{"id":1074,"date":"2019-02-11T09:35:36","date_gmt":"2019-02-11T09:35:36","guid":{"rendered":"http:\/\/birgitnilsson.com\/prize\/?p=1074"},"modified":"2021-05-12T10:15:36","modified_gmt":"2021-05-12T10:15:36","slug":"__trashed-2","status":"publish","type":"post","link":"https:\/\/birgitnilsson.com\/prize\/__trashed-2\/","title":{"rendered":"Intervju med Nina Stemme om priset, Birgit Nilsson och Elektra"},"content":{"rendered":"\n

Superstar soprano, winner of the Birgit Nilsson Prize, says an early competition she lost proved to be an unexpected gift. <\/strong><\/p>\n\n\n\n

By Dennis Polkow<\/em><\/strong>
By this point in soprano Nina Stemme\u2019s<\/a> operatic journey, the high-intensity role of Richard Strauss\u2019 \u201cElektra\u201d has emerged as a signature piece. Indeed, the Swedish singer and reigning Wagnerian soprano, who currently performs the distraught and vengeful Elektra in her debut with the Lyric Opera of Chicago<\/a>, all but owns the part. She is the foremost Elektra in the world today, and she embraces the staggeringly difficult role as \u201cthe greatest joy\u201d to sing.<\/p>\n\n\n\n

Stemme is one of the world\u2019s great dramatic sopranos. (Neda Navaee)<\/p>\n\n\n\n

\u201cThe opera is exciting,\u201d she exclaims, as if tossing aside all the demands. \u201cIt\u2019s very intense. It\u2019s short. No intermission. It\u2019s captivating, so impulsive as a piece of work. Elektra is not only dramatic, she\u2019s also very introverted and lyrical and (filled with) all these nuances. And it\u2019s such a privilege to be able to perform here with this orchestra and with Donald Runnicles<\/a> conducting. (Runnicles is also making his Lyric debut.) We\u2019ve worked a lot together.\u201d<\/p>\n\n\n\n

The David McVicar production<\/a> is new to Stemme, though it has been performed in Chicago before when it premiered at Lyric in 2012<\/a>.<\/p>\n\n\n\n

\u201cBut that\u2019s also good, because it means that everything is already prepared in a good way,\u201d she says. \u201cAlmost. Things happen in rehearsals.\u201d A knee accident slightly limited her movement on opening night. \u201cKnock wood.\u201d<\/p>\n\n\n\n

Lyric general director Anthony Freud<\/a> says he\u2019d been trying to lure Stemme to Chicago from Day One of his appointment here in 2011.<\/p>\n\n\n\n

\u201cShe and I go back a long way and she is an artist I have admired for decades,\u201d says Freud. \u201cI actually first heard her when she was a finalist in the BBC Cardiff Singer of the World Competition<\/a>. I\u2019m not sure any of us in the audience that day would have thought that one day she would move into the repertoire that she has specialized in, the dramatic soprano German repertoire.\u201d<\/p>\n\n\n\n

Mellanrubrik<\/h3>\n\n\n\n

\u201cIt is true,\u201d the Swedish superstar soprano admits, settling in comfortably in a backstage Lyric Opera office, clutching a steaming coffee mug and elegantly dressed in brown suede and scarf with high fur-fringed boots suitable for a Chicago \u2013 or a Stockholm \u2013 subzero day. \u201cI was a big lyric soprano at that time. That was 1993. I sang Mimi and Debussy [at Cardiff].\u201d<\/p>\n\n\n\n

The proof can be heard on YouTube, where it is clear Stemme had a radiant voice for that repertoire. So why the shift from lyric soprano to dramatic soprano?<\/p>\n\n\n\n

\u201cIt really wasn\u2019t a shift, but a journey,\u201d she explains. \u201cI got offered to sing \u2018Madama Butterfly\u2019 quite early and as soon as people could hear that I had conquered that role at all, they started to ask me about things like Isolde. But that was far too early. I actually thank everyone on the board of the Cardiff Singer of the World who did not let me win!\u201d She is serious: \u201cThis was absolutely the right thing for me. It gave me time to develop.\u201d<\/p>\n\n\n\n

Twenty-five years later, Stemme made headlines in May 2018 when it was announced that she was the Birgit Nilsson Centennial recipient of the million-dollar Birgit Nilsson Prize<\/a>, named after the great Swedish Wagnerian soprano<\/a> of the mid-20th century. In winning, Stemme joins a very select group that includes tenor Pl\u00e1cido Domingo (2009)<\/a> \u2013 chosen as the first recipient by Nilsson herself before her death in 2005 \u2013 conductor and Chicago Symphony Orchestra music director Riccardo Muti (2011)<\/a>, and the Vienna Philharmonic (2014)<\/a>. Stemme is only the second singer to win the Nilsson Prize thus far.<\/p>\n\n\n\n

\u201cOf course, when I found about it, it was over a year before the actual ceremony,\u201d Stemme recalls. \u201cSo, I had to keep it to myself and my family, and I could hardly believe it. I almost didn\u2019t want to believe it because I thought: Wow! I hear about writers receiving the Nobel Prize in Literature who then stop writing. What if I stop singing? So, I had a little crisis, I\u2019ll tell you. I don\u2019t think anyone found out about it except my closest family, but I was thinking about it every single day. It\u2019s such a big thing and I had not at all counted on it. It\u2019s just little me.\u201d<\/p>\n\n\n\n

The symbolism is powerful that in the year of the Birgit Nilsson Centennial, it was Stemme, another Swedish soprano doing Nilsson\u2019s repertoire, who was chosen. Stemme is fully aware of the weight of this comparison. \u201cI\u2019m a product of my generation of operagoers and opera singers, so we are different. And I want, of course, my profile, my personality to come through. But as Mahler said, \u2018My time will come\u2019\u2012 I am more than happy to give tribute to Birgit Nilsson because I am so happy that her memory is still alive, her art.\u201d<\/p>\n\n\n\n

Indeed, there is no shortage of media available on Nilsson, particularly since last year\u2019s centennial. There is a newly released 90-minute documentary \u201cBirgit Nilsson: In a League of Our Own\u201d<\/a> that includes archival performance footage and interviews as well as new appreciations, including from Stemme herself. The massive 712-page \u201cBirgit Nilsson \u2013 A Homage\u201d<\/a> includes reviews, essays and performance photos across Nilsson\u2019s nearly 40-year career. And a 31-CD set, \u201cBirgit Nilsson: The Great Live Recordings\u201d<\/a> on Sony Classical, includes never-before-released live recordings of performances also spanning Nilsson\u2019s career.<\/p>\n\n\n\n

That set is particularly illuminating for those who, like Stemme, never had a chance to hear Nilsson perform live. Unlike commercial recordings which tended to place microphones too close to Nilsson, the more distant recorded sound is far truer to what Nilsson sounded like in opera houses. Says Stemme, \u201cI am always so surprised how youthful her voice sounded and how beautiful, especially at her prime.\u201d<\/p>\n\n\n\n

Stemme is often called a prot\u00e9g\u00e9 of Nilsson, but their relationship was more complicated than that label might suggest. \u201cShe looked at me as a colleague rather than as her being a mentor,\u201d says Stemme, \u201calthough I could use her as a mentor if I had any questions. She was always very open, very generous. I think she knew intuitively that every singer has to do it his or her own way. Sometimes when I exposed a weakness, I would say, \u2018Oh, I think it\u2019s very difficult to hold a steady piano tone.\u2019 And she would say \u2018Well,\u2019 (in a wicked mimic of Nilsson\u2019s speaking voice) \u2018maybe it could be the support.\u2019\u201d<\/p>\n\n\n\n

Stemme\u2019s early musical journey was hardly conventional. She and her two sisters were each taught the piano and an ensemble instrument. \u201cFirst, the violin for me,\u201d she recalls, \u201cbut then the viola when I was big enough, because I liked the mellow sound of that. And I played quite a bit until I realized that maybe this is not it \u2013 for me, anyway. So, I cancelled my audition to the Conservatory in Stockholm on the very day of the audition.\u201d<\/p>\n\n\n\n

The young Stemme did sing in choruses. During a year as a high school foreign-exchange student, which brought her to Virginia, she took some voice lessons because she got a sore throat every time she sang. \u201cI tried to keep the voice to myself because I was scared to death it would be heard,\u201d she says. \u201cI thought I had a pretty ugly voice. And then I realized, \u2018Hm, it shouldn\u2019t hurt this much.\u2019 So I took voice lessons and then I realized that you just don\u2019t \u2018take\u2019 voice lessons like that, because it has to be the right person. I wasn\u2019t really interested in singing solo. I just wanted to fix my instrument.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Superstar soprano, winner of the Birgit Nilsson Prize, says an early competition she lost proved to be an unexpected gift. By Dennis PolkowBy this point in soprano Nina Stemme\u2019s operatic journey, the high-intensity role of Richard Strauss\u2019 \u201cElektra\u201d has emerged as a signature piece. Indeed, the Swedish singer and reigning Wagnerian soprano, who currently performs the distraught […]<\/p>\n","protected":false},"author":4,"featured_media":1862,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"ocean_post_layout":"","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"0","ocean_second_sidebar":"0","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"0","ocean_custom_header_template":"0","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"0","ocean_menu_typo_font_family":"0","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"0","ocean_post_oembed":"","ocean_post_self_hosted_media":"","ocean_post_video_embed":"","ocean_link_format":"","ocean_link_format_target":"self","ocean_quote_format":"","ocean_quote_format_link":"post","ocean_gallery_link_images":"off","ocean_gallery_id":[],"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1074","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-aktuellt","entry","has-media"],"acf":[],"yoast_head":"\nIntervju med Nina Stemme om priset, Birgit Nilsson och Elektra - Birgit Nilsson Prize<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/birgitnilsson.com\/prize\/__trashed-2\/\" \/>\n<meta property=\"og:locale\" content=\"sv_SE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Intervju med Nina Stemme om priset, Birgit Nilsson och Elektra - Birgit Nilsson Prize\" \/>\n<meta property=\"og:description\" content=\"Superstar soprano, winner of the Birgit Nilsson Prize, says an early competition she lost proved to be an unexpected gift. 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