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

More documents

Recommendations

Info

218 Joakim Tillman *** Abbreviations AB Aftonbladet DN Dagens Nyheter GHT Göteborgs Handels- och Sjöfartstidning GP Göteborgs-posten NDA Nya Dagligt Allehanda PIT Post- och Inrikes Tidningar SDS Sydsvenska Dagbladet Snällposten StD Stockholms Dagblad SvD Svenska Dagbladet VL Vårt Land Sources Die Meistersinger AB 4.4.87, A 9.4.87 DN B 2.4.87, 4.4.87, B 7.4.87, B 9.4.87 GHT B 6.4.87, B 16.4.87 NDA B 12.4.87 PIT 31.3.87, A 5.4.87 StD 31.3.87, E 3.4.87, 6.4.87 SvD 4.4.87, 9.4.87, 13.4.87 SDS M 29.3.87 VL 1.4.87, 2.4.87, 6.4.87 Die Walküre AB 8.11.87, 9.11.87, 13.11.95 DN 7.11.87, 9.11.87 GP 8.11.95 NDA 7.11.95, 8.11.95 PIT 8.11.95, 9.11.95, A 13.11.95, A 21.11.95 StD 8.11.95, 13.11.95 StT A 11.11.95 SvD A 11.11.95, 22.11.95 SDS K 11.11.95 VL 7.11.95, 8.11.95 Bibliography Breckbill, David 1992. “Wagner in Performance. Singing.” In The Wagner Compendium. A Guide to Wagner’s Life and Music, edited by Barry Millington. London: Thames and Hudson. Dahlhaus, Carl 1971: Wagners Konzeption des musikalischen Dramas. Regensburg: Bosse.
The introduction of Richard Wagner’s music dramas in Stockholm Deathridge, John and Carl Dahlhaus 1984: The New Grove Wagner. London: Macmillan. Gademan, Göran 1996: Realismen på <strong>Opera</strong>n. Regi, spelstil och iscensättningsprinciper på Kungliga teatern 1860-82. Stockholm: Stift. för utgivning av teatervetenskapliga studier. Diss. Stockholm : Univ. Grey, Thomas S. 1995: Wagner’s musical prose : texts and contexts. Cambridge: Cambridge Univ. Press. Johansson, Stefan 2002: ”Wagner on Swedish records – a musical archaeology.” Liner notes to Wagner in Stockholm. Recordings 1899-1970, Bluebell Compact Disc ABCD 091. Josephson, Magnus 1899: ”Andreas Halléns opera Valdemarsskatten.” Ord och Bild. Hedberg, Frans 1885: Svenska operasångare. Karakteristiker och porträtter. Stockholm: Fritz Hoffsten, Sune (1977-79): ”Leonard Labatt”. Svenskt biografiskt lexikon, bd. 22. Stockholm: Svenskt biografiskt lexikon. Knust, Martin 2011: ”’Klappern und wieder klappern! Die Leute glauben nur was gedruckt steht.’: Andréas Hallén’s letters to Hans Herrig : a contribution to the Swedish-German cultural contacts in the late nineteenth century.” Svensk tidskrift för musikforskning, vol. 93 Lindgren, Adolf 1881: Om Wagnerismen. Stockholm: Z. Hæggströms förlagsexp. Percy, Gösta 1936: Grunddragen av wagnerrörelsen i Sverige 1857-1884. Not published (copies available at Kungl. Biblioteket and Musik- och teaterbiblioteket). Peterson-Berger, Wilhelm 1943: Minnen. Uppsala. Salmi, Hannu 2005: Wagner and Wagnerism in nineteenth-century Sweden, Finland, and the Baltic provinces. Reception, enthusiasm, cult. Rochester, N.Y.: University of Rochester Press. Svenskt pressregister: förteckning över recensioner (konst, litteratur, musik, teater), skönlitterära bidrag, signerade artiklar. 2, 1886-1890. Lund: Avd. för pressforskning, Litteraturvetenskapliga institutionen, Univ.: 1969. Svenskt pressregister: förteckning över recensioner (konst, litteratur, musik, teater), skönlitterära bidrag, signerade artiklar. 4, 1895-1897. Lund: Avd. för pressforskning, Litteraturvetenskapliga institutionen, Univ.: 1985 Tegen, Martin 1961: “Tre svenska vikingaoperor.” Svensk tidskrift för musikforskning, vol. 43. Wagner, Richard 1903: Gesammelte Schriften und Dichtungen I-X. Leipzig: Siegel, 3. Aufl. Summary 219 There were several phases in the Swedish reception of Richard Wagner’s works. The first period was roughly between 1857 and 1884. It began with
Page 1:
Anne Sivuoja, Owe Ander, Ulla Britt
Page 5 and 6:
Contents Anne Sivuoja with Owe Ande
Page 7 and 8:
Introduction Anne Sivuoja with Owe
Page 9 and 10:
Introduction ity of vocal resources
Page 11 and 12:
*** Introduction Methodological tra
Page 13 and 14:
Introduction Broman-Kananen, Ulla-B
Page 15:
Voices
Page 18 and 19:
18 Juvas Marianne Liljas such young
Page 20 and 21:
20 Juvas Marianne Liljas it a usefu
Page 22 and 23:
22 Juvas Marianne Liljas portant in
Page 24 and 25:
24 Juvas Marianne Liljas pany, New
Page 26 and 27:
26 Juvas Marianne Liljas given free
Page 28 and 29:
28 Juvas Marianne Liljas the histor
Page 30 and 31:
30 Juvas Marianne Liljas Consequent
Page 32 and 33:
32 Juvas Marianne Liljas Illustrati
Page 34 and 35:
34 Juvas Marianne Liljas tive the B
Page 36 and 37:
Page 38 and 39:
38 Juvas Marianne Liljas but during
Page 40 and 41:
40 Juvas Marianne Liljas pedagogue
Page 42 and 43:
Page 44 and 45:
44 Juvas Marianne Liljas institutio
Page 46 and 47:
46 Juvas Marianne Liljas Jussi Bjö
Page 48 and 49:
48 Juvas Marianne Liljas ämnesdida
Page 50 and 51:
50 Formed to Perform Educating Stud
Page 52 and 53:
52 Marianne Tråvén most of them w
Page 54 and 55:
54 Marianne Tråvén Piccini left v
Page 56 and 57:
56 Marianne Tråvén of Monvel. The
Page 58 and 59:
58 Marianne Tråvén 1816 the singi
Page 60 and 61:
60 Marianne Tråvén holm 1851), M
Page 62 and 63:
62 Marianne Tråvén Georg Joseph V
Page 64 and 65:
64 Marianne Tråvén on him transfe
Page 66 and 67:
66 Marianne Tråvén techniques of
Page 68 and 69:
68 Marianne Tråvén approach using
Page 70 and 71:
70 Marianne Tråvén Solfeggi Stiel
Page 72 and 73:
72 Marianne Tråvén whereas in fal
Page 74 and 75:
74 Marianne Tråvén the singer onl
Page 76 and 77:
76 Marianne Tråvén From this we c
Page 78 and 79:
78 Marianne Tråvén Conclusion The
Page 80 and 81:
80 Marianne Tråvén Apel, Willi (e
Page 82 and 83:
82 Marianne Tråvén Traini, Carlo
Page 84 and 85:
84 Ingela Tägil tria and England d
Page 86 and 87:
86 Ingela Tägil play through her l
Page 88 and 89:
88 Ingela Tägil Another strange is
Page 90 and 91:
90 Ingela Tägil in boarding houses
Page 92 and 93:
92 Ingela Tägil Published referenc
Page 95 and 96:
Music at the Royal Swedish
Page 97 and 98:
Page 99 and 100:
Page 101 and 102:
Page 103 and 104:
Page 105 and 106:
Page 107 and 108:
Page 109 and 110:
Page 111 and 112:
Page 113 and 114:
Page 115 and 116:
Page 117 and 118:
Page 119 and 120:
A Nordic outlook Music at the Royal
Page 121 and 122:
Page 123 and 124:
Page 125 and 126:
Two Operas or One
Page 127 and 128:
Two Operas or One
Page 129 and 130:
Two Operas or One
Page 131 and 132:
Two Operas or One
Page 133 and 134:
Two Operas or One
Page 135 and 136:
Two Operas or One
Page 137 and 138:
Two Operas or One
Page 139 and 140:
Two Operas or One
Page 141 and 142:
Two Operas or One
Page 143 and 144:
Two Operas or One
Page 145 and 146:
Two Operas or One
Page 147 and 148:
Two Operas or One
Page 149 and 150:
Two Operas or One
Page 151 and 152:
Two Operas or One
Page 153 and 154:
Two Operas or One
Page 155 and 156:
Staging a national language <strong
Page 157 and 158:
Staging a national language 157 is
Page 159 and 160:
Staging a national language Vernacu
Page 161 and 162:
Staging a national language 161 dou
Page 163 and 164:
Staging a national language 163 In
Page 165 and 166:
Staging a national language 165 tia
Page 167 and 168: Staging a national language 167 Kos
Page 169 and 170: Staging a national language 169 Emm
Page 171 and 172: Staging a national language 171 Roy
Page 173 and 174: Staging a national language 173 and
Page 175 and 176: Staging a national language 175 The
Page 181 and 182: Staging a national language 181 sur
Page 183 and 184: Staging a national language 183 new
Page 187 and 188: Staging a national language 187 Ark
Page 189 and 190: Maria Grape’s correspondence, Nr
Page 191: Staging a national language Qvarnst
Page 195 and 196: The introduction of Richard Wagner
Page 217: The introduction of Richard Wagner
Page 221 and 222: Rachel the Jewess in Copenhagen Jen
Page 223 and 224: Rachel the Jewess in Copenhagen 223
Page 227 and 228: Rachel the Jewess in Copenhagen fie
Page 229 and 230: Rachel the Jewess in Copenhagen Ill
Page 231 and 232: Excursus I: Who is Jewish? Rachel t
Page 245 and 246: Rachel the Jewess in Copenhagen lit
Page 247 and 248: Rachel the Jewess in Copenhagen Run
Page 251 and 252: Performative elements and sources h
Page 253 and 254: Performative elements and sources 2
Page 267 and 268: As Gundula Kreuzer remarks: Perform
Page 269 and 270:
Performative elements and sources P
Page 271 and 272:
Gendered agendas and the representa
Page 273 and 274:
Page 275 and 276:
Page 277 and 278:
Page 279 and 280:
Page 281 and 282:
Example 1. Helena Munktell, In Flor
Page 283 and 284:
Page 285 and 286:
Page 287 and 288:
Page 289 and 290:
Page 291 and 292:
Page 293 and 294:
Page 295 and 296:
Page 297 and 298:
Nya Dagligt Allehanda (Stockholm) N
show all

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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?