Tora Augestad

mezzo-soprano

contact

Doreen Lutz

dl(at)karstenwitt.com

+49 30 214 594-235

General Management

CR Asa Maria Mikkelsen

Dates

04.07. 22:00
Companhia De Teatro De Almada

King Size

Tora Augestad, mezzo soprano

24.07. 19:30
Gutshaus Landsdorfhaus Landsdorf

Cathy Berberian,  Stripsody for solo voice

Tora Augestad, mezzo soprano
Stian Carstensen, accordion
Ola Kvernberg, violin

25.07. 12:00
Gutshaus Landsdorfhaus Landsdorf

Tora Augestad, mezzo soprano
Stian Carstensen, accordion
Ola Kvernberg, violin

27.07. 19:00
Royal Castle in Warsaw

Works by Dowland, Weill, Carbonelli, Schubert, Brunier, Eisler and Händel

Music for a while
Tora Augestad, mezzo soprano

biography

"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

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 knows 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 as well as 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 then graduating in cabaret singing at 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 in the rest of Europe, sharing the podium with musical partners such as Ensemble Modern (Three Penny Opera under the direction of HK Gruber in Athens, and Benedict Mason’s Chaplin Operas in Dresden, Baden-Baden, Salzburg and Strasbourg), Oslo Sinfonietta (Pierrot Lunaire in Oslo, and Christian Eggen’s opera Eine Bitte in Venice), Ensemble Contrechamps (No Thanks by Evan Gardner), and the Klangforum Wien (Grisey’s Quatre Chants pour franchir le seuil, conducted by Sylvain Cambreling in the Vienna Konzerthaus). In 2013 she interpreted Berio’s Folk Songs in the Casa da Música in Porto with the Remix Ensemble conducted by Peter Rundel, and in 2014 she sang the world premiere of Furrer’s Canti della tenebra as part of Musica Viva in Munich.

Collaboration with the Swiss director Christoph Marthaler, which began in 2010 with the premiere of Beat Furrer’s music theatre work Wüstenbuch (Klangforum Wien) has since become a constant in Tora Augestad’s artistic life. The success of Marthaler’s Meine faire Dame, a take on My Fair Lady, at the Theater Basel in 2012, was followed by guest appearances in Naples, Avignon, Edinburgh and Paris, as well as the Verdi homage Lo Stimolatore Cardiaco at the Theater Basel, and the Zurich Opera production of Sale with music by Handel. The musically rich staged lieder recital King Size toured Hamburg, Zagreb, Sarajevo, Bozen, Meran, Prague, Moscow, Nanterre, Spoleta and Lausanne and will be performed, among others, in Girona, Geneva, Turin, Rotterdam, at the Bergen International Festival and in London (Royal Opera House, Linbury Studio Theatre) in 2014/15. 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 can be seen at the Staatsoper Berlin/Schillertheater in September 2014. In October 2014, the next collaborative production between Christoph Marthaler and Tora Augestad will take place at the Volksbühne Berlin.

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, and in 2009 the ensemble was invited to the Kurt Weill Festival in Dessau. Their 2012 CD Graces that refrain, with new arrangements and interpretations of classical arias, was widely praised by the press. For mOOn Over tOwns, the debut CD of her BOA trio (clarinet, cello, and voice) twelve Norwegian composers created new works for this instrumentation.

Tora Augestad starts the 2014/15 season with Marcus Paus’s Hate Songs and Luciano Berio’s Folksongs with the Finnish Chamber Orchestra under the baton of Jukka-Pekka Sarasate. She will give the world premiere of Henrik Hellstenius’ new work Loven with the Oslo Philharmonic Orchestra under the composer’s direction and will once again perform Berio’s Folksongs with Joshua Weilerstein. She will also give the world premiere of Adam & Eve, an opera she commissioned from composer Cecilie Ore, at the 2015 Bergen International Festival.

Season 2014/15

www.toraaugestad.no

Reviews

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)

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 Züricher Zeitung, October 2014 (on Christoph Marthaler's "Tessa Blomstedt gibt nicht auf" at the Volksbühne Berlin)

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.
Bachtrack.com, November 2013

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


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