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?

What a strange release, nostalgically so in its way. And how creative.

OperaHole nevertheless looks like a strong contender to carry on our tradition of playful underground opera.

»The shockwave transforms into mischievous, squelchy synth footsteps as desperation and hallucinations grow.«

The music is brutal, relentless. But could it have been more: more in colour, beyond the duel?

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?

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.

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.

A good twenty years after the first rediscovery of Else Marie Pade as an electronic pioneer, she is now being branded as a visionary acoustic composer. It seems we never get tired of rewriting the story of this special artist – and writing ourselves into it.

Sensitive jazz guys? Nope – suddenly Marsalis hurled himself into the seated audience with a somersault – and a scream.

It is saturated, direct, and seemingly made for a grippingly intense choreography. A powerful partnership on the grand stage.

Two years ago, James Black began writing an article series on religion in the Danish composer scene. Getting more and more angry, Black finally had to give up. Why?