Women opera composers of the past have returned for good. But how do we break the closed circuit of opera history?

A few days before this year’s Copenhagen Opera Festival begins, I, as a critic, have been asked to keep away from one of the festival’s most experimental performances at the theatre Sort/Hvid. This is a complete misunderstanding of the role of criticism.

Roskilde Festival insists on ecstasy and togetherness, but the most beautiful moments arise in the dark, where the curious still dare to listen.

The 30th edition of Spot Festival became a sonic laboratory and cultural mirror, where experimentation, genre-defying music, and raw emotional intensity were given free rein.

To reach its potential music criticism needs to go beyond opinion. Macon Holt suggests the critic must grapple with the ethics and politics of the music.

The Nordic Music Days in Helsinki failed to deliver on its promise of diversity, even if seen from a strictly stylistic point of view, writes participating composer Tine Surel Lange.