Tora Augestad



Doreen Lutz


+49 30 214 594-235

General Management

CR Asa Maria Mikkelsen


27.11. 22:00
Elektro Gönner Vienna

Arrangements from Beyoncé, PJ Harvey, Sia, Nirvana, Björk, M. Qvenild, H. Hukkelberg, S. Sundfor, O.H. Moe Jr, J. Bernhoft-Sjodin, C. Wallumrod, E. Gardner

Tora Augestad, mezzo soprano
Morten Barrikmo, Clarinet
Tanja Orning, violoncello
BOA Trio

30.11. 20:00
Théâtre National de Strasbourg

King Size (Christoph Marthaler)

Tora Augestad, mezzo soprano

01.12. 20:00
Théâtre National de Strasbourg

King Size (Christoph Marthaler)

Tora Augestad, mezzo soprano

02.12. 20:00
Théâtre National de Strasbourg

King Size (Christoph Marthaler)

Tora Augestad, mezzo soprano

03.12. 20:00
Théâtre National de Strasbourg

King Size (Christoph Marthaler)

Tora Augestad, mezzo soprano

04.12. 20:00
Schauspielhaus Zürich/Schiffbau

Tessa Blomstedt gibt nicht auf

Tora Augestad, mezzo soprano

05.12. 20:00
Schauspielhaus Zürich/Schiffbau

Tessa Blomstedt gibt nicht auf

Tora Augestad, mezzo soprano

06.12. 15:00
Schauspielhaus Zürich/Schiffbau

Tessa Blomstedt gibt nicht auf

Tora Augestad, mezzo soprano

13.12. 18:00
Parkteatret Scene AS

Works by Weill, Dowland, Händel, Poulenc

Tora Augestad, mezzo soprano
Music for a while

17.12. 19:30
Volksbühne Berlin

Tessa Blomstedt gibt nicht auf

Tora Augestad, mezzo soprano


Whether Tora Augestad is singing John Dowland’s breathtaking “Come again” or Elfi Graf’s sentimental “Am schönsten ist es zu Hause” – you could listen spellbound until the end of time.
Neue Zürcher Zeitung

Tora Augestad’s versatility inspires composers, theatre directors and conductors. Through commissioning new works and through the collaboration with her various ensembles she continuously seeks new challenges and the exchange of artistic ideas. She knows how to be theatrically convincing and how to engage her vocal capabilities, which defy easy classification in an appropriate and compelling manner.

Born in Bergen in 1979, the singer/actress Tora Augestad studied classical music and jazz singing in Oslo and Stockholm, devoting herself principally to repertoire of the 20th and 21st centuries. While studying in Berlin and Munich she intensified her involvement in German music, before graduating in cabaret singing from the Norwegian Academy of Music in Oslo.

In the meantime, Tora Augestad has become a regular guest in the opera houses, concert halls and theatres of her native Norway and the rest of Europe, sharing the podium with musical partners such as Ensemble Modern (Weill’s Three Penny Opera under HK Gruber), Oslo Philharmonic Orchestra (Schönberg’s Pierrot Lunaire, Berio’s Folksongs), Ensemble Contrechamps (Gardner’s No Thanks) Klangforum Wien (Grisey’s Quatre chants pour franchir le seuil, Furrer’s Canti della tenebra), Remix Ensemble (Folksongs), Finnish Chamber Orchestra (Paus’ Hate Songs under Jukka-Pekka Sarasate) and the NDR Symphony Orchestra (Widmann’s Dunkle Saiten under Thomas Hengelbrock). She gave the world premiere of an opera commissioned by herself at the Bergen Festival 2015: Cecilie Ore’s Adam & Eve.

Collaboration with the Swiss director Christoph Marthaler, which began in 2010 with the premiere of Beat Furrer’s music theatre work Wüstenbuch (Book of the Desert), has become a constant in Tora Augestad’s artistic life. After the success of Marthaler’s Meine faire Dame, a take on My Fair Lady, at the Theater Basel in 2012 with guest appearances in Naples, Avignon, Edinburgh and Paris, the homage to Verdi’s Lo Stimolatore Cardiaco at the Theater Basel and the Zurich Opera production of Sale with music by Handel followed (Orchestra La Scintilla Zürich, Laurence Cummings). The musically rich staged Lieder recital King Size went on tour to cities including Hamburg, Zagreb, Prague, Moscow, Nanterre, Girona, Geneva, Turin, Rotterdam, Bergen and London (Royal Opera House). The production Letzte Tage. Ein Vorabend (Last Days. An Eve), a collage about the period between the two World Wars, was premiered in 2013 at the Wiener Festwochen and Festival d’Automne Paris and in 2014 at the Staatsoper Berlin/Schillertheater. She can currently be seen at the Volksbühne Berlin in Tessa Blomstedt gibt nicht auf; a new production with Christoph Marthaler will follow there in 2016

In 2004 Tora Augestad founded the ensemble MUSIC FOR A WHILE, made up of renowned musicians from the Norwegian jazz scene. After the release of their CD Weill Variations, the singer was awarded the renowned Lotte Lenya Prize in 2008. Their album Graces that refrain, with new arrangements and interpretations of classical arias, was released in 2012 and in 2014 the CD Canticles of Winter. The ensemble has already appeared at the Kurt Weill Festival in Dessau and Bergen Festival, and can be seen in the 2015/16 season at the Beethovenfest Bonn, Oslo International Church Festival, Dresdner Musikfestspiele, Händel-Festspiele Halle and Nikolaisaal Potsdam. Her BOA trio (clarinet, cello, voice) released its debut album mOOn Over tOwns in 2013 and has performed at the Ultima Festival Oslo and Klangspuren Schwaz, among others.

The 2015/16 season will also lead Tora Augestad to the Festspiele Mecklenburg-Vorpommern, Ultima Festival Oslo and Schauspielhaus Zürich. Tora Augestad has been co-artistic director of the Hardanger Music Festival in Norway since 2015 and was nominated for the Nordic Council Music Prize 2015, the most important cultural prize in Scandinavia.

This biography is to be reproduced without any changes, omissions or additions, unless expressly authorised by the artist management.

2015/16 season


Tora Augestad’s wonderfully precise mezzo-soprano moved the audience from the very first note. Mastering all the variations in register without difficulty, she charmed as a passionate lover (“Surabaya Johnny”, “Come again” by John Dowland) and sensitive storyteller (“Der Leiermann” and “Gute Nacht” from Schubert’s “Winterreise”). Her charmingly nonchalant version of “Mackie Messer” set standards.
General-Anzeiger Bonn, Claudia Wallendorf, September 2015 

Augestad is the star of the evening: her blowsy, jazzy approach to the more modern numbers is delightful. Augestad also has innate comic talent: as the evening goes on, her sense of humour shows ever more strongly in ironic dance moves, witty gestures and some deliberately hyperbolic singing. When you feel lost in the piece, Augestad's calm conviction and clear enjoyment of her role reassures you that it's still ok to laugh.
Bachtrack, April 2015 (on Christoph Marthaler's King Size)

As a performer, Augestad keeps talking directly to you. She has a charisma and an authority that makes her own the stage. Yet her musicianship is not theatrical, but she finds a similar presence in the music’s own structures and expressions as she projects as an artist. Augestad is a vocal multi-artist with this and more in her voice.
Klassekampen, January 2015 (on her interpretation of Luciano Berio's "Folksongs" with Oslo Philharmonic Orchestra)

It is possible that no performer will ever parody Whitney Houston with such shivering movements as the strong-voiced Tora Augestad (…).
Der Tagesspiegel, October 2014 (on Christoph Marthaler's "Tessa Blomstedt gibt nicht auf" at the Volksbühne Berlin)

Mezzo-soprano Tora Augestad’s performance of Pierrot was vividly characterised, kicking the whole thing off with an almost comically drunken Mondestrunken. She brought out the theatrical side of the piece, and she seemed intent on showcasing the cabaret-like and almost burlesque side of Pierrot. The performance, especially the second half, was searingly intense, a feat made all the more impressive by Augestad seldom looking up from her score, instead concentrating on bringing out as much detail as possible. Her attention to both text and diction was remarkable. Equally impressive was her ability to change moods instantly, from drunken ramblings to hysterical cackling, to deep existential despair., November 2013

Tora Augestad is far more than an academically trained singer. She lives and suffers through her songs, taking her vocal and theatrical capabilities to the max.
Mitteldeutsche Zeitung, March 2009

Tora Augestads voice and delivery are ideal for Weill's cabaret style but flexible enough to deal naturally with a context where the written and the improvised go hand-in-hand.
The Irish Times, 2008

The casting of Augestad is brilliant, conveying a wide spectrum of feelings with an arresting charisma, intelligence, playfulness and charm. She can be fragile and suggestive on her reserved delivery of "Ballade Von Der Sexuallen Hörigkeit," ironic on "Seeräuberjenny," or detached and sorrowful on "Mackie Messer," all from The Threepenny Opera.
All About Jazz, 2008

Programme proposals

Wir sind ein Traum der Zeiten (Dream of times)
with the Ensemble Lautten Compagney Berlin
works by Franz Schubert, Johann Krieger and Thomas Champion

A Night at the Cabaret
with Trygve Broske (piano) and Espen Leite (accordion)
Lieder by Arnold Schönberg, Friedrich Hollaender, Mischa Spoliansky and others.


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