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

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266 Kristel Pappel tournaments and practically it was one of the roles that were sung quite often... http.//www.karelburian.cz/english/reval.php>, 8.09.2012. This shows something about the life of an opera singer in those times: he found out only a couple of days in advance that he was to perform in a work belonging to the permanent repertoire, and in what role. It was a typical test for a new singer. Even though the words had slipped his mind, he could recall them quickly, and during the performance he could trust the prompter. Burian took private singing lessons for a short time before moving to the stage. He took major roles in Brno for a brief period until the theatre went bankrupt, and then he found a place in Tallinn City Theatre for a season. He learned to act by doing it, using colleagues as models. This leads on to the issue of singers’ acting skills, and the kind of corporeal presence and expression they could convey. Sources in Tallinn do not give any direct evidence. Thus, the next stage in the research would be to compare the guides to acting and performance reviews (if they exist) in other city theatres within the German nineteenth-century cultural space. Clemens Risi successfully analysed Wagner’s comments on a production of Der fliegende Holländer in Weimar, 26 comparing them with the acting tuition that was prevalent at the time (Risi 2011). The comments constituted a vision of the ideal based on what Wagner, who was an active theatregoer and also enjoyed drama, had seen. How was this ideal realised on stage? It would also be interesting to take a closer look at the contemporary criticism of operetta and drama productions at the Tallinn City Theatre. There is more information about the direction, and especially about the gestures of singers: opera singers sometimes performed in operetta. One can nevertheless draw some conclusions about elements of performance from the information in the Tallinn City Theatre archives. It gives a picture of the spatial and visual realisation of the productions, of the typical placing of the characters on the stage and of the painted sets (as well as other objects on stage such as tables and chairs). One can imagine (and in the case of Verdi’s Aida even reconstruct) the orchestra sound and instrumentation that were modified to accommodate the small number of musicians, as well as the mannerisms of the singers. Director’s copies and the libretti used by the prompter and the stage manager give a picture of the stage machinery and its use. 26 Wagner was in exile in Switzerland in 1852 when Liszt wanted to produce the opera in Weimar and asked for help.
As Gundula Kreuzer remarks: Performative elements and sources As a whole, then, operatic production inhabits a mixed mediality that hovers between the fixity of corporeal objects, the ideality of pre-planned visions, and the contingency of their performative fulfilment; like the constantly shape-shifting vapour, a staging veers between different physical conditions, between concretization and abstraction, and between transient perceptibility in performance and invisibility as concept. (2012, 207) 267 The music theatre historian consults the available sources in order to capture the ephemeral transition between the author’s vision and the stage realisation in certain social and theatrical conditions, as well as between the stage and the audience’s reception. Sources Textbooks used as director’s copies, posters: Estonian Theatre and Music Museum, Tallinn = TMM, fund T 187, register 1 Vocal scores: TMM, fund Mo 256: Verdi, Giuseppe [?]: Aida, text only in German, Milano: G. Ricordi and Ed. Bote & G. Bock: Berlin. Wagner, Richard [1898]: Die Meistersinger von Nürnberg, with text in German and Russian, Moskau: Peter Jürgenson. Theatre almanacs: Theater-Almanach des Stadt-Theaters in Reval 1891/1892. Revel: Petšatnja Estljandskago Gubernskago Pravlenija. Theater-Almanach des Stadt-Theaters in Reval 1901/1902. Revel: Petšatnja Estljandskago Gubernskago Pravlenija. Newspapers: Revalsche Zeitung 1860-1902 Revaler Beobachter 1883 Åbo Underrättelser, 24.08.1900 Uusi Suometar, 30.08.1900 Wiipurin Sanomat 21.10.00 Internet: Karel Burian, excerpts from Memoirs: http.//www.karelburian.cz/english/ reval.php>, 8.09.2012.
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Opera on the Move in the Nordic Countries during the Long 19th ...

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