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Paired with some overly serious Mahler, Eivind Buene's melodrama Blue Mountain did not quite convince, its ironic self-awareness getting in the way of itself.
John Butt and the Dunedin Consort closed the Oslo Church Music Festival with fine performances of CPE Bach and Mozart, even though the concert didn't prove quite as innovative as advertised.
The revival of Calixto Bieito's Carmen in Oslo proves a bumpy ride, with uneven singing and orchestral playing, saved by Katarina Bradić's captivating portrayal of the title heroine.
Bei seinem ersten Ausflug in die Welt Rossinis, verwandelte der norwegische Regisseur Stefan Herheim La Cenerentola in ein brillantes, lustiges Spektakel, gefüllt mit nachdenklich stimmendem Humor und herausragendem Gesang.
Conductor Han-Na Chang and the Oslo Philharmonic impressed with a fiercely fast overture to Ruslan and Lyudmila and an exciting new piece by Norwegian composer Jan Erik Mikalsen.
Despite occasionally brilliant singing, the Norwegian National Opera fails to raise seasonal spirits with a dramatically inert Cavalleria rusticana and a shaky Pagliacci.
With disappointing Schumann followed by engrossing, but incomplete, excerpts from Wagner's Götterdämmerung, Marek Janowski and the Oslo Philharmonic fail to make a splash.
Despite an excellent cast and some glorious singing, Stephen Langridge's oft-revived 2012 production of Puccini's Madama Butterfly never quite takes flight.
Director and choreographer Jo Strømgren's production of Gluck's Orfeo ed Euridice brings together ballet and opera, but succeeds only with limited results.
Thursday's opening of the Oslo Chamber Music Festival showed an enticing bredth of programming, showcasing a wide array of new and old music, all performed with utter conviction.
