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Nicolai Gedda

Nicolai Gedda — possessor of 1 from the widest-ranging repertoires ever, phenomenal technique, along with a shiny, resonant tone of voice with clarion high notes along with a seductive mezza tone of voice — had among the finest singing professions from the 20th hundred years. He excelled in music of British, French, German, Italian, Russian, American, and Swedish composers, and was similarly adept in traversing designs through the Baroque towards the modern; he was as observed a performer of oratorio and tracks by opera. His shows had been masterpieces of genuine style, from vocabulary and diction to phrasing. While executing Samuel Barber’s Vanessa, where he developed the function of Anatol, critics regularly acclaimed his diction because the finest within the cast, despite the fact that he distributed the stage with Rosalind Elias and Eleanor Steber — both indigenous speakers of British. Gedda’s dad was Russian, his mom Swedish, and in 1929 his parents shifted to Leipzig, where his dad became cantor and choirmaster of the Russian Orthodox Cathedral. As a kid he sang within the cathedral and performed Russian tracks at wedding ceremonies and celebrations. Having no desire to stay in Germany because the Nazi party increased to power, the family members came back to Sweden in 1934. As an adolescent, he developed a solid ambition to be an opera vocalist, but struggling to produce the money to invest in his research, he became a loan company teller, though he continuing to take part in performing competitions. A rich bank client who was simply also an instrumentalist using the Stockholm Opera occurred to listen to Gedda talk about his dreams, and asked Karl-Martin Oehmann, a music instructor who got himself been an operatic tenor, to consider him on being a pupil. Gedda afterwards credited the introduction of his magnificent strategy to Oehmann’s teaching. Quickly thereafter, he earned the Christine Nielsson Scholarship or grant, which allowed him to begin with music studies on the Stockholm Conservatory as a complete period pupil in 1950. In 1952, Gedda’s documenting and performing professions began concurrently. Walter Legge, the well-known manufacturer for EMI, is at Sweden, and decided to audition a number of the learners. He was instantly bowled over by Gedda’s tone of voice, musicianship, and technique; considering that Gedda spoke fluent Russian, he agreed upon him at that moment to defend myself against the function of Dmitri in his upcoming documenting of Boris Godunov, starring Boris Christoff — all even though Gedda had however to create his stage debut (which emerged only a short while afterwards, in a creation of Adolphe Adam’s Le Postillon de Lonjumeau)! This started a lifelong association with EMI. He produced his La Scala debut within the 1952-1953 period as Don Ottavio (Mozart’s Don Giovanni), and Carl Orff asked him to generate the role from the Bridegroom in Il Trionfo dell’Afrodite; his Paris Opera debut in 1954 was as Huon in Weber’s Oberon, and his Covent Backyard debut in 1954 was because the Duke of Mantua. We were holding soon accompanied by debuts at Salzburg (Don Ottavio, 1957) as well as the Metropolitan Opera (Faust). His life-long association with EMI produced him perhaps one of the most widely-recorded tenors, though within the compact disc period, EMI have been rather dilatory in re-releasing a lot of his recordings.

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