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

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20 Juvas Marianne Liljas it a useful network, it was also a source of knowledge about vocal demands, dominant voice ideals and the principal singing schools. Both the Gelhaar family in Stockholm and the Berwald family are useful references given the focus of this chapter on the informal education in singing that took place in professional music families during this period. In earlier epochs it was quite normal for children in artisan and bourgeois families to be educated in their homes, and not only by tutors but also by their parents (Rosselli 1992, pp. 92-94; cf. Hartman 2005, p. 22). Before the establishment of opera schools it was not unusual for parents or other relatives to educate family members, including daughters and sons, and also future spouses and grandchildren, with a view to forming a family troupe or opera company. “Like any other trade, music came down by inheritance, Many singers were trained by their parents or uncles, themselves musicians” (Rosselli 1992, p. 92). The importance of the parental role as educators also links the Björling family to the paradigm of domestic vocal education and the historical tradition of opera singers as a family product (cf. Rosselli 1992, pp. 92-95). From this perspective the family is part of a canon, and the singing education Jussi and his brothers received when they were small could also be considered in the context of significant opera schooling in Europe and the Nordic countries. There may have been similarities between the Berwald and the Gelhaars families, but the conditions in the Björling home probably differed substantially. The schooling process in the family was really hard given the demands of ordinary life and general school studies (cf. Stenius 2002). Another significant aspect from the education perspective is the family genealogy - they were not opera singers deep down, and far back in their family history they were blacksmiths (Björling & Farkas 1996, pp. 30-31). Accordingly, they did not have access to the codes that are normally passed down or the symbolic capital that, according to Bourdieu, is important for success (Gustafsson 2000, p. 22) Furthermore, the Björling domestic opera schooling was based in the countryside where there was a much poorer musical landscape than in the big cities, thus the family was, at least geographically, excluded from the urban sphere of musicians and opera singers surrounding the Royal Swedish <strong>Opera</strong> in Stockholm (cf. Ander 2008, pp. 497-506). Nevertheless, the Björling family name has strong resonance in Nordic opera history. The aim in this chapter is to enhance understanding of the informal Björling ‘school’ as a historical phenomenon, especially in terms of education and pedagogical ideas. More specifically, the focus is on the didactic principles followed. First and foremost I wish to draw attention
The Björling ‘<strong>Opera</strong>’ to Karl David Björling (1873-1926) as the ‘family teacher’ and the children’s father. I use the concept school to refer to the Björling model of home education in relation to Karl David Björling’s pretensions and explicit goals: the purpose was to educate the boys to be opera singers. The Björling opera project During the first decade of the 1900s Karl David Björling (1873-1926) started a singing school for his sons Olle, Jussi and Gösta. The vocal education began at a sensationally early age and was combined with extended concert tours. The first performances were in 1916, taking place in the neighbourhood and adjacent provinces. The boy trio and their father gave over a hundred concerts in three years, 1917-1919 (Liljas 2007, p. 245). Most of the concerts were given in churches, but more secular venues included open-air theatres, major hotels in the cities, and bigger schools. The group usually travelled by train, and sometimes by bicycle or horse-drawn cab, and even on foot (ibid., pp. 238-251; cf. Lööw 1951, p. 20). The family troupe had a successful tour in the USA in 1919-1921. After a couple of months in New York they toured around New England, moving on to Chicago and the Swedish settlements in Illinois, Wisconsin and Minnesota. On their way out west they performed in Kansas City, among other places. After an incredible journey around the USA the company turned up in San Francisco at the end of November 1920, performing in places such as Escalon, Turlock, Kingsburg, San José, Palo Alto, Oakland and Los Angeles along the West Coast. On their way back to New York they gave concerts in Denver, Kansas, Kansas City and Lindsborg (Liljas 2007, pp. 252-267 with further references; cf. Björling & Farkas 1996, pp. 38-42). From the proceeds of the US tour David Björling bought a car, an im- Illustration 1. Jussi, Olle and Gösta Björling. The picture was found in a program from the concert-tour in the province of Dalecarlia in 1916. 21
Page 1: Anne Sivuoja, Owe Ander, Ulla Britt
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