Giuseppe Verdi is the strength of the share. Verdi's opera "The Power of the Dole The Power of the Dol
On the cob 1861 Verdi, having rejected the proposition to write an opera for Russia. The mediator in the negotiations between the composer and the directorate of the St. Petersburg imperial theaters was the famous tenor Enriko Tamberlik, who performed a lot of rock in Russia. The search for a libreto began. "Ruye Blas", which has already adopted Verdi for a long time, without taking away the censored praise. "Oskіlki" Ruy Blas "is not possible to store for St. Petersburg, I'm rebuying at the majestic scrut, - writing to Verdy Tamberlik. dramatic works and I don’t know anything that made me completely satisfied. I can’t and don’t want to sign an agreement first, I know a plot suitable for artists, like I’ll be a mother in St. Petersburg, and such a plot, like I’ll be praised by the authorities "(March 5, 1861). on the Spanish song "Don Alvaro, or the Power of the Dole" "The drama is great, original and majestic. I’m more like it, but I don’t know how her public knows all those that I know. Exactly one thing: it’s all worth it” (20 sickles, 1861).
Authored by Verdi drama buv vodomy pisnik- Head of the Spanish Romantic School Don Angele Perez de Saavedra, Duke de Rivas. Vignany from Spain, as a participant in the war for independence, having spent many years on the emigration. Yogo p'єsa, directed against the Spanish people's blasphemy against the peoples of Pivdenny America, greeted with a warm welcome from democratic stakes at the hour of staging in Spain in 1835.
Having entrusted Piavi to lay down the libreto, Verdi, having become from the hoardings, worked on the opera. March 6, 1861 I arrived in St. Petersburg to learn "The Power of the Dole". Ale, the prima donna M. Lagroix, who was supposed to play the central role, fell ill. At the link with the cim Verdi, having put in place the staging of the opera until the autumn of 1862, and until the victorious leading role asking to get young talanovity spіvachku Barbeau. First, leave Russia, Verdi, having gone for a few days to Moscow, to look around the museums and the monuments of the city. At the fierce wine near Paris, then turning back to Italy, but not for a long time. In the spring of Verdi Provіv near London, as a musical representative of Italy at the All-World London Exhibition, for which he wrote the cantata "Inno delle nazioni" ("Hymn of the Nations"). The text of the cantati was written by Arrigo Boito. Cantata tsya, s її officially stylized in character, does not lie up to the creative successes of Verdi. Composer and himself razzinuvav tsy tvіr.
After a few months in Sant'Agata, in the middle of the spring Verdi straightened up again to St. Petersburg, having gone early to Moscow, to be present at the production of "Il trovatore", which won out with great success. Recognizing that the composer was at the hall, the Muscovites greeted him with suffocating applause.
On the 10th of the fall of the leaves near Petersburg, "The Power of the Dole" was staged. The public was in awe of the author. Ale, on the sides of the Russian friend, Verdi's new opera was recognized by severe criticism, more severe and harsh, less won. This transcendental vibrancy of the Russian advanced musical thought that Verdi's opera is explained by the significant world that is folded by those important furnishing, which had such a Russian opera.
Russian lovers of the musical theater knew well that they loved the Italian opera. Starting from the 40s, the Italian corpse came to Russia. Rubins, Tambourines, Frezzolins, Grizzes, Mario and other famous Italian artists sang with great success at Moscow and St. Petersburg.
Verdi's operas were released in Russia in 1845, when "Lombards" appeared on the Russian stage first. The music of Verdi knew a few punny chanuvals. However, in the 60s and 70s, when in Russia there was an intense struggle for the Russian national culture, for the Russian musical art, against the "Italian" and "Italomania", widely spread in the Russian public, prominent representatives of the Russian Tchaikovsky.
Russian musicians were overwhelmed by the inadmissible staging of the directorate of the imperial theaters to the Russian opera. Operas by Russian composers were staged by the theatrical directorate reluctantly and nastily. Only a meager sum of money was admitted to their performances. The music was given to ungrounded, anti-artistic bills. Showy, for example, that Boris Godunov dvіchi vіdhilyavsya special committee at the theater and buv staging only for the indulgence of the pleasurable artist Yu. F. Platonova.
Tchaikovsky wrote about the establishment of the Russian opera in his musical feuilletons "... In my reviews, - even in one of the articles, - I wilted my foolishness, bachachi those ganebne humiliation, in a yak staged in Moscow, in such a to the called Heart of Russia, the Russian opera... (...) Ale hiba my philippies, spiced with the sharpest arrows of irony, anger and bewilderment, were somehow felt by the theater, enticing all the pennies, and the whole hour of the Moscow public (.. .).
Tsiy Otravyiyi Ekspluatatsії іtalіyskiy entrepreneur Music Music (...) Do not know, who is b_lischivati: Chi іtalіyskiy Athreprener І Yoy Schіlnitzia, Diettskіu theater, Abo Pubіku, Shah so hiking is my Yarmo, this is ready to buy in the spring for Dmitrіvku stock up on subscription tickets"*.
* (Tchaikovsky P.I. Explanation for the reader. - At the book: Tchaikovsky P. I. Musically critical articles. M., 1953, p. 159 160.)
About the non-serious setting to the opera of music lovers, as if they joked not with a dramatic zmist, but only with a harp of aria, as if you could listen to the viconan of famous artists, repeatedly writing Serov: "We hear, for example, "Ballo in maschera" by Verdi. p'esi, to intrigue, to character - we must check Tamberlik's solo in the quintet, Fioretti's aria and, more importantly, Gratian's aria in front of the portrait "**.
* ("Masquerade ball".)
** (Serov A. N. Shares of opera in Russia. - Selected statti, vol. 1, p. 347.)
Zaknihov Vislovlywan Tchaiksovsky І Sєрова Clearly, Shah Zasillya _tіyskiїi Opera in Rosіya Bulo for that hour Rosіysko's jacket on the hat on the hat Russian progressive musical thought. Likewise, the fate of the struggle against "Italomania" was a struggle for self-propelled Russian art and little progressive significance.
In this struggle, the difference between the ways in the Russian and Italian operas is of little importance. I Italian, and Russian composers in their musical mov turned up to the standard of folk songs. However, Russian composers, drawing on the spirits of Russian folk art, developed them in a rich and varied way. IN characteristic rice Russian folk songs stench scooped up new varieties of food. As a whole, I realized that Verdi could not please me, which is played in early operas (as it seems, putting them together in two, winding three in each) is elementary and harmonic and polyphonic development of thematic material.
Let's guess that in the 60s, in the period of the formation of the New Russian school, having given a pardoning look, there was no real saving of the people in the shortcomings of the village songs, at the sight of the "pseudo-folk" Russian songs. I Verdi, who lied with his creativity to us in front of himself folk music, repeatedly otrimuvav unfair zakid Russian musicians in the unscrupulous relish and inspire vulgarity, "hurdy-gurdy" of their melodies.
The differences among Russian composers and Verdi at that time of his creativity are the very principles of operatic dramaturgy, illuminating realism in operatic art. Verdi jokes about non-violent characters, strong passions; the most extraordinary characters, emotions, situations in the world cannot know the true expression of the music. Inshe - at the center of respect for Russian composers.
"Russian composers sing not so dramatic intrigues and come in handy as an end in itself, and not inspire people, their zіtknennya and pulls, but life itself, it is absolutely independent, in fact, in which you are smitten, you let yourself be touched. flatness., whatever she saw, as if the inner emotional light reveals the visible image of a person" * . In these words, B. V. Asaf'ev revealed the most important dramatic principles of the Russian opera. "Life itself", even without the zvnіshnoї scenії tsіkavostі, - axis scho pulls us in front of Russian composers. Zvіdsi is a depth of historical truth, so dissimilar intellectual historicism of the Italian serious opera, that French grand opera.
* (Asaf'ev B. V. Symphonic studies. L., 1970, p. 54-55.)
Verdi repeatedly succumbed to the spokus of theatrical effectiveness, and the revelation of the psyche of a person, wanting the composer to break fast, often in his operas it was veiled by the melodramatism of situations; in the vantage of romantic permutations of wines, I succumbed to force and step by step stretching my old creative path. And yet it is necessary to say that the severity of the controversy, which vindicated like the Italian opera, often overwhelmed the Russian criticism of Verdi's opera.
With sharp attacks on the music of Verdi, the biased propagandist of the New Russian School, St Stasov, who was slender to the extreme, repeatedly spoke out. Underestimated the Verdian operas of the 50s and P.I. Tchaikovsky. On the other hand, neither Serov, nor Tchaikovsky, nor Laroche did not quarrel with the majestic talent of Verdi and the artistic power of yoga. the best creations. Zokrema, Tchaikovsky gave a high appraisal of Verdi's operas "Aida" and "Othello". Calling ourselves rooted "the enemy of the Italian opera, at the same time respectfully stalking everything that was created by composers not only in the Fatherland, but behind the її cordon" "Discussing the productions of the Italian opera with the press, calling to update that enriched repertoire, venerable to put the Italian opera "Aida" on the stage."
Verdi's creativity, which for a number of years called out hot supergirls among Russian musicians, won an excellent and fair assessment from Serov's article about "The Power of the Dol": spheres "Tse - a fashionable buffoon, gaєr, a post-master of musical vulgarities for a long time for screaming, naughty half-educated people and publics with a zipping relish," - so the people of the so-called serious classical (?) musical music (?) concert chanuval.
"Tse is a nasty lyricist, a sighing dramatist, tse is a melodist, a chanter of unrepeated wear, tse is a great artist, from the first sounds of a suffocating heart, a powerful voice from the soul to the soul and the most beautiful voice in our time, that. Italian music "- so from the hoardings the music lovers and addicts of italism, such as the "legion" of the skin illuminated coli, chirp. (...)
The hour will come when Giuseppe Verdi will fight against the warring parties. The thought of "praises" changes in dithyrambic hoardings. (...)
From the other side, and the "classics" will be guilty of understanding that the majestic, all-worldly success of any author can never be without a root cause, in the very creations of that author, which lies, that it is impossible to captivate the masses of any kind of public without a deep, without inner talent close to genius (...)
Like a mighty talent, Verdi reflects in himself his nationality and his era. Vin is a ticket to your soil. Vіn is the voice of today's Italy (...), Italy, which has thrown its way to the bridge, Italy, swept away by political storms, Italy with a merciful stick to the point of swindleness. It dawned on me that the artist, calling out to be the organ of such an epoch to his people, in the first place is guilty of the power of that energy of musical thought. Sometimes the energy is heard in a sharp rhythmic Russian, inspire me with melodic qualities, sometimes in the most part viguks on the greatest sounds of human and woman's voices, for their savings, sometimes in the massiveness and brilliance of the orchestra.
* (Serov A. N. Verdi and yoga new opera.- Critical articles, vol. 3, st. 1441 - 1442.)
"The Power of the Dole" is beyond the reach of Verdi, although in this opera there are many sides of beautiful, inspired music.
The Spanish romantic drama, so close in its aspirations to the theater of Hugo, did not like Verdi any more. On the plots of Gutièrez's dramas, as already mentioned, "Il trovatore" and "Simon Boccanegra" were written. Characteristic of the Spanish romantic literature is the gloomy coloring of the Panuy in "The Power of the Dole". Vtіm, the "canvas" of crooked dramas is colored here by a series of live scenes from the life of the people. It’s a pity, in the libreto, folded Pia, these realistic elements are smoothed out, zvedeni to the lighter stage of the vipadkovy episodes, which do not organically fit into the drama. Main storyline without contrast: the power of fate is followed by heroes. Vsuperech vlasniy bazhannyam Alvaro (the main character) becomes the father and brother of his kohanoy and the indirect culprit of his death. Fatal is the atmosphere of the panuє in the opera from the first stage to the rozvyazka, to degenerate all the heroes.
Diya comes from Seville in the 18th century. Alvaro, the son of the leader of the inkiv, the remaining son of an ancient family, re-fighting the fight against the Spanish oppressors, loving the daughter of the Spanish nobleman Leonora, as if we were hovering over her from the father’s house. Ale, I'll try it until it's open. Protecting himself from the attackers of the servants, Alvaro inadvertently injures his father Leonori to death, who, dying, curses his daughter. Leonori's brother Don Carlos swore to avenge the death of his father by the death of Alvaro and his sister. Ryatuyuchis in the presence of her brother, Leonora blakaet, dressed up as a pilgrim, and to know the porch at the monastery, she is deprived of life under the sight of a hermit.
Don Carlos and Alvaro, both dressed up and under other people's names, mingle in the camps of the Italian military during the hour of war, in which they take the fate of Alvaro as a volunteer. In the wake of the deeds of Alvaro, death is whispered, but in the wake of the death of Leonori. I swear life to Carlos, and both swear an oath of eternal friendship. And if you happen to tell Carlos about the right name of Alvaro, if you call him to a duel, it’s important for Alvaro to hurt Carlos. Like a joke, Alvaro is going to the monastery (the same one Leonora is in). Ale Carlos does not stop thinking about the platform. Win to know Alvaro. Undaunted by yoga opir, Carlos images reach the second duel. The stench b'yutsya white of the oven of the hermit - Leonori. Vmirayuchy Carlos mortally wound Leonora. Alvaro throws himself at the door of the river *.
* (Not satisfied with the first edition of the opera, Verdi turned to her through this fate. At another editorial office, trying to lighten the atmosphere of confusion and roil, Verdi changed the rozvyazka: Alvaro is left alive. The forgiveness of Leonari, who is dying, instills in Yogo the soul of hope for reconciliation with heaven. "The Power of the Dole" was a great success with Milan in 1869.)
Such a thickening of the tragic scenes in such an overabundance of romantic predilections, like in "The Power of Share", is not found in any of the plots of other operas by Verdi. True, the images of the merciless messniks - Sylvie in "Ernanya" and Renato in "Ball in Masquerade" - are similar to the image of Carlos in "The Power of the Dol", and the naming of the romantic zhahivs that are common in the plot of "Il Trovatore" can, perhaps, reverse the naming of the podias of "Sili share". Ale, in the dynamic plots of "Ernan", "Il trovatore" and "Masquerade Ball" laid the foundations of miraculous internal contrasts, like may be seen in "The Power of the Dole".
Tragic was the death of Father Leonori in the first place of deep darkness for the entire development of the day. Vlasne, there is no development of character. Leonora, the soul of which is to know how to leave the self-revelation, to lay the best in the opera, the scene of the monastery's bell (friend of the lady) is poetically presented. And yet, the role of the main character is essentially over. Leonora will appear again at the final scene of the finale at the moment of the tragic rozvyazka.
Carlos with a protyazh sієї operi obsessed with heat avenge. Alvaro, reconciliation at the death of Leonori, may be invariably at the sight of the sufferer, like a joke of forgetfulness.
The gloomy coloring of the opera rose less than the opening genre episodes. Tse realistic painting of the people in the tavern (friend of the day), at the Viysk camp (third day). Little Pisenki Preciosili, the fuses of the chori "Tarantella" and "Rataplan", the choir of zhebrakіv, comical scenes from Fra Melitone - all these baristas are playing, as it has already been said, they do not organically associate with the drama and create a purely evocative contrast.
The vices of the dramaturgy of the libreto could not fail to be recognized in the music of the opera, the gloom of one-manhood, which is not the same as the presence of live folk scenes. Ale in the episodes that reveal the soulful light of the heroes, Verdi created the music of the great mystic infusion.
The theme of the share is hostile, gloomy-shvilyovana, the prolongation of the opera is inseparable from the images of Alvaro ta Leonori replayed by rock:
The most important thematic material, as it may be in Verdi, is rich and rich. The opera has a lot of miraculous melodies, colorful orchestration.
The melodic charm, the psychological thinness of the declamation sheet to saturate such episodes, like the scene of farewell to the father, which was called to taєmnu flowing from the father's booth of Leonori *:
* (Translation of the text:
Leonora. Old Man! Marquis. Why are you crazy? Don't hesitate... Leonora. Oh, the torments of conscience! Marquis. I'm going. Leonora. My dad! Marquis. Save your sky! Goodbye.
In the idyllic lower dialogue between the father and the daughters, who separate before going to sleep, Leonori's prejudiced vibe of tightness and kayattya Leonori (in the words: "Ah padre mio!") is seen with the melody's golden melody, in the strange harmonies.
To the best sides lie the scene of the beat of the monastery, where the shukati of the lintels came, followed by inconceivable thoughts about the hammered father Leonor. The theme of the share is gloomy-zbentezhena, as if dominating on the cob of the scene, it is done with the help of the choral sounds of prayer, which can be heard from behind the walls of the monastery. On the psychological contrast, the famous aria-prayer of Leonori by the monastery was founded:
Tragically-shvilyovana back and forth ends with a subdued-inspired melody:
92.
Tsya theme of Leonori-pustelnitsa may be the same in the opera mayzhe as the theme of the lot. One of the best lyrical episodes of the opera is Alvaro's romance, with a sing-song and simple melody (on the cob of the third diy) *:
* (Translation of the text: "In heaven, among the angels of thee, immaculate.")
Alvaro at night, alone, at the Viysk camp, is seen by summaries. In a different instrumental voice (clarinet solo) the theme of Alvaro's kohanna sounds poetic.
In another edition, the opera was replenished with a miraculous overture, which replaced the short bunch of preludes, and with a miraculous final trio, in which melodic narration and declamation vibrance unite with delicate harmonious farbs.
Despite the great emotional intensity of the music tied to the main characters, their characters are still weakly revealed. Verdi did not create living personal portraits. Shvidshe (as in Verdi's early operas) the heroes of "Force of the Valley" are taken as a scapegoat of singing emotions: the elegiac image of Leonori is an inward suffering, Carlos is a merciless vengeance.
The character of Alvaro is more beautiful than the writings, which permutes in lyrical episodes from the image of Manriko in Il trovatore.
Until the endless successes of the opera, one can see buttovі episodes and richly in the description of some side characters.
The famous choir "Rataplan", having won wide popularity in Italy with its vitality and vitality, does not bring anything fundamentally new to Verdi's work. Ale, in a few comical scenes (especially in the description of the grumbling Fra Melitone), there are new musical and dramatic receptions and new images.
Verdi know here the juices of buttuyuchi farby, the realism of the current intonations, the empathy and inconsistency of harmony, which reinforce the comedy of the other position.
One of the best episodes that lies in Fra Melitone is the yoga scene with zhenkami. Fra Melitone is brought to the debt of the monastic mercy of the marriages, it’s even more reluctant to shy away from wine. And if you feel the praises that are spent by the bіdnyaks to the generous Fra Rafael (Alvaro), you will go out of yourself and vibrate like *.
* ("Zhebraks, better than Lazarus, bezsovіsnі zhibraks, get out, get out of the stars, infidels, climb up to the encore!")
The image of Fra Melitone is new in Verdi; not the gloomy smiles of masked characters, the masquerade stars, not the elegant, turboless smiles of Oscar, but the rude, realistic, juicy folk humor. Fra Melitone is a character of the Italian opera-buffa in a new way, the closest successor of the Verdian "Falstaff".
The "Strength of the Share" most, perhaps, clearly, showed some shortcomings in dramaturgy, power in a number of operas of the Verdant period. Tse is one of the most characteristic features of the "romance of zhahivs" in the opera art. The hypertrophy of the supraclavicular, brought to the extreme in the plot of the opera, inevitably led to monotony. Regardless of the abundance of beautiful, hostile music, "The Power of the Dol" is weaker for its best fronts. For the nature of the dramaturgy, it is closer to the Il trovatore, but for the bright contrasts, the Youmu is impeccable.
It is not surprising that "The Power of the Dole", which, with its particular clarity, appeared on the side of the Verdian dramaturgy, did not win the sympathy of Russian musicians.
How did Verdi respond to Russian criticism of his creativity? In listing with friends, the chains of wines bypass Movchanny, the proteo with ironically ragged admiration and the overwhelmed replies of the composer's squad can be judged by the fact that critics of Verdi's voice are not overwhelmed.
Tsikave and, I think, fair whiskers from which drive to rob F. Abb'yati: Abb'yati respects the very Russian criticism of "Sili Doli" Abb'yati respects the first serious post before the composer's revision of his creative methods. Behind the words of Abb'yati, for the people of the opera, "they can wake up not only the creative, ale and rozumovyh forces of Verdi", if the composer, overwhelmed by the criticism of the "trained" musicians, madness, prote, think about it. "From that hour on, he was afraid of the unapproachable hrobak of sumniv, like a zmushu yogo, to look over richly, he did it to himself and in himself, to take care not only of his own, but of someone else's creativity, and, nareshti, put respect in the same way on those who did, did it was supposed to work for the younger generation of composers, like, apparently, the truth, doty vin gave little respect (...) ...) and all the same, you should not be aware of the fact that it is closer to recognize them, take a clearer notice of them directly, more so, if the floorings are blown up in the light of yoga "*. the rest of the Verdian melodrama with a clean look; far away under a burst of thought about the ways contemporary music And zavdannya, scho blaming before opera composers, Verdi enter the period of reconsideration - the period of reworking of "Macbeth", and "Sili doli", "Don Carlos", "Simon Boccanegri". I tsey period є pіdstupom to the rest of the innovative creations of Verdi.
* (Abbiati F. Giuseppe Verdi: Le vite, v. 2, p. 715-716.)
Turning back to the period of the production of "Sili dolі", it is necessary to say that in the sheets from Russia, commenting on Russian criticism, Verdi as a bi contrasted with the success of his operas on the Moscow and St. "For two months - marvel, marvel - I've been at salons and at obidah, at saints, etc., etc. , in vіchlіvіstyu zovsіm іnshiy, nіzh zvіvаl vіchlіvіst of parisians" (17 leaf fall, 1862). Lines, new for Parisians, Verdi wrote to Clarina Maffei, overflowing St. Petersburg and straight to Paris, destined for one hour on the road to Spain for the production of "The Power of the Dole" in Madrid. As if it were more expensive to Russia, Verdi zdiisnyuv yogo at once from Giuseppina, with which mayzha never parted. From Madrid, de "Strength of the Dolі" was celebrated with great success (staged on September 11, 1863), the stench made a trip to Andalusia, they celebrated the people sacredly. They visited Seville, Cordoba, Grenada, Cadix, Jerez. The Alhambra yelled їхнє zakhoplennya; frowning Eskorial, having dealt with the Verd gnіtyuche hostility.
On the path, unconcerned on the majesty, the bazhanya will turn as fast as home, Verdi will tremble in Paris, more than announcing that you will be present at the Grand Opera "Sicilian evening". Less than a turn of 1863 "deadly" exhaustion of wines turned towards Italy.
Opera at Chotiryoh Diyah
Libretto by Francesco Maria Piave
Dyuchi faces
Marquis di Calatrava (bass)
Leonora di Vargas, yoga daughter (soprano)
Carlos di Vargas, yogo son (baritone)
Alvaro, a nobleman from the ancient family of the Inkiv (tenor)
Preciosila, a young gypsy (mezo-soprano)
Abbot of the monastery (bass)
Fra Melitone, black (Baritone)
Curra, Leonori's chambermaid (mezo-soprano)
Alcalde (bass)
Mastro Trabucco, pogonich muliv (tenor)
Surgeon (bass)
Diya persha
(Seville. The hall in the castle of the Marquis Calatravi, embellished with native portraits. Two large windows overlooking the balcony, one of them.)
(lowly hugging Leonora)
Good luck, my daughter!
Farewell, kohana!
So good your balcony is done!
(Fixing doors.)
Oh flour!
Won't you say anything?
Why are you so crazy?
Father... Sir...
Pure silske povіtrya
calm your heart.
Forget the foreigner who is not yours.
Trust your future to your father,
trust the one who loves you so much.
Dobre. What was trapilos?
Do not cry. I adore you.
Oh, how bad!
God bless you... Farewell.
(The Marquis embraces the donka and goes.)
(He fixes the door and turns to Leonori, crying.)
I was afraid that wine would be left here until tomorrow.
I'm going to see the window... Everything is ready.
We can go.
How can a loving father do so
repair opir to my bajans.
No, no. I don't know how to get on.
What are you talking about?
Qi words of the father struck
my heart is like a dagger.
Yakby vin hovering over,
I would tell you all...
Todi don Alvaro will be driven in,
aggravation to the dungeon or promotions, maybe ...
Tse everything to those who win to love that one,
not to love yoga.
I don't like yoga? You know I love yoga!
Batkivshchyna, sіm'yu, daddy - I don't deprive you of hіba
for the sake of something? .. It's a pity! Too bad! I'm so unhappy!
An unfortunate share of prikaє on poneviryannya
and orphanage in foreign lands far from native
lands. Unfortunate heart, break with grief,
filled with greedy visions, condemned
shed tears forever ... It's a pity! I leave you
native land, with tears!
Tsey zhahlivyy bіl not pass.
Help me, we can soon
break on the road.
But what if you don't come? Already pizno.
Already opivnochi! Oh, no, you won't come!
What a noise! I can smell the knocking!
Vіn not a moment not to come!
Chase fear!
(Bigaє Alvaro and rush to Leonori.)
Lord take care of us, dear angel!
The whole world triumphs with me at once,
when I hug you!
Don Alvaro!
God, are you crazy?
The day is coming.
So long time thousand pereshkod
ordered me to come to your house,
but nothing can hurt
chaklunstvo love, so pure and holy.
God Himself has turned our praises into a joy.
(Before Kurri)
Throw some clothes from the balcony.
Ni. Let's go with me.
Zalish forever qiu v'yaznitsyu.
I can't get on.
Horses are saddled. The priest checks for tomorrow.
Come, cling to my breasts, and God
bless us. If the sun, the god of inkiv,
Volodar of my royal ancestors,
rose in the light of your own, you know vin
we joined the union.
Already pizno ...
More to eat!
I beg you! Check…
We'll go tomorrow. I want one more time
marvel at your beloved dad.
You are happy, right?
So, you love so much and you won’t
put me on! Oh my God! my heart
perepovnyu radist!
Let's get busy...
Yes, Don Alvaro.
I love you. I adore you!
(Weeping.)
Your heart is filled with joy, but all the same
you cry! I will understand everything, signora,
like death, your hand is cold.
Alvaro! Alvaro…
Leonora…
I know how to suffer on my own.
The Lord give me strength.
I allow you in the face of your obitsyanok.
Love uzi will be important for us,
why don't you love me, like me.
What a mess you are...
I am your soul and heart, I will follow you
to the ends of the earth, I will throw a pitiless wick
share, give me inexpressible joy
and eternal bliss.
I'm coming for you.
Do not subdile us.
You give light to that life for the heart,
what to love you. My soul is
postyne potyag - zavzhdy
follow your orders
all your life.
Follow me. Idemo.
Light will not separate us.
What a noise.
The stench rises in gatherings.
Shvidshe, let's go...
Too late.
Now you can be calm.
Holy diva!
Hide here!
No, I'll steal you!
Will you put your hand on my dad?
No, on yourself.
(The doors open, and the Marquis enters with a sword in his hands, followed by two servants with lamps in their hands.)
Podly slacker!
Worthless donkey!
No, my father!
Don't continue...
Only one is guilty. Take revenge on me.
No, your bad behavior confirms
your low walk.
Signor Marquis!
Leave me…
Chop the villain!
Back, I'm shooting.
Alvaro, God, what are you robish?
(To Marquis)
I will surrender to you alone, beat me.
Die in front of my hand?
Hi, you will be a catom.
Marquis de Calatrava!
Your daughter is pure like an angel
I swear to it. I'm the only one with everything.
Take my life, take it
sum my blood.
Surprise, I'm shy.
(Throwing a pistol, which, falling, shooting and mortally injuring the Marquis.)
I'm dying...
Damn it!
Help!
Leave me…
You want me to die.
I curse you!
God help me!
Tsya history takes its cob from Seville XVIII century. Leonora di Vargas, an aristocratic heroine, was buried in the likeness of Don Alvaro, the cape of the ancient Inquisition of New India. No one from this family can, obviously, be considered a suitable candidate for friendship with a Spanish noblewoman. Proud marquis di Calatrava, father Donnie Leonori, punish him forget about Don Alvaro, but Donna Leonora has already given the year to her kohanom herself, and the night has secretly flowed in. If the marquis moves away, she will confess to their plans of her servant, Kurri. Donna Leonora is born between her father, who is the daughter of pretentiousness, and her friend; it still worries about accepting Don Alvaro's plan. And if Don Alvaro, stunned by the stribe committee, raptovo є to her through the window, I think on the back of my head that I shouldn’t love him anymore. Ale, in a strange duet, stink to swear at eternal fidelity one to one, and the axis of the stink is ready to bigti (Son tua, son tua col core e colla vita - Yours, yours and heart and life). Ale, at the same time, the marquis raptov turns around in his hand with a sword. Vіn upevneniy, what happened here the most nayzhahlivіshe - yogo's daughter is znecheschena. Don Alvaro swears that Donna Leonora is innocent. To prove that he is ready to accept death from the sword of the marquis, and do not let us win the victory over his pistol - we will win against him. It's a pity, the pistol falls on the ground and, in the face of the blow, it doesn't strike. Kulya vlucha at the marquis. Vmirayuchi, the marquis promotes zhahliva cursing his daughter. Tse will її share. So the children of the powers of the share begin. Don Alvaro keeps his kohana. DІYA II Scene 1. A lot of podіy wіdbulos between the first and the other diami. Don Carlos, having arrived at home, feeling that his sister Donna Leonora had flown in with her Kohanian, Don Alvaro, who, first of all, would stumble upon him, having killed their father. Naturally, scho vin, noble campaign of the 18th century Spaniard, swears to beat both - his sister, that її kohantsa. In an hour, the two suffocated appeared separated, and Leonora, dressed up as a young man and under the guardianship of the old mule chaser on im'ya Trabuco, blazed with light. On the cob of another dії, the strength of the share clearly begins to work: so, Donna Leonora and her brother, Don Carlos, appear, settled, not knowing about it, in one go - at the hotel in Gornajuelosі. Good luck, Don Carlos, don't beat up his sister, so don't go out to a merry natovpu, she wants to. Preciosila, a gypsy-sorcerer, under the sounds of a viysk melody, will change all the lads to enlist in the Italian army, to fight with them ("Al suon del tamburo" - "Under the thunder of drums"). Joden the sergeant couldn't get out of the way better. Then we will tell the deakim about the future, including Don Carlos, who is no less nasty. Behind the stage, a strange sp_v pass the pilgrims - the stench sing a miraculous prayer; in their voice, the soprano Leonori is more clearly felt. Donna Leonora, long separated from Alvaro, slaughter her brother with fear. When the process is over, Don Carlos tells the story of his life. Yogo im'ya, kazhe vin, Pereda, і vin student of the university. I todі vіn sings a thinly veiled version about vbivtsyu yogo dad and about kohantsa sister. This is a baritone aria with a choir, which starts with the words "Son Pereda, son ricco d'onore" ("I am Pereda, I am honest maly").
Music by Giuseppe Verdi
Libretto by Francesco Maria Piave based on the drama by Angel Pérez de Saavedri "Don Alvaro, or the Power of the Dole".
The festival "The Stars of White Nights" at the Mariinsky Theater is continued by a parade of Verdi's masterpieces. Oleksiy Markov "festival" to the exclusion of this marathon, and at the same time from him and I, the shards of my layout showed richly in what correlate with yoga with steps. And this year, the bula "Strength of the Dol", I did not spend on the yak of the hinged. І in the role of Leonori - lilac-voiced siren Olena Stikhin. I figured out what a share. And it’s impossible to repair the opir, because Verdi and his comrades brought us this year for about 4 years.
The Internet rose to me that the Russian imperial directorate of theaters acted as the deputy of the opera. "The Power of the Dol" has become the only opera by Verdi, written specifically for the Russian theater. From the other side, why not? Adzhe wrote for the Paris Opera, but the mitezh is not a bast shoe consommé sorbaemo. The premiere took place on the 10th leaf fall of 1862 at the Great Kamyan (Mariinsky) theater.
For the current production, the sketches of the artist Andreas Roller were used until the premiere of 1862, which looks like they reach the old school of design. The decorations were already worthy of me - and those that were painted, and constructions. Like a mile, right, atmospheric. The photographs on the site, before speech, do not convey anything.
Diya was born in Spain and in Italy in the 18th century. We swarmed a rich budinok from the balcony, a tavern, a monastir, a small square, burn. Sincerely! I recognized an important attack of nostalgia: I guessed the Pedralbes monastery, which spread out in Barcelona, and the hot little streets of Seville, the embankments of Cadiz, and the white place in the mountains - Ronda ... They shot me right away! My soul at once sang and spread on the wings of unimaginable dreams, which often squeeze my heart when I think about Spain.
A skin nation has its own peculiarities. Axis to know even the quietest of the Spaniards: these people came up with їsti tartilla and gazpacho, drink sangria, dance sevillana and buleriya, gave birth to virtuoso guitarists and “cante jondo”, and the stench came up with a corida and spit people on riches for religion, a sign of religion it didn’t happen, it’s here, without their participation, they ruled the conquistadors to subdue the expanses of the New World and notably speeded up the population of inkiv there, they created Escorial Castle, which became synonymous with gloomy court ceremoniality, and also became famous as a fist. And all the super chic national drawings of the miraculous Verdi and Francesco Piave were definitely blown away by the "Power of the Dol"! There are merry mass scenes with a series of couplets of Tristan at the tavern and on the city square, as well as lyrical and tragic arias of the leading heroes, prayer songs. The opera stands alone in the presence of other yogic creations, filled with tragedies and gloomy pathos (let's go and on the aphids of cheerful dancing melodies), oskilki in the tragic innocence of fate intertwine with cheerful butt scenes from the life of the common people, that’s a wild dream. It’s true, the deacons have adopted the peculiarities of the libretto, like zmushhuyut and others wonder, and sometimes inspire giggles (from the series “Don Alvaro life - tse good, because I myself can beat him.”)
In the opera, we are told about the beautiful Donna Leonore di (de) Vargas, the daughter of the proud aristocrat Marquis de Calatrava, who died as the innocent Don Alvaro. At the process, it’s clear that the names of the kings of the royal family were born, the prote for the Spanish grandee that the kings of the inks, that the leader of the Papuans - the essence of the specialty was suspected and definitely not a future son-in-law, that’s why the hero-kohant was caught in the room of the daughter (zakohani), tato very angry, the welding went out, an unfortunate flutter, and we spent the marquis on the very cob of the opera. The tragedy separates young people, as they suffer one by one. Don Alvaro, as if it were a good man, where to send a wounded soul into the army, for how else can you bring in a right man, even if you want to get out of the heap of a wreath, well, for evil of all, freeze your heart and fall to the death of a good man? Donna Leonora lives as a deserter in a kind of oven, so that she can weave her misfortune to the full, for the yakby won’t turn home, then at some point, having drunk sangria, having bought a new mantilla and a comb from her hair, as if in the evening she could change her mind about suffering, but she would jump out of the house, because , as we know from the other opera, “the heart is beautifully graceful to the radiance” and yakby knows that don Diego with dark eyes and black whiskers above the lip, who sings under the memory of Leonora, "then the girl's heart could not stand up. Zagalom, the whole family especially proud of Donnie Leonori's brother, Don Carlos, who joins the right after the death of the father and replaces him, to take care of multiplying wealth and glory to the family, and to Cadiz in the quests of the sister that її kohantsa (as if I think wine) with the method of avenging the death of the father and ruining my family honor. I’m like “a friend, vryatuvav friend’s life” and now, it’s still obvious, cholovіki dvichi z’yasovyat stosunki (during the first duel, Don Alvaro gave a blow with a sword (like someone called a sword), but instead of that, to be misunderstood, the enemy of the dead chi nі, sorbnuv wine zі glek і sleeping about those scho scho everything is lost), and what is the result? Pihat Don Carlos, plenty of equipment for pride and family in the face, having seen, wiping more sprats of rock, a new viyshov on the trail and everything - Memento mori, mittevo in the sea (C) and “I tsya no day glided її in one moment. Zagalom, mustache died.
The central place in the opera is occupied by the idea of God, to which the protagonists of history are furious in jokes for the sake of peace of mind (at the final aria of the heroine, I sensed the familiar notes of the prayer of Mary), and the idea of mercy and forgiveness, if Leonora, , and Don Alvaro tries his best to overcome the conflict (you can’t go out anymore, because if only one person wants a beat, then there will be a beat). Religion is also an important element in the life of simple Spanish people: it is not uncommon for the chents to give apron, but to read sermons on the square, and zhebrakiv. Vmirayuchy Don Carlos cry priest, schopravda, thoughts about spovіd swayed his head shaking his sister and turned on the old slats, more man saying - man zrobiv mabut.
About today's vikonannya. I went purposefully to Markov and Stikhina, because it is impossible to miss such an opportunity to feel them all at once.
Olena Stikhina / Leonora - charіvna and marvelous. Fair diva. Apparently, it’s so easy to sing, that you can easily override an orchestra, especially such a good-natured one, like Verdi (you don’t need Richard Strauss or Wagner). І with any other garnier timbre of the voice, especially on the piano and transitions down. And she’s sweet, jerky, sly. It was most fitting, like a voice pouring over the choir at the tavern (so the composer told us), and the final aria of the vikonan is simply blissful - low, intelligible, doomed. And in general, the image of the Viishovs is more wholesome, as I am given.
August Amonov / Don Alvaro has a somewhat muffled timbre to my voice (well, I’m tight in the ear), I wanted to ask for the whole hour: “Hurray, where is the button? - Yaka? - Guchnosti.
More worthy of Fra Meliton / Oleksandr Nikitin. Zadrisno short-lived character, from the will of the creators, which introduced a comic element into the opera. І axis hto vіdrivavsya on the povnu! Vіdmіnno vіdіgvіt navіt voice - for the first time chuli yogo voice appeared on the back of my hand - thick and єkhidny.
Oleksiy Markov/Don Carlos today is beautiful for me. I don’t seem to be talking about those who are objectively known as the most beautiful person on the stage (boots, frock coat and black bow you can perfectly name it), as well as the purest, napnenie, which shimmers from dark density into a glimmer of lowness vocals with new, hot bov the moment, if it happened, that I was already tired of the whole festival, even if in front of it, there are still more beasts! From the new feuds about the new one - for the first time, the bachila was zhvaviy, it could be a cheerful image, if in the tavern wines imagining a student i - oh gods! - Mayzhe flirting with an appetizing tiganochka (even Skoda, that the baritoni rarely sing duets about mutual cohoney, I marveled, especially, Oleksiya listened to in this role). And vzagali, boo vіn yakiy zіbrano energіyny i navіt trohi reckless. The yoga firm gestures of the hands fell down to the river, the legs were set apart and the heads were raised - the aristocrat stuck in the wet juice, take it off, spread out! Here in Galortsy, leather yoga was accompanied by whispering, while, apparently, the ladies themselves did not notice that they themselves were so roaring (Markov and the diva of the libretto), but they wanted to click on the poppies, because they greatly respected the ears. I also had a right fan Oleksiy Markova (I, it seems, where I lie in a straight line).
About the gypsy Preciosila / Natalya Evstaf'ev I will say that the image was worthy. In the opera, she performs like a voice of fate, a conductor of truth and, behind confusion, “freedom on the barricades”, fragments of the finale of another scene of the third act - the famous “Rataplan” - from її in a call we must go to the army - guessing me the canvas of Delacroix.
Vechir went in.
VICONAUTSI
Conductor - Mikhailo Sinkevich
Donna Leonora - Olena Stikhina
Don Carlos - Oleksiy Markov
Don Alvaro - Serpen Amonov
Preciosila - Natalia Evstaf'eva
Padre Guardiano - Volodymyr Felyauer
Fra Melitone - Oleksandr Nikitin
Characters
- Marquis Calatrava- Bass.
- Leonora, yoga daughter - soprano.
- Don Carlos de Vargas Yogo syn-baritone.
- Don Alvaro, Shanuvalnik Leonori - tenor.
- Kurra, servant Leonori - mezzo-soprano.
- Preciosila, young gypsy - mezzo-soprano
- Mer- Bass.
- Maestro Trabuco, pogonich mulіv, peddler, plіtkar - tenor.
- Padre Guardiano, Franciscan - bass.
- Fra Meliton, Franciscan - baritone.
- Likar- Bass.
- Villagers, servants, pilgrims, soldiers, chenci- choir.
Zmist (for the Petersburg edition)
Act I
Budinok to the Marquis of Calatravi. The evening of the Marquis and Yogo Donka Leonora to sit at the vital, the Marquis each daughter about his kohannya and turbota, wondering about those who were far away from you in the hut of the negligent well-being of your hand - Alvaro. Tim, in the middle of the night, Leonora and Alvaro are getting ready to go. When the father leaves, Leonori is left with less than a sprat of whilin, to say goodbye to the thoughts of the house (“ Me pellegrina ed orfana» - « Homeless orphan"). Alvaro's hoots appear, ready to pick up Leonora (" Ah, per sempre, o mio bell'angiol”), but Leonora is blessed with yoga, I want to spend one day, to say goodbye to my father. Alvaro tells Leonora that there is no love for her. Beaten by the doctor, Leonora is ready to tick (“ Son tua, son tua col core e colla vita!" - "Yours, yours with all your heart and life"), but here at the room the Marquis Calatrava rushes in with his servants. Alvaro declares to the marquise that Leonora is innocent, and throws a pistol at the pidlog, without raising his hand to the father of Kohanoi. The pistol mimickingly shoots, the marquises are beaten to death, cursing their daughter. At the mother's house, Alvaro goes straight in.
Act II
First painting (tavern)
The tavern is filled with chasing mules. In the middle of them is Trabucco, as if she were an escort, dressed in a human cloth Leonora, as if she were going uphill. Here at Leonori's jokes come and її brother Carlos, who swore to beat his sister and її stinger. Marno Carlos recognizes the specialty of Trabucco's companion - the rest is hot, and then grimaces. At the tavern, the waiter Preciosila is honed by chanuvals to enter, as if calling all the present crimes to war with the Germans in Italy (“ Al suon del tamburo» - « Beat drums"). Burkhliva gaiety is interrupted by pilgrims to go to forgiveness; mustache attendees come to prayer (" Padre eterno Signor, pieta di noi»).
The drink of Carlos calls out the best food, who is guilty himself. Carlos recounts the story of his father’s death, and with it, it’s true, calling himself Pereda, a friend of Carlos, and unsuccessful whispers of a sister-lover and a companion (“ Son Pereda son ricco d'onore"). Leonora senses history and understanding, that spare her brother the check.
Another picture (door of the monastery)
Dressed in a human cloth, Leonora arrives at night to the monastery (Sono giunta! Grazie, o Dio!). Won in sum'yatti, only in the monastery, at the suvory of self-will, vryatuvatisya in the name of avenging the brother and begging for forgiveness from God for the fleeting fate of the death of the father. Vona is remembered at the death of Alvaro. At the knock at the door, Melitone appears, who does not want to let in the unknown. Then the abbot of Guardiano comes out, who is fit to talk with Leonora alone (Or siam soli - My alone). Leonora told Guardiano her story ("Infelice, delusa, rejetta" - "Unfortunate, deceived, thrown") and the blessing of giving her an alcove at the water-kremlin stove. Guardiano tells Meliton to take a brother in the church to participate in the tonsure of a new brother.
Third painting (monastir)
« Il santo nome di Dio Signore» - « Holy Names of the Lord» Guardiano reminds the brothers about those who live in the water-kremlin cave of the hermit. No one, Crim Guardiano, can’t get close to the oven (“ maledizione» - « damn"). In times of insecurity, Leonora should send a blow to the doors.
Act III
First painting (fox at Velletri)
Regardless of Leonori's thought, Alvaro is alive and under other people's names (Don Federico Herreros) to serve in the Spanish army in Italy. Seeing the soldiers (" Attenti al gioco, attenti, attenti al gioco, attenti”), Alvaro sumuє about breaking the kohanny (“ La vita e inferno all'infelice» - « Life is hell for the unfortunate”), Bazhaє die and rise up with Leonora, yak died long ago, on yoga thought (“ Leonora mia, soccorrimi, pieta» - « Leonora, have fun"). Unstoppable in the camp vinicating the essence, Alvaro enters into it and denounces the life of the adjutant Don Felice de Bornos, for some reason Carlos hovers. Alvaro and Carlos, under their names, swear an oath of eternal friendship (“ Amici in vita e in morte» - « Friends in life and death»).
Another picture
The battle of Alvaro has many wounds, you can die without having seen the operation. Alvaro hands Karlosov's box with special documents (" Solenne in quest'ora”), Carlos, in spite of Alvaro, swear to know these documents without reading. Having been left alone, Carlos gives free rein to his pidozram - so I tell you that his new friend is a beaten dad. Sumnivi is easy to allow, having read the documents, but the oath is sacred (“ Urna fatale del mio» - « Fatal place of my share"). Opening the screen, Carlos reveals there not only a written document, but also a medallion. The oath does not extend to the place of the medallion, Carlos reveals that there is a portrait of Leonori. Everything is clear to you, and only the grace of God about those, so that Alvaro survived the operation, so that his mother could beat the enemy with his hands, is deprived. Enter the surgeon and tell him that Alvaro is wrong. Carlos triumphs - you can take revenge on the beaten father (" I salvo!» - « Vryatovanny!»).
The third painting (tabr at Velletri)
The mass scene that represents the camp of the Spanish army. Preciosa prophesied the share of the soldiers ( Venite all'indovina), Trabuco tries to sell his goods (“ A buon mercato”), zhebry ask for mercy (“ Pane, pan per carita”), the market girls in choli with Preciosil calm the young soldiers (“ Che vergogna! Su, coraggio!”), Melitoni finishes the soldiers at the disbandment. At the final scene, everyone is present on the choir with a Preciosil, with beaten drums, to glorify the war (“ Rataplan, rataplan, della gloria»)
Fourth painting (named by Alvaro)
Alvaro dressed up in the early morning, and Carlos came to call his friend to a duel. Alvaro, recognizing who is right in front of him, forget Carlos and make them become brothers. Ale Carlos is unwelcome: if you want to beat Alvaro back, then you should know and beat Leonora (on Alvaro's mind, Carlos will guess that his sister is alive). In the course of the duel, Alvaro's sword pierces Carlos and that one falls dead. Rozumiyuchi, scho shelter is already another Vargas, Alvaro throws himself into the bay, hoping to know death there.
Act IV
First painting (monastir)
On the podvir'ї of the monastery, the number of women begging for bread (" Fate, la carita"). In the name of the brothers, Melitoni gives alms, but the marriages are dissatisfied with pride and callousness - the stench of the vdyachnistyu is guessing Father Raphael, just kind and merciful (“ Il padre Raffaele! Era un Angelo! Un santo!"). After the marriage of the wife in Melitone at the rose with the rector of Guardiano, it is confirmed that Rafaele is a marvelous person, possibly, obsessed. Guardiano will change Melitone to be merciful and inherit Raphael.
At the monastery, an unknown caballero arrives, which vimagaє in Melitoni, which is done by yogo, to hold yogo to Raphael. Rafaele go out of the sky, and the enemies know one of the other - for the past years Alvaro became a Chance, and Carlos did not die for the hour of the duel, and, even earlier, take revenge. Carlos rushes to the duel, Alvaro calls out forget it and try to figure it out (“ Fratello! Riconoscimi...”) Carlos is aware of Alvaro’s unmistakable image - the enemies go from the monastery, so that far from people fight in a deadly duel.
Another painting (Leonori Pechera)
In the distance, in the sight of people, in the oven, Leonora lives. The fates have passed, but there you can’t forget Alvaro and know the calm (“ Pace, pace, mio Dio!"). The crocks are raptly mooning, Leonora is vocally ahead, what is the place here, fenced for people, and hovaetsya in the oven, hitting the door in front.
They are Alvaro ta Carlos. By the strength of the share of the stench they chose the place for the duel, where Leonora was chosen for the fate. Carlos mortally wounded and vimagaє priest (" Io muoio! Confessione!"). Alvaro cannot accept help and ask for a hermit. After a long time, let Leonora come out of the oven, and all three participants in the scene recognize one of the other. Carlos ask his sister to hug Yogo, to strike her with a dagger and die, contentment. Alvaro lives near the mountain.
