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

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24 Juvas Marianne Liljas pany, New York in 1920 (Henrysson 1993, pp. 159-150, 74-76; Day 2000, p. 220; cf. Liljas 2007, pp. 355-360). The recordings are a contemporary document reflecting two significant factors: the technical developments in sound recording that made them possible and the renown that lay behind them. They were a status symbol and a means of spreading the word about the singing talent of the Björling children in parallel with their concerts. They could also be sold at the performances, thereby enhancing the status of the concerts. The significance of the gramophone as a technical innovation relates to the popular music of the time and its spread to the general public (Day 2000). It exposed the prodigies to a wider audience and become an artefact of sound production in intimate home settings. The recordings also document a phase in the children’s vocal development. From a scientific perspective they facilitated David Björling’s theoretical introduction of his children’s voice ideal and could be compared with an auditory product. 10 On account of their success there is a real archive of reviews in both Sweden and the USA. Those of the quartet’s US concert performances have a special value in that they bring an international perspective to David Björling’s pedagogy beyond contemporary judgements, enabling comparison of opinions about him as a teacher and reactions to his sons’ singing technique between the US and Swedish reviews. 11 At the same time the reviews provide proof of how David Björling was perceived and valued as a pedagogue. David Björling’s musical education David Björling’s vocal identity was a product of the religious revival that occurred in Sweden and Finland during the 1880s. The vocal model was probably his father – the blacksmith Lars Björn (1842-1909) - who loved to use his magnificent voice at the Sunday church services. His mother, Henrika Mathilda Lönnqvist (1844-1918) from Pori in Finland, was deeply religious and expressed her faith through her singing (Björling & Farkas 1996, p. 30). The Björling family was a singing family with renowned vocal talents. During the period they spent at Solla bruk (Fredriksberg) in Finland the Björling parents and their six children are said to have built “their own church choir” (Björling-Kärn 1990; Björling & Farkas 1996, p. 32). 10 For an analysis of the recordings and the children’s voices cf. Liljas 2007, pp. 360- 370. 11 See Liljas 2007 for a comparison between Swedish and foreign reviews. For more details see pp. 370-395.
The Björling ‘<strong>Opera</strong>’ Illustration 3. Karl David Björling (1873-1926), studio photo from McElliot, Chicago. David Björling emigrated to America in his early youth. The road to his discovery and acceptance at the Metropolitan <strong>Opera</strong> School in New York was remarkable. Earning his livelihood by boxing and singing in the saloons in New York harbour, he was discovered by an influential person who persuaded him to attend the annual auditions at the school. In spite of the rigorous admission test and without the prescribed repertoire the jury accepted him (Björling Kärn 1995; Såningsmannen 6/7 1983). 12 During his years of study he had the opportunity to perform with Enrico Caruso (1873-1921), for example. 13 Caruso’s manner of singing strongly influenced the young Björling, who also claimed to have had singing lessons from the great man (Liljas 2007, pp. 208-211, with further references). Under the protection of the Swedish diplomat Count Hans Joachim Beck-Friis (1861-1939), David Björling continued his studies at the Music Conservatory in Vienna in 1907. 14 The Count demands free tickets for his protégé in a letter sent from the Swedish legation to the director of the Court <strong>Opera</strong> in Vienna. Mr Björling, a young talented Swede with a remarkable tenor voice, who has been accepted at the Vienna Conservatory, earnestly desires to be 12 The information is based partly on Olle Björling’s statement in Såningsmannen 6/7 1983. Sign. B.H. 13 A Metropolitan <strong>Opera</strong> House programme from 15 February 1906 states that David Björling was in the same performance as Enrico Caruso, as were the well-known coloratura sopranos Marcella Sembrick and Emma Eames. Cf. Liljas 2007, p. 210-211. 14 Sources on David Björling’s studies in Vienna refer to a scholarship from the Swedish King Oscar II, but the information is contradictory and has not been verified (cf. Liljas 2007, pp.211-212 with further references). 25
Page 1: Anne Sivuoja, Owe Ander, Ulla Britt
Page 5 and 6: Contents Anne Sivuoja with Owe Ande
Page 7 and 8: Introduction Anne Sivuoja with Owe
Page 9 and 10: Introduction ity of vocal resources
Page 11 and 12: *** Introduction Methodological tra
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