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

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78 Marianne Tråvén Conclusion The manuals by the singing masters in Sweden show a deep reliance on the vocal didactics used in schools abroad. These foreign models were both desired and sought after by the management of the Royal Swedish <strong>Opera</strong>. The choice of singing masters probably fell on singers who came from a foreign vocal milieu or who had studied and internalised foreign vocal ideals. In this sense there was no “Swedish singing school” during the period 1773 to 1850 investigated here. The shifting vocal aesthetics at the Royal Swedish <strong>Opera</strong> were mirrored in the choice of singing masters. At the beginning of the period Italian vocal schools dominated the stage, replaced for a short time by German and French ideals mediated through Haeffner and Du Puy. From the 1820s, however, there was a strong focus on Italian vocal aesthetics, and later, in the teaching of Isak Berg, a mix with French vocal techniques. The didactic material used for this article is diverse and consists of published as well as unpublished sources. Some of the materials may have had only marginal importance for students at the Royal Swedish <strong>Opera</strong>. In the case of Vogler there are no records to prove that his German manual was ever used at the <strong>Opera</strong>, although it was available in the collection of the Royal Academy of Music. The same can be said of Stieler’s manual, which was designed to serve the needs of the Swedish grammar school, with a clear, but general, method teaching the music fundamentals as well as basic vocal knowledge. Stieler too had no opportunity to influence how teachers used his book. Berg’s “Testament” on the other hand was written as a declaration of his teaching principles and summarises his experiences from a long life as a singer and teacher, but it is uncertain whether his students had access to his writings, even if they heard the content of many of his articles discussed in their lessons. The exercise material in Berg’s collection gives a much more diversified view of his teaching than Stieler’s manual, given the differences in target groups. In both cases there is little evidence of how the material was used. To answer such questions we would have to examine declarations by their students, something that lies beyond the scope of the present article. Another point is the discrepancy between written material and oral teaching. Vocal exercises have surely been used in different ways, depending on the singing subject and his or her vocal problems and abilities. This is indicated by Berg’s exercises, which come in many different ways, designed for different voices and different vocal problems.
Formed to Perform Even with these differences and methodological problems, it is clear that there are similarities. Both Stieler and Berg showed an interest in professionalising the opera school, basing their teaching on scientific findings as well as on the older Italian methods purveyed by their teachers. The investigation of changing concepts, above all, in the way the two instructors regarded registers and breathing technique, has shown that Berg, with his interest in physiology and his continental contacts, brought the latest European trends in vocal didactics to Stockholm, signalling a change in both technique and aesthetics that would prevail during the rest of the century and eventually lead to a more national singing school. Bibliography Manuscript sources Kungliga Biblioteket (KB), Contract of Carl Stenborg, T8. KB, Clewberg’s letters and notebook. Kungliga Teatrarnas Arkiv (KTA), Teaterdirektionens korrespondens, Vol. 1, 1771– 1813, letter, 6 April 1812. KTA, “Kungl. Majts Nådige Reglemente för Kungl. <strong>Opera</strong> Theatern”, in: KTA, Teaterdirektionens korrespondens, vol. 1, 1771–1813, pp. 103– 174. KTA, Instruktion för Hof-Sångaren Herr J. A. Berg, såsom Instruktör för Theater-sången och Sångmästaren för Kongl. Theaterns Elever och Sujetter, signed by the director Bernhard von Beskow, 1 July 1831, KTA. KTA, Äldre elevskolan, F6A. Musik och Teaterbiblioteket (MTB), Stockholm, Musikaliska Akademiens samling, Catalogue by Frigel, 1806, Catalogue by Drake 1839, Catalogue by Bauck 1800–1880. MTB, Anteckningar rörande Rösten, Sången och Konsten: Testamentet till mina Lärjungar, 1868–1869. MTB, Isak Berg’s papers, Box 17, Klipp, Folio, Berg, Isak 3 – Sångövningar, anteckningar. Published sources A. L. 1913: “Johan Erik Nordblom” in: Nordisk Familjebok, Vol. 19, Stockholm, pp. 1240–1241. Agricola, Johann Friedrich 1757: Anleitung zur Singekunst. Berlin. Ahnfelt, Arvid 1887: Europas konstnärer. Stockholm. Anonymous 2008: “Dodart, Denis” in: Complete Dictionary of Scientific Biography, Encyclopedia.com. (2012.08.01). http://www.encyclopedia.com/ doc/1G2-2830901193.html 79
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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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