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  • 51.
    Hallgren, Karin
    Växjö University, Faculty of Humanities and Social Sciences, School of Education.
    Sångspel eller komedi med sång?1999Conference paper (Other academic)
  • 52.
    Hallgren, Karin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    The grand opera tradition at the Opera in Stockholm2014Conference paper (Other academic)
    Abstract [en]

    In the middle of the 19th century there were a great interest for operas especially by Meyerbeer at the Opera in Stockholm. Robert le diableLes HuguenotsLe prophète andL’Africaine were performed between 150 and 200 times each from around 1840 to 1890. The interest for Meyerbeer has been treated in previous research, but the basis for this tradition has not been explored in any significant meaning. How come that the Opera in Stockholm relatively fast connected to the European tradition of grand opera? Why was there such an interest in the Stockholm audience for grand opera? This paper discusses the conditions at the Opera in Stockholm during the first half of the 19thcentury, with special regard to questions about the repertoire (for example works by Gluck and Spontini) but also to questions about financial and organisational circumstances. The main purpose is to discuss the tradition of grand opera at Stockholm from early 19th century and onwards.

    Since the establishing of the gustavian opera in 1773 operas by C. W. Gluck had been part of the repertoire. Armide and Iphigénie en Aulide were among the works by Gluck that was played continuously from the 1770s to the 1840s. In the 1820s the opera director Gustaf Lagerbjelke introduced operas by Spontini, like La Vestale andFerdinand Cortez. Lagerbjelke was interested in new ideas about acting, which stressed the role characters feelings and individual acting on stage. The audience valued this new acting style and these operas became important in the development of romantic opera in Stockholm.

    In addition to the interest of the audience it is also important to look at the financial and organisational situation at the Opera, as important conditions for the activities as a whole. The question of financing will be discussed as well as the organisation, for understanding how traditions were communicated between directors, singers and musicians. By linking the interest in the 1850s to the previous interest in operas by for example Gluck and Spontini the intention is to describe the performance history of grand opera during several decades.

  • 53. Hallgren, Karin
    et al.
    Ander, Owe
    Franz Berwald: Sämtliche Werke. Bd 22:1. Profane Vokalwerke.1999Other (Other academic)
  • 54.
    Hallgren, Karin
    et al.
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Ander, Owe
    Stockholms universitet.
    Franz Berwald. Sämtliche Werke Bd 22.2 Profane Vokalwerke II2010Other (Other academic)
  • 55.
    Hallgren, Karin
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Kjellander Hellqvist, Eva
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Musik och politik i svenskt 1970-tal: musikspridning, jämlikhet och kommersialism på de kungliga teatrarna och SVT?2017In: Musikforskning idag: Musikhögskolan, Piteå, 12–14 juni 2017, Luleå University of Technology, 2017, p. 26-27Conference paper (Other academic)
    Abstract [sv]

    Under 1960- och 70-talen var debatten om kulturfrågor intensiv i Sverige. Beslutet om kulturpolitikens inriktning 1974 fick stor betydelse för kulturlivets organisering under de kommande decennierna. Den nya kulturpolitiken byggde bland annat på idéer om behovet av att sprida kultur jämlikt till alla invånare i Sverige, samt att ”Kulturpolitiken skall motverka kommersialismens negativa verkningar inom kulturområdet” (Kulturutredningen 1995:62). Samtidigt hade svenska grupper inom populärmusiken stora internationella framgångar, med ABBA som det mest framgångsrika och mest kända exemplet. Kulturdebatten blev polariserad, med tydliga motsättningar mellan förespråkare för kulturpolitikens grundläggande värderingar å ena sidan och ”den kommersiella musikens” företrädare å den andra.

    Denna motsättning är fokus för vår studie. Hur påverkades olika institutioner av den nya kulturpolitiken och av de aktuella idéerna i debatten? I denna studie görs en jämförelse mellan några konkreta yttringar inom musiklivet. Exempel ges från de traditionstyngda scenerna Kungliga Operan och Dramaten i Stockholm samt från SVT:s verksamhet, där programmet ”Alternativ festival” från 1975 används som en fallstudie. Förutom utvalda program och föreställningar bygger studien på arkivmaterial från institutionerna. Vi använder en komparativ metod och genomför föreställningsanalys utifrån teatervetenskapliga metoder.

    1970-talets kulturdebatt inom musikens område är till vissa delar beskriven och analyserad i tidigare forskning (se exv. Arvidsson 2008; Thyrén 2009) men en jämförelse mellan institutioner av detta slag har inte gjorts tidigare. Här finns en möjlighet att visa hur kulturlivet i stort påverkades av de nya idéerna och hur både hög- och lågutbildade gavs tillfälle att ta del av detta.

  • 56. Hallgren, Karin
    et al.
    Kåreland, Lena
    De vilda svanarna. En pjäs i tiden.: Om Klarateaterns premiärföreställning.2003Book (Other academic)
  • 57. Hallgren, Karin
    et al.
    Rörby, Margareta
    Franz Berwald Sämtliche Werke. Bd 21. Ein ländliches Verlobungsfest in Schweden.2001Other (Other academic)
  • 58.
    Kjellander Hellqvist, Eva
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Hallgren, Karin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Kultur och kommersialism: några exempel från svenskt 1970-tal2019In: HumaNetten, E-ISSN 1403-2279, no 42, p. 180-201Article in journal (Refereed)
  • 59. Ternhag, Gunnar
    et al.
    Wallrup, Erik
    Hermansson, Elin
    Tägil, Ingela
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Hallgren, Karin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Writing Composer Biographies in the project Swedish Musical Heritage2016In: Dansk Musikforskning Online, ISSN 1904-237X, E-ISSN 1904-237X, p. 43-60Article in journal (Refereed)
    Abstract [en]

    Swedish Musical Heritage is a six-year-long project whose purpose is to make music, that is rarely played, more accessible so that it might gain a new audience. The project is funded by the Swedish Royal Academy of Music. Biographical texts on more than 300 Swedish composers, mainly unknown even for specialists in Swedish music history, provide a background for the use of the musical works, whether for performance or for research. The writing of these biographical texts is the topic of this article – the subject of which more precisely contains discussions around this rather old-fashioned task. The authors of this article are involved in this work in various ways and write from their respective starting points. The conclusion we have reached collectively is that the writing of biographies is of great value; the image of Swedish music history is deep- ened, female composers have become more visible, the musical life outside of Stockholm is described, and the great variety of roles a composer could have becomes clear. 

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