Boris Emmanuilovich Khaikin |

Boris Khaakin

Fanaanka dadka ee USSR (1972). Khaikin waa mid ka mid ah jilayaasha opera Soviet ugu caansan. Tobannaan sano oo waxqabadkiisa hal-abuurka ah, wuxuu ka shaqeeyay tiyaatarada muusikada ugu fiican dalka.

Isla markiiba ka dib markii uu ka qalin jabiyay Conservatory ee Moscow (1928), halkaas oo uu wax ku bartay K. Saradzhev, iyo biyaano A. Gedike, Khaikin wuxuu galay Stanislavsky Opera Theatre. Waqtigaan, wuxuu horey u qaaday tallaabooyinkiisii ​​​​ugu horreeyay ee duurka ku-dhaqanka, isagoo dhameystay tababar wax ku ool ah oo hoos yimaada N. Golovanov (class opera) iyo V. Suk (class orchestral).

Horeba dhallinyaranimadiisa, noloshu waxay ku riixday kaaliyaha ka dhanka ah sayidkiisa cajiibka ah sida KS Stanislavsky. Dhinacyo badan, mabaadi'da hal-abuurka ee Khaikin ayaa lagu sameeyay saameyntiisa. Si wada jir ah ula Stanislavsky, wuxuu diyaariyey horudhac ah Barber of Seville iyo Carmen.

Kartida Khaikin waxa ay la soo baxday xoogga ugu weyn markii uu u soo guuray Leningrad 1936-kii, isaga oo bedelay S. Samosud oo ah agaasimaha fanka iyo madaxa masraxa Maly Opera. Halkaa waxa uu sharaf ku lahaa in uu ilaaliyo oo uu horumariyo dhaqamadii uu lahaa kii ka horeeyay. Oo isna wuxuu la qabsaday hawshan, isku darka shaqada ee riwaayadaha qadiimiga ah ee kor u qaadista firfircoon ee shaqooyinka laxamiistaha Soofiyeedka ("Virgin Soil Upturned" I. Dzerzhinsky, "Cola Breugnon" by D. Kablevsky, "Hooyada" by V. Zhelobinsky, " Mutiny” waxaa qoray L. Khodja-Einatov ).

Tan iyo 1943, Khaikin waxa uu ahaa madaxa kirishbooyada iyo agaasimaha fanka ee Opera iyo Ballet Theatre magacaabay ka dib markii SM Kirov. Halkan waxaa ah in si gaar ah loogu xuso xiriirada hal-abuurka ah ee kormeeraha S. Prokofiev. 1946, wuxuu sameeyay Duenna (Betrothal in Monastery), ka dibna wuxuu ka shaqeeyay opera The Tale of a Real Man (waxqabadku lama soo bandhigin, kaliya bandhig xiran ayaa dhacay December 3, 1948). Shaqooyinka cusub ee qorayaasha Soofiyeedka, Khaikin wuxuu ku soo bandhigay masraxa "Qoyska Taras" ee D. Kablevsky, "Prince-Lake" ee I. Dzerzhinsky. Bandhigyada riwaayadaha qadiimiga ah ee Ruushka - Maid of Orleans by Tchaikovsky, Boris Godunov iyo Khovanshchina ee Mussorgsky - waxay noqdeen guulo culus oo masraxa ah. Intaa waxaa dheer, Khaikin ayaa sidoo kale u sameeyay sida kaari ballet (Beauty Hurdada, Nutcracker).

Marxaladda xigta ee waxqabadyada hal-abuurka ee Khaikin waxay la xiriirtaa Tiyaatarka Bolshoi ee USSR, kaas oo uu ahaa kaari tan iyo 1954. Iyo Moscow, wuxuu si weyn u fiirsaday muusikada Soofiyeedka (operas "Hooyo" by T. Khrennikov, " Jalil" ee N. Zhiganov, ballet "Heest Forest" by G. Zhukovsky). Bandhigyo badan oo riwaayadda hadda jirta ayaa lagu soo bandhigay jihada Khaikin.

"Sawirka hal-abuurka ah ee BE Khaikin," ayuu qoray Leo Ginzburg, "waa mid aad u gaar ah. Daari opera ahaan, waa sayid si dabiici ah isugu dari kara riwaayadaha muusiga iyo masraxa. Awoodda la shaqaynta fannaaniinta, heesaha iyo orchestra, si joogto ah iyo waqti isku mid ah oo aan si isdaba-joog ah u gaarin natiijooyinka uu rabo, had iyo jeer waxay kicisay naxariista kooxuhu isaga. Dhadhan aad u fiican, dhaqan aad u wanaagsan, muusik soo jiidasho leh iyo dareenka qaab-dhismeedka ayaa had iyo jeer ka dhigay bandhigiisa mid muhiim ah oo cajiib ah. Tani waxay si gaar ah u tahay tafsiirkiisa ku saabsan shaqooyinka Ruushka iyo kuwa reer galbeedka.

Khaikin wuxuu ku qasbanaaday inuu ka shaqeeyo tiyaatarada dibadda. Wuxuu sameeyay Khovanshchina ee Florence (1963), Boqorada Spades ee Leipzig (1964), wuxuuna Eugene Onegin ku sameeyay Czechoslovakia iyo Faust ee Romania. Khaykin ayaa sidoo kale ku soo bandhigay dibadda sida kirishbooyada symphony (guriga, bandhigiisa riwaayadaha waxaa badanaa lagu qabtaa Moscow iyo Leningrad). Gaar ahaan, wuxuu ka qaybqaatay socdaal uu ku tagay Leningrad Philharmonic Symphony Orchestra ee Talyaaniga (1966).

Horaantii badhtamihii soddonaadkii, waxa bilaabmay xirfada macalinimo ee Professor Khaikin. Ardaydiisa waxaa ka mid ah fanaaniinta caanka ah sida K. Kondrashin, E. Tons iyo kuwo kale oo badan.

L. Grigoriev, J. Platek, 1969