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

Music at the Royal Swedish <strong>Opera</strong> in Stockholm…
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There were different views on best way to organise concert activity, and
different opinions on who should have the responsibility. The fact that most
of the music resources, including the professional musicians, were tied to
the Royal Swedish <strong>Opera</strong> gave it a unique position in terms of influencing
concert life in general, but the problem was that concerts were never prioritised
business. Realising this, Albert Rubenson suggested forming a society
to take on this role. Ludvig Norman, on the other hand, tried to foster
collaboration with other bodies in order to promote concert performance.
The Royal Swedish <strong>Opera</strong> was at the centre of public musical life in
Stockholm in the nineteenth century. Stockholm differed in this respect
from many other cities in which there was not the same royal dominance.
The merchant city of Gothenburg in southern Sweden is one example, with
its much stronger ties to the bourgeoisie. Copenhagen is another example,
where music making among the bourgeoisie had a much stronger influence
on the emerging structures. The royal cultural institutions were
also influential, but within the concert life of the city the structures were
much more strongly connected to certain music societies that prioritised
concert making. The geographical aspect is also a factor in that Copenhagen
and Gothenburg, for instance, had closer connections to Europe than
Stockholm. Nevertheless, despite the differences in structure and geography
there was strong cultural exchange between these different cities and
countries, and many artists travelled between them, performing the same
repertoire. There were also close personal connections among people in
important positions in the different Nordic capitals. The connections were
not limited to the repertoire and the professionals however, but there was
also a common interest in making comparisons with other Nordic cities,
something that was part of the general striving for change and improvement.
This cultural and musical exchange is discussed in several other articles
in this anthology.
Much of the criticism of musical life and the position of the Royal Swedish
<strong>Opera</strong> as a focal music institution stems from music idealism. Even if
there was contemporary criticism of its role, it should not be understated.
It was important as an institution promoting both opera and other forms
of music. It served as a model for much of the institutionalisation of musical
life in general, and facilitated development in providing the institutional
stability that was otherwise completely lacking.