Formative moments
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The formative influences of my life
We are all shaped by people and moments that cross our path and inspire us. For me, it was extraordinary personalities and incisive experiences that shaped me and continue to influence my view of art and life to this day.
Important teachers such as Nikolaus Harnoncourt, my singing teacher KS Hilde Zadek and the director Andrea Breth accompanied me. Through their work and their example, they taught me what artistic dedication means. Equally unforgettable was Hans Gillesberger, who taught me the basics of my musical career with the Vienna Boys' Choir with tireless patience and dedication.
Another formative companion was my adopted grandfather Alfred Nissels, an old Austrian who, as a Jew, had to flee from the National Socialists and build a new life in France. His wisdom - "The only thing you can give your children is love and education " - still shapes me today. Alfred showed me the world beyond music and awakened my curiosity for literature, philosophy, art and history - a treasure from which I still draw today.
The art of asking questions
I learned about the power of questions at an early age. As a nine-year-old, I discovered Homer's Odyssey during an illness and began to ask countless questions: "Who was Zeus? Why did the Greeks have so many gods? Where is Ithaca?" This childlike curiosity has shaped me to this day.
As a singing professor in Stuttgart, I encouraged my students not to forget to ask and question. Because asking questions is the only way to develop independent thinking. Nikolaus Harnoncourt, who not only answered my questions but also provided me with books and suggestions, remains a formative memory. This openness to dialog is something I will never forget.
Key moments that change
But it wasn't just people who influenced me - there were moments that changed my view of the world forever.
in 1986, I watched on television as a Lipizzaner stallion called Pluto Verona was supposed to cover a mare in front of an audience. Irritated by the noisy crowd, the stallion began to dance instead. While the audience laughed, I felt great compassion for the animal. This moment taught me that true art is created when you remain authentic - regardless of how the environment reacts.
Another formative moment occurred during a rehearsal for Bizet's Carmen in Graz. In conversation with Harnoncourt, I mentioned that I rely on the expertise of a colleague when I don't know something. His answer - "No, Mr. Nigl, you always have to form your own opinion " - shook me to the core. That sentence taught me to question information and seek my own point of view.
Another key experience was my debut at La Scala in Milan. After a rehearsal, I left the theater and suddenly found myself surrounded by people in the Galleria Vittorio Emanuele who had nothing to do with opera. This contrast made me realize how important my private life is - as a source of security and as an antithesis to the often lonely existence of an artist.
The magic of the stage
My performance of Die Fledermaus at the Bavarian State Opera was a special moment. Although I was in poor health, I decided to perform. When the director informed the audience of my condition, I heard their reactions behind the curtain - concerned murmurs, followed by cheers when it became clear that I would still be singing. This emotional support carried me through the evening and showed me once again the power of the connection between artist and audience.