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

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176 Ulla-Britta Broman-Kananen Finnish <strong>Opera</strong> Company The New Theatre Christiania Theatre 1871–1872 Martha 1872–1873 Der Freischütz 1873–1874 Lucia di Lammermoor Trovatore Der Freischütz Fra Diavolo 1874–1875 Il Barbiere di Siviglia Kung Carls jagt Don Giovanni Norma Faust Lucrezia Borgia Les Noces de Figaro Norma La Traviata Guglielmo Tell Alessandro Stradella 1875–1876 Alessandro Stradella La Fille du Régiment Il Barbiere di Siviglia Ernani L’Elisir d’amore Les huguénots Faust Sonnambula Ernani La Fille du Régiment Les Noces de Figaro Fidelio Martha Der Freischütz Iphigenia in Aulis Martha 1876–1877 La Traviata The first act from La Fille du Régiment Fidelio Prinsessan af Cypern Tannhäuser Le domino noir Wilhelm Tell Les huguénots Die Fledermaus Die Zauberflöte Rigoletto Robert le Diable La muette de Portici Robert le Diable 1877–1878 Zar und Zimmerman Alessandro Stradella La Juive La dame blanche Sonnambula Trovatore Don Pasquale (Martha) 1878–1879 Linda di Chamounix Mignon Romeo et Juliet Traviata Un Ballo in Maschera 1879–1880 Il Barbiere di Siviglia (Le Maçon) (Kung Carls jagt) (La Traviata) Figure 2. Premieres at the New Theatre, the Finnish <strong>Opera</strong> Company and the Christiania Theatre during the three opera episodes.
Staging a national language 177 The greatest difference between Christiania and Helsinki was that the Christiania opera staged Wagner’s Tannhäuser (or Sangerkrigen paa Wartburg) as its name was in Norwegian, (figure 3), which was not performed in the Royal Swedish <strong>Opera</strong> until two years later, in 1878. 41 Neither Iphigenia in Aulis (in Wagner’s revised version of Gluck) nor Carmen was staged in Helsinki in the 1870s. But otherwise the repertoire was very similar in all three theatres, which put on the most canonical pieces in the European operatic tradition. Arlberg was known as an ardent advocate of Wagner’s music, and it was he who had introduced Wagner to Stockholm audiences for the first time, translating and directing Rienzi at the Royal Swedish <strong>Opera</strong> in 1865. Arlberg also translated and performed in Der Fliegende Holländer (as the Dutchman), staged in 1872 in Stockholm. Given Arlberg’s huge interest in Wagner, he (and Josephson) may have wanted to show the Royal New Theatre that a small operatic stage with scarce resources (with regard to the orchestra) was more alert to Wagner’s music dramas than a big theatre stage with all its resources. Tannhäuser had also recently (1875) been performed in Copenhagen with Ahlgrensson’s sets, and Josephson also asked him to sketch the decor for the Christiania production, although he never had the time to do so (“Ideal och verklighet”). In Josephson’s Tannhäuser production of 1876 Arlberg sung Wolfram’s role, and Röske-Lund was Elisabeth. Hans Brun had the principal part as Tannhäuser. After the premiere the press observed that Brun had “more quiet emotion than passion in his voice”. 42 The performance was a success, largely because the students had decided to organise applause during the premiere. (Eckhof Kindem 1941, p. 46.) The reinforced chorus and orchestra were much appreciated and especially the mise-en-scène with its decorations and costumes. (Qvamme 2004, p. 116.) Tannhäuser had its Christiana premiere in November of 1876 shortly before the fire, but it was not the Christiania opera’s last performance. Instead, the last performance was Il Barbiere di Sivilgia in December with Ida Basilier as Rosina. After the fire Josephson revealed that he also had plans to stage Lohengrin if the opera were allowed to continue. (Qvamme 2004, p. 120.) 41 However, it was first staged in Stockholm at the Mindre Teatern by a German company in August of 1876, although in a sharply abbreviated version (Gademan 1996, p. 219; Percy 1973, p. 100. ) Tannhäuser was performed in Helsinki as early as in 1857 by Thomé’s company from Riga (Lampila 1997, p. 34). 42 “mere stille Følelse end Lidenskab i hans Stimme” (Qvamme 2004, p. 116). The Norwegian singers Thorvald Lammers (the Landgrave), Lona Gulowsen (Venus) and Camille Wiese (the shepherd), were also much appreciated.
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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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38 Juvas Marianne Liljas but during
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40 Juvas Marianne Liljas pedagogue
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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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92 Ingela Tägil Published referenc
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Music at the Royal Swedish
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Opera on the Move in the Nordic Countries during the Long 19th ...

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