312:, one of the richest men in Sweden, placed his teenage son John Hall under her tutelage with the task of correcting his behavior by instructing him in "the way of the world". This arrangement was considered very peculiar by contemporary society and attracted great notorious attention. Inga Åberg accepted the offer: she gave Hall large bills to pay during the time when his son was in her care, which Hall, far from opposing, instead considered as proof of the high quality care she gave his son. She then left Sweden and her career at the opera for Saint Petersburg in Russia with her young pupil John Hall. John Hall eventually returned to Sweden alone and referred to Åberg as "a cunning adventuress".
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potential. A contemporary writer stated that Inga Åberg: "... would have become a great singer and an excellent actress, if her unusual beauty and not been an obstacle for her artistic studies, and she had been enticed to regard it as a source of income, richer but in the long term no more secure than art." She was often used in ornamental roles, widely reputed to be a
177:. A critic stated that she "completely acquire the character of the person she plays", and she was praised for her versatility, her "energy and finesse", her grace and her "seductive gracefullness." In the first decade of the 19th-century, she was one of few actors of her generation which was not deemed as outdated by the harsh critic Klas Livijn.
102:, the first professional native stage actress: Straas had been employed as a chambermaid of the royal household prior to her stage career, and after she married Anders Åberg and retired from the stage, both she and her spouse was employed in the royal household, but it is not confirmed that Jonas Åberg was their son.
152:
The same year, she was in parallel engaged as a stage actress at the newly founded
Swedish-language Ristell Theatre in Bollhuset. When the Ristell theater was transformed to become the Royal Dramatic Theatre (1788), she became a member of its pioneer generation. It was not uncommon in the late 18th
315:
After her return to Sweden from Russia and her retirement from the Royal
Swedish Opera and the Royal Dramatic Theatre, Inga Åberg was active in various travelling theater companies touring Sweden and Finland. Among them where the theater company of her brother. In 1816–17, she and her daughter are
180:
Her beauty attracted great attention, but was also regarded to have had a negative effect on her career. According to critics, she did have great natural talent, but neglected to develop it fully because she had been told that her beauty would be enough, and therefore never reached her full
397:
Nordensvan, Georg, Svensk teater och svenska skådespelare från Gustav III till våra dagar. Förra delen, 1772–1842, Bonnier, Stockholm, 1917 (Swedish theatre and
Swedish actors from the days of Gustav III to our days. First Book 1772–1842). Albert Bonniers Förlag (1917), Stockholm.
504:
Georg
Nordensvan:Svensk teater och svenska skådespelare Från Gustav III till våra dagar. Förra delen 1772-1842 (Swedish theatre and Swedish actors from the days of Gustav III to our days. First Book 1772-1842). Albert Bonniers Förlag (1917), Stockholm. (in
472:
Georg
Nordensvan:Svensk teater och svenska skådespelare Från Gustav III till våra dagar. Förra delen 1772-1842 (Swedish theatre and Swedish actors from the days of Gustav III to our days. First Book 1772-1842). Albert Bonniers Förlag (1917), Stockholm. (in
462:
Georg
Nordensvan:Svensk teater och svenska skådespelare Från Gustav III till våra dagar. Förra delen 1772-1842 (Swedish theatre and Swedish actors from the days of Gustav III to our days. First Book 1772-1842). Albert Bonniers Förlag (1917), Stockholm. (in
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Georg
Nordensvan:Svensk teater och svenska skådespelare Från Gustav III till våra dagar. Förra delen 1772-1842 (Swedish theatre and Swedish actors from the days of Gustav III to our days. First Book 1772-1842). Albert Bonniers Förlag (1917), Stockholm. (in
442:
Georg
Nordensvan:Svensk teater och svenska skådespelare Från Gustav III till våra dagar. Förra delen 1772-1842 (Swedish theatre and Swedish actors from the days of Gustav III to our days. First Book 1772-1842). Albert Bonniers Förlag (1917), Stockholm. (in
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Georg
Nordensvan:Svensk teater och svenska skådespelare Från Gustav III till våra dagar. Förra delen 1772-1842 (Swedish theatre and Swedish actors from the days of Gustav III to our days. First Book 1772-1842). Albert Bonniers Förlag (1917), Stockholm. (in
156:
Inga Åberg was referred to as one of the more noted stage artists of her generation in Sweden. As an opera singer, she was later given the recognition of being the only native female opera singer of any note between the retirement of
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theater company, where she was still given good critic as a tragedienne and described as having a "Fresh and jolly nature". In 1825, she is noted to have performed the part of
Elizabeth opposite
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century for stage artists to be employed at both the opera as singers and at the theater as stage actors, providing that they had the ability to perform in both capacities.
189:, himself known for his beauty and often used in the part of lover, changed his name from Åberg to Åbergsson to avoid any connection to "his notorious sister's name."
113:, where she was enrolled from 1781 to 1787. Many later famed Swedish of stage artists of her generation was trained by the French actors of the French Theatre in
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in Finland. She spent her last years with her daughter in Gothenburg, where she gave dance lessons to the children of the city burgher upper class.
339:, with the nobleman and courtier Carl Gustaf von Stockenström. Her daughter was educated in dancing and was a star dancer of the Gothenburg theater
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Inga Åberg was the daughter of Jonas Åberg, a footman at the Royal Palace and Fredrika Maria Svahn. It is likely that her paternal grandmother was
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Digitalized version of Svenskt Musikhistoriskt arkiv bulletin 29 (Archives of Swedish Musical history) ISSN 0586-0709 (1995) Stockholm
209:(August and Theodor or The Two Valets), by Kexel inspired by a French theatre comedy, in the 1794–95 season. She made a success in
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Inga Åberg debuted as an opera singer at the age of fourteen on 31 May 1787 at the Royal Swedish Opera in the role of Yngve in
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Minne af Kongl. Dramatiska Teatern med en Repertoire (1825) (To the memory of the Royal Dramatic Theatre. With a repertoire)
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and was later referred to as a bad role model for aspiring female actors and singers. Her brother and colleague
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Kungliga teaterns repertoar 1773-1973 (The repertoire of the Royal Theatre 1773–1973) (1974)
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280:(Folke Birgersson of Ringstad) by Kexel after a work by Monvel (1792–93), Carl Sjöcrona in
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Tryggve Byström: Svenska komedien 1737-1754 (Swedish Comedy 1737-1753) (1981) (in Swedish)
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Inga Åberg was the subject of a great scandal when the merchant millionaire Hall from
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Det gamla Göteborg. Lokalhistoriska skildringar, personalia och kulturdrag / Del 2
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Det gamla Göteborg. Lokalhistoriska skildringar, personalia och kulturdrag / Del 2
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Det gamla Göteborg. Lokalhistoriska skildringar, personalia och kulturdrag / Del 2
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and the foremost fashionable dancing instructor of the city well in to the 1850s.
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were among the first named Swedish actresses at the Royal Opera to play
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in 1800, when the opera stars where mainly of foreign origin, such as
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noted to have been members of is noted to have been a member of the
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by Gustav III composed by Olof Åhlström (season 1786–87), Carl in
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73:(Ingeborg Elisabeth; 1773–1837) was a Swedish actress and
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in 1806. In 1796, she played opposite famous singers such as
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357:(Notes on Swedish women) by Wilhelmina Stålberg, P. G. Berg
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where described as beautiful and placed as students in the
288:(The old/two suitors) by Dalayrac (1795–96), Agarenne in
284:(The dangerous trust) by Grétry (1793–94), Gustafva in
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375:(Swedish Comedy 1737–1753) (1981)
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534:Svenskt kvinnobiografiskt lexikon
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161:in 1784 and the breakthrough of
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16:Swedish actress and opera singer
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251:La caravane du Caire
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300:(1807–08).
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639:Inga Åberg
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