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

134 Pentti Paavolainen
uled opening on 25 November. The orchestra already had obligations to its
own theatre, and Richard Faltin, who was no longer in the service of the
New Theatre, had to assemble a provisional ensemble from the city’s experienced
amateurs and professionals. (Aspelin-Haapkylä 1906, I, p. 176.)
Perhaps there was a reason why the schedule of the Theatre Orchestra had
not been of primary importance. Perhaps Bergbom had calculated that the
performance would finally take place in the New Theatre, and therefore, the
theatre’s orchestra would automatically be at their disposal.
The Swedish Theatre Company needed Nikolai Kiseleff to resume the
position of executive director. In the early autumn of 1870 Kiseleff replaced
Weckström, who had not managed the company’s financial matters successfully
nor had he put together an interesting repertory. Kiseleff had
the experienced Dr. Fredrik Berndtson as his literary advisor, on whom
he had depended for years. Kiseleff believed that domestic talents should
gradually be engaged more and more in order to increase the musical and
operatic performances in Helsinki. The future prosperity of the New Theatre
depended on such growth. Audiences preferred musical repertoire, and
Kiseleff gave the orchestra permission to use their own house. even for
rehearsing programmes to be played elsewhere. The Orchestra could also
participate in three smaller performances by the Suomalainen Seura in the
Arkadia Theatre.
Kiseleff was well aware that a Finnish opera production was being
prepared. Given the popularity he thought it would have, he had nothing
against such a production taking place on his stage. This must be the reason
why Kiseleff sent Dr. Berndtsson to discuss with Bergbom the possibility
of performing Trubaduuri (Il Trovatore) in the New Theatre. The costs
per evening were still high, which the Seura did not want to pay, as they
had the expenses of preparing the production, including payments for the
orchestra and two of the soloists. But to avoid the theatre’s expenses, the
performance would have to be announced as arranged by the Swedish Theatre
Company itself or perhaps as a joint performance. This would mean an
additional small play in Swedish the same evening before Il Trovatore. Not
quite impossible, but this would have made the evening far too long.
Just how diplomatic was Kiseleff’s messenger Berndtsson, born a Swede
and a senior colleague to Bergbom? How diplomatic was Bergbom himself,
for that matter, who says “there were several attempts to find a solution”?
It was Bergbom’s desire to have Trubaduri performed on the best stage
in town, with the best sets, lighting and largest orchestra, and it was the
New Theatre he wanted for his Finnish performances. The negotiations