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

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228 Jens Hesselager quite simply because Pauline Rung was not in fact Jewish – not officially, in any case. However, the story of her life and of her possible Jewish and/or Christian identity is somewhat complicated. In the biographical sketch published by Rung’s daughter, Sophie Keller (née Rung, 1850-1929), published in 1918, no mention is made of the possibility that Pauline Rung might be Jewish (Keller 1918). Pauline Charlotte Frederikke Lichtenstein, we learn from the sketch, was born in Berlin on 21 July 1818 from whence her family at some point moved to Gothenburg in Sweden. There her father died tragically in a work-related accident when Pauline was eight. When the rest of the family moved back to Berlin, Pauline stayed behind, taken care of by the German actor Carl Becker and his family, who ran a travelling theatre company which performed primarily in Sweden, Denmark and northern Germany. Eventually, Pauline too took part in the performances and became much admired, both for her attractive looks and her beautiful singing voice. Amongst her most important roles was Hulda in the popular Das Donauweibchen: Volksmärchen mit Gesang – a role that demanded metamorphosing her way through a number of guises (an old mother, a Savoyard, a mermaid queen, etc.) (Keller 1918, 9-11; Hensel 1798, 1). Another role for which she attracted special attention was the title role in Carl Maria von Weber’s Preciosa, in which she starred as the beautiful gypsy girl. In other words, it seems that somewhat exotic qualities tended to be associated with her professional persona already at this early stage of her career or that she gave such roles with particular success. While it may not be possible to determine for which theatrical role Pauline Rung’s exotic attire in this portrait is intended, it does lend some credibility to Thomas Overskou’s description, some twelve years earlier, of her “beautiful, southern exterior”. 1818: The Baptism Presumably, Sophie Keller would have mentioned that her mother was Jewish if this was in fact the case. The only detail that might imply her Jewish heritage is a brief comment about the wedding between Pauline and Henrik Rung on 30 October 1841 –a “quiet” wedding owing to the circumstance community who had spent the years since 1838 in silence, metaphorically crying by the rivers of Babylon – an implication that may or may not have been intended as a subtle suggestion that Royal Theatre audiences tended to consist of liberals who sympathised with the culture of the French July monarchy, of which Halévy’s La juive, of course, was a product.
Rachel the Jewess in Copenhagen Illustration 1. Julius Magnus Petersen: Pauline Rung in costume, 1850. The Royal Library, Copenhagen 229
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Nya Dagligt Allehanda (Stockholm) N
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Opera on the Move in the Nordic Countries during the Long 19th ...

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