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Updated: October 16, 2025
She is without a wrinkle, and appears to be no more than forty. Her breadth of chest is still remarkable: it is this which endowed her with the finest voice that ever sang. Her speaking voice and dramatic air are still charming, and not in the least impaired." Is Christine Nilsson still alive? I think so. She was born August 20, 1843.
Nilsson, who kindly made special enquiries for me in Lapland, the horns appear in the young animals within four or five weeks after birth, and at the same time in both sexes. So that here we have a structure, developed at a most unusually early age in one species of the family, and likewise common to both sexes in this one species alone.
When it was first produced in Paris, Oct. 27, 1864, Christine Nilsson made her début in it. In London, the charming little singer Mme. Piccolomini made her début in the same opera, May 24, 1856. Adelina Patti, since that time, has not only made Violetta the strongest character in her repertory, but is without question the most finished representative of the fragile heroine the stage has seen.
See Hiller von Gaertringen in the Festschrift für O. Benndorff, p. 228. Also Nilsson, Griechische Feste, 1906, p. 267, n. 5. See also Themis, pp. 158 ff. Equites, 82-4 or possibly of apotheosis. See Themis, p. 154, n. 2. Magnesia, No. 98, discussed by O. Kern, Arch. Anz. 1894, p. 78, and Nilsson, Griechische Feste, p. 23. Relig. xv. 1-23. See the quotation from Robertson Smith in Hogarth, p. 91.
Meanwhile Nilsson had made a running bowline in the end of a loose halyard that was rove through a block aloft, and had been used for hoisting out the cargo. As the mandarin came up, he leaned over the coaming of the hatch, dropped the noose over the Chinaman's head, jerked it tight, and then he and Foucault hove on the fall of the rope.
The first representation of the opera at the Metropolitan Opera-house took place on December 5, 1883, when, with one exception, the cast was the same as at the first performance in London, at Her Majesty's Theatre, on July 6, 1880 namely, Nilsson as Margherita and Elena, Trebelli as Marta and Pantalis, Campanini as Faust and Mirabella as Mefistofele.
He had paid nine dollars to hear Patti; to hear Nilsson, he had deserted a ship and two months' wages; and he was ready at any time to walk ten miles for a good concert, or seven to a reasonable play. On board he had three treasures: a canary bird, a concertina, and a blinding copy of the works of Shakespeare.
Barbara, Arendt's wife, though Danish in her sympathies, had a warm, romantic interest in Gustavus Vasa, and when she saw her husband, on his return from his visit to Mans Nilsson, drive past the house and in the direction of the house of the Danish steward, she suspected him of treachery and determined to save their too-confiding guest.
He received him kindly, but when he slept harnessed his horse and went to Måns Nilsson, a neighbor, with the news: the King's reward would make them both rich, if he would help him seize the outlawed man. Måns Nilsson held with the Danes, but he was no traitor, and he showed the fellow the door. He went next to the King's sheriff; he would be bound to help.
Meanwhile Arendt, the treacherous host, sought a neighbor, Mans Nilsson, whom he told of the rich prize he had found and asked his aid in capturing him and gaining the high reward offered for him by the king. He was mistaken in his man. Mans hated treachery.
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