Nabokov, Nicolas [Nikolay]
Nikomachos. See Nicomachus of Gerasa. Nilsson, Anders (Göran)
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- Nilsson [Svennsson], (Märta) Birgit
Nikomachos.See Nicomachus of Gerasa. Nilsson, Anders (Göran)(b Stockholm, 6 July 1954). Swedish composer. After beginning as a rock and jazz musician, he specialized in music at the Statens normalskola (1971–3) and at the Birkagården folk high school in Stockholm later in the 1970s, while also working as a theatre musician. He then studied privately with Eklund (1978–9) and later composition with Bucht, Ferneyhough and Sven-David Sandström at the Royal College of Music in Stockholm from 1979 to 1983. In 1986 he became a board member of the Swedish section of the ISCM. His début as a composer was the condensed and polyphonically structured Trois pièces pour grand orchestre, likened by Bucht to ‘the leap of a tiger’. The treatment of orchestral sound is subtle yet powerful. He has since then gradually relaxed the complexity of his music, giving it a more open and airy sound and indicating a more intuitive way of working (Ariel, Organ Concerto). His works from Cadenze onwards show a freer and more spontaneous expression, culminating in a synthesis of all these elements in the musical language of Symphony no.1. One of the most artistically mature of the younger Swedish generation of composers, he uses a tonal language that is basically traditional, reflective of Mahler’s late Romanticism. It mirrors not only the cultural vision of Bartók or Berio, but also has an abstraction and concreteness belonging to a new age. WORKS
BIBLIOGRAPHYR. Jansson: ‘Anders Nilsson Reflections’, Lodet och spjutspetsen (Stockholm, 1985), 160–72 L. Reimers: ‘Anders Nilsson – polyfonisten’, Musikrevy, xliii/2 (1988), 50–54 A. Nilsson: ‘Detaljen samverkar med helheten’, Nutida musik, xxxv/3 (1992), 31–4 [on Org Conc.] ROLF HAGLUND Nilsson [Svennsson], (Märta) Birgit(b Västra Karups, 17 May 1918). Swedish soprano. She studied at the Swedish Royal Academy of Music, Stockholm, where her teachers included Joseph Hislop. In 1946 she made her début at the Swedish Royal Opera, Stockholm, as Agathe (Der Freischütz), later singing Leonore, Lady Macbeth, the Marschallin, Sieglinde, Donna Anna, Venus, Senta, Aida, Tosca and Lisa (The Queen of Spades). In 1951 she sang Electra (Idomeneo) at Glyndebourne, creating a stir with her keen-edged, forthright singing. During the 1954–5 season she sang her first Götterdämmerung Brünnhilde and Salome at Stockholm and made her Munich début as Brünnhilde in the complete Ring. Also in 1954 she first appeared in Vienna and, as Elsa, began her long association with Bayreuth, returning (1957–70) as Isolde, Sieglinde and Brünnhilde. In particular, her interpretation of Isolde in Wieland Wagner's 1966 production was of searing vocal and dramatic power. She first sang at Covent Garden in the 1957 Ring, returning as Isolde, Amelia (Un ballo in maschera, with the Swedish Royal Opera in 1960), Strauss’s Electra, Turandot and Leonore. She made her American début at San Francisco in 1956, and she first sang at the Metropolitan in 1959 as Isolde. Her only new role in the 1970s was the Dyer’s Wife (Die Frau ohne Schatten), which she sang at Stockholm in 1975. Nilsson was generally considered the finest Wagnerian soprano of her day. Her voice was even throughout its range, pure in sound and perfect in intonation with a free ringing top; its size was phenomenal. Her dramatic abilities were considerable. Electra was possibly her finest achievement, although the sheer power and opulence of her voice, coupled with a certain coolness, made her an ideal Turandot. In both of these, as well as in Wagnerian roles, her phenomenal stamina was perfectly suited to the rigorous demands of the music. Her many recordings include Brünnhilde and Isolde, in both of which she was unrivalled, as well as the title roles in Turandot and Elektra; moreover, even her readings of the roles for which she was less renowned, such as Leonore, Aida and Tosca, have had few if any equals since. Her second recording of Isolde (1966, Bayreuth), and her Electra remain perhaps her most thrilling achievements. BIBLIOGRAPHYGV (G. Baldini) W. Jefferies: ‘Birgit Nilsson’, Opera, xi (1960), 607–12 A. Natan: ‘Nilsson, Birgit’, Primadonna: Lob der Stimmen (Basle, 1962) A. Blyth: ‘Birgit Nilsson’, Gramophone, xlvii (1969–70), 1123 B. Nilsson: Mina minnesbilder (Stockholm, 1977; Eng. trans., 1981, as My Memoirs in Pictures) R. Christiansen: The Prima Donna (London, 1984), 167–70 J.B. Steane: Singers of the Century (London, 1996), 131–40 HAROLD ROSENTHAL/ALAN BLYTH Yüklə 10,2 Mb. Dostları ilə paylaş:
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