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

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26 Juvas Marianne Liljas given free entrance now and then to performances at the Théatre Imperial and the Royal <strong>Opera</strong>. 15 Vienna was where David Björling received his broad musical training. He studied, among other subjects, piano playing, choral singing (Chorschule) and Italian. According to the Conservatory’s yearbooks his main subject appears to have been singing, for which he was graded ‘excellent’ (Vorzüglich). The Conservatory’s principal teacher in singing, Franz Haböck (1868-1922), was responsible for the voice training 16 (cf. Liljas 2007, p. 213f). Haböck was famous for his work on castratos and their art of singing. He was engaged in research on the Old Italian School of singing during David Björling’s time at the Conservatory, and was interested in a subject entitled Die Kastraten und ihre Gesangkunst. His material was published posthumously, except for a few articles in Die Musik (1908) (Haböck 1923; 1927). Interestingly, Haböck’s comments about register theory were misunderstood, allegedly on account of misinterpretations about the castrato pedagogue Pierfrancesco Tosi and the famous singing school he ran from 1723 (Haböck 1927, p. 87; cf. Stark 1999, pp. 64, 205). .... and singing career During the 1910s David Björling tried to establish himself as an opera singer in Stockholm. His opera debut may have been near: the March 1910 edition of Thalia, a magazine about music, reports that the newly discovered tenor David Björling will probably debut as Radamez in Aida. This never happened: Björling joined Sigrid Eklöf-Trobäck’s opera company instead, which according to Tegen and Lewenhaupt (1992) was the leading national opera company in 1908-1918 (Tegen & Lewenhaupt 1992, p. 154). David Björling was identified as Italian in vocal style. According to reviews from his singing career his voice was well suited to the Italian opera repertoire. At the same time he seems to have established an uncommon natural voice ideal, as reported in Göteborgs- Sjöfarts och Handelstidning, 22/10 1912: 15 […]“Monsieure Björling, jeune suédois doué d’une voix de ténor remarquable, venant “ d’etere admis au Conservatoir de Vinne, d’esirerait vivement betenir de temps en temps des entrées gratuites aux représentations du Théatre Imperial et Royal de l’<strong>Opera</strong>”. Jussi Björling museum archive. 16 Statisticher Bericht über das Konservatorium der Musik und darstellenden Kunst für das Schuljahr 1907-1908.
The Björling ‘<strong>Opera</strong>’ Mr Björling displays an uncommonly euphonious tenor voice, tasteful and without any of the normal tenor mannerisms. 17 The Swedish composer Willhelm Stenhammar (1871-1927), among others, noticed David Björlings tasteful singing style as distinctive among Swedish tenors. After one concert with The Orchestral Association of Gothenburg (Göteborgs Orkesterförening) on 25 March 1912 Stenhammar wrote the following review: [...] Mr Björling possesses a remarkably fresh and beautiful, high tenor voice of strong Nordic tonal colour, which he treats with the most engaging naturalness, free from all artificiality and without the least bit of the sentimental boredom that unfortunately too often is held by Swedish tenors. Especially in the Rigoletto aria, he distinguished himself with an Italian-sounding lustre and brio. Undoubtedly this demonstrates great talents, and I would recommend our opera management to take advantage of them and to support their further development. 18 Italian opera was considered passé at the Royal Swedish <strong>Opera</strong>. Strong forces sought the Wagnerian ideal, and David Björling’s ideals may have been considered out of date (Rundberg 1952, pp. 220, 222f). There was no promising debut, and instead of pursuing an opera career he set out to teach his children. He set the bar high: David Björling would form his own opera company. Vocal pedagogy – historical background A key source of information on the origins of David Björling’s pedagogical position is the historical background of vocal pedagogy. In order to understand what he was facing, what influenced him and what he practiced it is necessary to define how the field was constructed. Liljas (2007) gives 17 “Hr Björling visade prof på en ovanligt välklingande tenorstämma, smakfullt behandlad utan några som hälst ‘tenorfasoner’.” Sign. J.B-ett: Recension av “La Bohème” på Nya teatern i Göteborg i Göteborgs handels- och sjöfartstidning 22/10 1912. 18 […]“Herr Björling besitter en ovanligt frisk och vacker, hög tenorstämma av utpräglat nordisk klangfärg, som han behandlar med den mest sympativäckande naturlighet, fri från all förkonstling och utan minsta anstrykning av den sentimentala tråkighet, som tyvärr alltför ofta plägar vidlåda svenska tenorer. Särskilt föredraget i Rigoletto-arian utmärkte sig för en rent italiensk verkande glans och brio. Utan tvivel föreligger här stora möjligheter, som våra operamyndigheter gjorde klokt i att söka taga vara på och hjälpa till vidare utveckling.” Wilhelm Stenhammar, Göteborg den 25 mars 1912. Jussi Björling museum Archive. Cf.Liljas 2007, pp. 221-222, footnote 85. 27
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
Page 13 and 14: Introduction Broman-Kananen, Ulla-B
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