Giacomo Meyerbeer |

Giacomo Meyerbeer

Masiirka J. Meyerbeer, curiyaha opera-ga ugu weyn qarnigii XNUMXaad. - si farxad leh ayay u soo baxday. Uma baahnid inuu helo noloshiisa, sida WA Mozart, F. Schubert, M. Mussorgsky iyo farshaxanno kale, sababtoo ah wuxuu ku dhashay qoyska bangiga weyn ee Berlin. Ma uusan difaacin xaqa uu u leeyahay hal-abuurka dhalinyarnimadiisa - waalidkiis, dadka aadka u iftiimay ee jecel oo fahmay fanka, waxay sameeyeen wax kasta si ay carruurtoodu u helaan waxbarashada ugu quruxda badan. Macalimiinta ugu fiican Berlin waxay ku beereen dhadhanka suugaanta qadiimiga ah, taariikhda, iyo luqadaha. Meyerbeer wuxuu si fiican ugu hadli jiray Faransiiska iyo Talyaaniga, wuxuu yaqaanay Giriig, Laatiinka, Cibraaniga. Walaalaha Giacomo sidoo kale waxay ahaayeen hibo: Wilhelm ka dib wuxuu noqday xiddigiye caan ah, walaalkii yaraa, oo dhintay goor hore, wuxuu ahaa gabayaa hibo leh, qoraaga masiibada Struensee, kaas oo Meyerbeer uu markii dambe qoray muusig.

Giacomo, oo ah kan ugu weyn walaalaha, wuxuu bilaabay inuu barto muusiga da'da 5. Isagoo sameeyay horumar la taaban karo, da'da 9 wuxuu ku qabtaa riwaayad dadweyne isagoo bandhiga Mozart's Concerto ee D yar. M. Clementi oo caan ah ayaa noqday macalinkiisa, iyo organist-ka caanka ah iyo aragtida Abbot Vogler oo ka yimid Darmstadt, ka dib markii uu dhegaystay Meyerbeer yar, wuxuu kula taliyaa inuu barto counterpoint iyo fugue ardaygiisa A. Weber. Later, Vogler qudhiisu wuxuu ku martiqaaday Meyerbeer Darmstadt (1811), halkaas oo ardayda Jarmalka oo dhan ay u yimaadeen macalinka caanka ah. Halkaa Meyerbeer wuxuu saaxiib la noqday KM Weber, qoraaga mustaqbalka ee The Magic Shooter iyo Euryanta.

Tijaabooyinkii ugu horreeyay ee madax-bannaan ee Meyerbeer waxaa ka mid ah cantata "Ilaah iyo Dabeecadda" iyo 2 operas: "Dhaartii Yefta" oo ku saabsan sheeko kitaabi ah (1812) iyo mid majaajillo ah, oo ku saabsan sheekada sheeko sheeko "Kun Habeen iyo Hal Habeen" , "Martida iyo Martida" (1813). Hawlgallada ayaa lagu soo bandhigay Munich iyo Stuttgart oo aan lagu guulaysan. Dhaleeceyntu waxay ku canaanan jireen curiyaha qallayl iyo la'aanta hadiyad laxan. Weber wuxuu u tacsiyeeyay saaxiibkiis dhintay, waayo-aragnimadii A. Salieri ayaa kula taliyay inuu aado Talyaaniga si uu u ogaado nimcada iyo quruxda laxanka ee sayidyadiisa waaweyn.

Meyerbeer waxa uu dhowr sano ku qaatay Talyaaniga (1816-24). Muusigga G. Rossini wuxuu xukumaa masraxa tiyaatarada Talyaaniga, bandhigyada operaskiisii ​​Tancred iyo Barber of Seville waa guul. Meyerbeer wuxuu ku dadaalaa inuu barto qaab cusub oo wax loo qoro. Padua, Turin, Venice, Milan, hawlihiisa cusub ayaa lagu soo bandhigay - Romilda iyo Constanza (1817), Semiramide Recognized (1819), Emma of Resburg (1819), Margherita of Anjou (1820), Exile from Grenada (1822) iyo, Ugu dambeyntii, opera-kii ugu yaabka badnaa ee sannadahaas, Crusader ee Masar (1824). Waxay ku guuleysataa kaliya maaha Yurub, laakiin sidoo kale USA, Brazil, qaar ka mid ah qaybo ka mid ah waxay noqdeen kuwo caan ah.

"Ma rabin inaan ku daydo Rossini," Meyerbeer ayaa sheegay oo u muuqda inuu iskiis u cudur daaranayo, "oo ku qor af Talyaani, sida ay yiraahdaan, laakiin waa inaan sidaas u qoraa… sababtoo ah soo jiidashadayda gudaha ah." Runtii, qaar badan oo ka mid ah saaxiibbada laxamiistaha ee Jarmalka - iyo ugu horrayn Weber - ma aysan soo dhawayn metamorphosis-tan Talyaani. Guusha suubban ee operas talyaaniga ee Meyerbeer ee Jarmalka ma niyad jebin halabuuraha. Waxa uu lahaa yool cusub: Paris - xarunta ugu weyn ee siyaasadda iyo dhaqanka wakhtigaas. Sanadkii 1824-kii, Meyerbeer waxaa lagu martiqaaday Paris cid kale oo aan ahayn maestro Rossini, oo aan markaas ka shakin in uu qaaday tallaabo dilaa ah oo caan ah. Waxa uu xitaa gacan ka geystaa soo saarista Crusader (1825), isaga oo ilaalinaya curiyaha da'da yar. Sanadkii 1827, Meyerbeer wuxuu u guuray Paris, halkaas oo uu ka helay gurigiisa labaad iyo halkaas oo caan ka ah adduunka.

ee Paris dabayaaqadii 1820-kii. nolol siyaasadeed iyo mid faneed badheedh ah. Kacaankii bourgeois ee 1830 ayaa soo dhawaaday. Burgeoisie-ka liberaaliga ah wuxuu si tartiib tartiib ah u diyaarinayey dareerinta Bourbons. Magaca Napoleon waxaa ku hareereysan halyeeyo jaceyl ah. Fikradaha hantiwadaaga utopian ayaa sii faafaya. Dhallinyarada V. Hugo ee hordhaca caanka ah ee riwaayadda "Cromwell" waxay ku dhawaaqdaa fikradaha isbeddel farshaxan oo cusub - jaceyl. Masraxa muusiga, oo ay weheliyaan operas E. Megul iyo L. Cherubini, shuqullada G. Spontini ayaa si gaar ah caan u ah. Sawirada Roomaanki hore ee uu ku abuuray maskaxda Faransiiska waxay leeyihiin wax ay wadaagaan geesiyaashii xilligii Napoleon. Waxaa jira operas majaajillo ah oo ay sameeyeen G. Rossini, F. Boildieu, F. Aubert. G. Berlioz waxa uu qoray hal-abuurkiisa Fantastic Symphony. Qorayaal horumarsan oo ka socda waddamo kale ayaa yimaadda Paris - L. Berne, G. Heine. Meyerbeer wuxuu si taxadar leh u ilaaliyaa nolosha Paris, wuxuu sameeyaa xiriiryo farshaxan iyo ganacsi, wuxuu ka qaybqaataa bandhigyada masraxa, kuwaas oo ay ka mid yihiin laba shaqo oo taariikhi ah oo loogu talagalay opera jaceyl - Aubert's The Mute from Portici (Fenella) (1828) iyo Rossini's William Tell (1829). Muhiimaddu waxay ahayd la kulanka curiyaha ee mustaqbalka E. Scribe, khabiir heersare ah oo masraxa iyo dhadhanka dadwaynaha, khabiir ku ah dareenka masraxa. Natiijadii iskaashigoodu waxay noqotay opera-ga jacaylka Robert the Devil (1831), taas oo ahayd guul la yaab leh. Kala duwanaansho dhalaalaya, ficil toos ah, tirooyinka codka cajiibka ah, dhawaaqa orkestral - waxaas oo dhami waxay noqonayaan sifada operas kale ee Meyerbeer.

Hordhaca guusha ee The Huguenots (1836) ayaa ugu dambeyntii burburiyay dhammaan kuwa ay xafiiltamaan. Caannimada weyn ee Meyerbeer waxay sidoo kale gasho waddankiisa - Jarmalka. Sanadkii 1842, Boqorkii Prussian Friedrich Wilhelm IV wuxuu ku casuumay Berlin isagoo ah agaasimaha guud ee muusikada. At Opera Berlin, Meyerbeer wuxuu helayaa R. Wagner soo saarista The Flying Dutchman (qoraagu wuxuu qabtaa), wuxuu ku martiqaadayaa Berlioz, Liszt, G. Marschner Berlin, wuxuu xiiseynayaa muusigga M. Glinka wuxuuna sameeyaa seddexleey Ivan Susanin . Dhanka kale, Glinka wuxuu qoray: "Koorsada waxaa hagayey Meyerbeer, laakiin waa inaan qirannaa inuu yahay macalin aad u wanaagsan dhammaan dhinacyada." Wixii Berlin ah, laxamiistaha ayaa qoraya xerada opera ee Silesia (qaybta ugu weyn waxaa sameeya J. Lind oo caan ah), Paris, Nabiga (1849), Xiddiga Waqooyiga (1854), Dinora (1859) ayaa la dhigay. opera-kii ugu dambeeyay ee Meyerbeer, Haweeneyda Afrikaanka ah, waxay aragtay masraxa sanad ka dib dhimashadiisa, 1865-kii.

Marxaladdiisa ugu wanaagsan, Meyerbeer wuxuu u muuqdaa sayidkii ugu weynaa. Hibo muusig oo heerka koowaad ah, gaar ahaan dhinaca fanka iyo laxanka, ma aysan diidin xitaa kuwa ka soo horjeeda R. Schumann iyo R. Wagner. Kartida virtuoso ee orchestra waxay u oggolaaneysaa inay gaarto saameynta ugu quruxda badan iyo saameynta cajiibka ah (goob ka mid ah kaniisadda, dhacdo riyo ah, socodkii boqornimada ee opera Nabiga, ama quduus ka dhigista seefaha Huguenots). Xirfad yar oo aan ka yarayn iyo haysashada tirada heesaha. Saamaynta Meyerbeer shaqadiisa waxaa la kulmay qaar badan oo ka mid ah asaagiisii, oo ay ku jiraan Wagner ee operas Rienzi, The Flying Dutchman, iyo qayb Tannhäuser. Dadka casriga ah ayaa sidoo kale soo jiitay jihaynta siyaasadeed ee masraxyada Meyerbeer. Sheekooyin taariikheed been abuur ah, waxay arkeen halganka fikradaha maanta. Laxamiistaha waxa u suurtagashay in uu si hoose u dareemo xilliga. Heine, oo aad ugu qiiraysan shaqada Meyerbeer, ayaa qortay: “Waa nin waqtigiisa, iyo wakhtiga, oo had iyo jeer yaqaan sida loo doorto dadkeeda, si qaylo ah ayuu gaashaanka ugu soo kiciyey oo ku dhawaaqay awoodiisa.”

E. Illeva

Halabuurka:

riwaayado – Dhaartii Jefta (Dhaartii Jeftas, Jephtas Gelübde, 1812, Munich), Marti-geliyaha iyo marti-qaadka, ama kaftan (Wirth und Gast oder Aus Scherz Ernst, 1813, Stuttgart; hoos cinwaanka Two caliphs, Die beyden Kalifen, 1814) ", Vienna; magaca Alimelek, 1820, Prague iyo Vienna), Brandenburg Gate (Das Brandenburger Tor, 1814, aan joogto ahayn), Bachelor ka Salamanca (Le bachelier de Salamanque, 1815 (?), aan dhammayn), Ardayga ka Strasbourg (L'etudiant de Strasbourg, 1815 (?), Ma dhammayn), Robert iyo Elisa (1816, Palermo), Romilda iyo Constanta (melodrama, 1817, Padua), Semiramis la aqoonsan yahay (Semiramide riconsciuta, 1819, tr. "Reggio", Turin), Emma of Resburg (1819, tr “San Benedetto”, Venice; oo hoos timaada magaca Emma Lester, ama Voice of Conscience, Emma von Leicester oder Die Stimme des Gewissens, 1820, Dresden), Margaret of Anjou (1820, tr “ La Scala”, Milan), Almanzor (1821, ma dhammayn), Musaafurinta Grenada (L'esule di Granada, 1822, tr “La Scala”, Milan), Saliibigii Masar (Il). crociato ee Egitto, 1824, tr Fenich e", Venice), Ines di Castro, ama Pedro ee Portugal “Boqor. Akadeemiyada Muusikada iyo Qoob ka ciyaarka, Paris), Huguenots (Les Huguenots, 1825, boostada. 1831, ibid; ee Russia oo hoos yimaada magaca Guelphs iyo Ghibellines), Iidda Maxkamadda ee Ferrara (Das Hoffest von Ferrara, bandhig faneed loogu talagalay carnival-ka maxkamadda Ball, 1835, Royal Palace, Berlin), Kaamka Silesia (Ein Feldlager ee Schlesien, 1836, "King. Spectacle", Berlin), Noema, ama Toobad keen (Nolma ou Le towbad keen, 1843, ma dhammaan.), Nabiga ( Le prophète, 1844, King's Academy of Music and Dance, Paris; ee Russia oo hoos yimaada magaca Siege of Ghent, ka dibna John of Leiden), Northern Star (L'étoile du nord, 1846, Opera Comic, Paris); waxay isticmaashay muusiga opera Camp ee Silesia), Judith (1849, ma dhammaan.), Ploermel cafis ( Le pardon de Ploërmel, asal ahaan loo yaqaan Treasure Seeker, Le chercheur du tresor; sidoo kale loo yaqaan Dinora, ama Xajka Ploermel, Dinorah oder Die Wallfahrt nach Ploermel; 1854, tr Opera Comic, Paris), Afrikaan (magaca asalka ah Vasco da Gama, 1854, post. 1859, Grand Opera, Steam izh); divertissement - Ka gudubka webiga, ama Haweeneyda Masayrka ah (Lepass de la riviere ou La femme jalouse; sidoo kale loo yaqaan Kalluumeysatada iyo caanaha, ama buuq badan sababtoo ah dhunkasho, 1810, tr "King of the Spectacle", Berlin) ; aftahannimo - Ilaah iyo dabeecadda (Gott und die Natur, 1811); Orchestra - Dabaaldegga dabbaaldegga ee boqornimada William I (1861) iyo kuwa kale; kuraasta - Sabuurradii 91 (1853), Stabat Mater, Miserere, Te Deum, sabuurro, heeso u gaar ah iyo heeso (aan la daabicin); cod iyo biyaano - St. 40 heeso, jacayl, ballads (ku saabsan aayadaha IV Goethe, G. Heine, L. Relshtab, E. Deschamps, M. Bera, iwm.); muusiga loogu talagalay bandhigyada masraxa riwaayadaha, oo ay ku jiraan Struenze (riwaayad uu sameeyay M. Behr, 1846, Berlin), Youth of Goethe (La jeunesse de Goethe, riwaayada A. Blaze de Bury, 1859, lama daabicin).