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A dramatic staging of two Greek myths, Wayne McGregor's Jocasta's Line is an epic production for Norwegian National Opera and Ballet, a truly modern and totally original work.

A fitting farewell for Leif Ove Andsnes' Rosendal Chamber Music Festival: imaginative programming and excellent performances in an inspiring setting. 

The second programme of Norwegian National Ballet's Kylián festival, Day After Yesterday, features four older works, including Petite Mort and No More Play which are unquestionably highlights of his expansive repertoire.

The Wings of Time festival in Oslo this summer is the most comprehensive collection of Czech choreographer Jiří Kylián’s work ever presented. 

A brief but excellent programme of five duets showcased on the main stage of the Den Norske Opera.  

Jon Fosse's bleak tale of alienation is graced with fine performances from a strong cast and excellent playing by the Bergen Philharmonic Orchestra under Johannes Gustavsson.

Premiered with Norwegian National Ballet in 2009, this Don Quixote is packed with high energy classical and character roles and is colourful and extravagant.

A Tale about Swan Lake ticks all the boxes as an introduction to ballet for young audiences while offering a version that adult lovers of the work can thoroughly enjoy.

Stigma is a monumental work, with a wealth of serious reflection on where we are as the human race on a fragile planet.

In their home concert hall under their Chief Conductor, the Oslo Philharmonic produce a high quality performance of Tchaikovsky's Fourth Symphony.

A first rate account of George Balanchine's Jewels from exquisite dancing and music, to tremendous staging.

Norwegian National Ballet's highly entertaining double bill of two of Mats Ek's most popular works is enthralling.

Strømgren’s choreography is remarkably eloquent with emotionally charged movement in a fast-paced performance with a serious message.

Totally riveting, in Still Life the dancers move in ways that are thought-provoking and eloquent, underpinning the message that to be human is to be at one with nature.

Marit Moum Aune has completed the third production in her Ibsen trilogy and in The Wild Duck she has, together with Norwegian National Ballet, another big success.

An adventurous triple bill of vintage works new to Norway. 

Norwegian National Ballet return to the classics with surprising ease.

A spotlight on human connection in a world increasingly devoid of empathy.

Six talented finalists light up the final of the prestigious Norwegian singing competition

Closer to Matthew Bourne than Marius Petipa, Christian Spuck's Sleeping Beauty is full of invention, captivating the audience in numerous, unexpected ways.

Leif Ove Andsnes joins the Oslo Philharmonic in dynamic Rachmaninov before high-energy Shostakovich closes the season.

Powerful and thoroughly absorbing living art. 

Dead air swallows the acoustic, so it’s no wonder this orchestra and choir is busy raising funds to build its own concert hall in Oslo.

Norwegian National Ballet opened its new run of Natalia Makarova’s staging, with Whitney Jensen and Lania Atkins making outstanding impressions as Nikiya and Gamzatti. 

Mary Miller bows out after ten years at the helm of Bergen National Opera with a defiant account of Mozart’s final opera. 

The finale of the Icelandic pianist's five-concert residency in the Bergen Philharmonic's Wintermezzo festival saw him play Grieg's Piano Concerto in A minor... this time in the same hall as the orchestra!

Christian Ihle Hadland’s piano sparkled in Ravel sandwiched by lively and joyful Rameau and Mozart.

The Bergen Phil and the Edvard Grieg Choir trace music from Elizabethan themes to 20th century works on them, culminating in Pärt's Cantus in Memory of Benjamin Britten.

Chrisoph Loy's new Oslo production of Eugene Onegin only somewhat succeeds in its desire to create a meditation on loneliness, but superb musical performances still make it an utterly compelling piece of music theatre.

Vasily Petrenko and the Oslo Philharmonic's Mahler Nine seemed unaware of what it wanted to be, resulting in a frustratingly directionless, disjointed concert.

A surprise "artist" gatecrashes the Festival's closing concert

A bracing evening of compositions by Unsuk Chin and Eivund Buene 

The Oslo String Quartet impresses in a carefully curated concert at Grieg's home. 

The Trøndelag Teater presents an opéra comique by André Grétry in a brilliant production by Julien Lubek and Cécile Roussat, under the inspired musical direction of Martin Wåhlberg.

Ralph Vaughan Williams' towering A Sea Symphony and the orchestra of the Norwegian National Opera and Ballet capped off the Oslo opera season in a singularly loud fashion. 

Despite some dramatic frustrations, at least in Oslo, Jones' production is saved by some truly outstanding singing.

Bergen Philharmonic’s programme of Grieg’s Piano Concerto and Gubaidulina’s violin concerto Offertorium offered fascinating insight into the relationship between orchestra and soloist.

An impressively well-planned programme of mostly viola transcriptions by Grainger, Bach, Delius, Ellington and Grieg.

At their recital at the Bergen International Festival, Bryn Terfel and pianist Caradog Williams presented a programme of overwhelming sameness and neverending joviality.

Berlioz’s gargantuan Grande Messe des morts with the Bergen Philharmonic and Edward Gardner opened the Bergen International Festival with deafening climaxes and even more resounding silence.

Bergen National Opera’s new production allows the story to speak to itself, while strong performances from Eric Halfvarson and Elisabeth Teige gave the performance its edge.

After a shaky start with Metamorphosen, the Oslo Philharmonic embodies the evening's theme of transformation by ending on a stonker of a Petruskha, via the perenially fabulous Lise Davidsen.

The first staging of Bellini's Norma in Oslo in over a century is unfortunately hampered by an irritating production, yet some glorious singing does much to rescue the show.

Beautiful, yet uninspired playing resulted in an underwhelming start to the New Year from the Oslo Philharmonic.

Christoph Loy's Oslo production of Wozzeck is a dramatic triumph, with gripping performances from a cast led by Audun Iversen's desperate title character.

François de Carpentries' Oslo production of The Barber of Seville was both unfunny and underwhelming. 

Playing music by Copland, Hovland and Sibelius, the Oslo Philharmonic and Dalia Stasevska gave exciting performances, even though the quality of the music did not always match.

Calixto Bieito's Tosca, despite an intriguingly modern setting, fails to make sparks fly.

Netia Jones is a visionary stage practitioner, but this show is a rare misjudgement.