Ksenia Georgievna Derzhinskaya |

Ksenia Derzhinskaya

Nus qarni ka hor, maalmaha June ee fog 1951, Ksenia Georgievna Derzhinskaya dhintay. Derzhinskaya waxay iska leedahay galaxyada quruxda badan ee fannaaniinta Ruushka ee qeybtii hore ee qarnigii 20-aad, kuwaas oo farshaxankooda laga soo bilaabo maanta waxay u muuqdaan inay nagu dhow yihiin halbeeg. Farshaxanka dadka ee USSR, abaalmarinta Stalin Prize, soloist ee Tiyaatarka Bolshoi in ka badan soddon sano, borofisar ka tirsan Conservatory Moscow, haysta amarrada Soviet ugu sarreeya - waxaad ka heli kartaa macluumaad kooban oo ku saabsan iyada buug kasta oo encyclopedic gudaha ah. , Maqaallo iyo qoraallo ayaa laga qoray farshaxankeeda sannadihii hore, iyo ugu horreyntii, mudnaanta tani waxaa iska leh muusikada caanka ah ee Soofiyeedka EA Grosheva, laakiin nuxur ahaan magacan maanta waa la illoobay.

Isagoo ka hadlaya weynaanta hore ee Bolshoi ah, waxaan inta badan xasuusannaa iyada faca weyn - Chaliapin, Sobinov, Nezhdanova, ama facooda, kuwaas oo farshaxan ayaa aad u caan ah sannadihii Soofiyeedka - Obukhova, Kozlovsky, Lemeshev, Barsova, Pirogovs, Mikhailov. Sababaha tani waxay u badan tahay inay yihiin amar aad u kala duwan: Derzhinskaya waxay ahayd heesaa qaab tacliineed adag, waxay ku dhowdahay inaysan heesin muusikada Soofiyeedka, heesaha dadweynaha ama jaceylka hore, marar dhif ah ayay ku samaysay raadiyaha ama hoolka riwaayadaha, inkastoo ay iyadu waxay caan ku ahayd turjubaanka daahsoon ee muusiga qolka, inta badan waxay xoogga saartaa shaqada guriga opera, waxay ka tagtay cajalado yar. Farshaxankeedu had iyo jeer wuxuu ahaa heerka ugu sarreeya, garaadka la safeeyey, laga yaabee inaysan mar walba fahmi karin asaageed, laakiin isla markaasna fudud oo naxariis badan. Si kastaba ha ahaatee, iyada oo aan loo eegin sida ujeeddooyinkan sababahan laga yaabaa in, waxa ay u muuqataa in ilowsho ee farshaxanka sayidkiisa sida adag loogu yeedhi karaa cadaalad: Ruush dhaqan ahaan qani ku ah basses, iyadu waxay siisay adduunka badan oo cajiib ah mezzo-sopranos iyo coloratura sopranos, iyo fannaaniinta qorshe riwaayado ah oo ku saabsan miisaanka Derzhinsky ee taariikhda Ruushka ma aha cod aad u badan. "Soprano Dahabka ah ee Tiyaatarka Bolshoi" ayaa ahaa magaca la siiyay Ksenia Derzhinskaya by xamaasad xamaasad leh ee iyada karti. Sidaa darteed, maanta waxaan xusuusannahay fannaanka caanka ah ee Ruushka, kaas oo farshaxankiisu uu u riyaaqay marxaladda ugu weyn ee dalka in ka badan soddon sano.

Derzhinskaya wuxuu u yimid farshaxanka Ruushka waqti adag, waqti xasaasi ah isaga iyo masiirka dalka oo dhan. Waxaa laga yaabaa in jidka hal-abuurka oo dhan uu ku dhacay xilli nolosha Tiyaatarka Bolshoi iyo nolosha Ruushka, shaki la'aan, midba midka kale saameyn ku yeelanayo, ayaa weli ah, sawirro laga soo qaaday adduunyo kala duwan. Markii ay bilawday xirfadeeda heesaa, Derzhinskaya waxay samaysay 1913-kii opera ee Aqalka dadka ee Sergievsky (waxay u timid Bolshoi laba sano ka dib), Russia waxay ku noolayd nolol dhib badan oo ah qof aad u xanuunsan. Duufaantaas aadka u wayn, ee caalamiga ah ayaa mar horeba ku jirtay marinka. Tiyaatarka Bolshoi ee xilligii kacaanka ka hor, liddi ku ah, run ahaantii wuxuu ahaa macbad faneed - ka dib tobanaan sano oo xukun ah oo ku saabsan riwaayad labaad, jihayn cirro leh iyo muuqaal muuqaal ah, codad daciif ah, bilawgii qarnigii 20aad ee kolossusku wuxuu lahaa bedelay aqoonsi ka baxsan, bilaabay in ay ku noolaadaan nolol cusub, dhalaalayay midabyo cusub, oo tusaya dunida muunado la yaab leh oo ka mid ah abuurista ugu qumman. Dugsiga codka ee Ruushka, iyo, dhammaan ka sarreeya, qofka hoggaamisa soloists ee Bolshoi, ayaa gaadhay heerar aan hore loo arag, masraxa masraxa, marka lagu daro Chaliapin, Sobinov iyo Nezhdanova, Deisha-Sionitskaya iyo Salina. Smirnov iyo Alchevsky, Baklanov iyo Bonachich, Yermolenko-Yuzhina iftiimay iyo Balanovskaya. Waxay ahayd macbud noocan oo kale ah in fannaanka da'da yar uu yimid 1915 si ay weligeed ugu xirto qaddarkeeda isaga oo u qaadato booska ugu sarreeya.

Gelitaankeeda nolosha Bolshoi waxay ahayd mid deg deg ah: iyada oo markii ugu horreysay ka soo muuqday marxaladeeda Yaroslavna, horeyba xilli ciyaareedkii ugu horreeyay waxay ku heesi jirtay qaybta libaax ee jilitaanka riwaayadaha, waxay ka qayb qaadatay bandhigga The Enchantress, oo dib loo cusbooneysiiyay ka dib illowsi dheer, iyo in yar ka dib waxaa loo doortay by Chaliapin weyn, kuwaas oo markii ugu horeysay ee Bolshoi Verdi ee "Don Carlos" iyo heeso ee waxqabadka King Philip, oo ku saabsan qayb ka mid ah Elizabeth of Valois.

Derzhinskaya ayaa markii hore u timid masraxa iyada oo ah heesaa doorka qorshaha koowaad, inkastoo ay hal xilli oo kaliya ka dambeysay iyada oo ku jirta ganacsiga opera. Laakin xirfadeeda cod bixinta iyo hibada heerka sare waxay isla markiiba ka dhigeen midda ugu horeysa uguna wanagsan. Isagoo wax walba ka helay masraxa bilawgii hore ee xirfadeeda - qaybaha ugu horreeya, dib u eegis lagu dooranayo, kaari - aabbaha ruuxiga ah, saaxiib iyo lataliye ee qofka Vyacheslav Ivanovich Suk - Derzhinskaya wuxuu ahaa mid daacad ah isaga ilaa dhammaadka. maalmaheedii. Muuqaalka guryaha opera-ga ugu fiican adduunka, oo ay ku jiraan Metropolitan New York, Paris Grand Opera iyo Opera State Opera, ayaa ku guuldareystay inay isku dayaan inay heestaan ​​ugu yaraan hal xilli. Kaliya hal mar Derzhinskaya bedelay xukunkeeda, oo 1926 ka soo muuqday masraxa Opera Opera ee Paris mid ka mid ah doorkeeda ugu fiican - qayb ka mid ah Fevronia oo uu sameeyay Emil Cooper. Wax qabadkeeda kaliya ee ajnabiga ah wuxuu ahaa guul la yaab leh - opera Rimsky-Korsakov, oo aan aqoon u lahayn dhageystaha Faransiiska, heesaayadu waxay soo bandhigtay xirfadeeda codkeeda oo dhan, iyada oo maamusha inay u gudbiso daawadayaasha quruxda badan dhammaan quruxda farshaxanimada farshaxanimada Ruushka, fikradeeda anshaxeed. , qoto dheer iyo asal ahaan. Wargeysyada Parisi waxay la dhacsan yihiin "soo jiidashada salaaxa iyo dabacsanaanta codkeeda, iskuul aad u wanaagsan, qaamuus aan fiicneyn, iyo tan ugu muhiimsan, dhiirigelinta ay ku ciyaartay ciyaarta oo dhan, oo ay ku bixisay in afarta fal ee dareenka iyada aysan daciifin daqiiqo.” Maanta ma jiraan fannaaniin badan oo Ruush ah, kuwaas oo dhaleeceyn heer sare ah ka helay mid ka mid ah caasimadaha muusiga ee adduunka oo leh dalabyo soo jiidasho leh oo ka yimid guryaha hogaamisa opera-yada adduunka, ma awoodi doonaan inay sii joogaan Galbeedka ugu yaraan dhowr xilli. ? Waa maxay sababta Derzhinskaya u diiday dhammaan soo jeedimahan? Ka dib oo dhan, sanadka 26-aad, ma 37-aad, sidoo kale, waxaa jiray tusaalooyin la mid ah (tusaale ahaan, soloist ee Tiyaatarka Bolshoi mezzo Faina Petrova shaqeeyay saddex xilli isla Masraxa Metropolitan New York ee 20-meeyadii). Way adagtahay in si aan mugdi lahayn looga jawaabo su'aashan. Si kastaba ha ahaatee, fikraddayada, mid ka mid ah sababaha ayaa ku jira xaqiiqda ah in farshaxanka Derzhinskaya uu ahaa mid qoto dheer oo qaran: waxay ahayd heesaa Ruush ah oo doorbiday inay u heesaan dhagaystayaasha Ruushka. Waxay ku jirtay riwaayadda Ruushka in kartida farshaxanku si weyn loo muujiyay, waxay ahayd doorarka riwaayadaha Ruushka ee ugu dhowaa hal-abuurka fannaanka. Ksenia Derzhinskaya waxay abuurtay guud ahaan sawirada haweenka Ruushka ee nolosheeda hal-abuurka ah: Natasha ee Dargomyzhsky's Mermaid, Gorislava ee Glinka's Ruslan iyo Lyudmila, Masha ee Napravnik's Dubrovsky, Tamara ee Rubinstein's Demon, Yaroslavna ee Borodin's Prince Igor, Kuma Nastasya operas-ta Tchaikovsky, Kupava, Militris, Fevroniya iyo Vera Sheloga ee riwaayadaha Rimsky-Korsakov. Doorarkan ayaa ku adkaaday shaqada masraxa ee fannaanka. Laakiin abuurista ugu fiican ee Derzhinskaya, sida laga soo xigtay dadka casriga ah, waxay ahayd qayb ka mid ah Lisa ee Tchaikovsky ee opera The Queen of Spades.

Jacaylka riwaayadaha Ruushka iyo guusha ay ku raacday fannaanka ee ku jira ma aha mid ka soo horjeeda mudnaanta reer galbeedka, halkaas oo ay dareentay noocyo kala duwan - Talyaani, Jarmal, Faransiis. "Omnivorousness" noocan oo kale ah, iyada oo la tixgelinayo dhadhan jilicsan, dhaqanka ugu sarreeya ee ku dhex jira fannaanka, iyo daacadnimada dabeecadda, waxay ka hadlaysaa dabeecadda caalamiga ah ee hibada codka ee heesaha. Marxaladda Moscow maanta waxay si dhab ah u illowday Wagner, taasoo siinaysa masraxa Mariinsky hogaanka dhismaha "Ruushka Wagneriana", halka xilligii dagaalka ka hor, riwaayadaha Wagner ayaa inta badan lagu soo bandhigay Tiyaatarka Bolshoi. Wax-soo-saarkan, kartida Derzhinskaya ee heesaa Wagnerian ah ayaa lagu muujiyay hab aan caadi ahayn, kuwaas oo ku heesay shan riwaayadood oo ah Bayreuth Genius - Tannhäuser (qaybta Elizabeth), Nuremberg Mastersingers (Eve), Valkyrie (Brünnhilde), Lohengrin (Ortrud) , Bandhig faneedka "Tristan iyo Isolde" (Isolde). Derzhinskaya ma ahayn hormuudka "bini'aadantinimada" ee geesiyaasha Wagnerian; iyada ka hor, Sobinov iyo Nezhdanova waxay hore u dhigeen caado la mid ah akhrintooda quruxda badan ee Lohengrin, taas oo ay ka nadiifiyeen qarsoodiga xad-dhaafka ah iyo geesinimada dillaaca, oo ay ku buuxiyaan heeso dhalaalaya, nafta leh. Si kastaba ha ahaatee, waxay khibraddan u wareejisay qaybaha geesinimada leh ee Wagner's operas, kuwaas oo ilaa markaas ay u tarjumeen bandhigayaashu inta badan iyagoo ku jira ruuxa fikradda Teutonic ee superman. Bilawga heesaha iyo heesaha - laba walxood, si ka duwan midba midka kale, ayaa si isku mid ah ugu guulaystey heesaaga, haddii ay ahayd Rimsky-Korsakov's ama Wagner's operas. Geesiyaasha Wagnerian ee Derzhinskaya ma jirin wax ka sarreeya bini'aadantinimada, cabsi macmal ah, si xad dhaaf ah u yeel, si aan macquul ahayn oo nafta u qaboojiso: waxay ahaayeen kuwo nool - jecel iyo silica, nacaybka iyo dagaalka, lyrical iyo sare, eray ahaan, dadka dhammaan noocyada kala duwan ee Dareenka iyaga ka adkaaday, kaas oo ka dhashay dhibco aan dhimanayn.

Hawlgallada talyaaniga, Derzhinskaya wuxuu ahaa macalinka dhabta ah ee bel canto dadweynaha, si kastaba ha ahaatee, waligeed uma oggolaanin nafteeda nafsi ahaan aan loo dulqaadan karin codka. Geesiyaasha Verdi, Aida waxay ahayd qofka ugu dhow ee heesaaga ah, kaas oo iyada oo aan la wadaagin ku dhawaad ​​​​dhammaan nolosheeda hal-abuurka ah. Codka heesaaga ayaa si buuxda u oggolaaday in ay heeso inta badan qaybaha riwaayadaha leh ee istaroogga weyn leh, iyada oo ku socota ruuxa caadooyinka dhabta ah. Laakiin Derzhinskaya had iyo jeer waxay isku dayday inay ka baxdo cilmi-nafsiga gudaha ee qalabka muusikada, taas oo inta badan keentay dib-u-eegis tarjumaad dhaqameed oo la sii daayo bilawga lyrical. Tani waa sida farshaxanku u xalliyo "iyada" Aida: iyada oo aan la dhimin xoojinta xamaasadda ee dhacdooyinka riwaayadaha ah, waxay si kastaba ha ahaatee xoojisay heesta qaybteeda geesigeeda, iyada oo muujinteeda ka dhigaysa qodobbada tixraaca ee tarjumaadda sawirka.

Isla sidaas oo kale ayaa laga sheegi karaa Puccini's Turandot, kaas oo ugu horeeyay ee masraxa Bolshoi ahaa Derzhinskaya (1931). Si xor ah uga gudubta kakanaanta tessitura ee qaybtan, oo si cadaalad ah u buuxsamay forte fortissimo, Derzhinskaya si kastaba ha ahaatee waxay isku dayday inay si diiran u gaarsiiso, gaar ahaan goobta amiiradda ee isbeddelka ka soo jeeda sharfale kibir ah oo u galay abuur jacayl.

Derzhinskaya nolosha masraxa ee Tiyaatarka Bolshoi ahaa faraxsan. Fanaanada ma garan wax xafiiltamaan inta ku dhawaad ​​xirfadeeda oo dhan, in kasta oo kooxda masraxa sannadahaas ka kooban inta badan sayidyada heer sare ah. Si kastaba ha ahaatee, looma baahna in laga hadlo nabadda maskaxda: aqoonyahan Ruush ah oo ku jira dhuuxa lafaheeda, Derzhinskaya wuxuu ahaa hilibka iyo dhiigga adduunkaas, kaas oo si naxariis darro ah u baabi'iyay dawladda cusub. Wanaagga hal-abuurka ah, oo si gaar ah looga dareemay masraxa 30-meeyadii ka dib qalalaasihii sannadihii kacaanka, markii jiritaanka masraxa iyo nooca labadaba ay su'aal ka taagan tahay, ayaa ka dhacay asal ahaan dhacdooyinkii foosha xumaa ee ka dhacay. dalka. Cadaadisku dhab ahaantii ma taaban Bolshoi - Stalin wuxuu jecel yahay masraxa "isaga" - si kastaba ha ahaatee, ma aysan dhicin in fannaanka opera uu ula jeedo wax badan wakhtigaas: markii ereyga la mamnuucay, waxay ahayd heeso qumman oo ay ku heesaan heesaha ugu fiican Ruushku waxa uu muujiyay dhammaan murugada iyo murugada ku habsatay dalkooda hooyo, iyaga oo ka helay jawaab-celin firfircoon oo quluubta dhagaystayaasha ah.

Codka Derzhinskaya wuxuu ahaa qalab qarsoodi ah oo gaar ah, oo ay ka buuxaan nuances iyo chiaroscuro. Waxaa sameeyay heesaaga goor hore, sidaas darteed waxay bilaawday duruus cod ah iyadoo wali wax ku baranaysa qolka jimicsiga. Wax kastaa si habsami leh uma socon wadadan, laakiin dhamaadkii Derzhinskaya waxay heshay macalinkeeda, kaas oo ay ka heshay dugsi aad u fiican, taas oo u ogolaatay in ay sii ahaato macalin cod ah oo aan la taaban karin sanado badan. Elena Teryan-Korganova, heesaa caan ah lafteeda, arday Pauline Viardot iyo Matilda Marchesi, noqday macalin sida.

Derzhinskaya waxay lahayd soprano xoog leh, dhalaalaysa, saafi ah oo dabacsan oo lyric-riwaayad ah oo timbre ah oo aad u qurux badan, xitaa diiwaanka oo dhan, leh iftiin, heerar duulaya, xoog leh oo sonorous ah oo dhexda iyo dhiig buuxa leh, qoraalo laabta qani ah. Hanti gaar ah oo codkeeda ah ayaa ahayd jilicsanaanteeda aan caadiga ahayn. Codku wuxuu ahaa mid weyn, riwaayado ah, laakiin dabacsanaan ah, oo aan ka maarmin dhaqdhaqaaqa, kaas oo, lagu daray tiro ka mid ah laba iyo bar octaves, u oggolaaday heesaa inuu si guul leh u qabto (iyo si cajiib ah taas) qaybaha lyric-coloratura (tusaale, Marguerite in Gounod's Faust). Fanaanadu waxay si fiican u haysay farsamada heesaha, sidaa darteed qaybaha ugu adag, kuwaas oo u baahday sonority iyo muujinta, ama xitaa adkaysi jireed - sida Brunhilde ama Turandot - wax dhib ah ma aysan la kulmin. Gaar ahaan farxadeed waxay ahayd legato heesta, oo ku salaysan neefsashada aasaasiga ah, dheer iyo xitaa, oo leh heeso ballaaran, oo Ruush ah, iyo sidoo kale khafiifinta aan la barbar dhigi karin iyo biyaano ee qoraallada aadka u sarreeya - halkan heesaagu runtii wuxuu ahaa sayid aan la dhaafin. Lahaanshaha cod xoog leh, Derzhinskaya dabeecad ahaan, si kastaba ha ahaatee, si kastaba ha ahaatee, waxay ku sii jirtaa gabayo qarsoodi ah oo nafsi ah, taas oo, sida aynu hore u soo sheegnay, waxay u ogolaatay inay ka dhacdo qolka qolka. Intaa waxaa dheer, dhinacan ka mid ah tayada fannaanka ayaa sidoo kale soo baxday goor hore - waxay ka timid riwaayadda qolka 1911 in xirfadeeda heeseed ay bilaabatay: ka dibna waxay ku samaysay riwaayad qoraaga Rachmaninov oo uu la socdo jacaylkiisa. Derzhinskaya wuxuu ahaa turjumaan xasaasi ah oo asal ah oo ka mid ah heesaha jacaylka Tchaikovsky iyo Rimsky-Korsakov, labada laxan ee ugu dhow iyada.

Ka dib markii uu ka tagay masraxa Bolshoi ee 1948, Ksenia Georgievna wax baray ee Conservatory ee Moscow, laakiin ma aha muddo dheer: qadarku ha tago kaliya 62 sano jir ah. Waxay dhimatay sannad-guuradii masraxa hooyadeed ee 1951 - sannad-guuradii 175aad.

Muhiimadda farshaxanka Derzhinskaya waa adeeggeeda tiyaatarka hooyo, waddankeeda hooyo, oo ku jirta qarsoodi iyo xasillooni. Dhammaan muuqaalkeeda, dhammaan shaqadeeda waxaa jira wax ka yimid Kitezhan Fevronia - farshaxankeeda ma jiraan wax dibadda ah, naxdin leh dadweynaha, wax walba waa mid aad u fudud, cad iyo mararka qaarkood xitaa si yar. Si kastaba ha ahaatee, iyada - sida isha gu'ga oo aan daruur ahayn - ayaa weli ah mid da'yar oo soo jiidasho leh.

A. Matusevich, 2001