Estonian Music Days revealed how a young, vocally attuned community of composers in the small country between Finland and Russia combines historical depth with freedom, resonance, and intimacy.
Bent Sørensen’s new operatic collaboration with Jon Fosse falls short of what it might have been.
At the Copenhagen Museum, the city’s forgotten soundscapes are brought to life – from street cries and gongs to nervous night sirens – in an exhibition that lets the echoes of the past resonate in present-day ears.
Damon Albarn’s Mozart spin-off »The Magic Flute II« is replete with synths and spectacle, but does it truly capture opera’s essence – or merely its aesthetics?
Jenny Wilson’s first opera – an adaptation of Elfriede Jelinek’s »Women as Lovers« – delivers sharp theatricality and biting satire but struggles to find its musical voice.
Three albums with music for string quartet – and the likes – by Jürg Frey, Simon Christensen, and Anders Lauge Meldgaard each approach musical simplicity in their own way. But they aim for entirely different things with it.
»Bodies of Sound« gathers reflections from women and non-binary individuals on sound as experience, strategy, and resistance. This book should be read by anyone interested in sound as something beyond just music.
War, refugees, and destruction are inescapable at the Venice Biennale. You can feel it, see it, hear it – it's all-encompassing. Has Venice ever been this filled with sound?
Powerful Rhythms and Empowered Voices dominated at the opening night of Heroines of Sound Festival in Berlin.
Salomé Voegelin’s book about our uncurating sound is her most personal and also most difficult to read – however, succeeding with her project, despite almost all odds.
Simon Løffler’s personality shines through while Niels Lyhne Løkkegaard’s conceptual gold piece rings hollow at Gong Tomorrow.
A generational cycle of sexual abuse paired with a clear and lucid score. Last year’s operatic talk of the town was back for one day.