Nicolai Gedda 1925-2017

Nicolai Gedda est un ténor lyrique suédois qui fait partie des légendes de l’opéra. A l’aise dans 7 langues et maître d’une technique irréprochable il aborda plus de 70 rôles avec une longévité vocale exceptionnelle.

Harry Gustaf Nikolai Lindberg naquit le 11 juillet 1925 à Stockholm. Il fut le fruit de l’union fugace entre une jeune serveuse célibataire, Clary Linnéa Lindberg, et d’un père russo-suédois, Nikolaï Gädda, sans emploi. Il fut abandonné à sa naissance puis recueilli et élevé par sa tante Olga Gädda, fille d’un russe émigré en Suède puis à Riga, et son mari, Mikhail Ustinoff, qui a fui son pays lors de la révolution de 1917 et qui était apparenté à l’acteur britannique Peter Ustinov. L’enfant fut originairement baptisé sous le nom de Harry Gustaf Nikolaj Gädda. Son nom officiel devint Harry Gustaf Nikolai Ustinoff à la suite du mariage de Olga avec Mikhail. C’est à l’âge de 17 ans qu’il apprendra qu’il est en réalité le fils naturel de celui qu’on appelait son «oncle», Nikolaï Gädda. La famille Ustinoff émigra à Leipzig de 1929 à 1935. Après le russe et le suédois, le petit Nicolai apprit ainsi l’allemand, puis, de retour dans son pays après l’accession d’Hitler au pouvoir, l’anglais et le français.

Son père adoptif, Mikhail Ustinoff, qui chantait dans un ensemble vocal kouban, lui donna un premier enseignement vocal et le fit travailler comme soliste dans le chœur d’enfants qu’il dirigeait. À Leipzig, Mikhail Ustinoff était Kapellmeister et chef de chœur de l’église orthodoxe russe Saint-Alexis.

En 1946, Nicolai effectua son service militaire à Linköping en Suède au cours duquel il ne manque pas de faire ses exercices vocaux quotidiens. De retour de l’armée, il se résolut à opter pour un emploi de guichetier de banque afin de subvenir aux besoins d’Olga et Mikhail qui croulaient sous les problèmes financiers. Il ne renonça pas pour autant à son désir de devenir chanteur. Il compléta ses modestes revenus en chantant lors de mariages et d’autres événements de ce type. Il caressait le rêve de pouvoir bénéficier de l’aide d’un professeur expérimenté afin de parfaire ses dons mais il ne disposait d’aucune fortune personnelle qui aurait put lui permettre de mener à bien son projet. De plus, la quasi-intégralité de son salaire servait à éponger les dettes de ses parents.

Carl Martin Oehmann, éminent ténor wagnérien qui fut le premier professeur de Nicolai Gedda
Paola Novikova (1895-1968), grande contralto et pédagogue. Sa voix couvrait trois octaves. Elle fut l’unique élève du baryton Mattia Battistini.

D’heureuses circonstances l’amenèrent pourtant à rencontrer un client fortuné qui, passionné d’art lyrique et flairant le talent de son interlocuteur, lui proposa de lui payer des cours de chant auprès du meilleur professeur de chant du moment, l’éminent ténor wagnérien Carl Martin Oehmann. Puis c’est le prix Kristina Nilsson qui lui permit d’être accepté en 1950 comme auditeur libre à l’Académie royale de musique de Stockholm. Il y passera une dizaine d’année (1957-1967) à perfectionner sa voix, d’abord avec Martin Öhman en Suède, puis à partir de 1957, avec Paola Novikova dont la rencontre opportune constitua une évolution décisive dans la façon d’appréhender les diverses facettes de la technique vocale propre à l’art lyrique. Novikova, qui fut l’unique élève du baryton Mattia Battistini, se trouvait de ce fait représenter l’ultime héritage détenteur de la tradition séculaire liée à l’ancienne école italienne de chant incarnée par l’authentique bel canto. Elle forma de nombreux élèves, eux-mêmes devenus des vedettes internationales de l’art lyrique. Y figurent notamment les sopranos Helen Donath, Jeanine Micheau, Wilma Lipp ainsi que la contralto Fedora Barbieri et le ténor Ferruccio Tagliavini. Le baryton-basse canadien George London, bénéficiera de ses conseils durant dix-sept années ininterrompues de 1950 à 1967. Quant à Gedda, il s’abreuvera inlassablement à son enseignement pendant une dizaine d’années de travail vocal acharné jusqu’à ce que Paola rende son dernier soupir en 1967.

Mattia Battistini, surnommé
“le roi des barytons”,
principalement à l’origine
de l’enseignement magistral du beau chant
transmis par la soprano et professeur de chant
Paola Novikova à son élève, Nicolai Gedda.

Il fit ses premières armes en 1951 à l’opéra royal de Stockholm en participant à la création mondiale de l’opéra contemporain Der rote Stiefel (La botte rouge) de Heinrich Sutermeister. Son aisance à naviguer dans le registre aigu et même suraigu, incita la direction du Kungliga Opera, à lui confier l’année suivante le rôle de Chapelou dans Le Postillon de Lonjumeau d’Adolphe Adam. Il brilla particulièrement dans le contre ré de l’air “Mes amis, écoutez l’histoire” à tel point qu’il se permit d’en faire perdurer l’éclat sonore sous forme d’un point d’orgue improvisé. 

Nicolai Gedda

La même année, le producteur britannique Walter Legge procèda à un casting destiné à recruter de nouveaux solistes en vue d’un futur enregistrement de l’opéra Boris Godouvov. Lors des auditions, le jeune Gedda interprèta, en français, “La fleur que tu m’avais jetée” de Carmen. A la fin de l’air, la mélodie comporte un passage vocal spécifique relativement ardu et réputé pour sa complexité qui se décline par la déclamation chantée “et j’étais une chose à toi“. Son exécution, restituée par palier chromatique sous forme vocale ascendante, se hisse jusqu’au si bémol aigu tenuto. Se jouant de la difficulté, Gedda atteignit et maintint durablement la note avec une aisance déconcertante qui impressionna son auditeur. Subjugué par le phénomène, Legge le met alors au défi d’entonner exactement le même passage mais, cette fois-ci, d’une manière en tout point conforme à ce qu’indique la partition, à savoir en nuance pianissimo telle que consignée in extenso par le signe pp. Qu’à cela ne tienne, Gedda s’exécuta aussitôt avec, pour corolaire sonore, un “toi” aérien et transparent qu’il émit d’abord en voix mixte appuyée suivie d’une messa di voce qui laissa Legge pantois. À la fois ému et enthousiasmé par sa trouvaille, l’agent artistique s’empressa alors de contacter le chef d’orchestre Herbert von Karajan pour lui faire part de sa découverte, une perle rare, qui s’appelait Nicolai Gedda et qui incarnait selon lui le meilleur ténor au monde. Sa carrière fut désormais lancée.

Nicolai Gedda

Karajan l’invita à la Scala de Milan, où il chanta en 1953, Don Ottavio (Don Giovanni), et Oedipus Rex de Stravinsky à Rome. Les grandes villes lyriques d’Europe se mirent aussitôt sur les rangs: l’Opéra de Paris pour Oberon de Weber, et Les Indes galantes de Rameau; le Covent Garden, de Londres, pour Rigoletto; le Festival d’Aix-en-Provence, en 1954, pour L’Enlèvement au sérail et Mireille; Vienne pour une version de concert de Carmen. Alors qu’il n’avait que 28 ans, il enregistra une première fois Faust de Gounod, en compagnie de Victoria de los Ángeles et de Boris Christoff sous la direction d’André Cluytens. Et cinq ans plus tard, il récidiva avec les mêmes. Les eux enregistrements sont restés mythiques.

Il débuta avec ce même Faust en 1957 au Metropolitan Opera de New-York où il sera jusqu’en 1983 l’un des titulaires majeurs de cette vénérable institution au sein de laquelle il totalisera 28 rôles de premier ordre répartis sur 367 représentations. Il sera applaudi dans tous les rôles de ténors mozartiens tels que Belmonte ou Tamino, l’opérette viennoise qu’il élèva vers de nouveaux standards jamais vus auparavant, l’opéra russe, dont le rôle de Lenski reste une référence, et divers opéras en français comme Orphée, La Damnation de Faust, Benvenuto Cellini, Les troyens, Faust bien sûr et Carmen, Werther, Manon, les Contes d’Hoffmann, etc. Il sut aussi s’écarter des chemins battus et se faire l’ardent défenseur de compositeurs moins fréquentés comme Chostakovitch, Gade, Glinka, Janáček, Lortzing ou Pfitzner. Seul le monde de Wagner sembla lui rester étranger. En récital, il montra le même sens du style et la même richesse de coloris dans un large éventail de lieder, de Schubert à Richard Stauss et dans de nombreuses mélodies slaves écrites par Tchaïkovsky et Rachmaninov. 

Nicolai Gedda et sa première épouse, Nadia Sapounoff Nova, dans les années 50.
Nicolai et sa deuxième épouse Anastasia Caraviotis

Gedda considèra que ses deux premiers mariages qui se sont soldés par un divorce, furent un désastre à la fois émotionnel et financier. Le premier, avec la pianiste franco-russe Nadia Sapounoff Nova (décédée en 2016), donna naissance à une fille, Tatiana, elle-même professeur de chant et cantatrice sous le nom de scène de Tania Gedda. Le père et la fille donneront ensemble plusieurs concerts en duo avec orchestre. Le second mariage en 1965, sera avec Anastasia Caraviotis, d’origine grecque, qui sera la mère de son deuxième enfant, Dimitri. Après le divorce, elle retourna à New York avec son fils. Elle y mourra en 2007.

Nicolai et sa troisième épouse, Aino Sellermark

En 1977, il rencontra celle qui, deux décennies plus tard, deviendra sa dernière compagne pour la vie, Aino Sellermark. Sous son nom de plume, Anna Maria Berman, elle collaborera avec lui pour rédiger une autobiographie: “Nicolai Gedda, my life and art“. Cette biographie raconte comment, à l’âge de 17 ans, il découvrit que ceux qu’il croit être ses parents l’ont en réalité recueilli à sa naissance pour lui éviter d’être confié à un orphelinat. Il découvrit aussi comment ses parents adoptifs, qu’il qualifie de ses bienfaiteurs, ont dû braver les instances administratives pour prendre soin de lui et même le cacher illégalement aux yeux des autorités. Ils n’obtinrent en effet jamais la possibilité d’une adoption officielle en dépit d’un lien biologique de parenté pourtant formellement avéré, au motif de la condition précaire et du manque de moyens financiers du couple. Gedda raconte également ses retrouvailles brèves et sporadiques avec sa mère biologique. Quant à son père d’origine, il n’a jamais cherché à le rencontrer. Il en entendit fortuitement parler un soir d’été de 1977 par un chauffeur de taxi auprès duquel il avait réservé une course en mentionnant son nom de scène. Le conducteur parût surpris de voir un visage autre que celui de son dernier client de la veille, qui portait exactement le même nom … sauf qu’il était beaucoup plus âgé et lui avait enjoint de le conduire en toute hâte à l’hôpital à la suite d’un malaise cardiaque. En procédant à divers recoupements, Gedda comprit dès lors que son interlocuteur, ne se doutant pas de l’impact émotionnel engendré par ses paroles, faisait bel et bien référence sans le savoir à son père biologique. Le décès de ce dernier lui sera d’ailleurs confirmé par la suite.

Nicolai et sa fille Tania Gedda

Après avoir fait ses adieux au monde lyrique en 1997, à Covent Garden, il donna en 2005 un dernier concert dans l’église orthodoxe de Leipzig, où il avait débuté. Après sa retraite de la scène, Nicolai Gedda se partagea entre son appartement du 28 Valhallavägen à Stockholm et sa résidence suisse à Tolochenaz près de Lausanne. Il connut auprès de l’ultime femme de sa vie une forme de bonheur tranquille et de sérénité à la fois paisible et durable. Il consacra une partie des dernières années de sa vie à l’enseignement du chant pour quelques chanteurs privilégiés, notamment le ténor néerlandais Jan Blinkhof. Nicolai Gedda décéda le 8 janvier 2017 à Tolochenaz, à l’âge de 91 ans. Selon sa fille, il s’est éteint «sans souffrance, vraisemblablement d’un arrêt cardiaque» dans sa résidence suisse où il vivait depuis des  décennies. C’était une personne très discrète. Il faisait ses promenades avec son  épouse main dans la main.

Nicolai Gedda nous laisse une discographie impressionnante dans un répertoire d’une cinquantaine d’opéras. Il détient un record pratiquement imbattable : celui du nombre d’enregistrements officiels. Ses mémoires (qui s’arrêtent en 1994) en recensent déjà 202….auxquels s’ajoutent quelques enregistrements plus tardifs, dans des petits rôles, comme Altoum dans Turandot en 2001 ou le prêtre de Neptune dans Idoménée en 2003 ! Il enregistrait encore Idoménée en 2003 à l’âge de 78 ans. Il est le ténor de l’épopée Walter Legge chez HMV (qui deviendra EMI), et participera à ce titre à de nombreux enregistrements mythiques, avec des équipes d’un luxe inouï (Karajan, Schwarzkopf, Callas, etc.)

Nicolai Gedda

Sur le plan vocal, en plus d’aigus faciles (un contre-ré rayonnant), le ténor suédois possédait une diction remarquable dans toutes les langues, un phrasé d’une grande élégance et un art très sûr de la demi-teinte. Cet amoureux des mots, doté d’une technique irréprochable, a toujours conservé souplesse et légèreté. Si sa voix claire, chaleureuse et flexible se corsa au fil des ans, gagnant en aura masculine et perdant peut-être en subtilité et en couleur, elle resta éminemment lyrique, la puissance de l’émission n’excédant jamais les limites de l’instrument. En revanche, sa structure phonatoire l’éloigna d’œuvres wagnériennes telles que Siegfried, même s’il consentit, à titre exceptionnel, à une prudente incursion dans ce type de répertoire réservé à des ténors plus lourds en abordant une seule et unique fois le rôle-titre de Lohengrin à l’opéra royal de Stockholm en janvier 1966. A près de 50 ans, il enregistrait encore les rôles d’Arturo (I Puritani), avec Beverly Sills, et d’Arnold (Guillaume Tell) avec Gabriel Bacquier et Montserrat Caballé, deux rôles aux tessitures meurtrières. La sagesse, la retenue et la capacité de modération dont il a constamment su faire preuve tout au long d’une carrière exceptionnellement longue lui ont évité de sombrer dans le piège redoutable et si fréquent d’interpréter prématurément des rôles trop dramatiques.

Nicolai Gedda en 1985 dans le rôle de Gustave III du Bal masqué de Verdi

Le compositeur Yves Rinaldi précise quant à lui que même si la typologie vocale de Gedda ne correspondait pas à la définition du ténor italien di forza ou du Heldentenor allemand, son exemplarité en matière de polyvalence lui paraissait évidente. En 1976, le pianiste et critique musical Richard Dyer, après avoir assisté à une représentation d’Eugène Oneguine donnée en version de concert avec l’orchestre symphonique de Boston, s’extasia après l’air de Lenski restitué par Gedda qui constituait à ses yeux une démonstration éclatante d’une parfaite maîtrise du chant lyrique. Une estime également partagée par le ténor Luciano Pavarotti qui se plaisait à répéter qu’il n’y a pas de ténor vivant qui ait une plus grande facilité dans le registre aigu que Gedda. Idem pour sa compatriote, la soprano wagnérienne Birgit Nilsson, affirmant combien Nicolai Gedda est incontestablement le ténor le plus musicien, le plus polyvalent, le plus subtil et le plus nuancé qu’il lui fut donné de côtoyer lors de sa longue carrière.

Malgré toute sa maîtrise technique, il souffrait sur scène d’un trac extrême qui transformait chacune de ses prestations en un calvaire dont il s’évertua toujours à ne jamais rien laisser transparaître, tout comme un autre grand ténor, Franco Corelli. 

Féru de littérature, hyperpolyglotte, il appréhendait le contenu des grandes œuvres littéraires en sept langues tout en maîtrisant, parlant et chantant, plus de neuf autres, avec une prononciation irréprochable dénuée de tout accent étranger. Au russe, suédois, allemand, français s’ajoutaient l’anglais, l’italien, l’espagnol, le portugais, le grec, l’hébreu, le latin, le norvégien, le néerlandais ainsi que la plupart des langues scandinaves. Évoquant la qualité magistrale de sa diction française, le critique musical Renaud Machart a écrit: «Il chantait notre langue à la perfection. Même en tendant l’oreille, on n’entendra aucune intonation douteuse dans son français chanté, plus pur que celui de bien des chanteurs natifs. Mais cela ne suffit pas à tout expliquer. Il y a surtout une intelligence du style, une grande humilité, un travail acharné et perfectionniste pour aboutir à ce que bien peu atteignent : l’universalité.» Dans le webzine francophone forumopera.com, l’avocat à la cour et féru d’art lyrique Antoine Brunetto le considère comme sans conteste l’un des ténors les plus marquants du vingtième siècle.

Nicolai Gedda

Le répertoire de Nicolai Gedda:

Le postillon de Lonjumeau-Stockholm, Opera, 8 April 1952
Der Rosenkavalier-Stockholm. Opera, 1952
Les contes d’Hoffmann (Nicklausse)-Stockholm, Opera, Fall 1952
Der Bettelstudent-Stockholm, Opera. 1952
La damnation de Faust-Paris, Concert, 1953
Orphée-Aix en Provence, Festival, 1953
Don Giovanni-Milano, Scala, 28 January 1953
Trionfo di Afrodite-Scala, Milano, 14 February 1953
Les Indes galantes (Damon)-Paris, Opéra, 11 January 1954
Carmen-Wien, Concert, 1954
Rigoletto-London, Covent Garden, January or February or May 1954 (shared role with Kirkop who sang premiere)
Oberon-Paris, Opéra, 12 February 1954
Mireille-Aix en Provence, Festival, 1954
Die Entführung aus dem Serail-Aix en Provence, Festival, 1954
Die Zauberflöte-Paris, Opéra. 22 December 1954
Les pêcheurs de perles-Paris, Opéra-Comique, During his stay in Paris between 1954-1957
Cosi fan tutte-Aix en Provence, Festival, 1955
Platée-Aix en Provence. Festival, 1956
La traviata-Paris, Opéra, 1956
Iphigénie en Tauride-Köln, WDR, 1956
Idomeneo-Stockholm, Opera, 10 January 1957
Faust-Monte Carlo, Garnier, 1957
Otello (Cassio)-Paris, Opéra, 1957
Armide-Bordeaux, GT, 1957
Die Schule der Frauen-Salburg, Festival, 17 August 1957
Vanessa-New York, MET, 15 January 1958
Les contes d’Hoffmann-New York, MET, 31 October 1958
Evgenij Onegin-New York, MET, 13 December 1958
Manon-New York, MET, 28 October 1959
Der Zigeunerbaron-New York, MET, 25 November 1959
Alceste-New York, MET, 6 December 1960
Boris Godunov-New York, MET, 9 December 1960
Madama Butterfly-New York, MET, 18 January 1961
L’elisir d’amore-New York, MET, 28 January 1961
Benvenuto Cellini-Amsterdam, 16 June 1961
Die lustige Witwe-New York, Concert, 1962
The last savage-New York, MET, 23 January 1964
La sonnambula-New York, MET, 21 February 1963
I puritani-New York, Concert, 1963
La dame blanche-Amsterdam, Concert, 1964
Pélléas et Mélisande-Stockholm, Radio, 1964
Il matrimonio secreto-Wien, ORF, 1964
Tosca-Stockholm, Opera, 1964
La bohème-Stockholm, Opera, 1964
Werther-New York, Concert, 1965
Un ballo in maschera-Wien, Staatsoper, 1965
Das Land des Lächelns-Wien, Volksoper, 1965
Lohengrin-Stockholm, Opera, 1966
Orfeo (composer: Haydn)-Wien, Theater an der Wien, 1967
Roméo et Juliette-New York, MET, 6 April 1968
Fra Diavolo-San Francisco, War Memorial, 26 November 1968
Lucia di Lammermoor-New York, MET, 1 February 1969
Les Troyens-Roma, RAI, 11 December 1969
Le prophète-Torino, RAI, 8 September 1970
Les huguenots-Wien, Concert, 1971
Guillaume Tell-Firenze, Comunale, 16 May 1972
Pikovaja dama-New York, MET, 27 December 1972
Les pêcheurs de perles-New York, Carnegie Hall, 1974
I vespri siciliani-New York, MET, 31 January 1974
Dalibor-New York, Carnegie Hall, 1977
The bartered bride-New York, MET, 25 October 1978
Don Pasquale-New York, MET, 7 December 1978
Lakmé-New York, Carnegie Hall, 1981
Iolanta-Washington DC, Opera, 1982
War and Peace- Paris, Concert, 1987
Candide-London, Concert, 1989
Gustaf Wasas saga (composer: Hallén)-Stockholm, Opera, 16 October 1991
Mazeppa-Stockholm, concert, 1992
Palestrina (Abdisu)-London, Covent Garden, 28 January 1997

Reference:Nicolai Gedda Mein Leben-Meine Kunst, Parthas Verlag, Berlin, 1998; English edition: Amadeus Press, Portland (Or), 1999

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