Dark Music Days in Reykjavík offered everything from Bára Gísladóttir’s orchestral darkness to noise, seaweed and quiet song in Harpa – in a music scene where community matters as much as the export adventure.
Sebastian Fagerlund’s »Morgonstjärnan« transforms the novel’s existential unease into a powerful, collective musical drama.
Sacrum Profanum in Kraków offered intense sonic experiences and musical battles – but also performances where the idea outweighed the music.
Revivals have moved onto the agenda among Danish composers, and this month two violent operas by Matias Vestergård benefited from the trend. What is it that makes him so good at writing precisely that kind of work?
Local traditions play a central role in the second-ever Faroese opera, in which Sunleif Rasmussen reclaims a local story made famous by Wagner.
From cyborg kinships and alchemical wonder to masculine fragility and Anthropocene ecstasy – MINU showed that art still holds space for vulnerability, ferocity and strange beauty.
Charlottenborgs hyldest til Mika Vainio vil være en lydbiograf, men uden ordentlig volumen, mørke eller kontekst ender installationen som en oplevelse, man hurtigt glider ud af.
Current Resonance turned the idea of work inside out in an absurd, sweat-drenched performance that pulled the audience into a hard-pumped ritual of labour.
Unsound in Kraków is still more than a festival – it’s an echo of our own search for connection in the age of noise.
At the Musica festival in Strasbourg, everything from children’s concerts to organ storms and performative string quartets turned into a playful exploration of sound, body, and community.
Ostrava Days transformed the old mining town into a laboratory of sound, where contemporary music pressed its way out between dust, drones, and Dadaist madness.<br />
This year’s Rued Langgaard Festival set out to open the gate to Danish mysticism, but at times disappeared itself into a haze of filler and gimmickry – though a few concerts stood strong.