- Page 1:
Anne Sivuoja, Owe Ander, Ulla Britt
- 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
- Page 13 and 14:
Introduction Broman-Kananen, Ulla-B
- Page 15:
Voices
- Page 18 and 19:
18 Juvas Marianne Liljas such young
- Page 20 and 21:
20 Juvas Marianne Liljas it a usefu
- Page 22 and 23:
22 Juvas Marianne Liljas portant in
- Page 24 and 25:
24 Juvas Marianne Liljas pany, New
- Page 26 and 27:
26 Juvas Marianne Liljas given free
- Page 28 and 29:
28 Juvas Marianne Liljas the histor
- Page 30 and 31:
30 Juvas Marianne Liljas Consequent
- Page 32 and 33:
32 Juvas Marianne Liljas Illustrati
- Page 34 and 35:
34 Juvas Marianne Liljas tive the B
- Page 36 and 37:
36 Juvas Marianne Liljas Illustrati
- Page 38 and 39:
38 Juvas Marianne Liljas but during
- Page 40 and 41:
40 Juvas Marianne Liljas pedagogue
- Page 42 and 43:
42 Juvas Marianne Liljas Illustrati
- Page 44 and 45: 44 Juvas Marianne Liljas institutio
- Page 46 and 47: 46 Juvas Marianne Liljas Jussi Bjö
- Page 48 and 49: 48 Juvas Marianne Liljas ämnesdida
- Page 50 and 51: 50 Formed to Perform Educating Stud
- Page 52 and 53: 52 Marianne Tråvén most of them w
- Page 54 and 55: 54 Marianne Tråvén Piccini left v
- Page 56 and 57: 56 Marianne Tråvén of Monvel. The
- Page 58 and 59: 58 Marianne Tråvén 1816 the singi
- Page 60 and 61: 60 Marianne Tråvén holm 1851), M
- Page 62 and 63: 62 Marianne Tråvén Georg Joseph V
- Page 64 and 65: 64 Marianne Tråvén on him transfe
- Page 66 and 67: 66 Marianne Tråvén techniques of
- Page 68 and 69: 68 Marianne Tråvén approach using
- Page 70 and 71: 70 Marianne Tråvén Solfeggi Stiel
- Page 72 and 73: 72 Marianne Tråvén whereas in fal
- Page 74 and 75: 74 Marianne Tråvén the singer onl
- Page 76 and 77: 76 Marianne Tråvén From this we c
- Page 78 and 79: 78 Marianne Tråvén Conclusion The
- Page 80 and 81: 80 Marianne Tråvén Apel, Willi (e
- Page 82 and 83: 82 Marianne Tråvén Traini, Carlo
- Page 84 and 85: 84 Ingela Tägil tria and England d
- Page 86 and 87: 86 Ingela Tägil play through her l
- Page 88 and 89: 88 Ingela Tägil Another strange is
- Page 90 and 91: 90 Ingela Tägil in boarding houses
- Page 92 and 93: 92 Ingela Tägil Published referenc
- Page 96 and 97: 96 Anne Reese Willén fore unique a
- Page 98 and 99: 98 Anne Reese Willén classical mus
- Page 100 and 101: 100 Anne Reese Willén the higher-p
- Page 102 and 103: 102 Anne Reese Willén The content
- Page 104 and 105: 104 Anne Reese Willén made it more
- Page 106 and 107: 106 Anne Reese Willén that this co
- Page 108 and 109: 108 Anne Reese Willén and people c
- Page 110 and 111: 110 Anne Reese Willén part of the
- Page 112 and 113: 112 Anne Reese Willén New venues T
- Page 114 and 115: 114 Anne Reese Willén individually
- Page 116 and 117: 116 Anne Reese Willén public arena
- Page 118 and 119: 118 Anne Reese Willén to have been
- Page 120 and 121: 120 Anne Reese Willén son and Norm
- Page 122 and 123: 122 Anne Reese Willén Sources Arch
- Page 124 and 125: 124 Anne Reese Willén Weber, Willi
- Page 126 and 127: 126 Pentti Paavolainen The New Thea
- Page 128 and 129: 128 Pentti Paavolainen struction of
- Page 130 and 131: 130 Pentti Paavolainen ences and co
- Page 132 and 133: 132 Pentti Paavolainen by Carl Mari
- Page 134 and 135: 134 Pentti Paavolainen uled opening
- Page 136 and 137: 136 Pentti Paavolainen Kiseleff’s
- Page 138 and 139: 138 Pentti Paavolainen man returned
- Page 140 and 141: 140 Pentti Paavolainen gagement to
- Page 142 and 143: 142 Pentti Paavolainen a letter wri
- Page 144 and 145:
144 Pentti Paavolainen 1874. The do
- Page 146 and 147:
146 Pentti Paavolainen the followin
- Page 148 and 149:
148 Pentti Paavolainen operas was t
- Page 150 and 151:
150 Pentti Paavolainen the city it
- Page 152 and 153:
152 Pentti Paavolainen Weckströmsk
- Page 154 and 155:
154 Pentti Paavolainen Finnish <str
- Page 156 and 157:
156 Ulla-Britta Broman-Kananen A ma
- Page 158 and 159:
158 Ulla-Britta Broman-Kananen sink
- Page 160 and 161:
160 Ulla-Britta Broman-Kananen of t
- Page 162 and 163:
162 Ulla-Britta Broman-Kananen Hebb
- Page 164 and 165:
164 Ulla-Britta Broman-Kananen as L
- Page 166 and 167:
166 Ulla-Britta Broman-Kananen name
- Page 168 and 169:
168 Ulla-Britta Broman-Kananen 13 M
- Page 170 and 171:
170 Ulla-Britta Broman-Kananen Emil
- Page 172 and 173:
172 Ulla-Britta Broman-Kananen and
- Page 174 and 175:
174 Ulla-Britta Broman-Kananen as N
- Page 176 and 177:
176 Ulla-Britta Broman-Kananen Finn
- Page 178 and 179:
178 Ulla-Britta Broman-Kananen Figu
- Page 180 and 181:
180 Ulla-Britta Broman-Kananen “h
- Page 182 and 183:
182 Ulla-Britta Broman-Kananen chan
- Page 184 and 185:
184 Ulla-Britta Broman-Kananen wegi
- Page 186 and 187:
186 Ulla-Britta Broman-Kananen sing
- Page 188 and 189:
188 Ulla-Britta Broman-Kananen berg
- Page 190 and 191:
190 Ulla-Britta Broman-Kananen Byck
- Page 193:
Performances
- Page 196 and 197:
196 Joakim Tillman introduced in 19
- Page 198 and 199:
198 Joakim Tillman monotonous exact
- Page 200 and 201:
200 Joakim Tillman The reaction to
- Page 202 and 203:
202 Joakim Tillman tory phrases, th
- Page 204 and 205:
204 Joakim Tillman The positive rev
- Page 206 and 207:
206 Joakim Tillman reaction. In a r
- Page 208 and 209:
208 Joakim Tillman to express. As J
- Page 210 and 211:
210 Joakim Tillman because of his d
- Page 212 and 213:
212 Joakim Tillman and critics duri
- Page 214 and 215:
214 Joakim Tillman to hear Wagner b
- Page 216 and 217:
216 Joakim Tillman The audience rea
- Page 218 and 219:
218 Joakim Tillman *** Abbreviation
- Page 220 and 221:
220 Joakim Tillman concert performa
- Page 222 and 223:
222 Jens Hesselager While Weyse was
- Page 224 and 225:
224 Jens Hesselager Methodologicall
- Page 226 and 227:
226 Jens Hesselager spiration in Co
- Page 228 and 229:
228 Jens Hesselager quite simply be
- Page 230 and 231:
230 Jens Hesselager that they had r
- Page 232 and 233:
232 Jens Hesselager so to speak. Th
- Page 234 and 235:
234 Jens Hesselager Excursus II: Wh
- Page 236 and 237:
236 Jens Hesselager In Andersen’s
- Page 238 and 239:
238 Jens Hesselager when he perform
- Page 240 and 241:
240 Jens Hesselager Rung embarked o
- Page 242 and 243:
242 Jens Hesselager Illustration 5.
- Page 244 and 245:
244 Jens Hesselager of Pauline Rung
- Page 246 and 247:
246 Jens Hesselager Bibliography On
- Page 248 and 249:
248 Jens Hesselager Rossen, Jane Mi
- Page 250 and 251:
250 Performative elements and sourc
- Page 252 and 253:
252 Kristel Pappel The theatre syst
- Page 254 and 255:
254 Kristel Pappel The singers, the
- Page 256 and 257:
256 Kristel Pappel score, the vocal
- Page 258 and 259:
258 Kristel Pappel about the scener
- Page 260 and 261:
260 Kristel Pappel the wings report
- Page 262 and 263:
262 Kristel Pappel opinion because
- Page 264 and 265:
264 Kristel Pappel The vocal score
- Page 266 and 267:
266 Kristel Pappel tournaments and
- Page 268 and 269:
268 Kristel Pappel Andreas Roller,
- Page 270 and 271:
270 Kristel Pappel The sources used
- Page 272 and 273:
272 Camilla Hambro academic publica
- Page 274 and 275:
274 Camilla Hambro mantic affection
- Page 276 and 277:
276 Camilla Hambro Daniel Fallströ
- Page 278 and 279:
278 Camilla Hambro comique. Oddly e
- Page 280 and 281:
280 Camilla Hambro fact that Stefan
- Page 282 and 283:
282 Camilla Hambro Example 1. Helen
- Page 284 and 285:
284 Camilla Hambro The Rose Time an
- Page 286 and 287:
286 Camilla Hambro When the time ca
- Page 288 and 289:
288 Camilla Hambro Avis, compared t
- Page 290 and 291:
290 Camilla Hambro Example 2. Tekla
- Page 292 and 293:
292 Camilla Hambro As far as Politi
- Page 294 and 295:
294 Camilla Hambro been done with t
- Page 296 and 297:
296 Camilla Hambro opera composer n
- Page 298:
298 Camilla Hambro have in common a