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

Gendered agendas and the representation of gender …
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en’s liberation was not for her, Gad was a member of the Danish liberation
movement. But the voice teacher Nanna Liebmann (1852–1935), who was
responsible for the music section of the exhibition, confided to Dannebrog’s
readers that Gad was neither positive about women being heads of disciplines
nor did she believe in “women’s liberation” (24 June 1895). Moreover,
Gad expressed strong scepticism of all highly original compositions by
women “constantly being in demand”. In her opinion male composers and
their excellent musical works should come to the rescue of the exhibition
rather than settling for what she considered women composers’ mediocre
musical compositions such as were heard at the exhibition’s two musical
soirees. Asked by the reporter if she simply had no faith in women composers,
Gad replied: “At least I am too musical to put my faith in them unconditionally”.
A festive and fashionable event
The first performance of Tekla Griebel’s I Rosentiden took place in the Exhibition’s
first dramatic performance at the Dagmar Theatre on 18 August
1895 in a festive atmosphere. According to Avisen, on 28 August 1895,
tickets had been in great demand; hence, only the nobility and the Copenhagen
elite were present. Seats had long been sold out, and at the twelfth
hour room had to be made for the royal family, announcing its participation
rather late. The capital’s most elegant audience was gathered in the
Dagmar Theatre. In addition the majority of the regular audience at premieres,
considering it their mission to represent “all Copenhagen”, was
also present. The festively dressed people entered a room garnished with
live flowers along the parapet and balconies; bouquets tied in yellow and
white silk ribbons dangled from the balconies overhead. The programmes
placed on each seat had embroidery-like decorations. Ushers dressed in
white saluted everyone like marshals, and in the orchestra pit Olsen and
her talented all-women’s orchestra were in place. Politiken’s critic, Charles
Kjerulf (1858–1919), commented that he, from his seat in the Dagmar theatre,
realized that several members of the orchestra were known to audience
members from their performances in private salons, but that only a few
of these musicians had performed in public concerts before (Politiken, 29
August 1895).
women would not get anywhere in society. After her book was released, she was
attacked from many quarters, not least the Norwegian Women’s liberation movement:
On 15 April 1896, Nylænde accused her of reserving seats for “independent” women in
charities and volunteer social work.