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- Page 12 and 13: 12 The national gaze inherent in me
- Page 14 and 15: 14 Schepelern, Gerhard 1995: <stron
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- Page 43 and 44: Historical role models The Björlin
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- Page 49 and 50: Summary The Björling ‘Op
- Page 51 and 52: Formed to Perform ies (Rosselli 199
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Formed to Perform music directors a
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Formed to Perform ny Lind, Mathilda
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Formed to Perform master notified t
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Formed to Perform lists Friedrich W
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Formed to Perform beauty of the voi
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Formed to Perform Vogler’s first
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Formed to Perform ters were joined
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Formed to Perform a instead (Corri
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Breathing technique Formed to Perfo
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Formed to Perform thought, sentimen
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Formed to Perform The female voice
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Formed to Perform The division in t
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Formed to Perform of study, evident
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Formed to Perform Even with these d
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Formed to Perform Hofberg, Herman &
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Jenny Lind’s vocal strain Ingela
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Jenny Lind’s vocal strain Her rem
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Jenny Lind’s vocal strain connect
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Jenny Lind’s vocal strain by “H
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Jenny Lind’s vocal strain more de
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Theaters
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96 Anne Reese Willén fore unique a
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98 Anne Reese Willén classical mus
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100 Anne Reese Willén the higher-p
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102 Anne Reese Willén The content
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104 Anne Reese Willén made it more
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106 Anne Reese Willén that this co
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108 Anne Reese Willén and people c
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110 Anne Reese Willén part of the
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112 Anne Reese Willén New venues T
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114 Anne Reese Willén individually
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116 Anne Reese Willén public arena
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118 Anne Reese Willén to have been
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120 Anne Reese Willén son and Norm
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122 Anne Reese Willén Sources Arch
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124 Anne Reese Willén Weber, Willi
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126 Pentti Paavolainen The New Thea
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128 Pentti Paavolainen struction of
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130 Pentti Paavolainen ences and co
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132 Pentti Paavolainen by Carl Mari
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134 Pentti Paavolainen uled opening
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136 Pentti Paavolainen Kiseleff’s
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138 Pentti Paavolainen man returned
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140 Pentti Paavolainen gagement to
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142 Pentti Paavolainen a letter wri
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144 Pentti Paavolainen 1874. The do
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146 Pentti Paavolainen the followin
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148 Pentti Paavolainen operas was t
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150 Pentti Paavolainen the city it
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152 Pentti Paavolainen Weckströmsk
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154 Pentti Paavolainen Finnish <str
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156 Ulla-Britta Broman-Kananen A ma
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158 Ulla-Britta Broman-Kananen sink
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160 Ulla-Britta Broman-Kananen of t
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162 Ulla-Britta Broman-Kananen Hebb
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164 Ulla-Britta Broman-Kananen as L
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166 Ulla-Britta Broman-Kananen name
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168 Ulla-Britta Broman-Kananen 13 M
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170 Ulla-Britta Broman-Kananen Emil
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172 Ulla-Britta Broman-Kananen and
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174 Ulla-Britta Broman-Kananen as N
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176 Ulla-Britta Broman-Kananen Finn
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178 Ulla-Britta Broman-Kananen Figu
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180 Ulla-Britta Broman-Kananen “h
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182 Ulla-Britta Broman-Kananen chan
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184 Ulla-Britta Broman-Kananen wegi
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186 Ulla-Britta Broman-Kananen sing
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188 Ulla-Britta Broman-Kananen berg
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190 Ulla-Britta Broman-Kananen Byck
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Performances
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196 Joakim Tillman introduced in 19
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198 Joakim Tillman monotonous exact
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200 Joakim Tillman The reaction to
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202 Joakim Tillman tory phrases, th
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204 Joakim Tillman The positive rev
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206 Joakim Tillman reaction. In a r
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208 Joakim Tillman to express. As J
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210 Joakim Tillman because of his d
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212 Joakim Tillman and critics duri
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214 Joakim Tillman to hear Wagner b
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216 Joakim Tillman The audience rea
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218 Joakim Tillman *** Abbreviation
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220 Joakim Tillman concert performa
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222 Jens Hesselager While Weyse was
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224 Jens Hesselager Methodologicall
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226 Jens Hesselager spiration in Co
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228 Jens Hesselager quite simply be
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230 Jens Hesselager that they had r
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232 Jens Hesselager so to speak. Th
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234 Jens Hesselager Excursus II: Wh
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236 Jens Hesselager In Andersen’s
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238 Jens Hesselager when he perform
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240 Jens Hesselager Rung embarked o
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242 Jens Hesselager Illustration 5.
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244 Jens Hesselager of Pauline Rung
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246 Jens Hesselager Bibliography On
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248 Jens Hesselager Rossen, Jane Mi
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250 Performative elements and sourc
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252 Kristel Pappel The theatre syst
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254 Kristel Pappel The singers, the
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256 Kristel Pappel score, the vocal
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258 Kristel Pappel about the scener
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260 Kristel Pappel the wings report
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262 Kristel Pappel opinion because
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264 Kristel Pappel The vocal score
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266 Kristel Pappel tournaments and
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268 Kristel Pappel Andreas Roller,
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270 Kristel Pappel The sources used
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272 Camilla Hambro academic publica
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274 Camilla Hambro mantic affection
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276 Camilla Hambro Daniel Fallströ
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278 Camilla Hambro comique. Oddly e
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280 Camilla Hambro fact that Stefan
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282 Camilla Hambro Example 1. Helen
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284 Camilla Hambro The Rose Time an
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286 Camilla Hambro When the time ca
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288 Camilla Hambro Avis, compared t
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290 Camilla Hambro Example 2. Tekla
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292 Camilla Hambro As far as Politi
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294 Camilla Hambro been done with t
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296 Camilla Hambro opera composer n
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298 Camilla Hambro have in common a