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

Gendered agendas and the representation of gender …
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composed by a lady’s hand, quite contrary to Griebel’s music, would sound
very light. Even though it testified to her knowledge and skill, hers was
rather too hefty”. Her setting also surprised him by being “a pretty extensive
work full of lovely arrangements and offering much for the eyes to
enjoy.” In Politiken Charles Kjerulf described the public debut of Griebel’s
ballet music and enjoyed it so much that he recommended that it be produced
at the Royal Theatre. The critic of Københavns Adresse Avis found
that her music “bears testimony of unquestionable talent. Several details
catch one’s ear immediately, namely the dances in rococo style; the gavotte
above all made a splendid impression” (see Example 2). Berlingske Tidende
focused on the “pirouette dance in the first act by the transformed cloister
school pupils, the enchanting dance by five children as cupids, the lovers’
gavotte and finally, the big dance ensembles”.
The lovers’ gavotte, performed by Emma Nielsen and Valborg Jørgensen,
is here chosen as an example, because this very dance was is not only highlighted
by Avisen’s critic (29 August 1895), but also by most newspapers,
which emphasized its particular success and elegance.
Dannebrog (29 August 1895) reported satisfaction both in the choreography,
as well as in the music and dance: “In simultaneously very old and very
new fashion dance and singing are mixed together in a very powerful way,
and generally the ballet appeared so fine and enjoyable that we almost could
assume that it found favour with the royal theatre directors present in the
audience”. Further on he stressed that Griebel “composed very stylish music
in sync, in graceful rhythm, in delicate mood and not devoid of humour.
However, passion was clearly not woman’s forte, at least not setting it in
music.” Dagens Nyheder pointed out that “certainly we have seen women
with and under the baton before, but what hereafter might become the rule,
was an exception” (29 August 1895). It was emphasised that women ballet
composers, orchestral musicians and conductors were more pioneering than
the singers and dancers. Still, the critic consistently described the women’s
orchestra as more of a decorative element, “dressed in short sleeves as if
going to a dance, but playing instead in a dance orchestra” (Nationaltidende,
29 August 1895). Apparently, the performance was not on the same artistic
level as the conductor and the composer:
Even if the orchestral performance was not flawless, blame cannot be
placed on the conductor. Rather it should be sought among the sometimes
rather amateurish women musicians the orchestra consisted of.
Most of the evening nervousness along with incapacity paralysed the
orchestra’s performance.