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

Rachel the Jewess in Copenhagen
fied; they all became southerners, the holy spirit of the tones descended
upon them and one heard that they could speak in tongues. 11
227
Given Overskou’s critical view of what he perceived as the audience’s exaggerated
and fragmented focus on the achievements of individual singers in
Rossi’s company in 1841-42, it is interesting to observe here that the positive
appraisal of Pauline Lichtenstein’s performance concerns not only her
own singing, but also the effect she had on her colleagues and their collective
achievements in ensemble scenes. It is as if a “southern” quality (the
enthusiasm, the emotional absorption, the “magical” transformative power
of the experience on the audience) is presented without a negative side attached
to it (the individualism, the isolated effect unrelated to the whole).
The sense of enthusiasm amongst the audience was not the only quality
of the 1838 performances to be perceived as “southern”, however. Even
before she started singing, Overskou observed, she attracted attention for
her
[…] beautiful, southern exterior; an attractive, full-bodied figure, noble
features, dark, fiery eyes, with a lively expression of both passion and
quiet melancholy, black hair and a virtuous posture, which, in combination
with the soft movements of her arms characterised her entire being
as one of pure virginity. 12
The 1830s: With the Beckers
For some reason, however, Pauline Lichtenstein’s “southern” looks never
seem to have been explicitly identified as Jewish. It may well be, of course,
that the 1842 review in Berlingske Tidende was intended to be read as a
suggestion that Madame Rung was herself a “daughter of Zion”, but the formulation
seems deliberately conceited, ambiguous. 13 Why? Well, probably
11 ”Det er forbausende hvor hun har virket ind paa sine to Medspillende Sahlertz og
Schwartsen; anden Acts Finale, hvor de tre synge, henrev Alle og jeg troede at være i
Paris; de spillede alle tre, og sang saa Taarene stod mig i Øinene; Publicum selv blev
som elektriserede, de bleve alle Sydboer, Tonernes hellig Aand kom over dem og man
hørte de havde Tungemaal.” (Andersen, Letters, 28 May 1838)
12 ”[…] skønne, sydlandske Udvortes: en smuk, frodig Figur, ædel Ansigtsform, mørke,
ildfulde Øine, der havde et levende Udtryk for baade Lidenskabelighed og stille Veemod,
sort Haar og en tækkelig Holdning, som i Forening med de bløde Armbevægelser gav
hendes hele Væsen Præget af reen Jomfruelighed.” (Overskou 1864, 334)
13 Indeed, if “daughter of Zion” were to be understood literally, then the general
audience at the Royal Theatre would also, by analogy, have to be identified as a Jewish