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

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298 Camilla Hambro have in common and how they differ from each other. Closely related, yet following slightly different geographical and historical paths, I Firenze (In Florence) (1889) and Griebel’s I Rosentiden (The Rose Time) (1895) offer different historical answers to how opéra comique and ballet music by women represented, questioned and (de)constructed contemporary perceptions of gender. Both exemplify how gender has been a factor in music critics’ expectations to theatre music and productions. Even if gender proves to be only one of several aspects communicated, it is seen as an important plot trigger. Reception consist of a broad spectrum of everything from fair and balanced descriptions to reviews that openly express general negative attitudes about women’s ability to compose and stage music drama and theatre music.
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Anne Sivuoja, Owe Ander, Ulla Britt
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Contents Anne Sivuoja with Owe Ande
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Introduction Anne Sivuoja with Owe
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Introduction ity of vocal resources
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*** Introduction Methodological tra
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Introduction Broman-Kananen, Ulla-B
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Voices
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18 Juvas Marianne Liljas such young
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20 Juvas Marianne Liljas it a usefu
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22 Juvas Marianne Liljas portant in
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24 Juvas Marianne Liljas pany, New
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26 Juvas Marianne Liljas given free
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28 Juvas Marianne Liljas the histor
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30 Juvas Marianne Liljas Consequent
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32 Juvas Marianne Liljas Illustrati
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34 Juvas Marianne Liljas tive the B
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38 Juvas Marianne Liljas but during
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40 Juvas Marianne Liljas pedagogue
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44 Juvas Marianne Liljas institutio
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46 Juvas Marianne Liljas Jussi Bjö
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48 Juvas Marianne Liljas ämnesdida
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50 Formed to Perform Educating Stud
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52 Marianne Tråvén most of them w
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54 Marianne Tråvén Piccini left v
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56 Marianne Tråvén of Monvel. The
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58 Marianne Tråvén 1816 the singi
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60 Marianne Tråvén holm 1851), M
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62 Marianne Tråvén Georg Joseph V
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64 Marianne Tråvén on him transfe
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66 Marianne Tråvén techniques of
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68 Marianne Tråvén approach using
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70 Marianne Tråvén Solfeggi Stiel
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72 Marianne Tråvén whereas in fal
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74 Marianne Tråvén the singer onl
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76 Marianne Tråvén From this we c
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78 Marianne Tråvén Conclusion The
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80 Marianne Tråvén Apel, Willi (e
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82 Marianne Tråvén Traini, Carlo
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84 Ingela Tägil tria and England d
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86 Ingela Tägil play through her l
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88 Ingela Tägil Another strange is
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90 Ingela Tägil in boarding houses
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92 Ingela Tägil Published referenc
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Music at the Royal Swedish
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A Nordic outlook Music at the Royal
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Two Operas or One
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Two Operas or One
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Staging a national language <strong
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Staging a national language 157 is
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Staging a national language Vernacu
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Staging a national language 161 dou
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Staging a national language 163 In
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Staging a national language 165 tia
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Staging a national language 167 Kos
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Staging a national language 169 Emm
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Staging a national language 171 Roy
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Staging a national language 173 and
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Staging a national language 175 The
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Staging a national language 181 sur
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Staging a national language 183 new
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Staging a national language 187 Ark
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Maria Grape’s correspondence, Nr
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Staging a national language Qvarnst
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The introduction of Richard Wagner
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Rachel the Jewess in Copenhagen fie
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Rachel the Jewess in Copenhagen Ill
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Excursus I: Who is Jewish? Rachel t
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Opera on the Move in the Nordic Countries during the Long 19th ...

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