When Mysticism Loses Its Magic
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.
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.
Copenhagen Opera Festival 2025 turned away from opera’s classical themes of fate and instead gave space to intimate music-dramatic experiments on queer identity, domestic violence, climate crisis, and mental illness.
Struer Tracks showed that even municipal branding can open new worlds when sound art gets involved – from glitching rat voices in the basement of the music school to subwoofers that shook the harbor.
Savonlinna’s castle festival lets Finnish national opera resonate between stone, lake, and summer night – and shows how dark dramas can mirror the soul of a people.
At its best, the ambitious sound art walk »Witness Stand« at Refshaleøen pierces right into Copenhagen’s gentrification of the old industrial area. But does it realise that it is itself part of the problem?
Borealis in Bergen promises experimental music but falls short when it comes to traditional concert formats. Instead, magic emerges when the audience is invited out into the forest or into floating sound saunas.
From digital melancholy and ritual noise assaults to pure silence – MaerzMusik explored the tactile forces of sound and the boundaries of the body.
The Only Connect festival in Stavanger transformed the city into a landscape of noise, poetry and bodily vibrations.
Katsuko Tsujimura sought to dissolve the body in postwar Japan. Now, new voices are gently piecing it back together.
The MOMENTUM biennial in Moss, Norway lets sound art speak, guiding the audience into the borderlands of the senses – where even a toilet resonates like an echo chamber.
This year’s edition of Copenhagen’s festival for new music embraced sonic rituals, cultural encounters, and performances with loops, bodies, and cassette tapes – and featured French musicians playing as if sound itself could change the world.
At the Bergen International Festival, William Kentridge and Ryoji Ikeda let art capture what can no longer be said – only felt.