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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 2014
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
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
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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The singer and actress Tora Augestad can be seen this season at the Volksbühne Berlin in Christoph Marthaler’s tongue in cheek production Tessa Blomstedt gibt nicht auf (Tessa Blomstedt won’t give up). She has already impressed premiere audiences in the role of Kekke: ...