Gina Oselio and Opera in Fin-de-Siècle Norway

Abstract

Abstract In 1888, Norwegian newspapers eagerly announced the arrival of ‘Miss Gina Oselio’, who was returning to Norway ‘after seven years of staying abroad’. Oselio (Ingeborg Aas (1858–1937)) had achieved tremendous success as an opera singer in Europe and her performance on the Norwegian concert stage did not disappoint. Her new popularity positioned the singer as a member of the country's cultural elite and introduced a new complexity to her operatic identity. Unlike other Norwegian musicians who were treated primarily in terms of their nationality, her ‘Norwegianness’ had been largely incidental during her career. Oselio's private papers, however, offer new insights into the complex relationship between the singer and the nation. Together with her reception history, these materials invite a fresh examination of Oselio's position in fin-de-siècle Norwegian musical life. They show how she cultivated her career and her identity outside Norway, as well as her deliberate decision to assert her ‘Norwegianness’. They demonstrate the roles that Oselio wished to occupy on the country's stages and how other Norwegians responded to these roles. Ultimately, they document a period of transition, as artists, critics and audiences sought to determine the place that opera would occupy within the nation.