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Scan 45
Cyclopedia of music and musicians, 1888
16 lines. Read by computer on 11 September 2026. Printed page 19. See the scan on archive.org.
1NIHOUL
3Hugo's Hernani; Leicester, cantata; Choruses for male voices; Instrumental music.—Viotta.
5NIHOUL, MICHEL, born at Tongres, Belgium, in 1790, died there, November, 1865. Dramatic composer, pupil of Daussoigne-Méhul. In 1834 he accepted a government position, and in 1860 was postmaster in his native city. Works: Une soirée à la mode, opéra-comique, Liége, 1836; Le compromis des nobles, grand opera; Church music, and symphonic compositions. His son Romain (born at Tongres in 1821, died there, July 30, 1881), pupil at the Conservatoire at Liége, was conductor and director of musical societies in Tongres, maître de chapelle at the cathedral, and professor in various schools. Works: Le bandit, opéra-comique, Tongres, 1857; Masses, canticles, choruses, etc.—Fétis, Supplément, ii. 275.
7NIMM MICH DIR ZU EIGEN HIN, tenor aria in C major, with accompaniment of two flutes, two horns, two oboi da caccia, strings complete, and continuo, in Johann Sebastian Bach's cantata, Sie werden aus Saba Alle kommen.
9NINA, ou la folle par amour, comédie in one act, text by Marsollier, music by Dalayrac, first represented at the Italiens, Paris, May 15, 1786, with Mme Dugazon as Nina. Nina, believing that her lover, Germeuil, has been killed in a duel, becomes insane, but recovers her reason on his safe return. Given in Leipsic with Mme Aue as Nina, in April, 1808. It was arranged as a ballet in three acts by Milon and Persuis, and represented at the Académie Royale de Musique, Paris, Nov. 23, 1813, with Mlle Bigottini as Nina and M. Milon as Germeuil. Published by Schlesinger (Berlin 1860-67).—Clément et Larousse, 477; La jarte, ii. 81; Clément, Mus. célèbres, 194; Jullien, Airs variés, 259; Hogarth, ii. 331.
11NINA, ossia la pazza per amore, Italian opera in three acts, text by Lorenzi after Marsollier, music by Paisiello, first represented in Naples in May, 1787, with Mme Celestina Coltellini as Nina and Signor Lazzarini as her lover, Lindor. Reduced to one act by Paër, and represented at the King's Theatre, London, May 26, 1825, with Pasta as Nina, one of her best achievements, and Signor Curioni as Lindor. Published by Ricordi (Milan), and by Witzendorf (Vienna). Same title, Italian opera semi-seria, text by Ferretti, music by Coppola, first represented in Rome, May 6, 1854. The part of Nina was written for Adelina Spech, who won much success, and it was sung with effect also by Mme Alboni. It was given at the Opéra Comique, Paris, in December, 1839, under the title of Eva, with words by MM. de Leuven and Brunswick, and with Mme Eugénie Garcia as Nina. An intermède in two acts, Nina et Lindor, ou les caprices du cœur, text by Richelet, music by Duni, was given at the Foire Saint-Laurent, Paris, Sept. 9, 1758.—Clément et Larousse, 478; Queens of Song, ii. 18; Allgem. mus. Zeitg., xxvi. 261.
13NINI, ALESSANDRO, born at Fano, Romagna, Nov. 1, 1805, died at Bergamo, Dec. 27, 1880. Dramatic and church composer, pupil of Ripini, and at Bologna (1827) of Palmerini. In 1831 he went to St. Petersburg, where he established, and until 1837 directed, a school of singing. Some years after his return to Italy he was made maestro di cappella at the cathedral of Bergamo. Works—Operas: Ida della Torre, Venice, 1837; La Marescialla d'Ancre, Padua, 1839; Cristina di Svezia, Genoa, 1840; Margherita di York, Venice, 1841; Odalisa, Milan, 1842; Virginia, Genoa, 1843. Church music.—Fétis; do., Supplément, ii. 276.
15NIOBE, REGINA DI TEBE (Niobe, Queen of Thebes), Italian opera, text by Luigi Orlandi, music by Steffani, first represented in Munich, January, 1688. This was Steffani's last work for the court of Munich. Same subject, opera by Pacini, Naples, Nov. 19, 1826, written for Pasta, who won a great triumph in it. Published by Ricordi (Milan).—Rudhart, Münchener Oper (1654-1787), 81.
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