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

Performative elements and sources
259
Stadtkapelle in Tallinn was 150 silver roubles, although he had certain perks
as well; Vallaste 2008, p. 121). The model, as mentioned, was the première
in Dresden. Carl Marloff, who came to Tallinn from Darmstadt, sang Tannhäuser.
Nine players from the city ensemble (Stadtkapelle) augmented
the nine-member orchestra, and it is possible that amateur musicians and
members of the military band were also used, as was done in Riga (Pappel
1997).
The next time a Wagner opera was performed in Tallinn was in 1860
– again Tannhäuser, after the renovated building was opened. Lohengrin
was popular there (unlike in Riga and St. Petersburg), the first production
being in March 1883, only a month after Wagner’s death in Venice. His
operas were regularly staged after the season of 1882-83 – and every time
the theatre hired an opera company. 16 Lohengrin was usually sold out days
in advance (Revaler Beobachter [= RB], 2.03.1883). Der fliegende Holländer
was produced for the first time in 1894, and Die Meistersinger von Nürnberg
in 1901.
In the following I discuss some characteristic aspects of the productions of
Wagner’s operas in Tallinn between 1853 and 1902 (from the first production
until the fire).
I have already mentioned all that is known about the scenography and
direction: the model was the German première and according to Wagner’s
instruction. Thus the reviews of the 1901 Tallinn première of Die Meistersinger
von Nürnberg note that sets were painted in the style of the Munich
Court <strong>Opera</strong>.
Many reviewers only reported amusing anecdotal mistakes. At one time
Venusberg in Tannhäuser was too bleak (RZ, 19.11.1860), at another the
evening star offered a “somewhat unusual play of natural forces” 17 because
it was far too big compared with the other stars (RZ, 7.10.1895), and some
chorus members had the wrong costume on, and so on. Sometimes it was
difficult to follow Wagner’s remarks and directions. In the third act of Tannhäuser
Elisabeth was already lying in her coffin when the male chorus in
16 The theatre producer (Theaterdirektor) in Tallinn at this time (for 27 years, 1869-1896)
was the legendary Eduard Berent. His Tallinn opera company (with the successful
tenor David Grobé) planned to give guest performances in Finland, for example 29.03-
13.05.1883 in Wiborg with Die Jüdin, Faust, Tannhäuser, Lohengrin and Troubadour,
(Wiborgsbladet 27.11.1882, announcement).
17 “ein etwas ungewöhnliches Naturspiel, als er erheblich über die sonst bei den
Sternen übliche Größe hinausgewachsen war”.