Ljuba Welitsch |

Ljuba Welitsch

"Anigu ma ihi Peysan Jarmal ah, laakiin Bulgarian kacsi leh," Soprano Lyuba Velich ayaa mar si ciyaareysan u yiri, isagoo ka jawaabaya su'aasha sababta aysan waligeed u heesin Wagner. Jawaabtaasi maaha naxdintii fannaanka caanka ah. Waxay si sax ah u muujineysaa ma aha oo kaliya dareenkeeda nafteeda, laakiin sidoo kale sida ay u arkeen dadweynaha Yurub iyo Ameerika - sida mid ka mid ah ilaahyada naxariista leh ee Olympus operatic. Dabeecaddeeda, hadalkeeda furfuran, tamar waalan, nooc ka mid ah dareenka faneed ee muusiga iyo riwaayadaha, taas oo ay si buuxda u siisay daawadayaasha-dhegaystaha, waxay ka tagtay xasuus iyada oo ah dhacdo gaar ah oo ku taal adduunka opera.

Lyuba Velichkova waxa uu ku dhashay July 10, 1913 ee gobolka Bulgaria, tuulada yar ee Slavyanovo, taas oo aan ka fogayn dekedda ugu weyn ee dalka ee Varna - ka dib dagaalkii koowaad ee dunida, magaalada waxaa loo magacaabay Borisovo si ay u sharfo Bulgarian. Tsar Boris III, sidaas darteed magacan waxaa lagu muujiyay inta badan buugaagta tixraaca sida goobta dhalashada ee heesta. Lyuba waalidkii - Angel iyo Rada - waxay ka yimaadeen gobolka Pirin (koonfur-galbeed ee dalka), waxay lahaayeen xidid Macedonia.

Fanaanada mustaqbalka waxay bilawday waxbarashadeeda muusikada caruurnimadeeda, iyada oo baratay sida loo ciyaaro violin. Iyada oo ku adkeysiga waalidkeed, oo doonayay in ay gabadheeda siiso takhasus "khaas ah", waxay ka baratay falsafada Jaamacadda Sofia, isla markaana waxay ku heesay kooxda heesta Alexander Nevsky Cathedral ee caasimadda. Si kastaba ha ahaatee, rabitaanka muusikada iyo kartida farshaxanka ayaa si kastaba ha ahaatee u horseeday heesaa mustaqbalka Sofia Conservatory, halkaas oo ay wax ka baratay fasalka Professor Georgy Zlatev. Intii ay wax ka baranaysay konserfatifka, Velichkova waxay ku heesi jirtay heesta Sofia Opera, iyada oo ugu horeysay ayaa halkan ka dhacday: 1934 waxay ku heesay qayb yar oo ka mid ah shimbiraha iibiya "Louise" by G. Charpentier; Doorka labaad wuxuu ahaa Tsarevich Fedor ee Mussorgsky's Boris Godunov, iyo bandhiga martida caanka ah, Chaliapin weyn, ayaa ciyaaray doorka horyaalka fiidkii.

Later Lyuba Velichkova waxay hagaajisay xirfadeeda codka ee Akademiyada Muusikada Vienna. Intii ay wax ku baranaysay Vienna, Velichkova waxaa lagu soo bandhigay dhaqanka muusiga ee Austro-Jarmal iyo horumarkeeda dheeraadka ah ee fannaanka opera-ka ayaa inta badan lala xiriiriyay muuqaalada Jarmalka. Isla mar ahaantaana, waxay "gaaban" magaceeda Slavic, taasoo ka dhigaysa mid aad u yaqaana dhegta Jarmalka: tani waa sida Velich uga soo muuqday Velichkova - magac markii dambe caan ka noqday labada dhinac ee Atlantic. Sanadkii 1936, Luba Velich waxay saxiixday qandaraaskeedii ugu horreeyay ee Australiya ilaa 1940-kii waxay ku heesi jirtay Graz inta badan heesaha Talyaaniga (waxaa ka mid ah doorarka sannadahaas - Desdemona ee G. Verdi's opera Otello, doorarka operas G. Puccini - Mimi ee La Boheme ", Cio-Cio-san ee Madama Butterfly, Manon ee Manon Lesko, iwm.).

Intii lagu jiray dagaalkii labaad ee aduunka, Velich wuxuu ku heesay Jarmalka, isagoo noqday mid ka mid ah fannaaniinta ugu caansan ee Reitch Saddexaad: 1940-1943. waxay kali ku ahayd guriga opera ee Jarmalka ee Hamburg, 1943-1945. - Soloist ee Opera Bavarian ee Munich, marka lagu daro, inta badan waxay qabataa marxalado kale oo Jarmal ah, kuwaas oo ay ugu horreeyaan Saxon Semperoper ee Dresden iyo Opera State ee Berlin. Xirfad aad u wanaagsan oo Nazi Germany ah markii dambe wax saameyn ah kuma yeelan guulaha caalamiga ah ee Velich: si ka duwan fannaaniin badan oo Jarmal ah ama Yurub ah oo ku soo caan baxay waqtigii Hitler (tusaale, R. Strauss, G. Karajan, V. Furtwängler, K. Flagstad, iwm.). fannaanka ayaa si farxad leh uga badbaaday denazation.

Isla mar ahaantaana, iyadu ma jabin la Vienna, taas oo ay sabab u tahay Anschluss ah, inkastoo ay joojisay inay noqoto magaalo-madax ah, ma lumin muhiimadda ay leedahay xarun music dunida: 1942, Lyuba heesay markii ugu horeysay. gudaha Vienna Volksoper qayb ka mid ah Salome ee opera-ga isla magaca R. Strauss oo noqday astaanteeda. Isla doorkaas, waxay ka soo muuqan doontaa 1944-kii iyada oo ku taal Vienna State Opera ee dabbaaldegga sannad-guuradii 80-aad ee R. Strauss, oo ku farxay fasiraaddeeda. Tan iyo 1946, Lyuba Velich waxay ahayd soloist waqti-buuxa ah ee Opera Vienna, halkaas oo ay samaysay shaqo wareer ah, taas oo keentay in iyada lagu abaalmariyo horyaalka sharafta "Kammersengerin" ee 1962.

Sannadkii 1947-kii, masraxiyaddan, waxay markii ugu horreysay ka soo muuqatay masraxa beerta Covent Garden ee London, mar kale qaybteeda saxeexa ee Salome. Guushu waxay ahayd mid weyn, heesaaguna wuxuu helay qandaraas shakhsi ah masraxa Ingiriisiga ugu da'da weyn, halkaas oo ay si joogto ah u heesato ilaa 1952 qaybaha sida Donna Anna ee Don Giovanni ee WA Mozart, Musetta ee La Boheme by G. Puccini, Lisa ee Spades Lady" waxaa qoray PI Tchaikovsky, Aida ee "Aida" ee G. Verdi, Tosca ee "Tosca" ee G. Puccini, iwm. Gaar ahaan marka loo eego waxqabadkeeda xilli ciyaareedkii 1949/50. "Salome" ayaa la sameeyay, iyada oo la isku daray kartida fannaanka iyo jihada quruxda badan ee Peter Brook iyo naqshadaynta xad dhaafka ah ee Salvador Dali.

Meesha ugu sarraysa ee xirfadda Luba Velich waxay ahayd saddex xilli oo ku taal New York Metropolitan Opera, halkaas oo ay ku soo bandhigtay ciyaarteedii ugu horreysay 1949 mar labaad iyadoo Salome ah (waxqabadkan, oo uu sameeyay agaasime Fritz Reiner, ayaa la duubay oo weli yahay tarjumaadda ugu wanaagsan ee opera Strauss ilaa maantadan la joogo. ). Masraxa masraxa New York, Velich waxay ku heesay riwaayadeeda ugu weyn - marka lagu daro Salome, tani waa Aida, Tosca, Donna Anna, Musetta. Marka laga soo tago Vienna, London iyo New York, heesaa ayaa sidoo kale ka soo muuqday marxalado kale oo adduunka ah, kuwaas oo ay ka mid yihiin xafladaha Salzburg, halkaas oo 1946 iyo 1950 ay ku heesay qayb ka mid ah Donna Anna, iyo sidoo kale Glyndebourne iyo Edinburgh Festivals. , halkaas oo 1949-kii markii lagu martiqaaday impresario caanka ah Rudolf Bing, waxay ku heesi jirtay qaybta Amelia ee G. Verdi's Masquerade Ball.

Xirfadda quruxda badan ee heesaha ayaa ahayd mid dhalaalaya, laakiin muddo gaaban, inkastoo ay si rasmi ah u dhammaatay oo kaliya 1981. Bartamihii 1950-meeyadii. waxay bilawday in ay dhibaato kala kulanto codkeeda oo u baahan qaliin lagu sameeyo seedaha. Sababta tani waxay u badan tahay inay ku jirto xaqiiqda ah in bilawgii hore ee xirfadeeda fanaanadu ay ka tagtay door suugaaneed oo kaliya, taas oo aad u badan oo la socota dabeecadda codkeeda, iyada oo door bideysa doorar badan. 1955 ka dib, marar dhif ah ayay samaysay ( Vienna ilaa 1964), inta badan xisbiyada yaryar: doorkeedii ugu dambeeyay wuxuu ahaa Yaroslavna ee Prince Igor by AP Borodin. Sannadkii 1972-kii, Velich waxay ku soo noqotay masraxa Metropolitan Opera: oo ay weheliso J. Sutherland iyo L. Pavarotti, waxay ku samaysay opera G. Donizetti Gabadha Ciidanka. Inkasta oo doorkeeda (Duchess von Krakenthorpe) uu ahaa mid yar oo wada hadal ah, dhagaystayaashu waxay si diiran u soo dhaweeyeen Bulgarian weyn.

Codka Lyuba Velich wuxuu ahaa dhacdo aan caadi ahayn taariikhda codadka. Isaga oo aan lahayn qurux gaar ah iyo qaninimada codka, isla markaana wuxuu lahaa sifooyin ka soocaya heesaaga iyo donnada kale ee prima. Soprano lyrical Velich waxaa lagu gartaa daahirnimo aan la qiyaasi karin oo dhawaaqa, qalabaynta dhawaaqa, timbre cusub, "gabadh" (taas oo ka dhigtay lagama maarmaanka ah qaybaha geesiyaasha da'da yar sida Salome, Butterfly, Musetta, iwm.) iyo duulimaad aan caadi ahayn, xitaa daloolin dhawaaqa, taas oo u ogolaatay heesaaga in ay si fudud u "goyso" mid kasta, orkesterka ugu awoodda badan. Dhammaan tayadaas, sida ay qabaan dad badan, waxay Velich ka dhigtay jilaa ku habboon Wagner repertoire, kaas oo heesaagu, si kastaba ha ahaatee, si kastaba ha ahaatee, ayaa si buuxda u danaynayay xirfaddeeda oo dhan, iyada oo tixgelinaysa riwaayadaha Wagner's operas mid aan la aqbali karin oo aan xiiso u lahayn dabeecadeeda dabka ah.

Taariikhda opera, Velich ayaa ugu horreyntii u ahayd jilaa heersare ah Salome, in kasta oo ay cadaalad darro tahay in loo tixgeliyo atariishada hal door ah, tan iyo markii ay guulo la taaban karo ka gaadhay doorar kale oo badan (guud ahaan, waxaa jiray ilaa konton ka mid ah. Heesaha heesaha), waxay sidoo kale si guul leh ugu soo bandhigtay operetta (Rosalind in "The Bat" ee I. Strauss ee masraxa "Metropolitan" waxay u mahadceliyeen dad badan oo aan ka yarayn Salome). Waxay lahayd karti heer sare ah oo ah jilaa riwaayadeed, taas oo xilligii Kallas ka hor aysan ahayn dhacdo soo noqnoqda masraxa opera. Isla mar ahaantaana, dareenka ayaa mararka qaarkood ka adkaaday iyada, taas oo u horseedaysa xiiso leh, haddii aysan ahayn xaalado naxdin leh oo masraxa ah. Sidaa darteed, doorka Tosca ee ciyaarta "Metropolitan Opera", waxay si dhab ah u garaacday lammaanaheeda, kaas oo ciyaaray doorka jirkeeda Baron Scarpia: go'aankan sawirka ayaa la kulmay farxad dadweyne, laakiin waxqabadka ka dib ayaa sababay. dhibaato badan oo soo food saartay maamulka tiyaatarka.

Jilitaanka ayaa u ogolaatay Lyuba Velich inuu sameeyo xirfad labaad ka dib markii uu ka tagay marxaladda weyn, jilitaanka filimada iyo telefishanka. Shaqooyinka shaleemada waxaa ka mid ah filimka "Nin u dhexeeya ..." (1953), halkaas oo heesaagu mar kale ka ciyaaro doorka opera diva ee "Salome"; filimada muusiga The Dove (1959, oo ay ka qayb qaadanayaan Louis Armstrong), The Final Chord (1960, oo ay ka qaybqaadanayaan Mario del Monaco) iyo kuwo kale. Guud ahaan, Lyuba Velich's filmography waxaa ka mid ah 26 filim. Fannaanka ayaa ku dhintay Sebtembar 2, 1996 magaalada Vienna.