hogaaminayeen Kozlovsky iyo Lemeshev, ayaa si weyn u beddelay nuxurka doorka "Tenor Lyric", halka St. Orfenov, oo soo galay noloshiisa hal-abuurka ah, laga bilaabo tillaabooyinka ugu horreeya wuxuu u suurtagashay in uusan lumin magacyadaas, sababtoo ah geesigayagu wuxuu lahaa isku-dhafan shakhsiyeed oo madaxbannaan, palette shakhsi ahaaneed oo macneheedu yahay, sidaas darteed "qof leh hadal aan guud ahayn".

Marka hore, 1933, wuxuu u suurtagashay in uu galo kooxda heesa ee Opera Theatre-Studio hoos jihada KS Stanislavsky (studio waxa uu ku yaalaa guriga Stanislavsky ee Leontievsky Lane, ka dib u dhaqaaqay Bolshaya Dmitrovka in dhismaha hore ee operetta ah). Qoysku waxay ahaayeen kuwo aad u diin ah, ayeeyday waxay ka soo horjeeday nolol kasta oo cilmaani ah, Anatolyna wuxuu ka qarinayay hooyadiis muddo dheer oo uu ka shaqeynayey masraxa. Markii uu taas ka warramay, way yaabtay: "Maxaa ugu jira kooxda heesta?" Dib u habaynta weyn ee masraxa Ruushka Stanislavsky iyo kireeyaha weyn ee dhulka Ruushka Sobinov, oo aan heesin oo ahaa lataliyaha codka ee Studio-ga, ayaa ogaaday nin dhalinyaro ah oo dheer oo qurux badan oo ka mid ah heesaha, dareenka ma aha oo kaliya codkan. laakiin sidoo kale dadaalka iyo xishoodka mulkiilihiisa. Sidaa darteed Orfenov wuxuu noqday Lensky waxqabadka caanka ah ee Stanislavsky; Bishii Abriil 1935, sayidkii qudhiisu wuxuu soo bandhigay waxqabadka, oo ka mid ah fannaaniinta kale ee cusub. (Waqtiyada ugu xiisaha badan ee mustaqbalka farshaxanka ayaa sii wadi doona in lagu xiro sawirka Lensky - oo ah kii ugu horreeyay ee laanta Tiyaatarka Bolshoi, ka dibna marxaladda ugu weyn ee Bolshoi). Leonid Vitalievich wuxuu u qoray Konstantin Sergeevich: "Waxaan amar ku bixiyay Orfenov, oo leh cod qurux badan, inuu si degdeg ah u diyaariyo Lensky, marka laga reebo Ernesto oo ka socda Don Pasquale. Kadibna: "Wuxuu i siiyay Orfen Lensky halkan, oo aad u wanaagsan." Stanislavsky waxa uu waqti badan iyo fiiro gaar ah u yeeshay soo-bandhigaha, sida lagu caddeeyey qoraallada dib-u-celinta iyo xusuus-qorka farshaxanka laftiisa: "Konstantin Sergeevich ayaa ila hadlay saacado badan. Maxaa ku saabsan? Ku saabsan tallaabooyinkaygii ugu horreeyay ee masraxa, oo ku saabsan wanaagga aan ku leeyahay kan ama doorkaas, oo ku saabsan hawlaha iyo ficillada jireed ee uu hubaal ahaan u keenay dhibcaha doorka, ku saabsan sii deynta murqaha, oo ku saabsan anshaxa jilaa ee nolosha. iyo masraxa. Waxay ahayd shaqo waxbarasho oo aad u wanaagsan, waxaanan uga mahadcelinayaa macalinkayga qalbigeyga oo dhan."

La shaqeynta sayidyada ugu weyn ee farshaxanka Ruushka ayaa ugu dambeyntii sameeyay shakhsiyadda farshaxanka farshaxanka. Orfenov ayaa si dhakhso ah u qaatay jagada hogaaminta ee kooxda Opera House Stanislavsky. Daawadeyaasha waxaa soo jiitay dabeecadda, daacadnimada iyo fududaanta hab-dhaqankiisa masraxa. Waligiis ma ahayn "coder-coder-macaan", codku waligiis uma shaqayn sidii dhammaadka laftiisa fannaanka. Orfenov had iyo jeer waxay ka timid muusiga iyo ereyga loo qoondeeyay, ururkan wuxuu raadiyay guntinnada riwaayadaha ah ee doorkiisa. Sannado badan, Stanislavsky wuxuu kobciyay fikradda diyaarinta Verdi's Rigoletto, iyo 1937-38. waxay lahaayeen sideed ku celcelin. Si kastaba ha ahaatee, tiro ka mid ah sababo (oo ay ku jiraan, malaha, kuwa in Bulgakov qoray oo ku saabsan qaab grotesquely maldahan ee novel Theater The), shaqada on wax soo saarka la hakiyey, iyo waxqabadka la sii daayay ka dib dhimashadii Stanislavsky hoos jihada Meyerhold. , maareeyaha ugu weyn ee masraxa xiligaas. Sidee xiiso u leh shaqada "Rigoletto" waxaa lagu xukumi karaa xusuusta Anatoly Orfenov "Tallaabooyinka Koowaad", kaas oo lagu daabacay joornaalka "Muusik Soofiyeedka" (1963, No. 1).

ku dadaalay in uu masraxa ku muujiyo "nolosha ruuxa bini'aadamka" … Aad bay muhiim ugu ahayd isaga in uu muujiyo halganka "la ceebeeyey iyo cayda" - Gilda iyo Rigoletto, intii uu dhagaystayaasha kula yaabay daraasiin qoraallo ah oo qurux badan fannaaniinta iyo quruxda muuqaalka… Waxa uu soo bandhigay laba ikhtiyaar oo sawirka Duke ah. Odin waa lecher voluptous ah oo muuqaal ahaan u eg Francis I, oo uu ku sawiray V. Hugo riwaayadda The King Amuses laftiisa. Midda kale waa nin dhallinyaro ah oo qurxoon, soo jiidasho leh, oo si isku mid ah u xiiseeya Countess Ceprano, Gilda fudud, iyo Maddalena.

Sawirka ugu horreeya, marka daaha kor loo qaado, Duke wuxuu ku fadhiyaa barafka sare ee qalcadda miiska, ee muujinta sawirka Konstantin Sergeevich, "la safan" haweenka ... Maxaa ku adkaan kara heesaa da 'yar ma laha waayo-aragnimo masraxa, sida loo istaago dhexda masraxa oo loo heeso waxa loogu yeero "aria with galoves", taas oo ah, ballad of Duke? Stanislavsky's, Duke wuxuu ku heesay balad sida hees cabitaan ah. Konstantin Sergeevich wuxuu i siiyay taxane dhan oo hawlo jireed ah, ama, laga yaabee, waxay fiicnaan laheyd in la yiraahdo, ficilada jirka: socodka miiska, muraayadaha muraayadaha leh ee dumarka. Waxa uu iga dalbaday in aan waqti u helo in aan mid kasta oo iyaga ka mid ah indhaha isku dhaafsado inta lagu guda jiro Ballad-ka. Sidan, wuxuu ka ilaaliyay fanaanka "wax madhan" doorka. Ma jirin wakhti laga fikiro "codka", oo ku saabsan dadweynaha.

Hal-abuur kale oo Stanislavsky ah falkii ugu horreeyay wuxuu ahaa goobta Duke Rigoletto oo karbaash ku dhuftay, ka dib markii uu "aflagaadeeyey" Count Ceprano ... Muuqaalkani si fiican iiguma wacnayn, karbaashkii wuxuu noqday "opera", taas oo ah, waa, way adkeyd in la rumaysto, iyo ku celcelinta, qaar badan oo kale ayaa u dhacay iyada.

Falkii labaad intii lagu jiray ciyaarta, Gilda waxay ku dhuuntaa daaqadda guriga aabbaheed gadaasheeda, hawsha uu Stanislavsky u dejiyay Duke waxay ahayd inay ka soo jiidato halkaas, ama ugu yaraan ay ka dhigto inay daaqadda ka eegto. Duke wuxuu leeyahay bouquet ubax ah oo ku hoos qarsoon maradiisa. Hal ubax markiiba, wuxuu siinayaa Gilda daaqadda. (Sawirka caanka ah ee daaqadda ayaa lagu daray dhammaan heesaha opera-A.Kh.). Falka saddexaad, Stanislavsky wuxuu rabay inuu tuso Duke inuu yahay nin ka mid ah wakhtiga iyo niyadda. Marka maxkamaduhu u sheegaan Duke in "gabadhii ay ku jirto qasrigaaga" (wax soo saarku wuxuu ku jiray tarjumaad Ruush ah oo ka duwan kan guud ahaan la aqbalay - A.Kh.), si buuxda ayaa loo beddelay, wuxuu heesaa aria kale, oo aan waligiis dhicin. ee tiyaatarada. Aria-dani aad bay u adag tahay, in kasta oo aanay jirin qoraallo ka sarreeya octave-ka labaad ee ku jira, haddana aad bay u kacsan tahay tessitura.

Iyadoo Stanislavsky, oo si aan kala go 'lahayn ula dagaalamay Vampuca operatic, Orfenov ayaa sidoo kale sameeyay qaybaha Lykov ee aroosadda Tsar, nacaska Quduuska ah ee Boris Godunov, Almaviva ee Barber of Seville, iyo Bakhshi ee Lev Stepanov's Darvaz Gorge. Oo isagu waligiis kama tegin masraxa haddii Stanislavsky uusan dhiman. Ka dib dhimashadii Konstantin Sergeevich, waxaa bilowday isku darka Masraxa Nemirovich-Danchenko (kuwaasi waxay ahaayeen laba tiyaatar oo gebi ahaanba kala duwan, iyo nasiibka qaddarku wuxuu ahaa in ay ku xiran yihiin). Waqtigan "dhibaato" Orfenov, oo horeyba u ahaa fanaankii RSFSR, ayaa ka qayb qaatay qaar ka mid ah wax soo saarka xilligii Nemirovich, wuxuu ku heesay Paris ee "Beautiful Elena" (waxqabadkan, nasiib wanaag, waxaa lagu duubay raadiyaha 1948-kii. ), laakiin weli ruuxa wuxuu ahaa Stanislav run ah. Sidaa darteed, kala guurka 1942 ka Stanislavsky iyo Nemirovich-Danchenko Tiyaatarka ilaa Bolshoi ahaa qaddar laftiisa. Inkasta oo Sergei Yakovlevich Lemeshev uu buugiisa "The Jidka Farshaxanka" ku tilmaamay aragtida ah in fannaaniin heer sare ah (sida Pechkovsky iyo naftiisa) ka tagay Stanislavsky sababtoo ah dareen cidhiidhi ah iyo rajo ah in la hagaajiyo xirfadaha codka ee meelo ballaadhan. Xaaladda Orfenov, sida muuqata, tani gabi ahaanba run maaha.

Ku qanacsanaan la'aanta hal-abuurka ah ee horraantii 40-meeyadii ayaa ku qasbay inuu "gaajo dajiyo" "dhinaca", iyo xilli ciyaareedkii 1940/41 Orfenov wuxuu si xamaasad leh ula shaqeeyay kooxda Opera State ee USSR ee hoos timaada jihada IS Kozlovsky. Inta badan "Yurub" ee ruuxiga ah ee xilligii Soofiyeedka ayaa markaa ku mashquulay fikradaha waxqabadka opera ee bandhig faneedka (maanta fikradahani waxay heleen qaab aad waxtar u leh Galbeedka oo ah qaabka loo yaqaan 'semi-staged'). , "waxqabadyo semi-waxqabad ah" oo aan lahayn muuqaal iyo dhar, laakiin isdhexgalka jilitaanka) iyo agaasime ahaan, wuxuu soo bandhigay wax soo saarka Werther, Orpheus, Pagliatsev, Mozart iyo Salieri, Arkas 'Katerina iyo Lysenko's Natalka-Poltavka. "Waxaan ku riyoonay inaan helno qaab cusub oo wax qabad opera ah, kaas oo saldhigiisu noqon doono mid dhawaaq ah, oo aan ahayn muuqaal," Ivan Semenovich ayaa dib u xasuustay wax badan ka dib. Horyaallada, Kozlovsky qudhiisu wuxuu heesay qaybaha ugu muhiimsan, laakiin mustaqbalka wuxuu u baahan yahay caawimaad. Sidaas darteed Anatoly Orfenov wuxuu heesay qaybta soo jiidashada leh ee Werther toddoba jeer, iyo sidoo kale Mozart iyo Beppo ee Pagliacci (Harlequin's serenade waa inay noqotaa 2-3 jeer). Bandhig faneedka ayaa lagu soo bandhigay Hoolka weyn ee Conservatory, Guriga Saynisyahanada, Aqalka Dhexe ee Fanaaniinta iyo Xarunta. Hoogay, jiritaanka kooxdu waxay ahayd mid aad u gaaban.

Milatari 1942. Jarmal baa soo socda. Qarax. Walaaca. Shaqaalaha ugu muhiimsan ee Tiyaatarka Bolshoi waxaa loo daadgureeyay Kuibyshev. Moscow maantana waxay ku ciyaarayaan jilaagii ugu horeeyay, berrina waxay ciyaarayaan opera ilaa dhamaadka. Waqtigaas walaaca leh, Orfenov wuxuu bilaabay in lagu martiqaado Bolshoi: marka hore hal mar, wax yar ka dib, qayb ka mid ah kooxda. Subaxnimo, oo naftiisa ka dalbanaya, laga soo bilaabo wakhtiga Stanislavsky wuxuu awooday inuu arko dhammaan asxaabtiisa masraxa ugu fiican. Oo waxaa jiray qof si ay u gartaan - oo dhan arsenal dahabka ah ee codadka Ruush ayaa markaas si habsami leh u shaqeynayay, oo ay hogaaminayeen Obukhova, Barsova, Maksakova, Reizen, Pirogov iyo Khanaev. Intii lagu jiray 13 sano oo uu ka shaqeynayay Bolshoi, Orfenov wuxuu fursad u helay inuu la shaqeeyo afar hogaamiyeyaal sare: Samuil Samosud, Ariy Pazovsky, Nikolai Golovanov iyo Alexander Melik-Pashaev. Waa murugo, laakiin waayaha maanta laguma faani karo haybadaas iyo haybaddaas.

Isaga iyo labadiisa saaxiib ee ugu dhow, heesaaga heesaha Solomon Khromchenko iyo Pavel Chekin, Orfenov ayaa qaatay khadka "chelon labaad" ee miiska masraxa isla markiiba ka dib Kozlovsky iyo Lemeshev. Labadan kirayste ee xafiiltama waxay ku raaxaysanayeen jacayl caan ah oo dhab ah oo dhan walba leh, oo xuduud la leh sanam caabudidda. Way ku filan tahay in la xasuusto dagaaladii ba'an ee masraxa ee u dhexeeya ciidamada "Kazlovites" iyo "Lemeshists" si loo qiyaaso sida ay u adagtahay in aan la lumin iyo, sidoo kale, in la qaato meel u qalantaa macnaha guud ee fannaanka cusub ee heesaha cusub ee la midka ah. door. Iyo xaqiiqda ah in dabeecadda farshaxanka Orfenov ay ku dhowdahay ruuxa daacadda ah, "Yesenin" bilawga farshaxanka Lemeshev uma baahna caddayn gaar ah, iyo sidoo kale xaqiiqda ah in uu si sharaf leh u maray imtixaanka isbarbardhigga lama huraanka ah ee kiraystayaasha sanamyada. Haa, bandhigyada hordhaca ah si dhif ah ayaa loo bixin jiray, iyo bandhigyada joogitaanka Stalin ayaa la dhigay xitaa marar ka yar. Laakiin had iyo jeer waa lagugu soo dhaweynayaa inaad heeso beddelaad (xasuus-qorka farshaxanku wuxuu ka buuxsamay qoraallo "halkii Kozlovsky", "halkii Lemeshev. Waxaa la soo sheegay 4-ta galabnimo"; waxay ahayd Lemeshev Orfenov oo inta badan caymis galay). Xusuus-qorka Orfenov, kaas oo farshaxanku uu ku qoray faallooyin ku saabsan mid kasta oo ka mid ah waxqabadkiisa, waxaa laga yaabaa inaysan ahayn qiimo suugaaneed oo weyn, laakiin waxay yihiin dukumeenti qiimo leh oo casri ah - waxaan fursad u haysannaa oo kaliya inaan dareemo waxa loola jeedo in lagu jiro "labaad. safka" iyo isla mar ahaantaana ka heli qanacsanaanta farxad ka shaqadiisa, laakiin, ugu muhiimsan, si ay u soo bandhigaan nolosha Masraxa Bolshoi ka 1942 ilaa 1955, ma aha in parade-rasmiga ah, laakiin laga eego aragtida shaqada caadiga ah. maalmo. Waxay wax ka qoreen bandhigyada Pravda waxayna siiyeen Stalin Prizes iyaga, laakiin waxay ahayd jilitaanka labaad ama saddexaad ee taageeraya shaqada caadiga ah ee bandhigyada xilligii hore. Waxay ahayd shaqaale la isku halleyn karo oo aan daalin oo ka mid ah Bolshoi in Anatoly Ivanovich Orfenov ahaa.

Run, wuxuu sidoo kale ku helay Stalin Prize-ka Vasek ee Smetana's The Bartered Bride. Waxay ahayd bandhig faneed ay sameeyeen Boris Pokrovsky iyo Kirill Kondrashin oo tarjumaad Ruush ah oo uu sameeyay Sergei Mikhalkov. Wax-soo-saarka ayaa la sameeyay 1948-kii iyadoo lagu sharfay sannad-guuradii 30-aad ee Jamhuuriyadda Czechoslovak, laakiin waxay noqotay mid ka mid ah majaajilada loogu jecel yahay dadweynaha oo sannado badan ku jiray riwaayadda. Goobjoogayaal badan ayaa u arka sawirka quruxda badan ee Vashek inuu yahay kan ugu sarreeya taariikh nololeedka hal-abuurka ee farshaxanka. "Vashek wuxuu lahaa mugga dabeecadda ah ee khiyaaneeya xigmadda hal-abuurka dhabta ah ee qoraaga sawirka masraxa - jilaa. Vashek Orfenova waa sawir si qarsoodi ah oo xariif ah loo sameeyay. cilladaha jir ahaaneed ee dabeecadda (tuug-xumo, nacasnimo) ayaa lagu labisan jiray masraxa dharka jacaylka, kaftanka iyo soo jiidashada "(BA Pokrovsky).

Orfenov waxaa loo tixgeliyey inuu yahay khabiir ku takhasusay riwaayadaha Galbeedka Yurub, oo inta badan lagu sameeyay Laanta, sidaas darteed wuxuu inta badan lahaa inuu halkaas heeso, dhismaha Tiyaatarka Solodovnikovsky ee Bolshaya Dmitrovka (halkaas oo Mamontov Opera iyo Zimin Opera ay ku yaalliin wareeggii qarniyadii 19-20aad, oo hadda shaqeeya "Moscow Operatta"). Nimco iyo soo jiidasho leh, in kasta oo uu xanaaqiisii ​​xumaaday, wuxuu ahaa Dukekiisa Rigoletto. Tirada quruxda badan ee Almaviva waxay si fiican u iftiimisay Barber of Seville (opera, oo ay ku adagtahay kirayste kasta, Orfenov wuxuu dhigay nooc ka mid ah rikoodhada shakhsi ahaaneed - wuxuu ku heesay 107 jeer). Doorka Alfred ee La Traviata waxaa lagu dhisay isbarbardhig: nin dhalinyaro ah oo xishood badan oo jacayl ayaa isu rogay nin masayr ah oo xanaaq iyo xanaaq ka indho tiray, dhamaadkii opera wuxuu u muuqday qof si qoto dheer u jecel oo toobad keena. Repertoire Faransiis waxaa matalayay Faust iyo Aubert's opera majaajilada Fra Diavolo (qaybta cinwaanka ee waxqabadkani waxay ahayd shaqadii ugu dambeysay ee masraxa Lemeshev, sida Orfenov - doorka lyrical ee carabinieri Lorenzo). Waxa uu ku heesay Mozart's Don Ottavio ee Don Giovanni iyo Beethoven's Jacquino ee wax soo saarka caanka ah ee Fidelio ee Galina Vishnevskaya.

Sawirada sawirada Ruushka ee Orfenov waxaa si sax ah u furay Lensky. Codka heesaaga, oo lahaa timber dabacsan, hufan, jilicsanaan iyo dabacsanaan dhawaaqeed, ayaa si fiican u dhigma sawirka halyeyga heesta. Lensky-kiisa waxaa lagu kala soocay iskudhaf gaar ah oo jilicsan, ammaan darro ka timid duufaannada adduunka. Dhacdo kale ayaa ahayd sawirka nacaska quduuska ah ee "Boris Godunov". Bandhigan caanka ah ee Baratov-Golovanov-Fyodorovsky, Anatoly Ivanovich wuxuu ku heesay Stalin hortiisa markii ugu horeysay noloshiisa 1947. Mid ka mid ah dhacdooyinka "cajiibka ah" ee nolosha farshaxanka ayaa sidoo kale ku xiran wax soo saarkan - hal maalin, inta lagu jiro Rigoletto , Orfenov ayaa lagu wargeliyay in dhamaadka opera uu ka yimaado laanta masraxa ugu muhiimsan (5 daqiiqo socod) oo heesa nacaska Quduuska ah. Waxay ahayd bandhig faneedkan bishii Oktoobar 9, 1968, kooxda Tiyaatarka Bolshoi waxay u dabaaldegeen sannad-guuradii 60-aad ee fannaanka iyo sannad-guuradii 35-aad ee waxqabadkiisa hal-abuurka ah. Gennady Rozhdestvensky, oo qabtay fiidkii, ayaa ku qoray "buugga waajibka": "Sharafnimada noolow!" Iyo jilitaanka doorka Boris Alexander Vedernikov, ayaa xusay: Orfenov wuxuu leeyahay hantida ugu qaalisan ee farshaxanka - dareenka saamiga. Doqonnimadiisa Qudduuska ahi waxay astaan ​​u tahay damiirka dadka, sida uu halabuuruhu u malaynayo.

Orfenov wuxuu soo muuqday 70 jeer sawirka Sinodal ee Demon, opera oo hadda noqotay mid naadir ah, iyo wakhtigaas mid ka mid ah kuwa ugu caansan. Guul halis ah oo u soo hoyatay fannaanka ayaa sidoo kale ahayd xafladaha sida Martida Hindida ee Sadko iyo Tsar Berendey ee Snegurochka. Iyo dhanka kale, sida uu heesaaga laftiisa, Bayan ee "Ruslan iyo Lyudmila", Vladimir Igorevich ee "Prince Igor" iyo Gritsko ee "Sorochinsky Fair" kama tegin raad dhalaalaya (farshaxanku tixgeliyo doorka wiilka ee opera Mussorgsky. markii hore "dhaawac", tan iyo intii lagu jiray waxqabadka ugu horreeya ee waxqabadkan, dhiigbax ayaa ka dhacay seedaha). Dabeecadda kaliya ee Ruushka ah ee ka tagtay heesaha heesaha ayaa ahaa Lykov ee aroosadda Tsar - wuxuu ku qoray xusuus-qorkiisa: "Ma jecli Lykov." Sida muuqata, ka qaybgalka riwaayadaha Soofiyeedka ma kicin xamaasadda farshaxanka sidoo kale, si kastaba ha ahaatee, wuxuu ku dhawaaday inuusan ka qayb qaadan Bolshoi, marka laga reebo Kabalevsky's opera hal-maalin ah "Under Moscow" (yar Muscovite Vasily), opera carruurta ee Krasev " Morozko" (Awoowe) iyo Muradeli's opera "Saaxiibtinimada Weyn".

Isku soo wada duuboo dadka iyo dalkaba halyeygayagu kamuu baxsanayn dabadhilifyada taariikhda. Noofambar 7, 1947, bandhig heersare ah oo ka mid ah opera Vano Muradeli ee saaxiibtinimada weyn ayaa ka dhacday Tiyaatarka Bolshoi, kaas oo Anatoly Orfenov uu sameeyay qaybta heesaha ee Adhijir Dzhemal. Wixii ku xigay, qof kastaa wuu ogyahay - wareegtada sumcadda leh ee Golaha Dhexe ee CPSU. Waa maxay sababta dhabta ah ee "heesta" opera ee gebi ahaanba aan waxyeello lahayn waxay u adeegtay calaamad muujinaysa bilowga cadaadis cusub ee "formalists" Shostakovich iyo Prokofiev waa halxiraale kale oo lahjad ah. Lahjada Orfenov masiirka ma aha wax yar oo la yaab leh: wuxuu ahaa dhaqdhaqaaqe weyn oo bulsheed, ku xigeenka Golaha Gobolka ee Wakiilada Dadka, isla mar ahaantaana, noloshiisa oo dhan wuxuu si muqadas ah u rumaystay Ilaah, si cad u aaday kaniisad wuxuuna diiday inuu ku biir xisbiga shuuciga. Waa wax lala yaabo in aan la beerin.

Dhimashadii Stalin ka dib, nadiifin wanaagsan ayaa lagu diyaariyey masraxa - isbeddel jiil macmal ah ayaa bilaabmay. Anatoly Orfenov wuxuu ahaa mid ka mid ah kuwii ugu horreeyay ee la siiyay si ay u fahmaan in ay ahayd waqtigii hawlgabka sare, inkastoo 1955-kii farshaxanku uu ahaa 47 oo keliya. Isla markiiba wuxuu codsaday istiqaalad. Taasi waxay ahayd hantidiisa muhiimka ah - inuu isla markiiba ka tago meel aan lagu soo dhaweyn.

Wadashaqeyn miro leh oo lala yeesho Raadiyaha ayaa Orfenov dib ugu soo laabtay 40-meeyadii - codkiisu wuxuu u rogay si la yaab leh "radiogenic" oo si fiican ugu habboon duubista. Waqtigaas oo aan ahayn waqtigii ugu wacnaa ee waddanku, oo dacaayadaha keli-talis ah ay si xawli ah u socdeen, oo ay hawada ka buuxsameen khudbado cunni ah oo uu ku eedaynayo madaxda dacwadaha been abuurka ah, baahinta muusiggu sinaba kuma ekayn oo keliya socodka dadka xiiseeya iyo heesaha Stalin. , laakiin kor loo qaaday classics sare. Waxay ka dhawaajisay saacado badan maalintii, labadaba duubista iyo baahinta studios iyo hoolalka riwaayadaha. 50-meeyadii waxay soo galeen taariikhda Raadiyaha sidii waagii ugu fiicnaa ee opera - waxay ahayd sannadahan markii kaydka dahabka ah ee opera ee sanduuqa raadiyaha la duubay. Marka lagu daro buundooyinka si fiican loo yaqaan, qaar badan oo la ilaaway oo naadir ah ayaa dib loo soo celiyay shaqooyin hawleed, sida Rimsky-Korsakov's Pan Voyevoda, Voyevoda Tchaikovsky iyo Oprichnik. Marka la eego macnaha faneed, kooxda codka ee Raadiyaha, haddii ay ka hooseeyaan Masraxa Bolshoi, waxay ahayd wax yar. Magacyada Zara Dolukhanova, Natalia Rozhdestvenskaya, Deborah Pantofel-Nechetskaya, Nadezhda Kazantseva, Georgy Vinogradov, Vladimir Bunchikov waxay ku jireen bushimaha qof kasta. Jawiga hal-abuurka iyo bini-aadamka ee Raadiyaha sannadahaas wuxuu ahaa mid aan caadi ahayn. Heerka ugu sarreeya ee xirfad-yaqaannimada, dhadhanka aan la qiyaasi karin, kartida dib-u-celinta, hufnaanta iyo garaadka shaqaalaha, dareenka bulshada iyo kaalmaynta wadaagga ah waxay sii wadaan inay ku farxaan sannado badan ka dib, marka waxaas oo dhami ay dhammaadaan. Hawlaha raadiyaha, halkaas oo Orfenov ma aha oo kaliya soloist, laakiin sidoo kale agaasimaha farshaxanka ee koox cod ah, ayaa u muuqday mid aad u faa'iido leh. Marka lagu daro cajalado badan oo kayd ah, kaas oo Anatoly Ivanovich uu muujiyay tayada ugu wanaagsan ee codkiisa, wuxuu soo bandhigay bandhig faneedka dadweynaha ee riwaayadaha ee Raadiyaha ee Hall of Columns of House of the Union. Nasiib darro, maanta ururintan ugu qanisan ee muusiga la duubay ayaa isu rogtay inay meesha ka baxdo oo ay jiifto miisaan dhintay - waagii la cuni jiray ayaa soo bandhigay mudnaan muusig oo kala duwan oo hore.

Anatoly Orfenov ayaa sidoo kale si weyn loogu yaqaanay jilaa qolka. Waxa uu si gaar ah ugu guulaystay ereyada codka Ruushka. Duubista sanadaha kala duwan waxay ka tarjumaysaa qaabka midabka biyaha ee fannaanka iyo, isla markaasna, awoodda uu u leeyahay in uu gudbiyo riwaayadda qarsoon ee qoraalka hoose. Shaqada Orfenov ee qaybta qolka waxaa lagu kala soocaa dhaqanka iyo dhadhanka quruxda badan. Sawirka farshaxanku macneheedu waa qani - laga bilaabo ku dhawaad ​​​​ethereal mezza voce iyo cantilena hufan ilaa dhamaadka muujinta. Diiwaanka 1947-1952. Asalka stylistic ee halabuur kasta ayaa si sax ah loo gudbiyay. Sifeynta xarrago leh ee jacaylka Glinka waxay la mid tahay fududaanta daacadda ah ee jacaylka Gurilev (Gambaleelka caanka ah, oo lagu soo bandhigay saxankan, wuxuu u adeegi karaa halbeeg loogu talagalay waxqabadka muusikada qolka ee xilligii hore ee Glinka). Dargomyzhsky Orfenov wuxuu si gaar ah u jeclaa jacaylka "Maxaa magacayga kuugu jira" iyo "Waxaan u dhintay farxad", taas oo uu u tarjumay sida sawiro maskaxeed oo qarsoodi ah. Jacaylka Rimsky-Korsakov, heesaagu wuxuu bilaabay dareenka dareenka qoto dheer. Hal-ku-dhegga Rachmaninov "Habeenkii beertayda" waxay u muuqataa mid muujinaysa oo riwaayad ah. Xiiso weyn ayaa ah duubista jaceylka ee Taneyev iyo Tcherepnin, kuwaas oo muusikadoodu ay dhif tahay in la maqlo riwaayadaha.

Erayada jacaylka Taneyev waxaa lagu gartaa niyadda iyo midabada dareenka leh. Laxamiistaha waxa uu awooday in uu ku qabsado muuqaalkiisa yar-yar ee isbeddellada daahsoon ee hadhyada niyadda halyeyga lyrical. Fikradaha iyo dareenka waxaa kaabaya dhawaaqa hawada habeenkii guga ama dabayl yar oo dabayl ah oo kubbadda ah (sida jacaylka caanka ah ee ku salaysan gabayada Y. Polonsky "Mask"). Isagoo dib u eegaya farshaxanka qolka Tcherepnin, Aqoonyahan Boris Asafiev wuxuu soo jiitay saamaynta dugsiga Rimsky-Korsakov iyo fikradda Faransiiska ("cuf-isjiid xagga qabashada dareenka dabeecadda, xagga hawada, xagga midabka, xagga iftiinka iyo iftiinka") . Jacaylka ku salaysan gabayada Tyutchev, sifooyinkan waxaa lagu gartaa midabaynta quruxda badan ee is-waafajinta iyo texture, faahfaahin fiican, gaar ahaan qaybta piano. Duubabka jacaylka Ruushka ee uu sameeyay Orfenov oo uu weheliyo pianist David Gaklin ayaa tusaale fiican u ah samaynta muusigga qolka.

In 1950, Anatoly Orfenov bilaabay wax dhigista Machadka Gnessin. Wuxuu ahaa macalin aad u daryeela oo fahansan. Waligiis ma soo rogin, kumana qasbin inuu ku daydo, laakiin mar kasta wuxuu ka sii socday shaqsinimada iyo kartida arday kasta. Inkasta oo midkoodna uusan noqonin heesaa weyn oo uusan sameynin xirfad caalami ah, laakiin inta jeer ee borofisar Orfenov ayaa awooday inuu saxo codadka - waxaa badanaa la siiyay kuwa rajo la'aan ah ama kuwa aan la gelin fasaladooda macalimiin kale oo hammi ah. . Ka mid ah ardaydiisa ma aha oo kaliya kiraystayaasha, laakiin sidoo kale basses (Tenor Yuri Speransky, oo ka soo shaqeeyay tiyaatarada kala duwan ee USSR, hadda madax ka ah waaxda tababarka opera ee Gnessin Academy). Waxaa jiray codad yar oo dumar ah, waxaana ka mid ahaa gabadha ugu weyn Lyudmila, oo markii dambe noqotay soloist ee Choir Masraxa Bolshoi. Awoodda Orfenov sida macalinka ayaa ugu dambeyntii noqotay mid caalami ah. Dhaqdhaqaaqiisa waxbarid ee ajnabiga ah ee muddada dheer (ku dhawaad ​​toban sano) wuxuu ka bilaabmay Shiinaha wuxuuna ka sii waday ilaalinta Qaahira iyo Bratislava.

Sanadkii 1963, soo laabashadii ugu horeysay ee Tiyaatarka Bolshoi ayaa dhacay, halkaas oo Anatoly Ivanovich uu mas'uul ka ahaa kooxda opera 6 sano - kuwani waxay ahaayeen sannadihii markii ugu horeysay ee La Scala yimid, Bolshoi wuxuu booqday Milan, marka xiddigaha mustaqbalka (Obraztsova, Atlantov , Nestrenko, Mazurok, Kasrashvili, Sinyavskaya, Piavko). Sida laga soo xigtay xusuusta fanaaniin badan, ma jirin koox cajiib ah. Orfenov had iyo jeer wuu ogaa sida loo qaato booska "macnaha dahabiga ah" ee u dhexeeya maamulka iyo soloists, aabbaha ayaa taageeray fannaaniinta, gaar ahaan dhalinyarada, talo wanaagsan. Marka loo eego 60-meeyadii iyo 70-meeyadii, awoodda Tiyaatarka Bolshoi ayaa mar kale isbeddelay, iyo dhammaan agaasimayaasha, oo ay hogaaminayeen Chulaki iyo Anastasiev, ayaa tagay. In 1980, markii Anatoly Ivanovich ka soo laabtay Czechoslovakia, waxa uu isla markiiba loo yaqaan Bolshoi. Sannadkii 1985-kii, waxa uu ka fadhiistay xanuun. Wuxuu dhintay 1987. Waxaa lagu aasay qabuuraha Vagankovsky.

Waxaan leenahay codkiisa. Waxaa jiray xusuus qor, maqaallo iyo buugaag (kuwaas oo ay ka mid yihiin "Jidka hal-abuurka ee Sobinov", iyo sidoo kale ururinta sawirada hal-abuurka ah ee dhalinyarada soloists ee Bolshoi "Youth, rajooyinka, guulaha"). Xusuusta diiran ee asxaabta iyo asxaabta ayaa weli ah, iyagoo marag ka dhigaya in Anatoly Orfenov uu ahaa nin Ilaah la jira naftiisa.

Andrey Khripin