comment21.12
Let’s Finally Drop the Rhetoric of »forgotten« Women Composers
Women opera composers of the past have returned for good. But how do we break the closed circuit of opera history?
PerspectiveComment
what we immerse ourselves in
comment13.08
I Most Certainly Will Not Stay Away From Your Theatre
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.
comment07.07
Roskilde as a Battleground of Sound
Roskilde Festival insists on ecstasy and togetherness, but the most beautiful moments arise in the dark, where the curious still dare to listen.
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comment16.05
The Anti-Heroes Take the Stage – And It Suits Spot
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. -
comment19.04.2021
Sublime ghosts and capricious categories
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. -
comment18.12.2018
Not so diverse after all
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.