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

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90 Ingela Tägil in boarding houses at the Theatre’s expense was a common practice, and this was probably the largest part of Fellborg’s income. However, her boarding house had low standards. It was cramped, and the girls were often left without enough food. After a number of grievances, the girls complained to the theatre management, which relocated the three lodgers to another boarding house run by Anette Bayard. This incident caused a huge financial loss for Fellborg. The relationship between Jenny and her mother was already strained, and after the three girls were removed, it became even worse, finally leading to Jenny’s running away in October of 1834. She was placed with the other girls at Bayard’s establishment and lived there until June of 1836.This episode led to a court case between the Royal Theatre and Fellborg over who was to be given responsibility for Jenny. She was still registered as an orphan, but during the trial, Niklas Jonas Lind showed up and declared that he was her father. Fellborg and Lind married, and Jenny’s situation was suddenly transformed from that of an orphan to having both a mother and a father. The court ruled that Jenny should move back home to be with her new parents. 14 The whole affair affected Jenny very badly. According to Lindersköld, it paralysed her development (Lindersköld undated manuscript, pp. 5–6). When Jenny moved in with her parents, their relationship improved at first, but in November of 1839 she ran away for the second time, this time to the composer Lindblad. Like most women of the time, Jenny was not authoritative, and legally, she was a runaway. However, Lindblad was a sufficiently powerful protector that the parents were unable to force her to come home again. Jenny stayed with Lindblad until she left Sweden for good in 1844. Adding together all of these factors, it is not difficult to understand why Jenny’s voice was strained. All of these incidents, the personal as well as those of a technical vocal character, took place in her early teenage years when she was going through puberty, a sensitive period for any young girl. Furthermore, Jenny’s sister, Amalia, died of cholera during the spring of 1835 (Rabe, January 1889).The problems with Jenny’s vocal technique probably worsened because of her vulnerable personal situation, resulting in severe fatigue of her young voice. In the absence of an adequate vocal technique, the veiling of her voice never really healed, and when she sang 14 A detailed account is available in the biography by Franzén (1982, pp. 32–35). Otherwise, not many authors have written about this episode. Lindersköld mentions it briefly in his undated and unpublished biography, pp. 5–6. The story became public for the first time through Lindblom’s series of articles, based on interviews with those involved, and published in Dagens Nyheter, 7–9 November 1887.
Jenny Lind’s vocal strain more demanding parts, presumably forcing her voice, the vocal exhaustion returned and maybe even became worse. In 1838, when Lind made her debut as Agatha in Weber’s Der Freischütz, the reviews were enthusiastic, but the reviewers also pointed out an unpleasant hoarseness in her lower register (Orvar Odd, in Aftonbladet, 8 March1838; Dagligt Allehanda, 9 March 1838). After this breakthrough, her vocal technique encountered even greater challenges, which she could not manage. During 1841–42, Jenny sought help from García. The result of this consultation was successful, and Jenny managed to repair her voice almost completely. However, her vocal folds probably had scars, which affected her voice in certain notes in her middle vocal range because the vocal folds did not close tightly enough. This was probably a consequence of the vocal strain in her youth, something she had to deal with for the rest of her life. Some of her pitches – from f1 to a1 – remained defective forever. Bibliography Unpublished references Kungliga Biblioteket L 48:3: Lindblad, Adolf Fredrik: brev till Malla Silfverstolpe 26 februari 1836 Kungliga Teaterns arkiv KTA L1A: Dagliga affischer 1831–1836 Lunds universitetsbibliotek Berg, Isak 1880: Anteckningar i sångpedagogik och harmonilära, handskrift ur brev till dottern Helena Musikmuseet Rabe, P R 1889, January: Fru Celsings berättelse Statens musikbibliotek Berg, Isak 1868, 1869: Anteckningar rörande rösten, sången och konsten, testamentet till mina lärjungar del 1 och 2, handskrift Berg, Isak 1879, 10 April: Råd vid sångöfningar gifna af Tenorsångaren vid Kungl <strong>Opera</strong>n i Stockholm Berg efter Italienska skolan, handskrift Lindersköld, Jakob Fabian, undated manuscript: Jenny Lind – Biografiska Notiser – samlade och författade af Jakob Fabian Lindersköld 91
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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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Page 84 and 85: 84 Ingela Tägil tria and England d
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Staging a national language <strong
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Nya Dagligt Allehanda (Stockholm) N
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Opera on the Move in the Nordic Countries during the Long 19th ...

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