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

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268 Kristel Pappel Andreas Roller, http:www.mariinsky.ru/lib/opera/repertoire/forza, 6.02.2010. References Carnegy, Patrick 2006: Wagner and the Art of the Theatre, New Haven and London: Yale University Press. Gerhartz, Leo Karl 1997: “Verdi: Ernani”, in: Dahlhaus, Carl & Forschungsinstitut für Musiktheater der Universität Bayreuth unter Leitung von Sieghart Döhring (eds.), in: Pipers Enzyklopädie des Musiktheaters, vol. 6, München/Zürich: Piper, pp. 397-401. Fischer-Lichte, Erika 1994: “Theatre Historiography and Performance Analysis: Different Fields – Common Approaches?”, in : Assaph. Studies in the Theatre, no. 10, pp. 99-112. Gadamer, Hans Georg 1996: Truth and Method [2nd rev. ed., Joel Weinheimer & Donald Marshall (transl.], New York: Continuum (Wahrheit und Methode, 1960). Kreuzer, Gundula 2012: “Wagner-Dampf”: Steam in Der Ring des Nibelungen and <strong>Opera</strong>tic Production”, in: The <strong>Opera</strong> Quaterly, Spring-Summer 2011, vol. 27, no. 2-3, pp. 179-218. Kreuzer, Gundula & Risi, Clemens 2012: “A Note from the Guest Editors”, in: The <strong>Opera</strong> Quaterly, Spring-Summer 2011, vol. 27, no. 2-3, pp. 149- 152. Langer, Arne 1997: Der Regisseur und die Aufzeichnungspraxis der Opernregie im 19. Jahrhundert, Perspektiven der Opernforschung, vol. 4, Frankfurt a. M. et al.: Peter Lang. Levin, David J. 2007: Unsettling <strong>Opera</strong>. Staging Mozart, Verdi, Wagner, and Zemlinsky, Chicago & London: University of Chicago Press. Mösch, Stephan 2009: Weihe, Werkstatt, Wirklichkeit. Parsifal in Bayreuth 1882-1893, Kassel: Bärenreiter; Stuttgart/Weimar: Metzler. Pappel, Kristel 1997: “Die ersten Aufführungen von Richard Wagners Opern im Revaler (Tallinner) Theater”, in: L. A. Kitching (ed.), Das deutschprachige Theater im baltischen Raum 1630–1918, Thalia Germanica, vol. 1, Frankfurt a. M.: Peter Lang, pp. 139-144. 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. Pappel, Kristel 2003: Ooper Tallinnas 19. sajandil [<strong>Opera</strong> in Tallinn in the nineteenthth century], Eesti Muusikaakadeemia Väitekirjad, vol. 1, Tallinn: Eesti Muusikaakadeemia [including a resumé in German, pp. 168-185]. Pappel, Kristel 2003: “Verdi an einem deutschen Stadttheater im Baltikum; Aufführungspraxis und Rezeption in Reval/Tallinn”, in: Žiuraityt, Audrone & Koch, Klaus-Peter (eds.), Deutsch-Baltische Musikbeziehungen: Geschichte – Gegenwart – Zukunft, Sinzig: Studio, pp. 209-221.
Performative elements and sources Pappel, Kristel 2009: „National Identity Embedded in an International Art Form: The Role of <strong>Opera</strong> in Estonian Culture“, in: Maanen, Hans van, Kotte, Andreas & Saro, Anneli (eds.), Global Changes -- Local Stages, Amsterdam, New York: Rodopi, pp. 125-145. Risi, Clemens 2011: “Die Gesten des Holländers 1852 und heute. Macht und Ohnmacht szenischer Vorschriften bei Richard Wagner”, in: Brüstle, Christa & Risi, Clemens & Schwarz, Stephanie (eds.), Macht Ohnmacht Zufall. Spannungsfelder der Aufführungspraxis, Interpretation und Rezeption im Musiktheater des 19. Jahrhunderts und der Gegenwart. Berlin: Theater der Zeit, pp. 154-172. Salmi. Hannu 2005: Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces. Reception, Enthusiasm, Cult, Eastman Studies in Music, vol. 34, Rochester: University of Rochester. Vallaste, Triin 2008: ”August Krüger ja Linnakapell Tallinna muusikaelus 19. sajandi teisel poolel”, in: Lippus, Urve (ed.), 19. sajandi muusikaelu Eestis [The Musical Life in Estonia of the 19th Century], Eesti Muusikaloo Toimetised 9, Tallinn: Eesti Muusika- ja Teatriakadeemia, pp. 98-162. Wagner, Richard [1911]: „Das Kunstwerk der Zukunft“, in: Sämtliche Schriften und Dichtungen, vol. 3, Leipzig: Breitkopf ja Härtel. Summary 269 Research on music theatre has evolved rapidly in recent decades and the performative side of an opera production has come into the limelight, enabling operatic staging to be analysed as an independent artefact. A complicated network of relations is built between the score, in other words the music, the texts, and the remarks – and the staged realisation. It is the latter that has been the focus of recent research based on performance analysis. Stage realisation, however, must be analysed in a concrete context. It is impossible to reconstruct a past opera performance, but it is possible to re-construct it and the various elements on the basis of the context, the attitudes of the time, and sources. The research object investigated in this article comprises opera performances at the Tallinn/Reval City Theatre of the nineteenth century, focusing on interpretations of both Wagner’s and Verdi’s operas in the period between 1853 (since the first production of a Wagner opera) until the fire at the theatre in 1902. The theatre system in German-dominated Baltic governments was modelled on the German city theatre (Stadttheater). The music theatre in Tallinn was part of the European (German-speaking) theatre network.
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