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

More documents

Recommendations

Info

296 Camilla Hambro opera composer not only reveals a history of denigration and marginalization, but also demonstrates a glittering example of how women composers, musicians, dancers and artists transformed the salons’ good working relationship between amateurs and professionals. Our two highly interesting cases of Nordic women composers of music drama and ballet has provided gentle hints about the kinds of contributions our Nordic “sleeping beauties” have in the national archives. By examining a multitude of forgotten figures that constitute the counterparts, discussion partners and opponents of the Nordic male composers, we can achieve a more complete overview of the operatic field through dialogical perspectives. Hence, integrating knowledge about women composers and musicians into the storylines will be a rewarding task for our future music histories and master narratives. In turn this might lead to broader perspectives on how Nordic (wo)men staged gender at the dawn of “the Women’s Century”. References Archive material Fallström, Daniel 1889: I Firenze. <strong>Opera</strong>-Comique i en akt. Preserved at The Music and Theatre Library of Sweden, Stockholm. Gad, Emma 1895: I Rosentiden, Ballet i Rokokostil i 2 Afdelinger. Preserved at The Royal Library, Copenhagen. Griebel, Tekla 1895: I Rosentiden. Balletmusik. Preserved at The Royal Library, Copenhagen. Munktell, Helena 1889: I Firenze. Opéra comique i en akt. Manuscript preserved at The Music and Theatre Library of Sweden, Stockholm. Helena Munktell’s clip archive. Preserved at The Music and Theatre Library of Sweden, Stockholm Newspapers and journals Aftenposten (Kristiania) Aftonbladet (Stockholm) Avisen (København) Berlingske Tidende (København) Dagens Nyheder / Dagbladet (København) Dannebrog (København) København (København) Københavns Adresse Avis (København) Kvinden og Samfundet Udstillings-Tidende (København) Nationaltidende (København)
Nya Dagligt Allehanda (Stockholm) Nylænde (Kristiania) Politiken (København) Post- och Inrikes Tidningar (Stockholm) Socialdemokraten (København) Socialdemokraten (Stockholm) Stockholms Dagblad (Stockholm) Svensk Musiktidning (Stockholm) Svenska Dagbladet (Stockholm) Gendered agendas and the representation of gender … Literature Cusick, Suzanne 2009: Francesca Caccini at the Medici Court. University of Chicago Press. Dahlerup, Elisabeth 2006: Kvinder og Komposition i Danmark 1870–1920 – med særligt henblik på biografier af Nanna Liebmann og Tekla Griebel Wandall. Speciale, København. Dansk Kvindebiografisk Leksikon: http://www.kvinfo.dk/side/170/ Fallström, Daniel 1889: I Firenze: <strong>Opera</strong>-comique i 1 akt. Stockholm: F. & G. Beijers Bokf.-aktb. Griebel, Thekla 1895: I Rosentiden. Balletmusik af Thekla Griebel. Piano Arrangement f. 2 h. Kongelig Hof-Musikhandel, Henrik Hennings Efterfølger. Kjøbenhavn. Letzter, Jacqueline and Adelson, Robert 2001: Women Writing <strong>Opera</strong>. University of California Press, Berkeley, Los Angeles and London. Lous, Eva 1999: “Kvindernes Udstilling fra Fortid til Nutid 1895”. Rotunden pp. 125–153. Öhrström, Eva 2007: “Ett eget rum. Ett kvinnoperspektiv på musikaliska salonger” in Bebyggelsehistorisk tidskrift, No 54, Musikens rum och miljöer. Summary 297 Until date research on a multitude of forgotten women counterparts, discussion partners and opponents of our male Nordic opera composers has been scarce. The foci of the article are twofold: Firstly, it presents research on the first opéra comique by a Swedish woman composer to be debuted at the Kungliga Teatern (the Royal Theatre) and on a ballet that a Danish woman had commissioned by the heavily gender-laden Kvindernes Udstilling fra Fortid til Nutid (The Women’s Exhibition from Past to Present) in Copenhagen (where women could participate in the production). Secondly, it elaborates on under what conditions Helena Munktell and Tekla Griebel composed and performed theatre music as well as on their productions
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
Page 15:
Voices
Page 18 and 19:
18 Juvas Marianne Liljas such young
Page 20 and 21:
20 Juvas Marianne Liljas it a usefu
Page 22 and 23:
22 Juvas Marianne Liljas portant in
Page 24 and 25:
24 Juvas Marianne Liljas pany, New
Page 26 and 27:
26 Juvas Marianne Liljas given free
Page 28 and 29:
28 Juvas Marianne Liljas the histor
Page 30 and 31:
30 Juvas Marianne Liljas Consequent
Page 32 and 33:
32 Juvas Marianne Liljas Illustrati
Page 34 and 35:
34 Juvas Marianne Liljas tive the B
Page 36 and 37:
Page 38 and 39:
38 Juvas Marianne Liljas but during
Page 40 and 41:
40 Juvas Marianne Liljas pedagogue
Page 42 and 43:
Page 44 and 45:
44 Juvas Marianne Liljas institutio
Page 46 and 47:
46 Juvas Marianne Liljas Jussi Bjö
Page 48 and 49:
48 Juvas Marianne Liljas ämnesdida
Page 50 and 51:
50 Formed to Perform Educating Stud
Page 52 and 53:
52 Marianne Tråvén most of them w
Page 54 and 55:
54 Marianne Tråvén Piccini left v
Page 56 and 57:
56 Marianne Tråvén of Monvel. The
Page 58 and 59:
58 Marianne Tråvén 1816 the singi
Page 60 and 61:
60 Marianne Tråvén holm 1851), M
Page 62 and 63:
62 Marianne Tråvén Georg Joseph V
Page 64 and 65:
64 Marianne Tråvén on him transfe
Page 66 and 67:
66 Marianne Tråvén techniques of
Page 68 and 69:
68 Marianne Tråvén approach using
Page 70 and 71:
70 Marianne Tråvén Solfeggi Stiel
Page 72 and 73:
72 Marianne Tråvén whereas in fal
Page 74 and 75:
74 Marianne Tråvén the singer onl
Page 76 and 77:
76 Marianne Tråvén From this we c
Page 78 and 79:
78 Marianne Tråvén Conclusion The
Page 80 and 81:
80 Marianne Tråvén Apel, Willi (e
Page 82 and 83:
82 Marianne Tråvén Traini, Carlo
Page 84 and 85:
84 Ingela Tägil tria and England d
Page 86 and 87:
86 Ingela Tägil play through her l
Page 88 and 89:
88 Ingela Tägil Another strange is
Page 90 and 91:
90 Ingela Tägil in boarding houses
Page 92 and 93:
92 Ingela Tägil Published referenc
Page 95 and 96:
Music at the Royal Swedish
Page 97 and 98:
Page 99 and 100:
Page 101 and 102:
Page 103 and 104:
Page 105 and 106:
Page 107 and 108:
Page 109 and 110:
Page 111 and 112:
Page 113 and 114:
Page 115 and 116:
Page 117 and 118:
Page 119 and 120:
A Nordic outlook Music at the Royal
Page 121 and 122:
Page 123 and 124:
Page 125 and 126:
Two Operas or One
Page 127 and 128:
Two Operas or One
Page 129 and 130:
Two Operas or One
Page 131 and 132:
Two Operas or One
Page 133 and 134:
Two Operas or One
Page 135 and 136:
Two Operas or One
Page 137 and 138:
Two Operas or One
Page 139 and 140:
Two Operas or One
Page 141 and 142:
Two Operas or One
Page 143 and 144:
Two Operas or One
Page 145 and 146:
Two Operas or One
Page 147 and 148:
Two Operas or One
Page 149 and 150:
Two Operas or One
Page 151 and 152:
Two Operas or One
Page 153 and 154:
Two Operas or One
Page 155 and 156:
Staging a national language <strong
Page 157 and 158:
Staging a national language 157 is
Page 159 and 160:
Staging a national language Vernacu
Page 161 and 162:
Staging a national language 161 dou
Page 163 and 164:
Staging a national language 163 In
Page 165 and 166:
Staging a national language 165 tia
Page 167 and 168:
Staging a national language 167 Kos
Page 169 and 170:
Staging a national language 169 Emm
Page 171 and 172:
Staging a national language 171 Roy
Page 173 and 174:
Staging a national language 173 and
Page 175 and 176:
Staging a national language 175 The
Page 177 and 178:
Page 179 and 180:
Page 181 and 182:
Staging a national language 181 sur
Page 183 and 184:
Staging a national language 183 new
Page 185 and 186:
Page 187 and 188:
Staging a national language 187 Ark
Page 189 and 190:
Maria Grape’s correspondence, Nr
Page 191:
Staging a national language Qvarnst
Page 195 and 196:
The introduction of Richard Wagner
Page 197 and 198:
Page 199 and 200:
Page 201 and 202:
Page 203 and 204:
Page 205 and 206:
Page 207 and 208:
Page 209 and 210:
Page 211 and 212:
Page 213 and 214:
Page 215 and 216:
Page 217 and 218:
Page 219 and 220:
Page 221 and 222:
Rachel the Jewess in Copenhagen Jen
Page 223 and 224:
Rachel the Jewess in Copenhagen 223
Page 225 and 226:
Page 227 and 228:
Rachel the Jewess in Copenhagen fie
Page 229 and 230:
Rachel the Jewess in Copenhagen Ill
Page 231 and 232:
Excursus I: Who is Jewish? Rachel t
Page 233 and 234:
Page 235 and 236:
Page 237 and 238:
Page 239 and 240:
Page 241 and 242:
Page 243 and 244:
Page 245 and 246: Rachel the Jewess in Copenhagen lit
Page 247 and 248: Rachel the Jewess in Copenhagen Run
Page 249 and 250: Rachel the Jewess in Copenhagen 249
Page 251 and 252: Performative elements and sources h
Page 253 and 254: Performative elements and sources 2
Page 267 and 268: As Gundula Kreuzer remarks: Perform
Page 269 and 270: Performative elements and sources P
Page 271 and 272: Gendered agendas and the representa
Page 281 and 282: Example 1. Helena Munktell, In Flor
Page 295: Gendered agendas and the representa
show all

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

Create successful ePaper yourself

Delete template?

Save as template?