Analysis of the comedy Boualemska "Seville Berber.

Comedy Pierre Boualem " Seville Berber"And the" marriage of Figaro ", according to historians, were shifted by the French revolution, as they were extremely relevant and written on the evil day. Therefore, it is not surprising that, for example, the plot of the first of these plays was repeatedly becoming the basis of a libretto for the opera. In particular, in 1816, such a work wrote the Italian composer Joakkino Rossini. "Seville Ciry" in his version failed during the premiere. However, today, some Arias from this work can be heard at many concerts of popular opera music.

Biography Rossini until 1816

Before you tell how the Opera "Seville Barber" was written, the summary of which is presented below, it is worth remembering who the author was her. So, Joakkino Rossini was born in 1792 in italian city Pesaro, in the family of singer and trumpeter. His music abilities were found very early, and parents immediately sent the boy to study in Bologna.

The first opera of the young composer ("marriage bill", 1810) attracted the attention of the public to him, and in the next 2 years, Russia did not have a shortage of orders. Next, they were written by the works of "Tancred" and "Italian in Algeria", followed by an invitation to work for the "La Scala" theater.

Prehistory of "Sevilian Village"

In 1816, Joakkino Rossini concluded a contract with the Roman theater of Argentino, which was obliged to write a new opera to the carnival. According to the existing practice, the libretto had to be submitted for approval of censors, but none of the options received approval. When the time before the carnival almost did not remain, the composer remembered the Comedy of the Boualersche "Seville Barber", which before that had already become the basis of the plot of the opera performances on the Italian stage, and decided to go already a fault by the contract.

The process of creating a opera and premiere

Immediately after receiving permission from censors, Rossini began work and completed it in record deadlines, which were only 13 days. As for the libretto, according to which the operation of the opera is Seville, and time is the end of the 18th century, it was written to Cesare steros.

So the Opera "Sevilian Barber" appeared, which for almost 200 years of its existence survived hundreds of productions. However, the premiere of the principle of Rossini was extremely unsuccessful. The fact is that in 1782 the work with the same story was written by Korphores of the Italian opera Giovanni Phazzielo, who had a lot of fans. Appearance new version It seemed the last disrespect for the personality of the elderly Matra, and they saw the actors who perform Aria Rossini. Despite the failure during the premiere, the second performance took place, and he conducted a not upset author, and the brilliant Paganini himself. The result was directly opposite, and the admiring spectators even arranged in honor of Rossini.

Overture

Not many know that the Opera Rossini "Seville Barber" in this form in which it is known today, differs from the original. In particular, instead of a familiar strike, which premises the appearance of the heroes of the performance, during the premiere of the audience a peculiar potion was proposed from Spanish folk dance melodies, which was to recreate the atmosphere of Seville. Next, it happened simply a detective story: before the second play it turned out that the scores mysteriously disappeared. Then Rossini, whose tape in Italy was simply rummaged in his papers and discovered an overture written for an unfinished work. She has since began to sound every time, when the next performance began, the Opera "Seville Ciry" began. Moreover, the same melody in different variations and before that was used by the composer during musical performances.

"Seville Ciry". Summary I Action: Picture I

In the house of Dr. Bartolo, Rosina lives, in which the Graph Almaviva falls in love at first glance. He invites musicians to sang a serenade under its windows. However, the girl does not go to the balcony, and the young man is frustrated. Here the Figaro appears - local merry and brainy, who is familiar to the count as a famous passage. Almaviv comes to the conversation with him and asks for a reward to help him marry Rosina. Figaro with joy agree. Men begin to make a plan, but here Bartolo comes out of the house, which speaks himself and gives its intention to immediately marry his pupil. He is removed, and the count, convinced that this time it will not hurt him to see his beloved, again sings Serenad on behalf of the singer Lidor. Rosina first responds to him from the balcony, but then unexpectedly runs away. Figaro advises Almaviv to change the soldier and go to Bartolo. There, the graph should depict a drunk who is confident that he was sent to the post in this house.

Events occur in Bartolo's house. Starts the II picture (I Action, the Opera "Seville Barber") Rosina Aria, in which the girl sings about his love for Leandron. Then Bartolo comes home and a little later Basilio - a girl music teacher. He tells the doctor that in the city we are gossipped about Rosina and Almaviv, as lovers. Bartolo is outraged, and Basilio sings the famous Aria about slander. In the next scene, Figaro tells the girl about the love of Leandra and advises her to write a letter to her young man. It turns out that Rosina has already done it, and the barber with pleasure takes over the duties of the postman. Bartolo guess everything and puts the girl under the castle.

Almaviv appears, disguised into a soldier. Despite the confidence of the doctor that his house was released from th, the count refuses to leave and imperceptibly gives to understand Rosina that he is her fan Lindor. Bartolo is trying to drive out the "soldier", which begins to scandal. Basilio, Figaro and the maid are also joined to the verbature. The noise attracts the attention of urban guards, but Almaviva is not arrested, as he informs his name and title to the officer.

"Seville Ciry": Contents I Pictures II Actions

Almaviva is to Bartolo in the guise of a music teacher, who allegedly came to replace the sick basilio. Thanks to this, he "gives a lesson" Rosina. Their duet does not like Bartolo, decisive show the student and "teacher", which songs and how to sing.

Figaro comes and suggests bartolo. While the doctor is sitting with a worn face, the Count negotiates with his beloved about the shoot. Suddenly, Basilio, but Figaro, Almaviva and Rosina begin to convince him that he had a hot one. The column manages to give a real wallet teacher - and it goes the ravis, "treated." Bartolo begins to guess that his clutch, and drives everyone, except Rosina and maid.

The orchestra performs a fragment from the work of Rossini "Trial Stone". Next, the Opera "Seville Barber" continues on the second floor of the house Bartolo. The window dissolves, and the graph and Figaro penetrate into the room. Almaviv reveals his real name with Rosina, since the girl before him considered him singer Lidor. Together with Figaro, he convinces her to escape. BUT B. last minute It is found that the staircase for which young people fell into the house disappeared. As it turns out afterwards, it was buried by Bartolo, who went for the notary.

There are notary and basilio caused by Bartolo in order to register marriage between him and Rosina. Almaviva bribes both and persuades to enter into marriage between him and the girl until Bartolo returned. The notary assures the marriage contract, and here the doctor appears accompanied by Karaul. Bartolo reports that nothing can be changed, and he has to come to humble with his fate, especially since Almaviv refuses the dowry wife. All together performed the final aria of reconciliation.

The first stage of "Seville Village" in Russia

Throughout the 19th century, opera art in Russia enjoyed extreme popularity. Moreover, specialized theaters existed not only in the capitals, but also in the province. For example, the first statement of Seville Village in our country was carried out in 1821 in Odessa. The spectacle walked on italian And had big success. A year later, the "Sevilian Village", the short content of which is known to all fans of opera art, was put in St. Petersburg. From that time, he was constantly present in the repertoire of the Italian opera pipe Northern capital, and several seasons Aria Rosina performed by the famous Polina Viardo.

"Seville Ciry" in the Mariinsky Theater

In 1783, Catherine Two ordered to establish in St. Petersburg big theater, which was later renamed in honor of the 1882th, "Sevilky Berber" was delivered there. Mariinsky Theatre involved in this play of their best actors. Thus, Bartolo's party was performed by F. I. Stravinsky (Father Stravinsky), Almaviva - P. A. Lodia, Rosina - M. A. Slavina, and Figaro - Pranks. The "Sevilian Barber" Mariinsky Theater was a second time in March 1918, with the participation of Rostov, Volubach, Karakash, Serebryakova, Losev, Denisov and Stepanov. In addition, there were two more production - in 1940 and 1958. And in October 2014, the premiere of "Seville Village" with the participation of I. Selivanova, E. Diedova, O. Pudova, V. Korotich, F. Kuznetsova and E. Sommer.

Famous performets of Aria Rosina

So it happened that among lovers classical music Women's Arias are greater popular. In particular, the most frequently performed song belongs that the rosin sings ("Seville Barber", Rossini) at the beginning of the II picture of I actions). One of best performers It is considered to be perfectly conveying the entire community of the situation. After all, the content of the Aria is the following: Rosina is not averse to marry and promises to be a submissive wife, but only if the spouse does not have it. If he does not want to indulge in its whims, she promises to become a real Meager and turn his life into hell.

Concerning russian performers This Aria from the Opera "Seville Barber", then among them, as well as A. V. Nezhdanov, V. V. Barsu, V. Firsov. In addition, this work brought wide fame of one of the brightest opera Div. Modern - by the way, Aria Rosina also performed an actress with undoubted singing giving Ekaterina Savinov in the film "Come tomorrow." This picture was a great success, and main character - - I remember everyone.

Aria Figaro

Rossini Opera Sevilky Berber (summary presented above) is also known for interesting parties for men's votes. For example, an Aria Figaro is one of the most popular. It is written for Bariton, and in her cheerful brainching balshaw his indispensability for citizens and crushes praise himself, shouting "Bravo, Figaro! Bravo, Bravissimo! " Many connoisseurs of classical music even believe that it was this aria that contributed to the fact that annually dozens of opera theaters all over the world are played by the "Sevilian Barber" play. Figaro was embodied on the scene many famous artists. Among them should not be called Muslim Magomayev, but from foreign performers - the great Italian baritone Titt Ruffo.

Other parties

Another interesting party, adorning the Opera "Seville Barber", the reviews about which performed by Fyodor Shalyapin are preserved exclusively admiring, - belongs to Basilio. She also performed such famous bass as Rujsero Raimondi, Laslo Polgar, Feruchcho Fourlandetto and Paolo Montarsolo.

"Seville Berber" is one of the most fun and positive operas, which even people are listening to, distant from classical music.

In the comedy "Seville Barber" (supplied in 1775), which opens the trilogy about the adventures, Boualersche is determined against those who consider the one the same theater where "funny subjects and unfortunate kings" are depicted. Boualers lets this tradition. Developing the best achievements of the Moliere, the playwright gives positive features Plebea. His Figaro is by no means ridiculous, he is full of human dignity, knows himself. Life threw it from side to the side, put him traps, but misfortune only harden Figaro, made it more skillful in the fight.

Hero Boualersche - qualitatively new option A cruise servant, who met in the work of Moliere, Lesaja and other playwrights. It feels the features not only a scapene, but also Krysphen is an energetic, energetic, childbirth, cheerfulness. However, there is also peculiarity. Figaro, unlike crisp, is deprived of pronounced korestoloby. True, he does not disinterestedly serve Almaviv, but at the same time his actions feel a kind of artistry. Figaro skillfully uses his talent, it is looking for an outlet of an outstanding intellectual force, it is enthusiastic combinations, the ability to enjoy the victory in difficult struggle.

Figaro fun, walks with the song on the ground, although he had to withstand a lot of tests. Who only he was!

According to the authlation of the author: "The rumble of the poems, a brave singer, a tireless guitarist, a graphic valet" and, finally, the barber. Figaro is much more developed than Kristen, he is honest, not primitively straightforward in his mercantile calculations, although the desire for benefits is not alien to him.

Figaro is a follower of "cheerful philosophy", it is a fundamental optimist precisely because the reality is full of suffering and sadness. "I hurry to laugh, because I'm afraid, no matter how I had to cry." Laughter, Smile - his faithful helpers in the struggle for the statement of his own human essence. Figaro believes in his star, he has such a stock of strength, so much fiction that everything seems to him simple and easily fulfilled. Bartolo's fascinating plan, he not without boasting declares Almaviv Count: "I will enter this house, with my art with one wave of the magic sticks to sleep vigilance, awakened love, with a sense of jealousy, upside down all the goats and tilting all the obstacles."

Speech Figaro Pepit is sharp, laid aphorisms. It is endowed with an unusually rapid response to all external "stimuli". Like a skillful fencer, he corresponds to a whole cascade. There is no harmless to fall socially sociallyThey make poison in themselves, but all this is presented in a light, elegant form, as if in passing, with a fun smile of joker, and not sullen sink satirika. Nevertheless, the bometty bomach reached their goal. The aristocratic Paris was especially indignant by those replicas, the statements of Figaro, where he emphasized his superiority over Almaviva and, therefore, over the entire noble car. The noble surge felt like a vulnerable when Figaro, parrying the reproaches of Almaviva in Shalopodynia and the madness, noticed: "If we need to adopt all the virtues, which they demand from the servant, then much, your beggar, there are gentlemen decent to be servants."

Being is associated with the educational ideology, the Seville Berber is still a comedy of a special kind. This is an innovative work. Its innovation is primarily in the life fullness of the central hero. Figaro is by no means embodiment of some distracted truths. He is a concrete, living man. Hence his charming, the infectious force of his laughter.

Feature educational literature XVIII century Consisted as already noted, in the mismatch of a high educational ideal with the prose content of real life. The dreams of enlighteners about the celebration of good, truth, justice were not supported by the real development of history, going to replace feudal relations. Bourgeois reality was also prosaic, lowlands. It tried the spirit of mercantilism. In this regard, the writers of the educational destination are forced

There were idealize their hero, taken from the bourgeois society.

In the Seville Tits, there is no discrepancy between the copyright and life. Boualersha did not construct Figaro "laboratory" by, he found his hero in the folk medium. Therefore, there is no low-lying practicalism in the merry brand, with all his practicality. He embodied the winsted mood of the people, his humor, a constant readiness to laugh at the unlucky "owners" of life. In this sense, Boualersche stands in one row with the writers of the XVIII century. (Burns Lyrics, Sturmer Poetry Goethe and Schiller, Goldoni Comedy, etc.), in the works of which are perfect because of their folk character Does not contradict the actual content of reality.

Figaro by occupation - servant, Laci, but there is nothing traditionally "Lacées". He serves, but not serving, keeps himself independently. The spirit of freedom is highly developed in Figaro. He changes profession every time she becomes him in a burden.

Figaro helps young Almaviv marry Rosina. On the path of lovers, the old guardian of Bartolo, who makes everything possible, so that his pupil does not start dating young people, for he himself intends to marry her. Bartolo is raised as a nonsense old man, in vain trying to delay the process of natural development of life. Love, on the thought of Boualersch, helicoma and victorious, it is impossible to keep it behind closed doors. No wonder the comedy has a subtitle "vain precaution" and ends with a victory of youth over old age.

The conflict of the Seville Village is generally moral. Nevertheless, its individual parties are socially painted. Bartolo Star not only in its age, but also by his beliefs. He is retrograd hated modern Centurywho gave, in his opinion, "all kinds of nonsense: libelism, world full, Electricity, Validity, Clearing, Hin, Encyclopedia and Dramatic Works. " Bartolo is a defender of the authorities of an authoritarian monarchical state, he is a danger, if "fucking", i.e., a powerless majority will begin to argue about their rights. Therefore, Bartolo seeks to put in his servants. To the truth in the most germination: "Justice! These are you among themselves, chops, pushing about justice! And I am your owner, therefore, I'm always right. " Therefore, Figaro struggle against Bartolo carries not only moral, but also social meaning. Hero Boualersche protects not only youth and love, but also principles free Life, Popped by Strukhov, the enemy of Enlightenment and Freedom.

After the presentation of "Figaro's marriage", the reaction criticism collapsed on Boualersche with the accusations of the extent of the foundations themselves, the feudal state. The grounds for such a conclusion were there. And the essence of things is not just in negative image Almaviva. Development of an immoral aristocrat - by no means a new topic in french Theater. It was brilliantly developed by Moliere (Don-Zhuan) - and other playwrights. Boualersha managed to give her a qualitatively new turn. He did not limit himself to the chitting of Almaviva, the image, his love pregnancy. The corrupted one is opposed to an honest servant in comedy, which prevents Mr. to become a lover1 of his bride. In this martial art of Almaviva and Figaro, which ended with a full-footed plebay over the nobleman, was the destructive power of the play, its revolutionism. From her I washed the spirit of great social change.

Boualersha pursues an accusatory goal in the "marriage of Figaro". According to his own confession, he did not set itself the tasks of creating "satire", t. Er, as they understood the debate of specific persons. Almaviv, he gave generalizing features, showed the entire system of feudal-serfdom in it. It was this circumstance that caused "wild cries" of monarchically tuned journalists. Bomalersha himself says so about his plan: "... Instead of sticking any one vicious character, - say, player, ambition, miscarriage, hypocris ..., the author composed such a plan that gave him the opportunity to criticize a number abuses, disastrous for society. "

Existing comedies are psychologically complex, capable of self-development. Dramatic action and moves the collision of their characters. Boualersche as a true artist-realist listens to the "voice" of his heroes, writes under their "fast dictation", "And here he is recognized, I can be sure that they will not be misleading me." An image of historically specific conflicts of the epoch, revealing in the struggle of socially defined personalities, is an irrefutable testimony of the deep realism of Boualemsk.

The last work of the playwright, completing the trilogy about Figaro, was the "Criminal Mother" play (set in 1792)., It is significantly different from the Seville Tag and "Figaro". This is no longer a comedy, but a sensitive psychological drama. Skilled intrigue is combined in it with analysis spiritual states Heroes. The conflict of the plays is purely moral, deprived of social sound. Almaviva and the "cooled" Figaro not only do not be entrited, they are now in one camp. Count to old age has changed much. He is tormented by jealousy. He can not forgive Rosina of involuntary treason with Kerubino.

However, Almaviv himself forgets that Florestine lives with Rosina under one roof, his side daughter lives. Almaviva's mental wound raws Bengest, pretending honest man. Figaro destroys all the goats of the new Tartuf, restoring the world in the family. Bomaigrian in the "Criminal Mother" takes on his defense of Rosina, makes the almaviv causes to overlook. And already in this was the humanistic pathos of the work.

The adventures of Figaro, this "wonderful hero" (according to Pushkin), continue to live on the scene of the world theater. Best comedies Boualemsk inspired remarkable composers to create brilliant, sparkling operas - V. A. Mozart ("Marriage Figaro") and J. Rossini ("Seville Berber").

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"Seville Ciry" (1775)

"Marriage Figaro" (1784)

Boualers presents a new type creative personality And reflects in his drama the features of the rising third estate - bourgeoisie. His life was a protest against the existing system. The son of the watchmaker, he, thanks to his talents and a practical grip, reaches a prominent position in society, he is in the Royal Palace, performs the instructions of the French government in Spain, helps the rebels of American colonies to get weapons to combat English troops, makes it full collection Wolter's writings, during the revolution he pulls out weapons for the revolutionary armies, was arrested and miraculously escaped death, emigrated, returned to his homeland, took off the charges, during the directory he enjoyed honored wore. Bomaransche fought for the rights of the writer, the person of art directly express his opinion and does not depend on the rich patrons (in France of that time, protectionism flourished - the success of the work and the opportunity to publish it depended on whether the writer had a notable and influential patron)

His main works are the trilogy about the Seville and Figaro Ciry. ("Seville and vain precaution", "crazy day, or marriage Figaro", "Criminal mother, or second Tartuf")

The Piece "Seville Birber" was prepared for production in 1774, but is prohibited due to the release of the "memoirs" of Boualersha, the content of which has compromised the government, and only in 1775, after the death of Louis Hu! The play was delivered, but success did not have due to the stretching action. Then Boualersche recycles her and puts again - success was incredible. The plot of the play is the simplest look at Rosina, a young girl from a bourgeois family suffering from Dr. Bartolo's guardian. But having loved the Count Almaviva, she with the help of a smart and dexterous Village Figaro, the servant of the Graph Almaviva, overcomes all the obstacles and marries the graph. But for an external action, besides transferred to Spain, a modern author France is hidden, in which the bourgeoisie's struggle increased for their rights, "Encyclopedia" was published and bravely performed the "philosophers". Per cheerful play Figaro's words clearly looks at the educational idea of \u200b\u200bhuman nature, non-perceptible estimated constraints and any oppression. In the speeches, Figaro hears the echoes of the philosophical ideas of Rousseau and Voltaire, who opposed the remnants and superstitions of feudal France. All the heroes of the play - Bartolo, Music Teacher Basile, Almaviva and Figaro himself are presented as vividly outlined social types. Figaro is a carrier of the best features and properties of the third class, he is leaning, being submitted, finding, artistic, is able to overcome and withstand any difficulties and tests. A play is full of fun, humor and optimism, the optimism of enlighteners is reflected in a bright look at Figaro and young heroes, who in the final won and protect their love and the right to happiness.

The comedy "Marriage Figaro" is the top of the dramatic creativity of Boualemche, it was created 10 years later. Louis Hu!, After reading the text of the play, said "this is disgusting, this will never play. You need to destroy Bastilia, otherwise the presentation of this play will be dangerous inconsistency. This man laughs to all that should be honored in the state. " These words were prophetic. The play will first be put in the Palace Theater, some time later - for the general public, and then - even in a home spectrary in the palace, the role of Rosina in which Mary Antoinette will be performed.

This play is bolder and more serious in the aspect of the problems set, the motive sounds sharper social critics And the protest of the personality against the feudal prejudices. Now the enemy of Figaro turns out to be the Count Almaviv himself, who is capable of forgetting about the debt sophisticated loyalty, to deceive your Rosina and is ready to encroach at the honor of Susanna - the young Bride of Figaro, appealing to the long-stayed privilege - the right of the first night. Figaro, scaled to his harsh life, clever and brave, manifests the wonders of quirment and comes out the winner, making funny in the finals and forcing him to repent and ask for forgiveness. Special meaning It has a monologue of Figaro in the last act, in which all the power of mind and the nature of Figaro is revealed - he has to fight for existence, to defend himself and his love is not only against the graph, but also against his time. And if, in the first play, Figaro had some features of Picaro - a cheerful plut, who knows the wrongness of life, but not burdened by morality and humane intentions, then here Figaro grows as an almost heroic figure as an accusatory social deformities FPANIES on the eve of the revolution. Heroine play - Suzanne and Rosina - also carry a significant semantic loadSuzanne is smart, honest, resourceful - to become her beloved Figaro, she even finds the strength and the opportunity to support Rosina in her misfortune and find out of it - the collapse of the count returns to his wife.

In the third play "Criminal Mother", delivered in 1792. In the midst of revolutionary events, the main characters of "Women's Figaro" are shown two decad years later. They made a lot of mistakes in their lives, including those believed to Mr. Beger, the "second tartufu", which could bring them a lot of disasters, and from which Graph and Rosina save their faithful Figaro and Suzanne. But the leitmotif of the play is the idea of \u200b\u200bthe forgiveness of the former relegations of the graph and his wife and the approval of humanism and love, at least on the scale of one family - to a certain extent associated with those calls for mercy, which were written in France during the revolutionary terror.

The popularity of the Pieces of Boualersch "Seville Barber" and "Wedding Figaro" - the first two parts of his "dramatic trilogy" - in our modern consciousness inseparable from the popularity of the opera Mozart and Rossini, who gave "second life" to masterpieces of playwright. You can try to divide these two spheres - drama and music - and to prove the already unconditional self-sufficiency of the plays of Bomaransch, but why do not artificially divide the inseparable? The plays of the Boualersche and the Opera of Mozart and Rossini were created almost simultaneously, with an interval, for our time almost minor: from 1772 to 1816
(Boualersha "Seville Berber" Statement of 1775
Rossini "Seville Berber" 1816
Boualersch "Marriage Figaro" Statement of 1784
Mozart "Wedding Figaro" 1786)
Therefore, they are initially given to us at the same time and there is no point in arguing about the genius of playwright or the composer led to such popularity of these works. There is no doubt that Boualersche is genilan and without Mozart and Rossini, and that Mozart and Rossini are ingenious without Bomaiss. But the intersection of genius creates a strong effect - here we can say about the resonance of creative impulses, although none of these great artists met in real life with another.
The extraordinary coincidence and equality of these impulses can be judged by the proximity of the libretto of both operas to their plays. For example, the "lady with camellias" Luma, Novel "Merima or Scene from the life of Bohemia" Murge - Literary works, remaining only by the original sources of the relevant operas of Verdi, Biza and Puccini, having many not only conceptual and dramatic, but also simply plot discrepancies with their musical -Sencing analogues. Yes, and to be honest, "Traviata", "Carmen" and "Bohemia" are much more famous than their literary sources. It took serious processing and rethinking texts with a librettist; If we talk about the plays of the bomasche, then they themselves are almost ready-made libretto. After all, the Seville Berber was and was conceived and written in 1772 as a comic opera and became the fact that we read now, that is, a four-fold comedy, only on February 26, 1775, three days later after the first stage in the five -act option. Bomaigsche deliberately refused the opera genre, what he writes in a "restrained letter of failure and criticism of the Seville Merchant" "preceding the comedy itself. He explains his rejection of the opera in inconsistency to his plan music forms and opera "stamps" of that time: "... from her [our music]" can not be expected to expect genuine fascination and present fun. It will be seriously started to apply in the theater only when we will understand that on the stage singing only replaces the conversation when our composers approach nature, and most importantly, it will stop imposing a ridiculous law requiring a permanent return to the first part of the Aria after The second is already executed ...
I always loved music ... And yet, when I watch the plays, especially those who occupy me, I often catch myself on what I shake my shoulders and no one whisper: "Ah, music, music! What are these eternal repetitions? Instead of conducting a live story, you say the same thing, instead of portraying passion, you cling to the words! The poet begins to shorten the junction, and you stretch it! "" Boualersche leads to an example of the art of a dancer (his naturalness and diversity) and claims: "When I describe some art, I am looking for samples from the greatest masters." However, the reasons for his reproach music is not in the dementibility of the nature of the music itself, but simply in the absence musical Genius, hope for the appearance of which he himself and expresses: "... when our composers approach nature ...". By the way, the composers appealed to the Sevilian Villannik, but these operas are unknown to us, they only mention Phazielilo (setting in the court of 1782), from whose work only Aria Rosina is available (it is available in the Aria's notes for soprano) . Thus, the genius of Boualemsk inspired composers, but has not yet met equal to the strength and focus of dating, and the play, created potentially as a magnificent comic opera, continued to exist in the sphere of the dramatic theater.
The phenomenon of the opeker "Wedding Figaro" and "Seville Barber" - an exceptional coincidence of not only the nature of the troy geniuses, but also " star Watch": The vertex works of Bomaigsche served as a source for some of best creatures both Mozart and Rossini.
The comic sphere is extremely difficult and thin in all arts; In order for the work to be comic, and not grotesk or satirical - and at the same time did not contain cheap clown tricks that reduce it to the level entertainment show- a special position is needed, the author's special worldview during the creation of this work. People laugh at the view of the "Seville Villannik" without mockery over something or someone, without the shade of sarcasm or gloating, and just because it was fun, from the tireless energy of the statement of life, from enjoying the sound of text and music - not mocking human Sunny and weaknesses, and admiring the resourcefulness, energy and solar joy of life emitted from the scene.
The comedy came out of the same magic, the spell sphere of archaic rolling, as the tragedy, from the depths laughter cultureAlso serving the sacred ritual. And the comedy leads to Catharsis, but not through the shock of horror and compassion, but through the shock of the deep delight and ecstatic chanting of life.
This energy of life is also from Beamasche, and Mozart and Rossini; It should be noted that Boualersche and Rossini are close to each other in the type of worldview (but not by biographical data and not in relation to people!), Even the style of prefaces of Boualersche is close to the style of letters of Rossini; Mozart is about them somewhat away. However, Boualersha makes it all in his plays a share of bitterness ("I hurry to laugh, because I'm afraid, no matter how much you had to cry," says Figaro), and his virtuoso aphorisms are satirically evil, and the music of Rossini takes this "ballast" and leaves The viewer is only clean light.
An indicator of the height of these masterpieces also serves their universal importance, their over-temporal and over-national issues: we, Russian viewers, listen to the Opere of the Italian composer about the Spaniards written in the play french playwright - And we do not feel any contradiction or inconsistency of some components of this ingenious whole.
Beamarsche and Rossini in the Seville Ciryb have many intersecting details indicating the organic relationship of these works.
First, this is the very dramatic structure of the whole: the comedy of the quadruktna; Opera consists of two actions, each of which is divided into two pictures - as a result, the structure is still obtained by four-part.
The face of the form remains the same: the first action (first picture) ends with a duet of Figaro and Almaviva - the development of the "Plan of Action", there was a tie, the goal of all the action and the structure of relationships occurred acting persons.
The second action (the second picture) begins with the solo characteristic of the rosena (in the opera is noticeably more extended than in the play), ends with the scene of the arrival of the graph in the image of a soldier ("Hey, an apartment ...").
The third action (the first pattern of the second action) opens with the phenomenon of Almaviva in the form of the Don Alonso bachelor - action develops at a new level - and ends with a disaster: expose Don Alonso; At the end of the third action, the heroes associated with one goal - Figaro, Almaviva and Rosina - turn out to be in the very difficult situation, at the negative point of extremum: the letter of Rosina in the hands of the guardian, the graph did not have time to prevent her about it, the intentions of some young man And the cooperation with him Figaro became known to the doctor - a disaster before the junction, as well as in the tragedy.
The fourth action (second picture of the second action) - Dialogue Basilio and Bartolo; The limit of time is exhausted, the marriage contracts are compiled, the notary is invited, and the action is developing rapidly, literally in minutes, and here is a fracture "from the darkness to the light" - and the happy finals, an omission, giving happiness to those who sought him, and reconcile with him those who opposed him.
The Structure of the Plays of Bomaransch, as we see, is almost identical to the structure of the Opera Rossini; The librettist Cesare Sterbini brought separate plays in line with the requirements of the number structure and traditional forms of the Buffa opera. For example, in the finals of the second action, only Bartolo and Rosina participate in the Butolo and Rosiet, whereas in the structure of the Buffa opera, there are always two choral finals; Sterbini finals becomes a cross-cutting scene, developing on the principle of "accumulation" of characters, increasing their number from two (Bartolo and "Drunk soldiers") - and to a seven with a choir. Severally changed the dynamics of the development of the first action: Chancest of the Count, at the Bealarsche located in the middle of the dialogue with Figaro, Rossini was put out of this dialogue (about the development of the "Plan of Action") and precedes him (Chancest Almaviva, then Figaro and Almaviva duet).
It is interesting to see how static and dynamic and dynamic points are distributed in comparison with the play: the listener's attention is sharpener in the finished numbers, the current information and evaluation information and its evaluation reported.
Nodal moments remained the same:
1. Cavatina Figaro (the text of it, however, a slightly different content than the first monologue of Figaro in the play, but the function is the solo characteristic of the hero - has not changed).
2. Chancest Almaviva.
3. Duet (in the play - dialogue) Figaro and Almaviva: search for funds to achieve the goal.
4. Cavatina Rosina (in the play, this solo characteristic is divided into time on several phenomena, which is relatively far from each other: remaining one, at different stages of action, it comments on the situation and its attitude to what is happening).
5. Aria Basilio (the famous monologue about slander - the text of him in Opera remained unchanged, in the very monologue, the structure of Aria was laid, Basilio even enjoys musical terminology as a "singing teacher").
6. Roet Rosina and Figaro (an important dramatic moment: with the Count "Cooperation Treaty" already enclosed, now it is with Rosina).
7. Plug-in Rosina Aria (which Boualersha persistently advised "not to produce").
8. Arietta Bartolo (this is a parody and Beamarsche, and Russia).
9. Quintet "Don Basilio!" - The fact that the opera is solved by simultaneously, in the play, the abundance of short replicas is solved, the acceleration of the tempo, which is why the feeling arises that everyone speaks together.
10. TERTSET Rosina, Almaviva and Figaro: a fracture of action, "dropping masks" and "Exit to the finishing straight line" - all disagreements are overcome (Almaviva finally becomes itself, during the whole play he constantly changes the "masks": he is poor Lindor for Rosina , Bartolo is a drunken soldier, then Don Alonso).
As for the composition and characteristics of the actors, they are somewhat changed in comparison with the play. Spring servants and alert are replaced by Ambrodzhio and Berth; Rosina has become more sensitive and less "in mind" (due to the absence of "scene with a letter cousin"And replicas after the scene with Bartelo from the IV action:" Ah, I punished myself enough! "). Count, due to the introduction of the "ordered" serenade with a whole choir of hired musicians and the presence of the Piorello servant - becomes more infantile, if you can say so; In the play, he operates one or from Figaro and does not "squeak money", as in Opera. By the way, the output of the graph (antres) in the opera precedes the release of Figaro - just like Baumersha. Bartolo has a much more nervous and emotional than in the play. Several surprised in the play mention of some "Figaro daughter", while Figaro marries only in the next part of the trilogy ...
The distribution of votes in the opera is due to the characters by the characters of the actors, and the Graph Almaviva - the insanely loved, artistic, unrestrainedly emotional and slightly shackle-helpless - undoubted tenor; Figaro older than him, prepacher, wiser in everyday and philosophical plan, but full of activity of life - of course, Bariton; Bartolo - bass, the comiasis effect is created by its constant quick-tempered or clumsy courtship (Aryetta), his attempts to exit the characteristics of his voice; Rosina - lyrical heroine, the only and central female character (Berta - an episodic person) - Naturally, soprano (or rather, Rossiniyevskoye Metzo-soprano, but this is already depending on the qualities of a particular performer).
In the opera Mozart "Wedding Figaro", written by chronologically 30 years earlier than the "Sevilian Village", the action takes place a few years later, and the distribution of votes is already different. Count Almaviva is no longer an enthusiastic Rosina Rosica and not just a Spanish Grand, but the "Great Currechidor Andalusia", "full of consciousness of his own greatness", the same young and charming - but this is already Mr., the head of the family and the whole house - for the tenor he would be too Serious, so here he is baritone. Rosina and Figaro do not change their characteristics, but Rosina's party here is not virtuous and self-confident, as in the Seville Barber, but rather melancholic (less mobility in general of all parties is due to the stylistic of Mozart than characteristics of characters). Basilio and Bartolo become secondary charactersBut Basilio from Bass turns into a tenor: the tenor is often used not only in the role of a young hero, but also in senile images, so they are the Finn in Ruslana and Lyudmila Glinka, Berendei in the Snow Maiden - Korsakov - Basilio here complements this row. New actors appear: Kerubino, Suzanne, Fansel (Barbarina). Generally acting persons in the "Figaro Wedding" much more and the relationship between them is much more complicated than in the Seville Cryberry; Yes, and the idea of \u200b\u200bthe second part of the trilogy, as the Boualemasche himself speaks about it in the "Preface", passes from the personal level on the social, the emphasis is on the social side of the plot, and not at all comic peripeties in which it is even difficult to understand. The intrigue is very confused, relationships are confused between characters, and therefore the disconnection contains even some melodramaticism of the Mexican TV series - a series of recognition and discovery of unexpected related relations (Figaro - Bartolo - Martselin). At the plot level, four pairs are formed, differing in age and social status:
1. Graph Almaviva - Countess (young, noble)
2. Figaro - Suzanne (young, servants)
3. Bartolo - Martselin (old men unequal position)
4. Kerubino - Fansel (very young, servants)
It is possible to make a scheme of legal relations and illegal claims:
Graf Countess
Figaro Susanna
Bartolo Martselin
Kerubino Fanselt
From the scheme we see that illegal claims come from men: here only two noble men - Count and Bartolo. And what do we see? Another hobby of the count - Suzanne (exactly the next one: "You are, your fortification, so much in our parts have been gaining, which should now be ..." - says Antonio); Between the case, he gently and jokingly cares for fans. Bartolo - in the youth came to the servant of the marchilina of an illegal child; Already being an old man, claimed young Rosina - and how much he was still "drove," we are not reported. The relationship of noble Lords with the maids is one of the sides of the "Social Question", which is raised here. Count Almaviva turns out to be better than others in this regard, as he himself canceled in his possessions "the right of the first night".
The whole "Wedding Figaro" Boualershe is permeated with sharp statements, aphorisms and sarcastic monologues of Figaro on the essence of politics, about "interpretation" of laws, about social inequality, the humiliation and arbitrariness - in this the essence of the play, its core, so that it is completed already in 1778, was delivered only in 1784 and was rare in the future, and then with bills. Naturally, Lorenzo da Ponte - the librettist of Mozart - removed all the social accents, so brightly allocated by Boualersha; Otherwise, it could not, otherwise the opera would not be delivered. It only remains the motive of the confrontation of the smart servant. Lord, who claims to his bride - and his victory can be interpreted as a revolutionary motive of the victory of the people over the gentlemen, but only quite removed: "Wedding Figaro" Mozart is not a social satire, like a bomarsch, and a comic opera, Close to the mood of the "Sevilian Village", although completely different in the stylist. The libretto here differs significantly from the play, and in this regard you can talk about two independent works - Opera Mozzart and Plays Boualershe, from which only plot "motifs" are taken, the course of action, but not his ideological fullness, on which the author insists so hard in the "Preface".
The popularity of the Pieces of Bomaransch is manifested not only in the productions of them in a dramatic or opera version, but also in the distribution of Figaro aphorisms, its brilliant statements existing simply as idioms: "And if I better my reputation?", "Rabolen mediocrity - this is who just achieves", "the law is indulgent to a strong, inexorable to weak." An indispensable and relevant in our time is the definition of policies "pretend that you do not know what everyone knows, and that you know what no one knows; To prevent you that you hear that it is not clear to anyone, and not listen to what he can hear everything; The main thing is to pretend that you can surpass yourself; often do great mystery From the fact that no secrecy is; To put in your office only in order to clean the feathers, and seem attense when you have in my head, what is called, the wind walks; Hoodly, whether it is well played by the person, to produce headphones and pick up the traitors, pull the wax seals, intercept letters and try the importance of the goal to justify the poverty of funds. Here you have the whole policy. "

Politics, like all human relations, for all centuries does not change, and the bright humor of the Seville Village, as well as sarcasm "Figaro weddings", must not lose their relevance, while there are social barriers, the commemoration of the ruling, but also Mind, thirst for life and pure human love.

The writing

As well as "crazy day, or marriage Figaro" (1778), "Criminal mother, or the second Tartuf" (1792). Figaro belongs to the number of those few images of world literature, which one of their name personifies the genre. After appearing on two thousand years after the comedy, Figaro became the same symbol of the comedy genre, as applied to the tragedy was the king of Edip.

Aristophan and Menandra, the Terentation and Float, Shakespeare and Moliere had many comedy types endowed with vivid characters, sometimes in vitality and reliable, sometimes grotesque and hyperbolus. However, such a comprehensive image that has gained various modifications of comic and comedy, no one has created to Boualersche. Sparkling wit, resourcefulness, the ability to weave the comedy intrigue, confusing it, and then unraveling, the judovo bomolochia in combination with wisdom - all this provided the "title" of F. as an absolute comedy hero.

Figaro is an oldest pedigree. His ancient ancestors - Bomuloch (letters, jester at the altar) Comedy Aristophan (Dicepol in Akharnyakhov, trieie in the "world"; Some monologues F. detect the Rudiment Parabasa - a distinctive speech to the viewers' address), as well as the characters of the Novoattical Comedy and Roman Palliates are servants-slaves, swarms and deceivers (for example, pseudol plave). Among the masks of Comedy del Arte, the predecessor Figaro Harlequin (equal to the French fellow last - Krispan). Among the literary examples F. called Panurge F. Barla. The nearest predecessors of the Hero of the Boualersche - servants (Vnets) of the classic comedy Moliere (Skapen, Sganarel), Skarron (Zhodla), then the characters of the eyelid enlightenment - housing fabrics, Truffaldino Goldeni. Related images are found at Renyar and Marivo.

When the first play of the trilogy was delivered, the audience immediately found out in the hero - the author. So it was necessary to assume that the image of Figaro Boualess wrote off from himself. (Wed. Pushkin string: "Similar to his wonderful hero, cheerful bomadsche ...") There is a version that the playwright pointed to relatives with a hero in his name, composed of the word FILS (son) and a sagop (real name Bomaoussche), i.e. Son of caron. This is possibly a legend, although its very appearance is symbolic. Grandel, the biographer's biographer, allowed that there was no intentional cryptogram in the name of Figaro: the code launched in the memory of Boualersche, who since infant years had to hear in his address - "Fi Karon". This "fi caron" merged into Fikaro and then became Figaro. The same Grandel notes that the name of the hero is Figuaro in the early editorial office of the "Tsier". The latter can be understood as derived from the lat. Figure - to form, do. This fully corresponds to the dramaturgical function of the character, who acts as an intrigue and forms scene imbroglyo (confusion).

In the plays of the trilogy, the image of Figaro has undergone a number of transformations. "Wonderful hero," Pushkin spoke, is Figaro "Mad Day". The Sevilian merberry of the first comedy is close to it and very far a character of the "moral drama", who became twenty years later.

"First" Figaro on the attestation of Boualemsk, "Small on his mind, a man's careless person who laughs and on success, and over the failure of its enterprises." The "enterprise" is not indifferent to the "second" figaro, and, by virtue of this, she tells himself "the most intelligent man of his nation." The last, "third" Figaro according to the author's remark, - "A person who has great life experiences."

In the first two comedies, the hero is in the center of events. It appears in the names of the plays. He has the most winning role from the point of view of the stage.

At the beginning of the trilogy, Figaro appears as a traditional character of the comedy, designed to arrange the happiness of lovers, overcome those who find the goats against them. Everything that Figaro is taking him to him hundreds of times did the comedy "Guidelines of Weddings" - both Lsevdol, and Harlequin, and Tristan ("Dog on Seine" Lope de Vega), and many others. F. transfers the love notes of Count Almaviva to Rosina, fooling the guardian of Dr. Bartolo, neutralizes Don Bazil and, finally, it sews a notary with a non-notary marriage contract. Master for all hands (Bragobrey, Pharmacist, writing), F. Confidently leads comedy intrigue and in the final reaches the intended goal. The difference of F. from numerous predecessors - in his omnipresence. The hero is sleeping "here and there." Stowed word Words "Figaro Si, Figaro La" reflect not only the "grain" of the image, but also a new type of dramaturgical behavior.

Figaro "Mad Day" changed classes: he now consists in the service of Senior as a householder and a chamener; The hero left the free profession of the tag, lost freedom of choice (without a sanction of the count of his marriage with Susanny impossible). At the same time, F. lost the thread of the drama intrigue, which women fly, Rosina, Martselin and primarily Suzanne. He falls into the trap arranged for the graph. Both, F. and Almaviva - intrigue objects, whereas in the first comedy they performed it with the subjects, creators.

Effect comedy intrigue Boualersch reaches through the game between false and valid actors. In the "Sea-Vilsk Barber", Dr. Bartolo, is convinced that he has been managed by what is happening, and in fact, F. is managed by everything - the doctor's precautions were in vain. False subjects of intrigue of the second comedy - Almaviva and Figaro they come to see, speaking by comic and comedian generators.

The community of dramaturgical peripetia does not make Almaviv and F. plot allies. Here they are opponents doomed to agon. In the scenes-fights between F. and Count, Boualemasche continues the tradition of Molieregovsky agon (Don Juan and Sghanpin, Allest and Filint), giving them a sharp social meaning.

Rivalry Figaro and Almaviva (both are in love with Suzanne) is due to class inequality. Susanna has already made a choice in favor of Figaro. Nevertheless, the "old first night right" allows the graph to have completely certain types of it, and F. before this "right" of Señora is socially powerless. In this position, he turns out to be a social hero, visible injustice of society, in which Almaviva, "a fairly ordinary man", everything is provided, and he, F., "For the sake of meant only, I have to show such awareness and such resourcefulness, what During the century, it was not necessary to manage all Spains. "

Inspections F., implancing the desertion of the concedes, adventurers-politicians, sales of judges, became the "third class" manifesto. F. not only declared the "citizen's rights", but also demonstrated the ability to defend them. To this, F. treated the famous reviews of contemporaries Boualersche: for example, words Louis XVI. ("If you solve this play, then Bastille will be destroyed") or the approval of Napoleon that the comedy was "revolution in action".

In the image social hero Figaro lived for a long time on the pages of newspapers, magazines, books - at home and abroad. Thus, the Soviet theaters called the character of Boualersche "The Buress of the French Revolution" (S.S.Mokulsky) and talked about him as a future Marat or Robespiere. Theater of such F. Most often ignored, preferring to the steep resonance of a funny water watery chalop. With all the simpleness of such interpretations, it is necessary to recognize the well-known justice.

Figaro Hero of the Comedy, his temperament "man and a citizen", according to the law of the genre, does not develop into pathos, but, on the contrary, is exposed to Tracess and a decrease. The role of Marat is not intended to him. Praphrazing the replica of the Pushkin character addressed to Bomaouxche, it can be said that F. is too funny for the craft of Marat. In this sense, the most insightful judge of the comedy turned out to be a historian Gallari, who answered the question of Louis, whether "marriage ..." can be allowed to the stage: "The play is too fun in order to be dangerous." Further fate The image confirmed this opinion. "Dangerous" heroes XIX. The century came from many characters (Chatsky, for example, from Alsesta), only not from Figaro, whose descendants were the characters living in the world of adventures, - D 'Artanyan, Captain Frakas, Ostap Bender.

Figaro The last play of the trilogy is a character who has many generations of readers (viewers) caused sense of regret and disappointment. He was characterized as an ordinary moralist, leading the struggle with small and insignificant opponents in the interests of their Lords. Hero Boualemsk, who was twenty years old, has indeed lost a significant proportion of his theatrical charm, but from a human point of view, a lot has acquired. He learned to appreciate the peace of the homely focus, which I had encouraged the "second Tartuf", retained faithfulness not to the gentlemen, and people with whom lived all their lives. F. learned unconscious, and therefore in the final of the play sincerely refuses to accept the reward of the graph, not wanting to "spoil precious metal The service rendered from the pure heart. "

"The Third" F. Could see the character too well-free, if not the background surrounding the play, and the background was a revolution, in whose years he was persecuted, was accused of the Convention in state treason, was arrested. In such a context, it is possible to understand why Boualersha made his hero with the carrier of the "Action of Human Reconciling", as I wrote A.I.Grenz, one of the few who took the last play of the trilogy under his defense.
The image of Figaro was embodied in three operas: "Seville Barber" Palizielo (1782), "Wedding Figaro" of Mozart (set in 1786, i.e. two years after the Paris premiere of the Comedy Bomumasche), "Seville Berber" Rossini (1816 ). In 1817, a comic ballet "Figaro and Suzanne" was in the Paris Theater "Variety". There are several dramatic variations on F. (some in the form of continuing the plot of Boualersch), including Piez V.Sardu. Among these reincarnations of the hero, the deserved leadership belongs to F. Rossini, the weekend of which was made by the emblem of the Opera Art and in popularity only with Habanery Carmen and the Song of the Duke "Heart of Beauty" from the opera D.verdi "Rigoletto". Party F. performed all the outstanding baritones of the world - T. Ruffo, T. Gobby, N. Herlya and many others.