Opera on the Move in the Nordic Countries during the Long 19th ...

Music at the Royal Swedish <strong>Opera</strong> in Stockholm…
The audience found itself in a state of siege: it is almost impossible to
meet an acquaintance without also meeting the whole army that surrounds
him. And if there is a concert one has not been press-ganged into
attending one does not let the opportunity to escape slip. Another consequence
is that the artists, even the best ones, have to follow the same
practice as those with less ability unless they want to see their concert
transformed into a private musical event. The whole misunderstanding
could be resolved if there were an agreement within Hovkapellet [The
Royal Court Orchestra] only to assist – alone or together –those who are
evidently capable of being real artists, and to leave the rest to seek help
from within their own sphere. (Bauck 1853) 31
115
It is clear from this description that putting on concerts was very much a
business enterprise, and that there was competition among professionals as
well as between professionals and amateurs. It also underlines the unique
position of the Royal Swedish <strong>Opera</strong> Orchestra: in choosing whom to assist,
its members carried a lot of influence. This practice is not so easily traced
in the sources - it is reasonable to assume that inquiries for assistance were
made unofficially. It is evident, however, that the orchestra performed in
concerts arranged by Royal Swedish <strong>Opera</strong> singers or its own musicians
much more often than in concerts arranged by others, even if that occurred
as well.
The role of the Royal Swedish <strong>Opera</strong> Orchestra
Albert Rubenson also emphasised in his criticism of the state of musical life
the fact that the Royal <strong>Opera</strong> Orchestra had such a crucial position.
The fact that our city does not have a symphony orchestra apart from the
one at the Royal Swedish <strong>Opera</strong> is, without doubt, the obstacle that until
now has barred the establishment of a music society that operates in the
31 “Publiken har här funnit sig i ett slags belägringstillstånd; man kan knappt träffa
en bekant, utan att tillika träffas af den lista, hvarmed han är väpnad, och om en
musikalisk tillställning inträffar, hvartill man händelsevis icke blifvit pressad, så låter
man tillfället att undslippa ej gå sig ur händerna; och en annan följd är att artisten,
äfven den utmärktaste, måste anställa samma pressgång som den insolventa förmågan,
såvida han icke vill se sin konsert förvandlad till ett musikaliskt privatissimum. Hela
missförståndet vore emellertid afhjelpt genom en öfverenskommelse inom hofkapellet,
att – enskildt eller in pleno – endast och allenast biträda de personer, som förmå
dokumentera sig såsom verkliga konstnärstalanger, samt åt alla öfriga öfverlemna att
inom sin egen sfer söka biträde.”