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

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240 Jens Hesselager Rung embarked on a strategy of cautious, gradual and systematic training of Pauline’s voice. Interestingly, a manuscript of singing exercises written by Henrik Rung, which presumably dates from around this time, contains among many other things a number of short phrases with many alternative texts written underneath (Rung n.d.). The phrases often suggest rather “passionate” outbursts as shown in Illustration 3, where the words abbandono, assasino, and so on are to be sung on the pitches g’-g’-(d’’)-c’’. Significantly, all the exercises of this type are in a relatively low register (mostly between c’ and c’’). None goes beyond f’’. A similar tendency seems to be generally detectable in the original rehearsal material for the part of Rachel in Jødinden. Short dramatic statements which in Halévy’s original often end on rather high notes (higher than f’’) are altered, presumably so that they can be sung in a lower register. Another example appears shortly before Leopold/Samuel reveals his true identity in Act II. Here in the original Rachel sings the name “Samuel!” on a repeated ab’’’, fortissimo. The alteration changes this into a descending diminished triad, f’’-d’’-b’ (Illustration 4). It would seem logical that such alterations stem from 1842 as part of a general strategy of accommodating Pauline Rung’s voice problems and show care that she not over-exert her voice again. At the same time, it would seem that the use of a relatively low register for short, strong, passionate outbursts was also calculated to produce a specifically “exotic” dramatic effect. That this was the case, may be confirmed, I think, by considering a concert which took place at the Court Theatre on 12 February 1842, only Illustration 3. Detail from Henrik Rung: Sangøvelser (n.d.). The Royal Library, Copenhagen. Tamburini, Lablache, Grisi, Persiani and the young Pauline Garcia (Thrane 1901, 55- 56). It may be added that Henrik Rung’s large collection of musical materials, now in the Royal Library in Copenhagen, contains a copy of a first edition of Manuel Garcia’s Ecole de Chant, vol. 1, from 1840, and a copy of Nicola Vaccaj’s Metodo pratico de cant, first published in 1832. Concerning Rung and his collection, see also (Bergsagel 2004).
Rachel the Jewess in Copenhagen Illustration 4. Detail from Rachel’s part in the Royal Theatre’s rehearsal material for Jødinden. The Royal Library, Copenhagen. 241 two weeks before the re-staging of Jødinden. The performance was repeated on 1 March, and while the venue may have been associated with the Italians at this point, it was not, after all, reserved especially for them. The concert was announced as a concert “by Mad[ame] Rung”. The rather lengthy programme, printed in full in the newspaper Fædrelandet on 31 February, was divided into three parts, each of which was introduced by a solo performance by Pauline Rung. The rest of the programme consisted of solo performances, duets or ensembles featuring other singers of the Royal Theatre. The whole thing was led by Henrik Rung. Apart from her three solos Pauline Rung was to participate in three operatic ensembles (two by Mercadante and one by Donizetti), a Notturno (a quintet) by Bonifazio Asioli and a sextet composed by Henrik Rung. A rather strong emphasis, in other words, was on showing how the whole opera company at the Royal Theatre could perform together (this being generally commented on as a weak point of Rossi’s company) and also apparently demonstrating the allegedly brilliant effect of Pauline Rung’s contribution to such ensembles. A marked preference for relatively simple, beautiful slow movements is evident: andantes, largos and andantinos prevail over fast and virtuosic tempi. The three solo songs performed by Pauline Rung at this concert are also remarkably simple and devoid of high notes and vir-
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Contents Anne Sivuoja with Owe Ande
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Introduction Anne Sivuoja with Owe
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Introduction ity of vocal resources
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Opera on the Move in the Nordic Countries during the Long 19th ...

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