The New York herald., 1921-11-23
Christine Nilsson.

To the present generation Of opera
goers CHRISTINE NILSSON, whose
death in Sweden, the land of her
birth, was reported yesterday from
Stockholm, is only name. But 1t
is a famous name among great sing
ers and Nine. NILSSON won her
laurels when ADELINA PATTI, Nine.
ScALcHI, ANNIE LOUISE CARY, Signor
CAMrANINI. Signor NovARA and a
score of others were at the height Of
their successes. America knew and
admired her and had as great an op-
portunity as perhaps any other nation
Of enjoying her rich endowment OF
voice and artistic talents.
She came first to the United States
in 1870; she had sung previously in
concert in Sweden, she made her
debut as Violetto at Paris and her
first appearance at the Paris Opera
House as Ophelie and she had won
praise in London. She Joined the
his intense operatic competition with
Colonel MApLEsoN and almost from
the start she became a most formi-
Gable rival Of Nine. PATTI for public
favor.
Fortunate circumstances in a way
favored her in establishing herself in
New York. Although Nine. PATTI
had begun her operatic career at the
Academy of Music, Irving place and
Fourteenth street, many years earlier,
and had achieved her most pronounced
success on the concert stage in New
York, she had been absent in Europe
for almost twenty years. New York
had not forgotten her, but it was not
averse to worshipping at the shrine
of so distinguished an artist as Nine.
NILSSON had proved herself to be.
Thus at the opening of the Metro
politan Opera House, on the night Of
October 90, 1888, one of the great
events in the operate history Of this
city, Nine. NILSSON had already high
place in the regard of not only the fash
ionable attendants in the opera boxes
but of the crowds who struggled for
seats in the upper galleries whenever
it was announced she was to sing.
An interesting phase of this devotion
to great singer and one which seems
to indicate New York's loyalty to n
favorite was that at this memorable
opening performance she was no
longer in her prime, she was in fact
40 years of age, and her voice and
her artistry had both begun to show
that they had not withstood the wear
of time.
Faust" in which she could appear
to the best advantage, was chosen as
the opening opera. She had re-cre.
ated the character of Marguerite
when the opera was remodelled
for its Paris production and her
voice and skill had contributed not
a little to the popularity of this mas
terpiece of GoUNoD. The critics re-
port that the performance aroused
little enthusiasm until Nine. NILSSON
sang the scintillating waltz song in
the garden scene. This was received
with storm of applause. Flowers
we're rained upon the singer from the
boxes, an1 in the midst of the rich
offerings of bouquets was velvet
casket enclosing a wreath of gold
bay leaves and berries. The name oe
the donor was not given, the gift
bearing only the inscription I'm com
memoration OF the opening of the
Metropolitan Opera House." This
was perhaps the greatest triumph OF
her artistic career.
1t came, too, near the end of hes
stage career, for she retired four
years later. She returned rich
woman to the land where as the
daughter of poor workman she had
sung to the fiddling of her brother
at fairs and popular gatherings. She
never forgot her own early struggles
and was ever sincere in advice and
helpfulness to youthful aspirants for
a musical career.