Gaetano Donizetti (Gaetano Donizetti) |

Gaetano donizetti

Laxanka Donizetti ayaa adduunka kaga farxiya farxaddooda cayaareed. Hein

Donizetti waa karti horusocod sare leh oo daaha ka qaaday rabitaanka Renaissance-ka. G. Mazzini

Muusiga Donizetti cajiib, cajiib ah, yaab leh! V. Bellini

G. Donizetti – oo ah wakiil ka socda dugsiga talyaaniga ee opera-ga jaceylka, sanam ka mid ah taageerayaasha bel canto - ayaa ka soo muuqday hawada sare ee talyaaniga xilli "Bellini uu dhimanayey, Rossinina wuu aamusnaa." Mulkiilaha hadiyadda heesaha ah ee aan la koobi karin, kartida qoto dheer ee gabayada iyo dareenka masraxa, Donizetti wuxuu abuuray 74 operas, kaas oo muujiyay ballaadhka iyo kala duwanaanta kartidiisa curiyaha. Donizetti shaqadiisa hawleed si aan caadi ahayn ayay u kala duwan tahay noocyada: kuwani waa melodramas-bulsho-cilmiyeed ("Linda di Chamouni" - 1842, "Gemma di Vergi" - 1834), riwaayado taariikhi ah iyo geesiyaal ("Velisario" - 1836, "Go'doominta Calais" - 1836, "Torquato Tasso" - 1833, "Mary Stuart" - 1835, "Marina Faliero" - 1835), riwaayadaha riwaayadaha ("Lucia di Lammermoor" - 1835, "The Favorite" - 1840, "Maria di Rogan" - 1843), melodramas naxdin leh ("Lucretia Borgia" - 1833, "Anne Boleyn" - 1830). Khaasatan kala duwan ayaa lagu qoray nooca buffa, fanka muusiga ("Castle of the Invalids" - 1826, "New Pursonyak" - 1828, "Crazy by Order" - 1830), operas majaajillo ah ("Love's Potion" - 1832, "Don Pasquale" - 1843), riwaayado majaajillo ah oo leh wada-hadallo wada-hadal ah (Gabadha Ciidanka - 1840, Rita - oo la sameeyay 1860) iyo operas sax ah (Gudoomiyaha Dhibaatada - 1824, The Night Bell - 1836).

operas-yada Donizetti waa miraha shaqada aan caadiga ahayn ee curiyaha ee muusiga iyo libretto labadaba. Isagoo ah muusikiiste aqoon badan leh, wuxuu adeegsaday shuqullada V. Hugo, A. Dumas-father, V. Scott, J. Byron iyo E. Scribe, isaga laftiisu wuxuu isku dayay inuu qoro libretto, wuxuuna u sameeyay gabayo kaftan ah.

Shaqada operatic ee Donizetti, laba xilli ayaa shuruud ahaan loo kala saari karaa. Shaqooyinka ugu horreeya (1818-30), saameynta G. Rossini waa mid aad u muuqata. In kasta oo operas-yadu aanay u sinnayn nuxur ahaan, xirfad ahaan iyo muujinta shakhsiyadda qoraaga, haddana Donizetti waxa uu u muuqdaa mid laxan weyn. Muddada qaan-gaarnimada hal-abuurka ee curiyaha ayaa ku dhacaya 30-meeyadii - qeybtii hore ee 40-meeyadii. Waqtigaan, wuxuu abuuraa farshaxanno farshaxan oo galay taariikhda muusigga. Kuwan oo kale waa "had iyo jeer cusub, had iyo jeer soo jiidasho leh" (A. Serov) opera "Love Potion"; "Mid ka mid ah dheemanta saafiga ah ee opera Talyaani" (G. Donati-Petteni) "Don Pasquale"; "Lucia di Lammermoor", halkaas oo Donizetti uu shaaca ka qaaday dhammaan khiyaanada khibradaha shucuureed ee qofka jecel (De Valori).

Xoogga shaqada laxamiistaha runtii waa mid gaar ah: "Sida fudud ee Donizetti u ka kooban yahay muusikada, awoodda si dhakhso ah u qabsato fikirka muusikada, waxay suurtogal ka dhigtaa in la barbardhigo habka shaqadiisa midhaha dabiiciga ah ee geedaha miraha ubaxa" (Donati- Petteni). Si sahal ah, qoraagu waxa uu u bartay habab kala duwan oo heer qaran ah iyo noocyada opera-ga. Marka laga soo tago operas-ka, Donizetti waxa uu qoray oratorios, cantatas, symphonies, quartets, quintets, curinta ruuxa iyo codka.

Dibadda, nolosha Donizetti waxay u muuqatay guul joogto ah. Dhab ahaantii, taasi may ahayn xaaladdu. "Dhalashadaydu si qarsoodi ah ayay u qarsoon tahay," ayuu qoray curiyaha, "waayo, waxaan ku dhashay dhulka hoostiisa, qaybta hoose ee kanaalka Borgo, halkaas oo fallaadhaha qorraxdu aysan waligood gelin." Donizetti waalidkeed waxay ahaayeen dad sabool ah: aabbihiis wuxuu ahaa waardiye, hooyadiis waxay ahayd dhar-sameeyaha. Marka uu jiro da'da 9, Gaetano wuxuu galaa Simon Mayr Charitable Music School wuxuuna noqday ardayga ugu fiican halkaas. Markuu jiray 14, wuxuu u guuray Bologna, halkaas oo uu wax ku bartay Lyceum of Music S. Mattei. Awoodaha aadka u wanaagsan ee Gaetano ayaa markii ugu horreysay lagu muujiyay imtixaankii 1817-kii, halkaas oo shaqadiisii ​​​​syphonic iyo cantata lagu sameeyay. Xitaa Lyceum, Donizetti wuxuu qoray 3 operas: Pygmalion, Olympias iyo The Wrath of Achilles, oo horeyba 1818 kii opera Enrico, Count of Burgundy ayaa si guul leh loogu soo bandhigay Venice. Inkasta oo uu ku guulaystey opera, waxay ahayd xilli aad u adag nolosha muusigga: qandaraasyada curinta lama soo afjari karo, qoysku waxay u baahan yihiin kaalmo dhaqaale, kuwa u dhowna ma fahmin isaga. Simon Mayr wuxuu u habeeyey Donizetti inuu qandaraas kula galo Rome Opera si uu u sameeyo opera Zoraida ee Granata. Wax-soo-saarku wuxuu ahaa guul, laakiin dhaleecaynta ku dhacday halabuurkii da'da yaraa waxay ahayd mid naxariis darro ah. Laakiin tani ma jabin Donizetti, laakiin kaliya waxay xoojisay xooggiisa dadaalka uu ku horumarinayo xirfadihiisa. Laakiin nasiib darro ayaa midba midka kale raacaa: marka hore wiilka curiyaha ayaa dhintay, ka dibna waalidkii, xaaskiisa uu jecel yahay ee Virginia, oo aan xitaa 30 jir ahayn: "Kaligay dhulka ayaan ahay, welina waan noolahay!" Donizetti wuxuu qoray isagoo quus ah. Fanku wuxuu ka badbaadiyay is-dilka. Martiqaadka Paris ayaa imanaysa waxyar. Halkaa waxa uu ku qoray jacayl, soo jiidasho leh, "Gabadha Ciidanka", xarrago leh "Jacaylka". Labadan shaqo, iyo sidoo kale indheergaradka Polievkt, ayaa si xamaasad leh loo qaabilay. Opera opera ugu danbeysa ee Donizetti waa Catarina Cornaro. Waxaa lagu soo bandhigay Vienna, halkaas oo 1842 Donizetti helay magaca laxamiistaha maxkamadda Austria. Ka dib 1844, jirrada dhimirku waxay ku qasabtay Donizetti inuu ka tanaasulo curinta oo uu sababay dhimashadiisa.

Farshaxanka Donizetti, kaas oo matalay qaabka heesaha qurxinta, wuxuu ahaa mid dabiici ah oo dabiici ah. "Donizetti waxay nuugtay dhammaan farxadaha iyo murugada, welwelka iyo welwelka, dhammaan rabitaanka dadka caadiga ah ee jacaylka iyo quruxda, ka dibna waxay ku muujiyeen heeso qurux badan oo weli ku nool qalbiga dadka" (Donati-Petteni).

M. Dvorkina

• Opera Talyaani ka dib Rossini: shaqada Bellini iyo Donizetti →

Wiilka waalidiinta saboolka ah, wuxuu helay macalinka ugu horreeya iyo waxtarka shakhsi ahaaneed ee Mayr, ka dibna wuxuu wax ka bartaa Bologna Musical Lyceum oo uu hoggaamiyo Padre Mattei. Sannadkii 1818-kii, opera-kiisii ​​ugu horreeyay, Enrico, Count of Burgundy, ayaa lagu qabtay Venice. Sannadkii 1828-kii wuxuu guursaday heesaagii iyo pianist Virginia Vasselli. Sannadkii 1830-kii, opera Anna Boleyn ayaa si guul leh loogu dhigay masraxa Carcano ee Milano. Naples, wuxuu hayaa jagada agaasimaha tiyaatarada iyo jagada macalinka ee konservatory, iyadoo aad loo ixtiraamo; Si kastaba ha ahaatee, 1838, Mercadante wuxuu noqday agaasimaha konservatory. Tani waxay dhabar jab weyn ku ahayd curiyaha. Ka dib dhimashadii waalidkiis, saddex wiil iyo xaaskiisa, isagu (in kasta oo sheekooyin badan oo jacayl ah) ayaa kaligiis ahaanaya, caafimaadkiisa waa la ruxay, oo ay ku jiraan shaqo cajiib ah, titanic. Ka dib noqoshada qoraaga iyo agaasimaha riwaayadaha gaarka ah ee Maxkamadda Vienna, wuxuu mar kale muujiyay awoodiisa weyn. 1845kii ayuu si xun u bukooday.

"Waxaan ku dhashay kanaalka Borgo ee dhulka hoostiisa: iftiinka iftiinka waligiis ma gelin qolka maqsinka, halkaas oo aan ka soo degay jaranjarooyinka. Oo, sida guumays, oo ka soo duulaya buulka, had iyo jeer waxaan naftayda ku qaadi jiray waxyaabo xun ama farxad leh. Erayadan waxaa iska leh Donizetti, oo sidaas rabay inuu go'aamiyo asalkiisa, qaddarkiisa, oo lagu calaamadiyay xaalado isku dhafan oo dhimasho ah, taas oo, si kastaba ha ahaatee, kama hor istaagin inuu u beddelo mid halis ah, xitaa naxdin iyo murugo leh oo ku jira shaqadiisa hawleed ee qosol leh oo qumman. goobo faasiq ah. "Marka muusigga majaajilada ah uu ku dhasho madaxayga, waxaan dareemaa qulqulka qulqulka dhinaca bidix, marka ay halis tahay, waxaan dareemayaa qodid la mid ah midigta," laxanka ayaa ku dooday eccentricity aan caadi ahayn, sida haddii uu rabo inuu muujiyo sida ugu fudud ee fikradaha u kacday maskaxdiisa. . “Ma garanaysaa hal-ku-dheggayga? Degdeg ah! Waxaa laga yaabaa in tani aysan u qalmin ansixinta, laakiin waxa aan si fiican u sameeyay had iyo jeer si degdeg ah ayaa loo sameeyay, "ayuu u qoray Giacomo Sacchero, mid ka mid ah xoriyadiisa, natiijaduna, inkasta oo aan had iyo jeer ahayn, waxay xaqiijisay saxnimada hadalkan. Si sax ah ayuu u qoray Carlo Parmentola: "U dhigma la'aanta qoraallada Donizetti hadda waa meel caadi ah oo loogu talagalay dhaleeceynta, iyo sidoo kale waxqabadkiisa hal-abuurka ah ee cadcad, sababaha kuwaas oo badanaa lagu raadsado xaqiiqda ah in uu had iyo jeer ku riixo waqtiyo kama dambays ah. Si kastaba ha ahaatee, xaqiiqadu waxay tahay in xitaa arday Bologna ah, markii waxba uusan ku degdegin, wuxuu u shaqeeyay qandho oo wuxuu sii waday inuu si isku mid ah u shaqeeyo xitaa marka, isagoo ugu dambeyntii gaadhay barwaaqada, wuxuu ka takhalusay baahida loo qabo inuu si joogto ah u curiyo. Waxaa laga yaabaa in baahidani ay si joogto ah u abuurto, iyada oo aan loo eegin duruufaha dibadda, kharashka daciifinta xakamaynta dhadhanka, waxay ahayd muuqaal ka mid ah shakhsiyadiisa nasasho la'aanta ah ee muusikada jacaylka ah. Iyo, dabcan, wuxuu ahaa mid ka mid ah hal-abuurayaasha, kuwaas oo ka tagay awoodda Rossini, waxay si sii kordheysa ugu qanacsan yihiin baahida loo qabo in la raaco isbeddellada dhadhanka.

"In ka badan toban sano," ayuu qoray Piero Mioli, "Donizetti hibo dhinacyo badan leh ayaa si xor ah oo kala duwan loogu soo bandhigay opera-majaajillo ah oo culus, nus-qarni iyo majaajillo ah iyadoo la raacayo in ka badan nus qarni dhaqanka opera Talyaani ah, shakhsi ahaan wakhtigaas sawirka Rossini ee aan fiicnayn, marka laga bilaabo 30s XNUMXs, wax soo saarka nooca khatarta ah wuxuu helayaa faa'iido tiro badan, si kastaba ha ahaatee, tani waxaa looga baahan yahay xilliga soo socda ee jacaylka iyo tusaale ahaan casriga sida Bellini, oo ahaa shisheeye u ah majaajilada

Qabashada booskan muhiimka ah, Donizetti, oo leh xorriyaddiisa sifada ah ee waxyiga, ayaa u degdegay qaab-dhismeedka waayo-aragnimada runta ah, taas oo uu siiyay baaxad isku mid ah, iyaga oo xoreynaya, haddii loo baahdo, shuruudaha ujeeddooyinka iyo shuruudaha la taaban karo ee isku xigxiga. Baadhitaanka qandhada halabuuraha ayaa ka dhigtay inuu doorbido dhamaadka taxanaha opera sida runta kaliya ee lagama maarmaanka u ah in la fahmo dhagarta. Waxay ahayd rabitaanka runta ah ee isla mar ahaantaana quudiyay dhiirigelintiisa majaajillada ah, taas oo ay ugu mahadcelinayso, abuurista caricatures iyo caricatures, wuxuu noqday qoraaga ugu weyn ee majaajilada muusiga ka dib Rossini, wuxuuna go'aamiyay waqtigiisa qaan-gaarka ah ee majaajillada majaajillada ah ee lagu calaamadeeyay ma aha oo kaliya murugo murugo leh. , laakiin dabacsanaan iyo dadnimo. . Sida laga soo xigtay Francesco Attardi, "opera buffa waxay ahayd xilligii Romantic-gaaban, imtixaan miyir-qab ah oo macquul ah oo ku saabsan rabitaanka saxda ah ee melodrama-qarnigii sagaalaad. Opera buffa waa, sida ay ahayd, dhinaca kale ee qadaadiicda, nagu dhiirigelinaysa inaan wax badan ka fikirno seria opera. haddii ay ahaan lahayd warbixin ku saabsan qaab-dhismeedka bulshada bourgeois.

Dhaxalka ballaadhan ee Donizetti, oo weli sugaya aqoonsiga saxda ah, ayaa xaq u leh qiimeynta guud in maamulka noocaas ah ee daraasadda shaqada laxanka sida Guglielmo Barblan uu siinayo: "Goorma ayay muhiimadda farshaxanka Donizetti noo caddayn doontaa? Aragtidii hore ee isaga ku cuslaysay in ka badan qarni waxa ay u soo bandhigtay farshaxannimo, in kasta oo uu garaad ahaa, balse waxa uu ka qaaday fudaydkiisii ​​cajiibka ahaa ee dhibaatooyinka oo dhan si uu isugu dhiibo awoodda waxyiga wakhtiga yar. Muuqaal degdeg ah oo ku saabsan toddoba darsin Donizetti operas, dib u soo noolaynta casriga ah ee guusha leh ee hawlgallada la illoobay ayaa caddaynaya, liddi ku ah, in haddii xaaladaha qaarkood ra'yiga noocaas ahi aanu ahayn nacayb, ka dibna shaqadiisa muhiimka ah ... Donizetti wuxuu ahaa farshaxan kaas oo ka warqabay masuuliyadda hawsha loo igmaday iyo in uu si qoto dheer ugu fiirsado dhaqanka reer Yurub, kaas oo uu si cad u garwaaqsaday sida kaliya ee uu melodramayadayada uga guuri karo mansabyada fudud ee siisay gobolnimada, kuwaas oo si been abuur ah loogu yeero "caado" .

G. Marchesi (waxaa tarjumay E. Greceanii)

Halabuurka:

riwaayado (74), oo ay ku jiraan waalan (Una Follia, 1818, Venice), virtuosos warwareega liita (I piccoli virtuosi ambulanti, 1819, Bergamo), Peter the Great, Tsar Ruush ah, ama nijaarkii Livonian (Pietro il grande Czar delle Russie o Il). Falegname di Livonia, 1819, Venice), arooska miyiga (Le Nozze ee villa, 1820-21, Mantua, carnival), Zoraida Pomegranate (1822, masraxa "Argentina", Rome), Chiara iyo Serafina, ama burcad-badeed (1822, masraxa " La Scala”, Milan), dhalanteed farxad leh (Il fortunato inganno, 1823, masraxa “Nuovo”, Naples), Guddoomiyaha dhibaato ku jira (L'Ajo nell'imbarazzo, oo sidoo kale loo yaqaan Don Gregorio, 1824, masraxa "Valle", Rome) , Qalcadda Invalids (Il Castello degli invalidi, 1826, Carolino Theatre, Palermo), Siddeed bilood gudahood Laba Saacadood, ama Exiles in Siberia (Otto mesi in due ore, ossia Gli Esiliati in Siberia, 1827, Nuovo Theatre, Naples), Alina, Boqorada Golconda (Alina regina di Golconda, 1828, Masraxa Carlo Felice, Genoa), Pariah (1829, Masraxa San Carlo, Naples), Elizabeth oo ku taal Castle Kenilw orth (Elisabetta al castello di Kenilworth, sidoo kale loo yaqaan. Kenilworth Castle, oo ku salaysan sheeko-qorka W. Scott, 1829, ibid.), Anne Boleyn (1830, Tiyaatarka Carcano, Milan), Hugo, Count of Paris (1832, La Scala Theatre, Milan), Jacaylka Potion (L' Elisir). d'amore, 1832, Masraxa Canobbiana, Milan), Parisina (ka dib J. Byron, 1833, Masraxa Pergola, Florence), Torquato Tasso (1833, Masraxa Valle, Rome), Lucrezia Borgia (oo ku saleysan riwaayada isla magaca V. Hugo, 1833, La Scala Theatre, Milan), Marino Faliero (oo ku salaysan masraxa isla magaca J. Byron, 1835, Italy Theatre, Paris), Mary Stuart (1835, La Scala Theatre, Milan), Lucia di Lammermoor (oo ku salaysan sheeko W. Scott "Aroosadda Lammermoor", 1835, Masraxa San Carlo, Naples), Belisarius (1836, Masraxa Fenice, Venice), Go'doominta Calais (L'Assedio di Calais, 1836, Masraxa "San Carlo, Naples), Pia de'Tolomei (1837, Apollo Theatre, Venice), Robert Devereux, ama Earl of Essex (1837, San Carlo Masraxa, Naples), Maria Di Rudenz (1838, masraxa "Fenice, Venice). ), Gabadhii Guutada(La fille du régiment, 1840, Opera Comique, Paris), Martyrs (Les Martyrs, daabacaadda cusub ee Polyeuctus, oo ku salaysan masiibada P. Corneille, 1840, Masraxa Opera Grand, Paris), Favorite (1840, ibid. Adelia, ama Gabadha qaansada (Adelia, oo ku saabsan La figlia dell'arciere, 1841, masraxa "Apollo, Rome), Linda di Chamouni (1842, Kärntnertorteatr, Vienna), Don Pasquale (1843, Tiyaatarka Italy, Paris) , Maria di Rohan (Maria dl Rohan on Il conte di Chalais, 1843, Kärntnertorteatr), Vienna), Don Sebastian ee Portugal (1843, Grand Opera Theatre, Paris), Caterina Cornaro (1844, San Carlo Masraxa, Naples) iyo kuwa kale; 3 oratorios, 28 cantata, 16 heeso, 19 rubuc, 3 quinttes, muusiga kaniisadda, shaqooyin badan oo cod ah.