Song Circus is a Norwegian chamber ensemble of professional and improvising singers. The ensemble is specializing in the interpretation of contemporary music.

World Premiere at Ultima Oslo Contemporary Music Festival!

Last weekend was the world premiére of our new performance “Graataralagjet”, a new vocal song cycle and a themed concert based around one of Norway’s grisliest folk tunes. We have commissioned new works from Norwegian composers Therese Birkelund Ulvo and Nils Henrik Asheim, and together with us, as a guest musician, was the wonderful fiddle player Britt Pernille Frøholm.

Kulturkirken Jakob was the perfect stage, and Tove Kommedals visual installation became the immersive and expressive artwork we wished for. Nils Henrik Asheims and Therese Birkelund Ulvo have both composed music we will bring with us and perform a lot. The last piece in the Graataralagjet trilogy, Stones by Tyler Futrell, will be premiered in November, another beautiful piece of music! Thank you Thorbjørn Tønder Hansen and the Ultima festival team. You were professional to the fingertips!

Yet another new and lovely review!

5 of 5 stars in http://www.chaindlk.com:

“What you will actually hear here subtly takes sound beyond the confines and preconceived notions of what you’ve ever experienced before.”
“The best way of describing “Landscape” is an aural dreamworld that sometimes mixes natural ambient with snippets of other-worldly elements, and also whispers. Vocally, the composition ranges from onomatpoetic utterings to seductive, siren-like glissandoes.”
…..
“I readily admit that most of my interest in avant-garde modern music stemmed from an earlier time when I was ever so curious about music that did not conform to convention and transcended traditional form. ‘Anatomy of Sound’ however has rekindled a spark for this kind of thing, being some of the best “new music” I’ve heard in a long, long while.”

Songbook of Breast – under development

Live art theatre.

The project is centring around western society’s unarticulated relationship with the women’s breast, through research about the female breast in literature, art, politics, history, popular culture and through transcriptions of interviews with women who have had cosmetic and medical based breast surgery.

Song Circus (ensemble) / Laura Bowler (komponist) / Lavinia Murray (dramatiker) / Kate Lane (designer / scenograf) / Valentina Ceschi (regissør)

BIRDS – Song Circus / Runesdatter

We have been working with a beautiful project this spring and summer: Birds, by Liv Runesdatter, is inspired by the birdlife on five locations in Rogaland in a period of four weeks. The music is developed together with and performed by Song Circus, Britt Pernille Frøholm (hardanger fiddle) and Odd Børge Sagland (percussion).

“Birds” is performed as a concerts piece, we are developing a programme with musical bird fairytales together with storyteller Marianne Stenerud, a short film in collaboration with Hinterland and visual artwork together with Nina Elisabeth Børke / Werksemd, and Sondre Oldereide Michaelsen is making a short docu for us.

Residency in Stavanger together with composer Laura Bowler and designer Kate Lane (UK)

Song Circus are developing a new and fascinating project, together with Laura Bowler, Lavinia Murray and Kate Land (UK) and cultural studies researcher Birgitta Haga Gripsrud (NO).

Together we are looking at the (un)articulated breast; through literature, history, art, religion, politics, psychology, popular culture, feminism, and social antropology.

The project will have shape as a music installation / music theatre and will be premièred in autumn 2018.

Billedreferanser Bryst

Great review in The Sound Projector!

“Landscape With Figures sounds positively bustling with activity compared with this largely static set of haunting, abstract murmurs and howls. The voice of Persephone is a many-layered beast, like that of a thousand owls and sad lonely wolves.”
 
“Throughout both pieces, Song Circus perform flawlessly. In fact their performances are almost inhuman in their clinical perfection, and if we add the super-human clarity of these recordings and the very alien, abstract nature of the music, I sometimes wonder what there is left for us to enjoy. Somehow there is a certain pleasure to be found in the coldness of this work, and the remorseless way the music is executed, which may not be anything like what Liv Runesdatter and her crew intend. I think the faceless woman on the front cover is very telling, a visual index of the near-anonymous music inside.”