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

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Rachel <strong>the</strong> Jewess <strong>in</strong> Copenhagen<br />

Illustrati<strong>on</strong> 2. Detail from Rachel’s part <strong>in</strong> <strong>the</strong> Royal Theatre’s rehearsal material for<br />

Jød<strong>in</strong>den. The Royal Library, Copenhagen.<br />

239<br />

pretended to be so <strong>in</strong> order to get close to Rachel. At this, she exclaims,<br />

shocked: “What have I heard?” (“Hvad har jeg hørt?”)<br />

In <strong>the</strong> rehearsal material used <strong>in</strong> c<strong>on</strong>necti<strong>on</strong> with <strong>the</strong> Danish performances<br />

of Jød<strong>in</strong>den <strong>in</strong> <strong>the</strong> n<strong>in</strong>eteenth century, it appears that <strong>the</strong> melodic l<strong>in</strong>e<br />

sung by Rachel at this po<strong>in</strong>t – as <strong>in</strong> many similar passages – has been altered<br />

slightly. The orig<strong>in</strong>al’s c’’-c’’-c’’-a’’, <strong>in</strong> which <strong>the</strong> last syllable is sung <strong>on</strong> a<br />

ra<strong>the</strong>r high note (a musical gesture somewhat rem<strong>in</strong>iscent of Le<strong>on</strong>ore’s<br />

melodramatic disclosure “Ich b<strong>in</strong> se<strong>in</strong> Weib!” <strong>in</strong> <strong>the</strong> f<strong>in</strong>ale of Beethoven’s<br />

Fidelio), has been crossed out and a few alternative versi<strong>on</strong>s suggested below.<br />

The lowest versi<strong>on</strong> reads: a’-a’-a’-c’’. On <strong>the</strong> staff below, a f<strong>in</strong>al opti<strong>on</strong><br />

seems to have been decided up<strong>on</strong>: c’’-c’’-c’’-e’’ (to be read, no doubt, <strong>in</strong> <strong>the</strong><br />

soprano C clef of <strong>the</strong> upper staff, ra<strong>the</strong>r than <strong>the</strong> bass clef of <strong>the</strong> lower staff<br />

<strong>on</strong> which it is actually notated; see Illustrati<strong>on</strong> 2).<br />

While this material was used by several performers dur<strong>in</strong>g <strong>the</strong> n<strong>in</strong>eteenth<br />

century and even at a performance as late as 1929, it seems possible<br />

– even likely, I th<strong>in</strong>k – that <strong>the</strong>se alternatives were notated by Henrik Rung<br />

<strong>in</strong> 1842. Accord<strong>in</strong>g to Sophie Keller, Paul<strong>in</strong>e Lichtenste<strong>in</strong> started her voice<br />

less<strong>on</strong>s with Henrik Rung <strong>in</strong> 1840. At that po<strong>in</strong>t his judgement of her voice<br />

was that it had been over-exerted: she had, apparently “sung <strong>on</strong> her talent”<br />

(“sunget på talentet”), but lacked careful, systematic tra<strong>in</strong><strong>in</strong>g (Keller<br />

1918, 19). Recently returned from a stay <strong>in</strong> Italy and Paris dur<strong>in</strong>g which he<br />

had apparently picked up many modern ideas about voice tra<strong>in</strong><strong>in</strong>g, 31 Henrik<br />

31 In Rome Rung had been taught by Girolamo Ricci – accord<strong>in</strong>g to Thrane <strong>on</strong>e of<br />

Rome’s best s<strong>in</strong>g<strong>in</strong>g teachers at <strong>the</strong> time (Thrane 1901, 47). In Paris he avidly studied<br />

<strong>the</strong> styles and performances of <strong>the</strong> famous s<strong>in</strong>gers at <strong>the</strong> Théâtre-Italien: Rub<strong>in</strong>i,

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