A lot of noise has been made in Germany, Switzerland and Austria for years. It is not enough if you are in the cultural events, yes, in the art itself, it must also be big on it, which basically underlines discrimination. In addition, most activists are often not concerned with others, but about themselves: the slogans have become part of the political marketing of art, precisely because art itself is no longer valid. She has to attract attention through non -artistic activism. The visit is urgently recommended to all director, festival managers and curators, because those who come here experience a completely natural, confrontation and demonstration-free handling of various public classes or people who somehow deviate from the majority. Adrian Angelico, in Sami-costume, sings Edvard Griegs “Haugussa” Helene Myks- MezzoPran Adrian Angelico from the people of the seeds and non-binary or rather a woman who wants to be read male, but hormone therapy-which she spoke in detail in the interview for the BBC-refused because she feels her voice as her and does not want to know. Angelico, a star of the opera, folk and pop in Norway, just appeared with the pianist Marita Kjetland Rabben in the Gothic Håconshalle from the 13th century like any other singer. There is also no marking in the program, not even a mention of gender determination. The appearance speaks for itself: What a charismatic personality! Entiring in the skill and amazing in what you have to call “good serious seriousness”. Angelico wears a skirt of black tulle, plus a black blouse with glittering lycra, but the red-green border with silver braid of the Sami costume on the collar. Women’s clothing and men name find each other simply as well as indigenous culture and canonized art. “Haugtussa” – “Bergmaid” – opens the evening, the song cycle by Edvard Grieg, who, with the poems Arne Garborgs, first addresses female desire and erotic self -determination in the history of the art song without demonizing them or subordinating them. In Bochum, Angelico was a guest at the Ruhrtriennale in the scenic version of “Haugtussa” in 2024. External content activate a lively, warm -timed vocals of the greatest narrative suggestion. The clairvoyance of the girl Veslemøy incarnates in Angelico’s glance. The happiness of the zickleint dance with the shepherd boy Jon bounces through the voice (and Angelico makes a cabaret insert from the short text hanger). The shiver of the kisses and the pain of separation trickles through the vocals and the piano accompaniment – fully developed humanity in contrasting miniatures of ecstatic life, but Angelico does not leave it with art songs from Grieg and Franz Schubert. A Joik, a traditional vocals of the seeds, follows with a short introduction: “Joik is not referring to anything. Joik is something. If I now sing Pernillilla from my sister, then I’ll come up with her. Then she is here.” Music from the Disney film “The ice queen-completely unadorned”, sung with a microphone, and the ethno pop song “Elle” by Mari Boine decide on the program. Different voting wise of singing, which stand for different cultural spheres and educational biographies, come together as casual as the different identities that are in the person of Adrian Angelico. Edvard Griegs Villa Troldh eyes at Bergenjan Brachmannlars Petter Hagen, intendant of the festival in Bergen, says in conversation with the FAZ: ” Organic. And so whoever wants, in the pedestrian zone of the vibrating West Norwegian city of folk songs and pop songs with Herborg Kråkevik and the Trondheim soloists, can sing, “songs that we all know since childhood,” says Hagen, and on the other hand there are music of the Japanese composer Ryoji Ikeda with the ensemble modern or in Western Norwegian theater premieres of new chamber music with the participants of the master course of the cellist Amalie Stahlheim. Everything is there: pop culture and high culture, shopping mall and ivory tower. Nothing is played against each other. The times of aesthetic monism are just over as those metaphysical total philosophies. What matters is acceptance. And what Hagen succeeds here is a de-escalation of current cultural struggles, without compromising in quality. EDVARD Griegs Steinway wing from 1892 in Troldh eyesjan Brachmann-proof, the number of events seems to be somewhat smaller than in previous years. While a concert in the Håkonshalle was first attended six years ago at 7.30 p.m. and then diving into the White Night at around 10:30 p.m. on Troldh eyes in Edvard Griegs Villa, the villa concert starts at 7 p.m. The late date is no longer necessary. But it remains an intensive experience to sit in the wood -fragrant Salon Griegs and, if poured over by the evening sun, to listen to Christian Ihle Hadland. At Grieg’s wing from 1892, at the end of Nikolaj Medtner’s fairy tale sonata, he lets the shadows crush or immerses Grieg’s “lyrical pieces” op. 43 into a risky shiller, as is otherwise only known from virtuosos of sensuality like Sofronizki or Horowitz. Activate external content, “we all,” says Hagen, “hunt the youth. And I am also glad that we have been able to increase the share of special price tickets for visitors under 30 years by 70 percent. But we are not allowed to forget the old ones. I myself am born in 1975 and, after current statistics, have a life expectancy of 91 years old. The proportion of the elderly increases. must remain interesting and accessible to the old ones ”. The theater evening “The Secret Life of Old People” by the French-Moroccan author and director Mohamed El Khatib is only an example, albeit an offensive one: on the basis of original reports between 74 and 102 years, he tells about sexuality and desire in old age, which is by no means afraid, with the early magic of the first time-as noticeable with black humor-evaporated in favor of the shiver Last time.lar’s Petter Hagen wants to remember not only the concept, but also the individual artist from a festival. A very touching experience is the resurrection of Kirsten Flagstad (1895 to 1962), one of the most important singers of the 20th century. Her voice was digitized and isolated from the original accompaniment so that the Edvard Grieg vocal ensemble under the direction of Stephen Higgins can sing live with her in the Håkonshalle. Flagstad is experienced, who knew how to combine like no second intimacy and monumentalness and could phrase, as well as sound as well as language, in community. We experience the technical new staging of an individual voice, which in its interpretative art strain has become a work of art by documenting the recording itself. This is also a new impulse in thinking about music that comes from mountains.
