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

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190 Ulla-Britta Broman-Kananen Byckling, Liisa 2009: Keisarinajan kulisseissa. Helsingin Venäläisen teatterin historia 1868–1918. Helsinki: SKS. Degerholm, Emelie 1900: Vid svenska scenen i Helsingfors I. Minnen och Bilder. Helsingfors. Degerholm, Emelie 1903: Vid svenska scenen i Helsingfors II. Minnen och Bilder. Helsingfors. Eckhoff Kindem, I. 1941: Den norske operas historie. Oslo: Ernst G. Mortensen–Forlagsavdelningen. Engberg, Jens 1995: Til hver mands nytte. Historien om det Kongelige Teater 1722–1995. Band I-II. København: Frydenlund Grafisk. Engman, Max 1995: Petersburgska vägar. Esbo, Lovisa: Schildts. Engman, Max 2009: Ett långt farväl. Finland mellan Sverige och Ryssland efter 1809. Stockholm: Atlantis. Giddens, Anthony 1984: The Constitution of Society. Cambridge: Polity Press. Gademan, Göran 1996: Realismen på operan. Regi, spelstil och iscensättningsprinciper på Kungliga Teatern 1860–62. Stockholm: Teatervetenskapliga institutionen. Gademan, Göran 2007: “Grand opéra I Stockholm” in Ny svensk teaterhistoria, Eds. U-B. Lagerroth & I. Nordin Hennel, Riga: Gidlunds förlag. Habermas, Jürgen 1984: Borgerlig offentlighet. Transl. J. Retzlaff. Lund: Arkiv. Josephson, Ludvig 1898: Ett och annat om Henrik Ibsen och Christiania. Stockholm. Kettunen, Pauli 2001: Globalisaatio ja kansallinen me. Tampere: Vastapaino. Klinge, Matti 1997: Keisarin Suomi. Helsinki: Schildts. Kruskopf, Irina 1988: <strong>Opera</strong>sångerskan Emma Engdahl (1852–1930). Pro gradu-avhandling i musikvetenskap. Åbo Akademi. Lampila, Hannu-Ilari 1997: Suomalainen ooppera. Porvoo, Helsinki, Juva: WSOY. Lewenhaupt, Inga 1988: Signe Hebbe (1837–1925). Skådespelerska, operasångerska, pedagog. Stockholm. Lüchou, Marianne 1977: Svenska Teatern I Helsingfors. Repertoar. Styrelser och teaterchefer. Konstnärlig personal 1860–1975. Borgå: Stiftelsen för Svenska Teatern i Helsingfors. Nordensvan, Georg 1918: Svensk teater och svenska skådespelare. Från Gustav III till våra dagar. Senare delen 1842–1918. Stockholm. Percy, Gösta 1973: ”Något om Wagner-traditionen i Sverige” in K. Ralf Jubelboken <strong>Opera</strong>n 200 år, Stockholm: Bokförlaget Prisma. Pikkanen, Ilona 2010: “Theatre Histories and the Construction of National Identity: The Cases of Norway and Finland” in Nationalizing the Past: Historians as Nation Builders in Modern Europe. Ed. S. Berger & C. Lorenz, New York: Palgrave Macmillan. Qvamme, Børre 2004: <strong>Opera</strong> og Operette i Kristiania. Oslo: Solum Forlag.
Staging a national language Qvarnström, Ingrid 1946: Svensk teater i Finland I. Rikssvensk teater. Helsingfors. Sennett, Richard . 1976: The Fall of Public Man. London: Penguin Books Ltd. Shepelern, G. 1995: <strong>Opera</strong>ens historia i Danmark. PLACE of publication? Svanberg, Johannes 1917: Kungliga teatrarne under ett halft sekel 1860– 1910. Personalhistoriska anteckningar. Stockholm: Nordisk familjeboks förlag. Vainio, Matti 2009: Pacius. Suomalaisen musiikin isä. Jyväskylä: Atena. Wegelius, Martin 1919: Konstnärsbrev. Helsingfors. Åström, Sven-Erik 1956: Helsingfors stads historia. IV delen. Helsingfors: Centraltryckeriet. Summary 191 In this chapter I explore how the language of opera dominated and defined three opera houses in as many episodes: the Finnish and Swedish Theatres in Helsinki, Finland, and the Christiania Theatre in Christiania (Oslo), Norway. Despite the similarities among the episodes (which occasionally even included the same performers), there were also significant differences. A clear line divides the episodes into two categories: those of the Finnish and Christiania Theatres on the one hand and that of the Swedish Theatre on the other. The feature shared by the Finnish and Christiania Theatres was related to the means by which a new language was both constructed and “taught” to the audience. The purpose behind the choice of operatic language was to create a certain audience, and by extension a public space, for political reasons. By contrast, the Swedish Theatre had to defend its position as a national theatre, which had seemed self-evident until challenged by the Finnish Theatre. The dividing line could also be drawn differently, however, with each opera house placed in a category of its own. All three houses sought to establish a clear, recognisable identity whereby not only language, but also the professionalism of the performers and performances were the distinguishing characteristics. In this respect, the Swedish Theatre’s affiliation with the Royal Swedish Theatre (and other theatres in Stockholm) is revealing on many levels, beginning with an exchange of material resources (scores and librettos), knowledge of the operatic repertoire and performers.
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Nya Dagligt Allehanda (Stockholm) N
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