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

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188 Ulla-Britta Broman-Kananen berg first organised the opera performances in relation to the New Theatre so that he could engage the New Theatre’s orchestra with Hřímalý as its conductor (at this point the orchestras of the Finnish and New Theatres had merged into one large ensemble). Later the New Theatre orchestra was completely overtaken by the Russian Theatre. The Russian Theatre’s opera company performed in Italy, but this was not a problem, because it now staged the same operas as had been heard at the Finnish and the New Theatres’ stages earlier: Faust at the premiere and then Lucretia Borgia, Rigoletto, Un Ballo in Maschera, La Traviata and so on. (Byckling 2009, pp. 107–111.) The rumours about Adlerberg’s operatic passion must have reached the ears of the directors at both the Finnish and New Theatres, and the threat of a third competitor about the Helsinki audience was probably one more reason for closing down the operas. The Italian-Russian company was a very good company (with professional chorus members and a ballet), and the Russian Theatre’s aim was probably to overwhelm the Helsinki audience with highly skilled performances and also attract the Swedish-speaking upper class to the theatre. The Russian Theatre’s strategy was to offer artistically advanced performances, and once again, the language did not matter as much when the operas were well known and the performers excellent. The Russian Theatre came to the market as a third party and did so forcefully, with the purpose of having its own share, run by professionals and financed by the tsar. Two opera companies were already too much for Helsinki, but three were impossible to support. The discussions of merging the Finnish and Swedish opera companies continued for a while, but became weaker and weaker until such talk died out altogether. It was only in the twentieth century, with the dynamic combination of new personalities, Aino Ackté and Edvaard Fazer, that a permanent opera company was founded in Helsinki in the year 1911. And as for Oslo, Kirsten Flagstad became the first Director of a national opera in 1957. Archives Helsinki The National Library of Finland (NLF) (Nationalbiblioteket i Finland) The Achté collection Coll.4 The Finnish Literature Society, the Literature Archive (FLC/LA) (Finska litteratursällskapet, Litteraturarkivet) Emelie och Kaarlo Bergboms archive, Nr 45–54
Maria Grape’s correspondence, Nr 41–44. Staging a national language The Swedish Literature Society in Finland (SLS) (Svenska litteratursällskapet i Finland/ Svenska teaterns arkiv) Nikolai Kiseleff’s Correspondence Degerholm’s archive Stockholm The National Library of Sweden (NLS) (Kungliga Biblioteket) Josephson, L s.a.: Ideal och verklighet Josephson’s and Arlberg’s correspondence, KB1/Ep. J 5. Bonnevie’s letters to Josephson, KB1/Ep. J 5. Ahlgrensson’s letters to Josephson, KB1/Ep. J 5 The Royal Theatre’s Archive (RTA) (Kungliga teatrarnas arkiv) Contracts with the performars, contract book (F8A) Oslo The National Library of Norway (NLN) Christiania Theatre’s archive, Theatre historical collection. Newspapers Finsk Tidskrift 1876, 1878 Keski-Suomi 1877 Finlands Allmänna Tidning (FAT) 1876, 1878 Morgonbladet 1874 Ny Illustrerad Tidning 1876 References Anker, Øyvind 1956: Vhristiania Theater’s Repertoire 1827–99. Oslo: Gyldendal norsk förlag. Aspelin-Haapkylä, Eliel 1906–1910: Suomalaisen teatterin historia I–IV. Helsinki. Beck, Ulrich 2004: Der Kosmopolitische Blick oder: Krieg ist Frieden. Frankfurt am Main: Suhrkamp. Blanc, Tharald 1899: Christiania Theaters Historie. Tidsrummet 1827–1877. Christiania. Broman-Kananen, Ulla-Britta 2011: ”Emilie Mechelin och Emma Engdahl: inhemska operaprimadonnor på Nya Teatern i Helsingfors” in Suomen musiikkitiede 100 vuotta: juhlasymposiumin satoa. Ed. A-L Pääkkölä, Helsinki: Suomen musiikkitieteellisen seuran julkaisuja. http://mtsnet. wordpress.com/suomen-musiikkitiede-100v-juhlajulkaisu/ 189
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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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Music at the Royal Swedish
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A Nordic outlook Music at the Royal
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Two Operas or One
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Two Operas or One
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Two Operas or One
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Two Operas or One
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Two Operas or One
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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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