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5against4.com

 

"The most impressive theatrical work i experienced at Ultima 2023 was Night Lives, from the irrespressible Kristine Tjøgersen. Equal parts mischievous and childlike, Tjøgersen’s responses to and inspirations from the natural world are always as mind boggling as they are imaginative, and in recent years have been treated to stunning realisations. [...] From the moment we entered Oslo’s Kulturkirken Jakob church – through a tunnel festooned with tassles – we were in an interior transformed into a strange, nocturnal habitat. This was populated by almost nothing familiar: an array of alien, arcane and absurd machines and objects being wielded by an equally eccentric array of inhabitants enacted by members of Cikada. [...] To write about Tjøgersen’s work is always to do it a disservice; it really needs to be experienced, and considering the amount of effort (and time, and money) it must take to put on performances of her work, one can only hope that her bold, ambitious pieces aren’t one-off triumphs like this but will have the opportunity to travel and be experienced by as many people as possible."

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scenekunst.no

 

"Det er vanskelig å ikke la seg rive med og fascinere av dette altoppslukende universet. Cikada spiller med uovertruffen virtuositet, vedvarende intensitet og spektakulære soloer."

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Check out the project here

Trond Erikson - Den klassiske musikkbloggen

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"Her opplever vi litt av magien ved en live-innspilling. Lydbildet er følsomt, men samtidig intenst. Det å lytte til musikk som skapes i øeblikket med publikum i salen, gjør noe med opplevelsen, selv for oss foran høyttalerne i stua [...]. 

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Cikada leverte både i 2001 og i 2018 - slik de gjør også i dag. Det er et ensemble som betyr noe, både i norsk og internasjonalt musikkliv. Lytt og bli imponert!"

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By the CD here

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5against4.com

 

[…]engaging was, again, the concert opener, Salvatore Sciarrino‘s 1987 Piano Trio No. 2. Violinist Karin Hellqvist and cellist Torun Stavseng brilliantly emphasised the precariousness of the music, first delicately balancing on harmonics, later dancing on them. Kenneth Karlson interpreted his role at the piano as that of provocateur, firing gestures at the others, seemingly in the hope of knocking them both over. Only half-heartedly, though, as the conclusion could hardly have been made more united and playful.