Nabokov, Nicolas [Nikolay]
Niel [Nieil, Nielle], Jean-Baptiste
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Niel [Nieil, Nielle], Jean-Baptiste(b ?1690s; d ?1775). French composer. He is first heard of in 1720 when an air of his composition was published in the Mercure de France. He was a conductor at the Opéra while it was under the direction of Berger. But he was best known as the composer of the stage works Les romans and L’école des amants, and was so listed (also as a maître & musique) in the ‘Musicien vivant’ section of the Almanach des spectacles until 1772. His ballet-héroïque, Les romans, was successfully performed at the Opéra in August 1736; subsequently another entrée, ‘Le roman merveilleux’, was added, and the entire production was staged again the following month. L’école des amants, an opéra-ballet, was similarly well received in 1744 and expanded the next year. These are Niel’s only two stage works. A third ballet, untitled, was rehearsed in 1735 but never publicly performed; and Fétis erroneously attributed Boismortier’s Les voyages de l’Amour (1736) to him. Niel also composed some motets, performed at the Concert Français in May 1728 and at the Concert Spirituel in May 1742. His keyboard pieces, according to Briquet, are lost. His success has been attributed to the excellent presentation and performances of his stage works; though charming and at times reminiscent of Rameau, his music is not greatly distinguished. WORKS
BIBLIOGRAPHYFétisB LabordeMP MGG1 (M. Briquet) PierreH Mercure de France (July 1720; Aug, Sept 1736; May 1742; April, May 1745) Spectacles de Paris, iii–xxi (1754–72) N. Dufourcq: ‘Nouvelles de la cour et de la ville (1734–8) publiées par le Comte E. Barthélemy, Paris, 1879: extraits concernant la vie musicale collationnés par N. Dufourcq’, RMFC, x (1970), 101–6 VIVIEN LO Niël, Matty(b Maastricht, 23 Oct 1918; d Sittard, 7 May 1989). Dutch composer and music teacher. After a thorough grounding at the Maastricht Musieklyceum (with Alphonse Crolla, Benoit Franssen and Henri Hermans), he studied piano in Liège (1937–9) with Louis Closson and in Amsterdam with Alexander Borowsky (1939–41). Around that time he also studied composition with Badings. Hermans referred him to Webern in Vienna, whose private pupil he became (1941–3). In 1944 Niel completed his studies in Paris with Lesur and Messiaen. At the intercession of Hermans, he worked for the Limburg Regional Broadcast. He also taught at the music schools of Heerlen and Sittard and the music academies of Maastricht and Leuven. In 1978 he stopped teaching, devoting himself only to composition. During his lifetime Niël had to endure incomprehension and ignorance, as a result of which performances of his works were infrequent. Nevertheless he pursued an independent path, going counter to public opinion. Most of his works remained unpublished and unperformed during his lifetime. A book on Niël and his music by Peter Soeters is in preparation; his manuscripts are held in the Maastricht Municipal Records Office. WORKS(selective list)
HANS VAN DIJK Niel [Nielle], Pierre de.See Niert, Pierre de. Nielsen, Alice(b Nashville, TN, 7 June 1868 or 1876; d New York, 8 March 1943). American soprano. Her year of birth is ordinarily given as 1876, but according to her death record, she died at the age of 74. She began as a singer in church choirs, and made her professional début in 1893 with the Pike Opera Company in Oakland, California. She was then engaged to sing at the Tivoli Theatre in San Francisco, where she soon became a favourite. Henry Clay Barnabee heard her sing, and offered her a position with what was then America’s leading light opera company, the Bostonians. She spent two years with the ensemble, singing such roles as Maid Marian in De Koven and H.B. Smith’s Robin Hood and Yvonne in Victor Herbert’s The Serenade. After she left the troupe (taking with her several of its leading players and precipitating its demise), she starred in two operettas which Herbert composed especially for her, The Fortune Teller (1898; also in London, 1901) and The Singing Girl (1899). In 1902 she abandoned the popular musical stage to study opera in Rome. The following year she made her European début in Naples as Marguerite in Gounod’s Faust. For a time she was popular at Covent Garden, where among many other roles she sang Mimì to Caruso’s Rodolfo and Gilda to Victor Maurel’s Rigoletto. Later she sang at the S Carlo, Naples, and the Metropolitan, and with the Boston Opera Company (1909–14). By World War I her popularity had waned, and she attempted a return to Broadway in Rudolf Friml’s Kitty Darlin’ (1917). The critical consensus was that her small, pure voice and youthful appeal had faded; she later played small parts in a few non-musicals, then quietly retired. GERALD BORDMAN/R Yüklə 10,2 Mb. Dostları ilə paylaş:
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