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

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146 Pentti Paavolainen the following day, only the crown prince and his wife had time to visit the Arkadia Theatre, which was a gesture in support of the Fennomans. During the same summer and the following autumn (1876), Bergbom’s Finnish <strong>Opera</strong> was in trouble because some of their key figures left, namely, the Achté family. Without their knowledge, Bergbom had hired a new conductor, Bohuslav Hřímalý, to take on the role of musical director and replace Nikolas Achté. Nikolas Achté resigned from the Finnish <strong>Opera</strong>, and Emmy (Strömer) Achté followed suit in solidarity with her husband. In public opinion the Finnish <strong>Opera</strong> Company was nothing without Emmy Achté. By this point the <strong>Opera</strong>’s debts were large, feeding rumour mills all around and the feelings of insecurity among the staff and the supporters. (Aspelin-Haapkylä 1907, II, pp. 350–356). The demonstration at Die Fledermaus (November 1876) signals irreconcilable parties. During Kiseleff’s absence from the Swedish Theatre Company in the two seasons 1876 to1878, the last decisive steps were taken on both sides. Grefberg’s regime had increased opera performances in the New Theatre by preparing Wilhelm Tell and Rigoletto. Mistrust and rivalry between the Arkadia and the New Theatre continued. Grefberg, Wahlberg and Bolin then made an investment in preparing the brand-new operetta by Johann Strauss II, Die Fledermaus (Läderlappen in Swedish) in November of 1876. The audience liked the operetta, but a group of young and radical Fennomans arranged a disruptive whistling display in the New Theatre. This “radical action”, they declared, was to be understood as a spontaneous act of indignation against “immorality in a state-subsidised theatre”. They claimed that it had nothing to do with the Finnish Theatre Company. The attack, however, was planned in the foyer of the Arkadia where the Fennoman students had gathered before marching to the New Theatre. The students said that they hoped to help the Finnish <strong>Opera</strong> Company, but the result was exactly the opposite: The last vestiges of goodwill towards the Finnish performances disappeared from Helsinki’s Swedish population, which stopped going to the Arkadia altogether, a kind of boycott against the Finnish <strong>Opera</strong> Company. The students were punished by the University, but their moralistic anti-operetta opinion was spread and repeated. Helsinki was forced to wait many decades for its next Fledermaus. Now in the spring of 1877 the
Two <strong>Opera</strong>s or One – or None 147 competition between the theatres was at its peak. Yet the repertories were impressive. The Swedish <strong>Opera</strong> Company had produced in addition to its operettas Friskytten (Der Freischütz), Martha, Kung Carls jagt (The Hunt of King Charles), Regementets dotter (La fille du Régiment), Kärleksdrycken (L’Elisir d’amore), Sömngångerskan (La Sonnambula), Figaros bröllop (Le nozze di Figaro), Wilhelm Tell (Guglielmo Tell), Rigoletto, Den stumma från Portici (La muette de Portici), Robert af Normandie (Robert le diable), Alessandro Stradella, Hvita frun (La dame blanche), Trubaduren (Il Trovatore), Mignon, Postiljonen från Lonjumeau (Le postillon de Lonjumeau), Den vilseförda (La Traviata), Maskeradbalen (Un ballo in maschera), Barberaren i Sevilla (Il barbiere di Siviglia). (Lüchou 1977, passim.) The Finnish <strong>Opera</strong> Company had produced Lucia di Lammermor, Trubaduri (Il Trovatore), Noita-ampuja (Der Freischütz), Fra Diavolo, Sevillan parranajaja (Il barbiere di Siviglia), Norma, Lucrezia Borgia, Alessandro Stradella, Ernani, Faust, Rykmentin tytär (La fille du Régiment), Martha, Violetta (La Traviata), Fidelio, Musta domino (Le Domino noir), Hugenotit (Les Huguénots), Taikahuilu (Die Zauberflöte), Robert Paholainen (Robert le diable), Tsaari työmiehenä (Zar und Zimmermann), Juutalaistyttö (La Juive), Unissakävijä (La Sonnambula), Don Giovanni, Don Pasquale, Linda di Chamounix, Romeo ja Julia (Roméo et Juliette). (Aspelin-Haapkylä 1907 (II), pp. 467–476.) Attempt at a merger in 1877 and its failure The second five-year lease period of the New Theatre by the Swedish warrants was to expire in the spring of 1877. Preparations for the next lease period were made while Grefberg, Wahlberg and Bolin were still in power. In theory, the New Theatre House Company, which owned the building, could rent the house to any society that would guarantee the rent, be it Finnish, Swedish or a combination of those. In practice, the manoeuvres and debates in the spring of 1877 resulted in the consolidation of Swedish cultural opinion, manifested in defensive positions and broad support to continue the Swedish Theatre activity in the New Theatre venue. The Government had appointed a special committee, whose task was to mediate between the two theatres and the opera companies. The situation had become more difficult than ever. After the Fledermaus episode, the hard-line Svecomans wanted nothing to do with the Fennomans. They declared that the true reason behind all the proposals for merging the two
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Anne Sivuoja, Owe Ander, Ulla Britt
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Contents Anne Sivuoja with Owe Ande
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Introduction Anne Sivuoja with Owe
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Introduction ity of vocal resources
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*** Introduction Methodological tra
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Introduction Broman-Kananen, Ulla-B
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Voices
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18 Juvas Marianne Liljas such young
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20 Juvas Marianne Liljas it a usefu
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22 Juvas Marianne Liljas portant in
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24 Juvas Marianne Liljas pany, New
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26 Juvas Marianne Liljas given free
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28 Juvas Marianne Liljas the histor
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30 Juvas Marianne Liljas Consequent
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32 Juvas Marianne Liljas Illustrati
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34 Juvas Marianne Liljas tive the B
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38 Juvas Marianne Liljas but during
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40 Juvas Marianne Liljas pedagogue
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44 Juvas Marianne Liljas institutio
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46 Juvas Marianne Liljas Jussi Bjö
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48 Juvas Marianne Liljas ämnesdida
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50 Formed to Perform Educating Stud
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52 Marianne Tråvén most of them w
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54 Marianne Tråvén Piccini left v
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56 Marianne Tråvén of Monvel. The
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58 Marianne Tråvén 1816 the singi
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60 Marianne Tråvén holm 1851), M
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62 Marianne Tråvén Georg Joseph V
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64 Marianne Tråvén on him transfe
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66 Marianne Tråvén techniques of
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68 Marianne Tråvén approach using
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70 Marianne Tråvén Solfeggi Stiel
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72 Marianne Tråvén whereas in fal
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74 Marianne Tråvén the singer onl
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76 Marianne Tråvén From this we c
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78 Marianne Tråvén Conclusion The
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80 Marianne Tråvén Apel, Willi (e
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82 Marianne Tråvén Traini, Carlo
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84 Ingela Tägil tria and England d
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86 Ingela Tägil play through her l
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88 Ingela Tägil Another strange is
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90 Ingela Tägil in boarding houses
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92 Ingela Tägil Published referenc
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Page 119 and 120: A Nordic outlook Music at the Royal
Page 125 and 126: Two Operas or One
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Page 155 and 156: Staging a national language <strong
Page 157 and 158: Staging a national language 157 is
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Page 189 and 190: Maria Grape’s correspondence, Nr
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The introduction of Richard Wagner
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Rachel the Jewess in Copenhagen fie
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Excursus I: Who is Jewish? Rachel t
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Performative elements and sources 2
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As Gundula Kreuzer remarks: Perform
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Example 1. Helena Munktell, In Flor
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Nya Dagligt Allehanda (Stockholm) N
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Opera on the Move in the Nordic Countries during the Long 19th ...

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