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

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252 Kristel Pappel The theatre system in the German-dominated Baltic governments – Estonia (capital Reval/Tallinn), Livonia (Riga) and Courland (Mitau/Jelgava) 2 – was modelled on the German city theatre (Stadttheater), which had evolved in Germany at the turn of the eighteenth and nineteenth centuries when travelling companies became settled in one place and the social status of actors improved. The theatre building in which dramas and operas were staged belonged to the city or a theatre society (a corporation of theatregoing citizens), at first involving one theatre company with two or three acceptable singers before companies specialising in drama or opera evolved. 3 Unlike the court theatres in which Italian opera companies and French dramatic actors performed, the city theatres served a German audience, and all performances of Italian, French and Russian operas, for example, were in the dominant local language, which was German. This kind of theatre system emerged in German-dominated Estonia at the end of the eighteenth century, at first with combined theatre companies. 4 It was only in the second half of the nineteenth century that the Tallinn City Theatre (Revaler Stadttheater), functioning as a multi-genre institution, hired an opera company. Theatre conditions in Tallinn in the nineteenth century The theatre built in the classic style at the beginning of one of the city’s arterial streets (called Lai – Broad) near the aristocratic Toompea (Cathedral Hill) opened in 1809 and was in use until the Great Fire of 1902. Even though it almost burned down in 1855, it was restored and modernised, and re-opened opened in 1860. 5 It was now possible to heat the auditorium, for 2 During the nineteenth century, present-day Estonia and Latvia were divided among these three governments or provinces. Present-day Estonia includes both nineteenthcentury Estonia and the northern part of Livonia, and Latvia includes Courland and the southern part of Livonia. 3 The most heavily subsided theatres in the Russian Empire were the court operas in St Petersburg and Moscow (the Bolshoi), and there was a strong separation between opera and drama (Pappel 2009, pp. 127-128). Here it is worth noting that it became a tradition in nineteenth-century Europe (except in the court theatres) to perform operas in the locally dominant language: German for Verdi’s operas in Germany and Italian for Wagner’s operas in Italy, for example. 4 For more on this see Pappel, Kristel 1998: Von der Wandertruppe zum ständigen Theater. Schwierigkeiten des Übergangs im Tallinner (Revaler) Musiktheater 1795– 1809, in: Loos, Helmut & Möller, Eberhard (eds), Musikgeschichte in Mittel- und Osteuropa. Mitteilungen der internationalen Arbeitsgemeinschaft an der Technischen Universität Chemnitz, Heft 3, Chemnitz: Gudrun Schröder Verlag, pp. 3–13.
Performative elements and sources 253 example, which made a cloakroom necessary (Revalsche Zeitung [=RZ], 3.09.1860, Extrablatt 6 ). Sets were kept in the attic and they could now be painted in a large room specially adapted for the purpose. The major innovation, however, was gaslight, which became a common feature in German theatres in the 1860s (Langer 1997, p. 101). Coloured taffeta screens made it possible to produce red, yellow, blue and green light on stage. Copper plate was used to produce total darkness (“Nacht” – “night”). Gaslight also allowed the auditorium to be darkened (electricity was in permanent use in the Tallinn City Theatre as from 1900; Pappel 2003, 145). Stage machinery was also novel, and was specially designed by Professor Andreas Roller, one of the leading specialists in the field and scenic designer and stage engineer of St. Petersburg Imperial Theatres. 7 Many renovations followed, in 1869-1870 (RZ, 13.08.1869; RZ, 2.09.1870) and 1901 (Theater-Almanach 1901/1902). The auditorium seated 900 people, and in addition to the stalls (Parquet) and grand circle (Parterre) there were boxes, a balcony and a gallery (Theater-Almanach 1891/1892; Pappel 2003, 40). 8 The orchestra pit accommodated 24 musicians, but was expanded at the end of the century to accommodate more than 30. Most of the scenery was painted the nineteenth century, but the addition of furniture and other requisites was new: staircases were built if needed. Audience members and critics noted the precision of the painting. Given the limited space for making and storing sets, and for financial reasons, old sets were used in various combinations. A totally new set was a major event that was publicly announced. 5 For more on this see Pappel, Kristel 2003: Ooper Tallinnas 19. sajandil [<strong>Opera</strong> in Tallinn in the nineteenth century], Eesti Muusikaakadeemia Väitekirjad, vol. 1, Tallinn: Eesti Muusikaakadeemia [including a resumé in German, pp. 168-185]. 6 According to the Julian calendar, used in the Russian Empire: in the Gregorian calendar it would be 15.09.1860. 7 Andreas Roller (1805-1891) was invited to St. Petersburg in 1834 so that he could update the stage machinery and the sets of the imperial theatres. He designed the scenery and invented the stage effects for the premier of Verdi’s La forza del destino in 1862. The composer admired his work. See: http:www.mariinsky.ru/lib/opera/ repertoire/forza, 6.02.2010. 8 In 1860 a special entrance was provided for the gallery audience so that they would not mingle with the more refined levels of society (3.09.1860, Extrablatt).
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Opera on the Move in the Nordic Countries during the Long 19th ...

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