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

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248 Jens Hesselager Rossen, Jane Mink and Uri Sharvit 2006: A Fusion of Traditions: Liturgical music in the Copenhagen Synagogue, Odense: University Press of Southern Denmark. Sandfeld, Gunnar 1971: Komedianter og skuespillere. Dansk teaterliv uden for hovedstaden o. 1790-o. 1870, Ringkøbing: Nyt Nordisk Forlag – Arnold Busk. Schepelern, Gerhard 1976: Italienerne paa Hofteateret, 2 vols. København: Selskabet for Dansk Teaterhistorie og Rhodos. Schepelern, Gerhard 1989: Giuseppe Siboni, sangeren - syngemesteren, et afsnit af operaens historie ude og hjemme hovedsagelig paa grundlag af hidtil ubenyttede trykte og utrykte kilder, 2 vols. Valby: Amadeus. Schepelern, Gerhard 1995: <strong>Opera</strong>ens historie i Danmark, 1634-1975, København: Munksgaard/Rosinante. Schwarz Lausten, Martin 2005: Frie jøder? Forholdet mellem kristne og jøder I Danmark fra Frihedsbrevet 1814 til Grundloven 1849, København: Forlaget Anis. Thrane, Carl 1901: Ceciliaforeningen og dens Stifter: En fremstilling i Anledning af Foreningens halvhundredeaarige Bestaaen, København: C.A. Reitzel. Tudvad, Peter 2010: Stadier på antisemitismens vej. Søren Kirkegaard og jøderne, København: Rosinante. Wagner, Richard 1850/1869: “Das Judenthum in der Musik”, Neue Zeitschrift für Musik, 3 September 1850, pp. 101-107 and 6 September 1850, pp.109- 112. Page references in the text refer to this online-version of Wagner’s essay: http://de.wikisource.org/wiki/Das_Judenthum_in_der_Musik_ (1869) Summary This chapter examines the performances of Pauline Rung (née Lichtenstein) in the role of Rachel in Halévy’s opera La juive in Denmark in 1838 and 1842. It seeks to understand these performances in relation to their contemporary context in several respects. First of all, the performances are considered in relation to the local critical discourse on operatic performances at the Royal Theatre in Copenhagen in general – a context which, in 1842, involved the phenomenon of a competing and quite successful Italian opera company at the nearby Court Theatre. This situation generated a general trend of positioning “southern” and “Nordic” qualities vis-à-vis one another. The contemporary appreciation of certain “southern” qualities in Rung’s performances is interpreted in relation to this critical discourse, as well as in relation to the “Jewishness” of the character of Rachel. Consequently, the contextualisation of Rung’s performances here involves
Rachel the Jewess in Copenhagen 249 investigating the implications of “Jewishness” in Copenhagen at this time and of the ways in which the sound of Rung’s vocal performances may have served to define Rachel as an example of the literary stereotype of the “beautiful Jewess”. Finally, the contextualisation includes an investigation of Rung’s biography, both with respect to her professional career as a singer and the possibility that her father might have been of Jewish birth. Since the performances in 1838 over-exerted the voice of the young Pauline Lichtenstein (as she was then called), her voice, as it gradually recovered, seems to have been characterised by a rather lower compass. The performance material used by the Royal Theatre in the nineteenth century, preserved in the archives of the Royal Library in Copenhagen, suggest that several passages in La juive, particularly those containing passionate outbursts, were altered at some point, probably in 1842, in order to accommodate a voice having problems performing pitches higher than f2 or g2 (approximately). This tendency towards a lower-sounding voice can also be observed in a concert given by Rung early in 1842, in which the voice was associated with a more bizarre brand of exoticism (a song in which she sings the character of a witch). The author concludes that the vocal rendition of Pauline Lichtenstein as the “beautiful Jewess” in 1842 was probably the sound of a relatively low voice, as compared to the type of soprano for which the part was originally written, and a sound associated with certain “southern” and “exotic” qualities, although these seem to have been balanced against other qualities perceived as more “Nordic”. The tendency to associate Pauline Rung’s performances with “Nordic” qualities apparently increased in the latter part of her career.
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Opera on the Move in the Nordic Countries during the Long 19th ...

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