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

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42 Juvas Marianne Liljas Illustration 7. Three well-dressed young singers on tour. David Björling was extremely careful with the boy’s voices and their outfit as well. From the left Jussi, Olle and Gösta Björling. contemptuously described prodigies who travelled around to be exhibited as “undeveloped broilers” (ibid., p. 62). According to Ling (2009), performance spaces could be seen as hierarchical in the bourgeois community, and the European musical wonder-child had to deal with all kinds of public (Ling 2009, p. 24).
Historical role models The Björling ‘<strong>Opera</strong>’ The Björling model of domestic opera schooling was active at the dawn of the modern era, but it was a recipe for success with roots going back to the eighteenth-century Romantic view of prodigies and their abilities. The best-known example of this is Leopold Mozart and his launching of his children in the upper-class environment of Austria (Ling 2009, pp. 24f). Taking the young Franz Liszt (1811-1886) as a starting point, Ling describes this wonder-child syndrome as a family project concentrated in Vienna. Characterised by an energetic, educative father, a supportive mother, and brothers and sisters with whom to share and compare musical progress, these families could be compared to the Björling family in the early 1900s (ibid., pp. 24-35). The touring that David Björling undertook reflected the promotion of prodigies in the eighteenth and nineteenth centuries, and the tradition of travelling opera societies all over Europe, not least in the Nordic countries (Tegen & Lewenhaupt 1992, p. 154). It is possible that he used his experiences and contacts from the time he was with the Eklöf-Trobäckska <strong>Opera</strong> Society in promoting the Björling quartet. A successful opera society that could have been a more distant source of inspiration was the family opera the tenor and singing pedagogue Manuel Garcia Sr. led at the beginning of the 1800s. Manuel Garcia Sr. (1775-1832) was a Spanish opera singer with a clear interest in voice training. He specifically targeted his own children, whose musical education he initiated with enthusiasm. The Garcia children were integrated into their parents’ opera society at an early age, and schooled within the opera repertoire. His daughter Maria, who went on to marry Malibran, one of the most famous singers of the 1800s, made her debut at the age of three as a child in Paër’s Agnese. Another daughter, Pauline, who later married Viardot, was also taught during the tours, as was his son Manuel Garcia Jr., founder of the world-famous Garcia School in Paris (Levien 1932, pp. 12-14, 18-20, 23; cf. Liljas 2007, pp.426-429). Conclusions The Björling family ‘school’ represented a form of domestic voice training that was common at the time, particularly in the historical context of the Nordic opera tradition. Domestic opera education was, from a pedagogical perspective, a didactic phenomenon that differed in basic principles from 43
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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
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