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

Music at the Royal Swedish <strong>Opera</strong> in Stockholm…
The three music critics, Rubenson, Norman and Bauck, writing in the
music journals of the 1850s all reached prominent positions in Stockholm’s
music circles. Bauck worked as an organist, music teacher, composer and
music critic, and held the position of librarian and secretary at the Royal
Swedish Academy of Music. He also wrote for Svensk musiktidning (Swedish
music magazine) and for some of the major newspapers in Stockholm
(Aftonbladet 1842-59, Nya Dagligt Allehanda 1860-71 and Dagens Nyheter
from 1871). 3 Rubenson was one of the most outspoken music critics in
Stockholm in the 1850s. Being from a wealthy Jewish family, he had had the
means to travel a great deal in Europe. He visited music capitals and studied
music privately in Leipzig and Copenhagen. He spent much of his time
travelling, and in the meantime he worked as a musician and composer. He
finally settled in Stockholm in 1872, having been appointed director of the
Music Conservatory of the Royal Swedish Academy of Music, where he
remained until his death in 1901. He wrote for NTM as a correspondent and
critic, and for TfTM as a critic and reviewer. He wrote several long articles
in both journals on the state of musical life in Stockholm, and became one
of the main voices of criticism. 4 Norman was also educated abroad, but unlike
Rubenson was officially registered as a student at the Conservatory
of Music in Leipzig. He also wrote for Stockholm’s music journals in the
1850s. He held several influential positions, including that of head conductor
at the Royal Swedish <strong>Opera</strong> from 1860, and was a teacher at the Royal
Swedish Academy of Music from 1858. 5 Musical life in Leipzig and the ideals
pursued there during the time of their studies influenced both Rubenson
and Norman, which is evident in their critique of the musical scene in
Stockholm. There were many reasons for their criticism. For one thing they
were influenced by the idealism that was cultivated in Leipzig and spread
across Europe, and desired to import similar ideals, comparable to those
in other European cities. Moreover, as music professionals they probably
wanted to increase their chances of pursuing a music career in Stockholm.
Whatever their reasons, they provide a good basis on which to study the
music on offer at the Royal Swedish <strong>Opera</strong> given their comments on the
current situation within the public musical sphere and their individual roles
as professionals.
The Royal Swedish <strong>Opera</strong> was the centre of musical life in the city. Because
of its key position, its musical repertoire influenced the content of
3 For more biographical information, see Hennerberg 1920
4 For more biographical information, see Carlsson 1998-2000.
5 For more biographical information, see Mark 1990-1991)
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