Editing Christina Nilsson

{{Short description|Swedish soprano (1843–1921)}}
{{other people|Christina Nilsson}}
{{Redirect|Kristina Nilsson|the Swedish politician|Kristina Nilsson (politician)}}
{{Use dmy dates|date=August 2021}}
{{Infobox person
 | name        = Christine Nilsson
 | image       = Christine Nilsson Nadar.jpg
 | caption     = Nilsson in 1870
 | birth_name  = Christina Jonasdotter
 | birth_date  = {{birth-date|20 August 1843}}
 | birth_place = near [[Växjö, Småland]], Sweden
 | death_date  = {{death-date and age|22 November 1921|20 August 1843}}
 | occupation  = opera singer
}}
'''Christina Nilsson, Countess de Casa Miranda''', also called '''Christine Nilsson'''<ref>{{Cite web|url=https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/nilsson-christine-1843-1921|title=Nilsson, Christine (1843–1921) &#124; Encyclopedia.com|website=www.encyclopedia.com}}</ref> (20 August 1843 – 22 November 1921)<ref name="ConciseOxford">{{Cite book |title=The Concise Oxford Dictionary of Opera |last1=Warrack |first1=John |last2=West |first2=Ewan |page=365 |year=1996 |publisher=Oxford University Press |isbn=978-0-19-280028-2 |access-date=20 August 2021 |url= https://books.google.com/books?id=WbDbuLJPKBgC&pg=PA365 }}</ref> was a Swedish  [[opera]]tic [[dramatic coloratura soprano]]. Possessed of a pure and brilliant voice (B3-F6), first three then two and a half octaves  trained in the [[bel canto]] technique, and noted for her graceful appearance and stage presence,<ref name="auto2">{{cite journal |last=Rowden |first=Clair |year=2018 |title=Deferent Daisies: Caroline Miolan Carvalho, Christine Nilsson and Marguerite, 1869 |url=https://orca.cardiff.ac.uk/115047/1/COJDeferent%20DaisesOct2018.pdf |journal=Cambridge Opera Journal |publisher=Cambridge University Press (CUP) |volume=30 |issue=2–3 |pages=237–258 |doi=10.1017/s0954586719000089 |issn=0954-5867 |s2cid=186985223}} [https://orca.cardiff.ac.uk/115047/1/COJDeferent%20DaisesOct2018.pdf]</ref><ref name="auto6">{{Cite book|url=https://books.google.com/books?id=Kk0KnZOwtsAC&dq=christine+nilsson+patti&pg=PA143|isbn = 978-0-8047-3247-5|title = The Literary Lorgnette: Attending Opera in Imperial Russia|year = 2000|publisher = Stanford University Press}}</ref><ref name="auto3">{{Cite book|url=https://books.google.com/books?id=N0zthpCZuAUC&dq=adelina+patti+grove&pg=PA370|isbn=978-0-19-533765-5|title=The Grove Book of Opera Singers|year=2008|publisher=Oxford University Press}}</ref> she enjoyed a twenty-year career as a top-rank international singer before her 1888 retirement.<ref name="auto2"/> A contemporary of one of the Victorian era's most famous [[diva]]s, [[Adelina Patti]],<ref>{{Cite journal|url=https://online.ucpress.edu/jams/article/71/2/287/92520/Singing-Herself-Adelina-Patti-and-the-Performance|title=Singing Herself: Adelina Patti and the Performance of Femininity|first=Roger|last=Freitas|date=1 August 2018|journal=Journal of the American Musicological Society|volume=71|issue=2|pages=287–369|access-date=19 December 2021|via=online.ucpress.edu|doi=10.1525/jams.2018.71.2.287}}</ref> the two were often compared by reviewers and audiences, and were sometimes believed to be rivals.<ref name="auto6"/><ref>"One of the most important and brilliant rivals of Adelina Patti was Christine Nilsson, a Swede."[https://www.gutenberg.org/files/33168/33168-h/33168-h.htm]</ref> Nilsson became a member of the [[Royal Swedish Academy of Music]] in 1869.

== Biography ==
Christina Nilsson was born '''Christina Jonasdotter''' in a forester's hut<ref>{{Cite book|url=https://books.google.com/books?id=I-1LAAAAYAAJ&q=christine+nilsson+retirement+1887|title=The Standard Musical Encyclopedia: A Comprehensive Reference Library for Musicians and Musiclovers|year=1910|publisher=University Society}}</ref> at Sjöabol (or Snugge) farm<ref>{{Cite web|url=https://vaxjoco.se/en/product/snugge-the-birthplace-of-opera-singer-christina-nilsson/|title=Snugge – the birthplace of opera singer Christina Nilsson &#124; Meetings & Events in Växjö|website=vaxjoco.se|access-date=19 December 2021}}</ref><ref>{{Cite book|url=https://books.google.com/books?id=4Gy5c4htdh4C&dq=Christina+Nilsson+snugge&pg=PA249|isbn = 978-1-58843-552-1|title = Adventure Guide to Sweden|year = 2006|publisher = Hunter Publishing}}</ref> near [[Växjö, Småland]], the youngest of seven children of the peasants Jonas Nilsson (1798 - 1871) and Stina Cajsa Månsdotter (1804 - 1870).<ref name="Björklund">{{cite web|title=Christina Nilsson, article by Ingegerd Björklund|url=https://www.skbl.se/sv/artikel/ChristinaNilsson|website=Svenskt kvinnobiografiskt lexikon|access-date=19 December 2021}}</ref> As a young child she received a rudimentary education, attending the local village free school where she learnt to read and write.<ref name="auto4">{{Cite book|url=https://books.google.com/books?id=GzwFAAAAQAAJ&dq=christina+nilsson+valerius&pg=PA187|title = The Ladies' Treasury and Treasury of Literature|year = 1870}}</ref> From her earliest years, she demonstrated musical talent, both singing and in playing the violin and flute, and she was taught some music basics by Sven Grankvist, the parish organist, who unsuccessfully attempted to persuade her to go to Stockholm in search of further musical training.<ref name=":0">{{Cite book|title = The World's Progress as Wrought by Men and Women in Art, Literature, Education, Philanthropy, Reform, Inventions, Business and Professional Life|last = Emens|first = Helen Byington|publisher = King-Riehardson Publishing Co.|year = 1896|location = Springfield, Massachusetts|pages = 476–478|editor-last = King|editor-first = William C.|chapter-url = https://books.google.com/books?id=0jA9AAAAYAAJ&q=swedish%20baroness%20Leuhusen&pg=PP9|access-date = 4 May 2015|chapter = Women as Vocalists}}</ref><ref>{{Cite book|url=https://books.google.com/books?id=0XcZAQAAIAAJ&q=christina+nilsson+grankvist|isbn = 978-91-85974-60-3|title = The Compelling: A Performance-oriented Study of the Singer Christina Nilsson|year = 2001|publisher = Göteborg University, Department of Musicology}}</ref> The family was very poor,<ref name="auto1">{{Cite book|url=https://books.google.com/books?id=i8gcAQAAMAAJ&dq=christina+nilsson+poverty&pg=PA832|title = Truth|year = 1882}}</ref> making such training out of the question, and to make extra money the young Christina would sometimes go to the local market fairs with her parents or brother to perform.<ref name="auto1"/><ref>{{Cite book|url=https://books.google.com/books?id=0xA3AQAAMAAJ&q=christina+nilsson+poverty|title = A Star of Song!: The Life of Christina Nilsson|year = 1870|publisher = Press of Wynkoop & Hallenbeck}}</ref> At the age of eleven, she was described in the Stockholm newspaper ''Fäderneslandet''.<ref name="Björklund"/> She was discovered at age 14 by a wealthy district judge Fredrik Tornérhjelm<ref name="Björklund"/> when she was performing at such a market in [[Ljungby, Sweden|Ljungby]].<ref name="auto9">{{Cite web|url=https://books.google.com/books?id=p8RYAAAAMAAJ&dq=christina+nilsson+valerius&pg=PA145|title = The Biographical Review of Prominent Men and Women of the Day|year = 1888|publisher = Gehman}}</ref> Tornérhjelm became her patron, enabling her to take vocal training with Mlle [[Adelaïde Leuhusen|Adelaide Valerius, Baronne de Leuhusen]] in Halmstad between 1857 and 1858. The Czech composer [[Bedřich Smetana]], who lived in [[Gothenburg]], became her piano teacher between 1858 and 1859.<ref name="auto4"/><ref name="auto9"/><ref name="Björklund"/> Upon request from Adelaide de Leuhusen, she went to Stockholm in September 1859, where she became a student of [[Franz Berwald]], who gave her singing and violin lessons, and taught her music theory; Hilda Thegerström, another pupil of Berwald, was engaged at the same time to give the young Christina piano lessons, while Berwald's wife Mathilde gave her French and German language lessons.<ref name="auto3"/><ref name="auto5">{{Cite book|url=https://books.google.com/books?id=0XcZAQAAIAAJ&q=christina+nilsson+debut+stockholm|isbn = 978-91-85974-60-3|title = The Compelling: A Performance-oriented Study of the Singer Christina Nilsson|year = 2001|publisher = Göteborg University, Department of Musicology}}</ref>

[[File:Alexandre Cabanel - Pandora - Walters 3799.jpg|thumb|upright|''Pandora'' by [[Alexandre Cabanel]], 1873. Nilsson was the model for this painting.]]

In 1860, Nilsson gave her professional debut in concerts in Stockholm and [[Uppsala]], receiving mixed reviews.<ref name="auto5"/><ref>{{Cite book|url=https://books.google.com/books?id=0XcZAQAAIAAJ&q=christina+nilsson+valerius|isbn=978-91-85974-60-3|title=The Compelling: A Performance-oriented Study of the Singer Christina Nilsson|year=2001|publisher=Göteborg University, Department of Musicology}}</ref> It was then decided that she should seek further training in [[Paris]]. Adelaide de Leuhusen's sister, the artist [[Bertha Valerius]], was planning a trip there anyway, and would be able to act as a chaperone while Nilsson got settled in.<ref>{{Cite book|url=https://books.google.com/books?id=pIXQAAAAMAAJ&dq=christina+nilsson+valerius&pg=PA159|title=Frank Leslie's Popular Monthly|year=1889|publisher=Frank Leslie Publishing House}}</ref> In Paris, Nilsson initially stayed in Madame Crespy's ''pension'', before transferring to Clara Collinet's school in [[Batignolles]], where she stayed for three years. She studied for a year with Jean Jacques Masset, a retired tenor who had become a prominent voice teacher. He professed himself very pleased with Nilsson's voice and progress. Adelaide de Leuhusen disagreed, believing Masset was too lenient and was spoiling Nilsson. She may also have been concerned his training would damage Nilsson's voice.<ref name="auto8">{{Cite book|url=https://books.google.com/books?id=0XcZAQAAIAAJ&q=christina+nilsson+masset|isbn = 978-91-85974-60-3|title = The Compelling: A Performance-oriented Study of the Singer Christina Nilsson|year = 2001|publisher = Göteborg University, Department of Musicology}}</ref> In the autumn of 1861, therefore, Adelaide de Leuhusen transferred Nilsson to [[Pierre François Wartel]], who had been a student of the famous singer [[Adolphe Nourrit]].<ref name="auto8"/> Nilsson would study with him for three years.<ref name="Björklund"/>

This period gave her the opportunity to build relationships with the Parisian musical world. [[Meyerbeer]], having heard her as a student, was impressed with her voice, and offered her the role of "Ines" in his opera ''[[L'Africaine]]'' as a debut. Nilsson instead accepted a contract from a Brussels-based impresario to appear in Italian operas. This came to nothing, after the impresario went bankrupt, leaving Nilsson free in 1864 to accept an offer from [[Caroline Miolan-Carvalho]] and her husband [[Léon Carvalho]], [[prima donna]] and manager respectively of the [[Théâtre Lyrique]], Paris.<ref name="auto11">{{Cite book|url=https://books.google.com/books?id=ZYnjjK9JpusC&dq=christina+nilsson+judge+tornerhjelm&pg=PA254|title = Great Singers|year = 1895|publisher = D. Appleton}}</ref><ref name="auto">{{Cite book|url=https://books.google.com/books?id=rRQl_n_NiQ0C&dq=christina+nilsson+tornerhjelm&pg=PA305|title = Wagner. Rossini. Verdi. Thalberg. Paganini. Adelina Patti. Christine Nilsson. Mario|year = 1886|publisher = R. Bentley and son}}</ref><ref>She was offered a three year contract, beginning with 2,000 francs per month in the first year and rising to 3,000 francs per month by the third year. [https://books.google.com/books?id=rRQl_n_NiQ0C&dq=christina+nilsson+tornerhjelm&pg=PA305]</ref> Nilsson's operatic début that year as "Violetta" in [[Giuseppe Verdi]]'s opera ''[[La Traviata]]'' at the Théâtre Lyrique was a splendid success, despite Nilsson being unknown to the public<ref name=":0" /><ref name="auto"/> and she became a leading member of the company there until 1867, appearing alongside Miolan-Carvalho in operas such as [[Mozart]]'s ''[[Magic Flute]]'' and Meyerbeer's ''[[Les Huguenots]]''; other roles included "Henrietta" in [[Flotow]]'s ''[[Martha (opera)|Martha]]'' and "Donna Elvira" in Mozart's opera ''[[Don Giovanni]]''.<ref name="Björklund"/> She then made her [[London]] debut in June 1867 at [[Her Majesty's Theatre]], again as "Violetta", and appeared there as "Marguerite" in [[Charles Gounod|Gounod]]'s ''[[Faust (opera)|Faust]]'' in the same year, Miolan-Carvalho (who had created the role of "Marguerite" in 1859) travelling specially to London to hear the performance.<ref name="auto"/><ref name="auto11"/> Other London performances included the title role in [[Donizetti]]'s ''[[Lucia di Lammermoor]]'' (May 1868) and "Cherubino" in Mozart's ''[[The Marriage of Figaro]]'' (June 1868).<ref name="Björklund"/>

In 1868, Nilsson transferred from the Théâtre Lyrique to the [[Paris Opera]], where she created the role of "Ophelia" in [[Ambroise Thomas]]'s ''[[Hamlet (opera)|Hamlet]]''.<ref name="auto3"/> This was followed in 1869 by the Paris Opera's first production of ''Faust''.<ref name="auto3"/> This last created a stir in Paris. The opera was part of the Théâtre Lyrique's repertory, restricting performances at other Parisian opera houses, and Miolan-Carvalho, the prima donna of the Théâtre Lyrique and the creator of the role of "Marguerite", had monopolised the role. In 1868, however, the Théâtre Lyrique went bankrupt, the Paris Opera acquired the rights to perform ''Faust'', and Miolan-Carvalho signed a contract to join the Paris Opera. Despite expectations that Miolan-Carvalho would sing 'her' role of "Marguerite" in her new opera house, the role was given to Nilsson. The decision was controversial, and reviews of the time focused on the differences between the two singers. Despite mixed reviews, Nilsson would perform the role frequently across the rest of her career.<ref name="auto2"/>

Nilsson made her debut at the [[Royal Opera House, Covent Garden]] in 1869 in ''Lucia di Lammermoor'', and also sang the first London performance of ''Hamlet''. Further London performances between 1869 and 1874, Nilsson dividing her time between [[Royal Opera House|Covent Garden]], [[Theatre Royal, Drury Lane|Drury Lane]], and [[Her Majesty's Theatre]], and singing work by artists as varied as [[Mozart]], [[Meyerbeer]], [[Ambroise Thomas]], [[Richard Wagner|Wagner]], [[Verdi]], and [[Michael Balfe]].<ref name="auto3"/>

Her North American operatic debut took place in [[Boston]] in October 1871, when she once again portrayed "Marguerite" in Gounod's ''Faust''. This was followed by her first operatic performance in [[New York City]] at the [[Academy of Music (New York City)|Academy of Music]] in 1871, singing in the first New York performance of Thomas's [[Mignon]]. During 1871–1873 she also appeared in opera performances in [[Pittsburgh]], [[Philadelphia]] and [[Washington DC]]. New roles included "Zerlina" in Mozart's ''[[Don Giovanni]]'' and "Leonora" in Verdi's ''[[Il Trovatore]]'' both in New York.<ref name="ConciseOxford"/><ref name="auto3"/><ref name="Björklund"/>

[[File:Mdlle. Nilsson - DPLA - 350e46bb3de1eb0217ee3b42dc443cf9 (page 1).jpg|alt=Mdlle. Nilsson, (c) 1870. Carte de Visite Collection, Boston Public Library.|thumb|Mdlle. Nilsson, (c) 1870. Carte de Visite Collection, Boston Public Library.]]
Nilsson also made concert tours: a tour of the United States and Canada in autumn 1870 (with [[Maurice Strakosch]] as manager), with her first concert at [[Steinway Hall]], New York, in September; and several times of Russia between 1872 and 1875.<ref name="auto3"/> The North American tour proved extremely lucrative, reportedly netting her two hundred thousand dollars and the acclaim of the American public.<ref name="auto11"/> After her first successful US tour Nilsson returned to England and married the French stockbroker Auguste Rouzaud (b.1837) The wedding in [[Westminster Abbey]], London, on July 27, 1872, was boycotted by the groom's family. The marriage lasted until February 1882 when Rouzaud died in Paris after a period of illness.<ref name="Björklund"/>

Composer [[Piotr Tchaikovsky]] heard Nilsson's interpretation of "Marguerite" in ''Faust'' at her [[Moscow]] debut in November 1872, and claimed she embodied [[Goethe]]'s ideals. Her performances in Russia were well received by audiences, including the [[Alexander III of Russia|Tsar]] and [[Maria Feodorovna (Dagmar of Denmark)|Tsarina]], who gifted her valuable jewelry (now on display at Smålands Museum in Växjö).<ref name="Björklund"/>

In 1876, Nilsson undertook a Scandinavian tour. On August 25, she portrayed "Marguerite" in a performance of ''Faust'' at the Royal [[Stora Theatre]], Stockholm, and she also performed the roles of "Valentine" (in ''Les Huguenots'') and "Mignon". She also sang in Uppsala, [[Oslo|Kristiania (Oslo)]], Gothenburg, Växjö, [[Malmö]] and [[Copenhagen]]. This was followed by a debut in January 1877 at the [[Vienna State Opera|Hofoper]] in [[Vienna]] in the role of "Ophelia", after which she was appointed Imperial [[Austria-Hungary|Austro-Hungarian]] Court and Chamber Singer. She also performed in [[Budapest]], [[Hamburg]] and [[Brussels]], before returning to London for another opera season. In the autumn of 1877 she traveled again to Russia and here she was appointed Imperial Russian Chamber Singer.<ref name="Björklund"/>

Christina Nilsson made her Spanish opera debut with "Marguerite" in ''Faust'' at the [[Teatro Real]] in [[Madrid]] in 1879. In the summer of 1880, she presented the double roles of "Margherita" and "Helen of Troy" in [[Arrigo Boito]]'s opera [[Mefistofele]] for the first time at performances at Her Majesty's Theatre in London. In the autumn of 1881, she sang in Stockholm in connection with a royal wedding.<ref name="Björklund"/>

On October 22, 1883, Christina Nilsson sang the role of "Marguerite" in ''Faust'' at the inauguration of the [[Metropolitan Opera]] House, New York. She then appeared in a number of American and Canadian cities. Later that year, she sang for the [[President of the United States]] [[Chester A. Arthur]] at the [[White House]]. Her final appearances in the United States took place in early June 1884.<ref name="Björklund"/>

In August 1885, she began another tour of Scandinavia. After her third Stockholm concert on 23 September, she gave a performance from the balcony of the [[Grand Hôtel (Stockholm)|Grand Hotel]] in Stockholm. An estimated 50,000 people gathered to hear the world-famous soprano. A panic broke out and a large number of people died or were injured. Nilsson then continued with her tour, giving further concerts in Scandinavia, Germany, Prague, and Vienna, including her first recital in [[Berlin]] (9 November 1885).<ref name="Björklund"/>

In March 1887, Christina Nilsson married Don Angel Ramon Maria Vallejo y Miranda [[:es:Ángel Vallejo Miranda|es]], Count de Casa Miranda [[:es:Ángel Vallejo Miranda|es]] (b.1832), a Spanish journalist and diplomatic official. The wedding took place in church of [[La Madeleine, Paris]]. The pair had been involved in a relationship since 1882, and Casa Miranda's daughter Rosita had accompanied Nilsson on her 1882–1883 trip to the USA. Now she was remarried, Nilsson decided to retire, marking the occasion by giving two farewell performances at the [[Royal Albert Hall]], London, in 1888. Now known as the Countess de Casa Miranda, Nilsson settled in France and Spain.<ref name="Björklund"/>

In 1894, Nilsson published ''Om röstens utbildning: Några råd till unga sångerskor'' ("Some advice for young singers"). She also composed two romances for voice and piano, with lyrics by herself, ''Jag hade en vän'' and ''Ophelia's Lament''.<ref name="Björklund"/>

In 1902, Nilsson became a widow for the second time. Four years later, she bought Villa Vik outside Växjö, spending her last years there. She died in Växjö in 1921, and is buried there at Tegnérkyrkogården.<ref name="Björklund"/>

Unlike Patti, Nilsson never made gramophone recordings of her voice.<ref>{{Cite book|url=https://books.google.com/books?id=h2gzAAAAIAAJ&q=christine+nilsson+recordings|isbn = 978-0-521-36173-6|title = Song on Record: Without special title|year = 1986|publisher = Cambridge University Press}}</ref><ref>A 1959 historic recordings compilation included a cylinder recording of a Swedish song, recorded c.1897 by an unidentified soprano. At the time it was speculated that the cylinder might be a hitherto unknown recording made by Nilsson. However, no corroborating evidence was ever found, and the identity of the singer remained a mystery. [https://books.google.com/books?id=En3QYRnApqMC&dq=Christina+Nilsson+ejs&pg=PA104]</ref> Though described as of moderate power, Nilsson's voice in her prime was described as of "crystalline brilliancy, resonance, and purity of tone." Perfectly even in its register, when she began singing she could reportedly span three and a half octaves, though after her first three years of stage singing this had diminished to an easy two and a half octaves stretching from a low G natural to a high D. She was particularly popular with English audiences for the "crystalline ethereal quality of her voice", especially in oratorio.<ref name="auto11"/> Comparisons to Patti were common – it was said Nilsson lacked "the velvet voluptuous sweetness" of Patti's voice, and perhaps too "the perfect mechanism of Patti's vocal art" – but Nilsson's voice was said to possess a poignancy that lent itself best to [[pathos|pathetic]] characters such as "Marguerite" and "Ophelia",  and to have "something strange" about it, "which no one could quite define".<ref name="auto11"/> One English critic, summing up the two, concluded, "When Patti sings, one fancies the notes of the lark rising to the gates of heaven, but Nilsson's voice is a strain from the other side of the gates."<ref name="auto11"/>

== In literature ==
She is a minor character in ''[[The Age of Innocence]]'' by [[Edith Wharton]].<ref>{{Cite web|url=https://www.gutenberg.org/files/541/541-h/541-h.htm|title=The Project Gutenberg E-text of The Age of Innocence, by Edith Wharton|website=www.gutenberg.org}}</ref>

She is mentioned in ''[[Anna Karenina]]'' by [[Leo Tolstoy]].<ref>{{Cite web|url=https://gutenberg.org/files/1399/1399-h/1399-h.htm|title=Anna Karenina, by Leo Tolstoy|website=gutenberg.org}}</ref>

She is widely believed to have been the inspiration for [[Christine Daaé]], the heroine of [[Gaston Leroux]]'s novel ''[[The Phantom of the Opera (novel)|The Phantom of the Opera]]''.<ref name="auto10">{{Cite book|url=https://books.google.com/books?id=8BwZg084u_oC&dq=christina+nilsson+phantom+of+the+opera&pg=PT38|isbn=978-1-4185-7616-5|title=Gifts of Passage: What the Dying Tell Us with the Gifts They Leave Behind|date=31 August 2009|publisher=Thomas Nelson}}</ref><ref name="auto12">{{Cite book|url=https://books.google.com/books?id=dq4dziPIJUMC&dq=christina+nilsson+phantom+of+the+opera&pg=PA286|isbn=978-0-19-969457-0|title=The Phantom of the Opera|date=8 March 2012|publisher=OUP Oxford}}</ref>  Towards the end of his life, Leroux claimed the character was based on a real opera singer "whose real name I hid under that of Christine Daaé",<ref name="auto12"/> and details of Nilsson's early life heavily reflect details in the fictitious Christine Daaé's history,<ref name="auto10"/><ref name="auto12"/><ref>{{Cite book|url=https://books.google.com/books?id=wPsTEAAAQBAJ&dq=christina+nilsson+phantom+of+the+opera&pg=PA212|isbn=978-0-429-87862-6|title=Paris and the Musical: The City of Light on Stage and Screen|date=17 March 2021|publisher=Routledge}}</ref> even to the point of using ideas and language from contemporary reviews of Nilsson's performances in ''Faust'' in 1869.<ref>{{Cite book|url=https://books.google.com/books?id=2DzkgU213lwC&dq=nilsson+carvalho+faust+1869&pg=PA163|isbn = 978-1-139-49585-1|title = Opera in the Novel from Balzac to Proust|date = 31 March 2011|publisher = Cambridge University Press}}</ref>

== In popular culture==
Nilsson is a minor character in the first episode of Season 2 of the television series ''[[The Gilded Age (TV series)|The Gilded Age]]'', and was played by Sarah Joy Miller. <ref>{{cite web | url=https://www.imdb.com/name/nm7046621/ | title=Sarah Joy Miller &#124; Actress | website=[[IMDb]] }}</ref>

==Notes==
{{reflist}}

== References ==
*Gustaf Hilleström: Kungl. Musikaliska Akademien, Matrikel 1771–1971 (The Royal Academy of Music 1771–1971) (in Swedish)
*''The Compelling: A Performance-Oriented Study of the Singer Christina Nilsson'', Ingegerd Björklund, [[Gothenburg]], 2001
**''Die Goede Oude Tyd'', by Anton Pieck and Leonhard Huizinga, Zuid-Hollandsche Uitgeversmaatschappy, Amsterdam, 1980, page 31.
**''De Werelde van Anton Pieck'', text by Hans Vogelesang, La Rivière & Voorhoeve, Kampen, 1987, page 197.
*{{Cite Appletons'|wstitle=Nilsson, Christine|year=1900}}

== Further reading ==
* Björklund, Ingegerd {{SKBL}}
* Guy de Charnacé: [https://archive.org/details/cu31924022451771/page/n17/mode/2up A star of song! the life of Christina Nilsson]

== External links ==
*{{Commons category-inline}}

{{Authority control}}

{{DEFAULTSORT:Nilsson, Christina}}
[[Category:1843 births]]
[[Category:1921 deaths]]
[[Category:Royal Philharmonic Society Gold Medallists]]
[[Category:Swedish operatic sopranos]]
[[Category:People from Växjö]]
[[Category:19th-century Swedish women opera singers]]