– a musical performance based on The Little Match Girl by Hans Christian Andersen
November marks the beginning of Advent — a season filled with expectations of togetherness, joy, abundance, and belonging. We draw closer to those nearest to us, and it becomes so easy to lose sight of “what lies outside.”
Little Match Girl Passion is based on the story of The Little Match Girl — a tale many of us know well. It speaks of poverty, loneliness, exclusion, hardship, injustice, and indifference, but also of hope, beauty, memory, and longing.
The performance in Stavanger Cathedral is created by Liv Runesdatter and Liv Kristin Holmberg, for the award-winning vocal ensemble Song Circus. The music is composed by the American composer David Lang, who received the Pulitzer Prize for this work.
Director Liv Kristin Holmberg draws inspiration from one of the oldest cultural structures we have — the liturgy.
She has created a performance that becomes a sensory ritual of care. During parts of the performance, the audience is invited (voluntarily) to wear blindfolds — an act that heightens the other senses.
Little Match Girl Passion engages both thought and emotion — in the best possible way. Our wish is to create an atmosphere of safety, trust, calm, and community.
Artistic Director: Liv Runesdatter Director: Liv Kristin Holmberg
Singers (Song Circus): Liv Runesdatter, Ingeborg Dalheim, Eva Bjerga Haugen, and Sindre Øgaard
Dance Artists: Ingvild Maria Thingnes, Cesilie Kverneland, Marie Bru Eide, and Viljar Irtun Moe
Other Participants: Local contributors from the Stavanger region, dialogue priest and therapist Silje Trym Martinssen, parish priest of St. Johannes Per Arne Tengesdal, Dean Sølvi Vinnes, and Bishop of Stavanger Anne Lise Ådnøy. Texts from 3rd-grade pupils at Storhaug School, in dialogue with teacher Tine Andersen.
Presented by: Song Circus, the Norwegian Organ Festival, and Stavanger Cathedral
The production is supported by The Bergesen Foundation and The Norwegian Organ Festival. Song Circus is also supported by Arts Council Norway and the City of Stavanger.
Det prisbelønte vokalensemblet Song Circus, står bak en helt spesiell forestilling i Stavanger domkirke, 19.-22. november
Little Match Girl Passion er basert på eventyret Piken med svovelstikkene, med prisvinnende og utrolig vakker musikk av David Lang.
I november, når Little Match Girl Passion inntar Stavanger Domkirke, står vi ved inngangen til adventstiden. Førjulstiden er full av forventninger om fellesskap, glede, overflod og tilhørighet. Vi søker mot våre nærmeste, og det er så lett å miste blikket for “det som er utenfor».
Piken med svovelstykkene er et eventyr mange av oss har et forhold til, og som for de fleste ble etablert i oss da vi var barn. -Det er et eventyr som tar for seg både fattigdom, ensomhet, utenforskap, nød, urettferdighet og ignoranse, men også håp, skjønnhet og lengsel.
Forestillingen i Stavanger domkirke er skapt av Liv Runesdatter og Liv Kristin Holmberg, for det prisbelønte vokalensemblet Song Circus.
Sangere Song Circus: Liv Runesdatter, Tuva Ystad Gederø, Eva Bjerga Haugen og Sindre Ødegaard
Dansekunstnere: Ingvild Maria Thingnes, Cesilie Kverneland, Marie Bru Eide og Viljar Irtun Moe.
Andre medvirkende: Lokale ildsjeler fra Stavanger-regionen, dialogprest og terapeut Silje Trym Martinssen, sokneprest i St Johannes Per Arne Tengesdal, domprost Sølvi Vinnes, samt biskop i Stavanger Bispedømme, Anne Lise Ådnøy
VI VIL SKAPE ET ROM DET ER GODT Å VÆRE I
Vår iscenesettelse av eventyret er ganske `annerledes`. Regissør Liv Kristin Holmberg tar utgangspunkt i en eldgammel struktur i kulturen vår, liturgien. Hun har skapt en forestilling som er et slags sanselig omsorgsrituale. Little Match Girl Passion setter både tanker og følelser i gang, på den gode måten. Vårt ønske er å skape en atmosfære av trygghet, tillit, ro og fellesskap.
HVA TRENGER VI AV DEG?
Du inviteres til å skape dette vakre verket sammen med oss. Oppgavene dine vil være enkle — å lede publikum, omsorgshandlinger, sørge for at de er godt i varetatt m.m. Vi avholder to workshoper i forkant der du blir vist, ledet og får lettfattelig opplæring.
Onsdag 19.11: kl. 13-15 workshop/øving
Torsdag 20.11: kl . 12-15 workshop/øving
Vi håper du kan delta på begge workshopene.
Fredag 21.11: Oppmøte kl 11, generalprøve med publikum kl 12, forestillinger kl 14 og 18
We’ve been at #Tonehimmel in Volda — a festival with big ambitions, carried out with heart and sincerity.
At the final concert of the festival, festival director Kaja Skatvedt Robak looked out at the audience and spoke about her own restlessness — the desire to contribute to a better future, and the anxiety that what we do might not matter, might not be seen or heard.
But there, during the festival’s final concert, everyone could feel a sense of togetherness — and the value of the experiences, expressions, and voices we had shared. We were moved, and that changes something in us.
Each day during the festival, audiences, volunteers, and artists gathered for «Wondering Under the Tree» — a program inspired by the spirit of festival founder Magnar Åm. It was truly special to come together like that, across differences, and wonder as one.
Magnar’s gentle reflection session on Sunday carried the theme of “time.”
“Time is a window through which we glimpse the timeless,” he said, as we sat quietly looking at the tree before us.
Thank you 🙏 I’m already looking forward to next year.
Good critics are valuable, and Kjetil Vikene writes well. The professional and the person, knowledge and emotional experience, are fully integrated. I enjoy the conversation he invites me into, and I’m intrigued by his references to Murphy, the novel by Beckett that Vikene brings with him to the festival and keeps referring to.
It’s a review that makes room for reflection and curiosity. The critic’s voice is clear, personal, and confidently aware of its role and responsibility. What a pleasure it is to be reviewed by him. Read the full review here: Ballade.no
Vikene on Song Circus:
Both the pipe organ and accordion are classified as aerophones in the Hornbostel–Sachs system, along with bagpipes and recorders. Also included in this category: the human voice. And who better to show what that can be than a quartet version of the vocal group Song Circus, performing the world premiere of Kvernberg’s Vardøger?
Rooted in a recontextualization of the folk song tradition—both aesthetically and thematically—Kvernberg’s piece echoes ancient prayers for bountiful harvests, now placed “in our own time, where we as modern, enlightened people find ourselves in a position where we must ask Mother Earth for good weather,” as described in the program notes.
A quick word on Scene 1 at Tou before I go on: through the large window behind Song Circus and Nyland Johansen, we gaze out over the Gandsfjord and into the Ryfylke mountains—a truly national romantic backdrop, one might say.
The four vocalists of Song Circus sing their way steadily into the folk tradition, weaving together fragments of traditional music and crafts (both via tape and live from Nyland Johansen’s accordion), along with bits of language from aquaculture industry advertising. The result is a soundscape that feels both authentic (as in: it really is folk music, with typical phrasing and intervals) and modern (as in: this is happening now, with playful and exploratory use of voice and song).
These industry marketing clichés—touting the purity of production—simultaneously offer a subtle critique of the romanticized idea of purity and origin, so often used to elevate traditional Norwegian culture in a conservative light.
Furthermore, the contrast between industrial romanticism and nature-romantic vocal expression adds a layer of humor I deeply appreciate—present as well in several other performances at Only Connect Stavanger.
But perhaps the most vital quality of Kvernberg’s work and its performance is this: it is strikingly beautiful. And while the beast is never far off, it’s the human quality of the music that captivates me.
It was lovely performing Eivind Buene’s Leçons de ténèbres in Lillehammer and Dombås — a work of quiet intensity, rich contrasts, and deep reflection. Grateful to share this music in such evocative spaces.
Here in Volda, Song Circus is gathering golden memories. What a festival and concert series they’ve created at Tonehimmel — and what an incredible composer and musician we’ve found in Jorun Marie! We’ve spent days diving deep into rehearsals, and that kind of focus really brings the music to life.
On Thursday, Jorun Marie and her family treated us to homemade bacalao and freshly pressed apple juice — caught in the fjord, dried by the wall of the house. That’s real cod, right there! ❤️
Yesterday, in Folkestad, the concert room was packed with warm, welcoming people. It truly felt like home. They’ve created such a beautiful space in the old Læremiddelfabrikk — we’re so inspired.
Tonight, on International Women’s Day, we’re performing again — and we’re using our voices 💪🏻
We’re so excited to be working on Vardøger — a brand new piece by Jorun Marie R. Kvernberg, written especially for Song Circus. Rehearsals are in full swing, and we can’t wait to share it with you in Volda on March 7th and 8th. This music is stunning — lush, mysterious, and full of heart. Such a joy to sing!
Vardøger dives deep into our relationship with nature, the environmental crisis, and the search for hope.This piece is a heartfelt, musical plea to protect our natural world — blending tradition and innovation in a soundscape that reaches both backward and forward in time.
Song Circus are touring again, together with our lovely viola da gamba player André Lislevand (IT/NO).
Together, we will perform Eivind Buene’s beautiful, contrasting, and insightful concert, Leçons de ténèbres.
Dombås Church – March 21 at 19:00 Lillehammer Church – March 22 at 15:00
Aksel Tollali, scenekunst.no:
«Buene’s Leçons conveys immense suffering in a strikingly sober manner.»
Eystein Sandvik, NRK:
«It is a piece that grabs hold of me and moves me on different levels and in different ways. It has a distinctive musical expression, a clear concept, and, above all, a powerful message. A work that is deeply connected to both history and the present.»
Maren Ørstavik, Aftenposten:
«The cultural sphere speaks loudly about Gaza. Some aspects of the conflict are easy to take a stand on through benefit concerts and petitions (…). The humanitarian catastrophe cannot be ignored, regardless of one’s stance on the conflict’s origins. To delve deeper through artistic means is a challenge. Composer Eivind Buene does so with respect, historical awareness, and beauty.»
In March, we premiere Vardøger by Jorun Marie R. Kvernberg – a stunning piece and a heartfelt plea for the protection of our nature. Ancient prayers, rhymes, and weather spells blend seamlessly with chilling scientific texts. A rich and beautifully crafted musical work that gives us performers so much space to explore. We can’t wait!
Among the festivals where you can hear us in 2025 are Tonehimmel, Only Connect, Hardanger Musikkfest… and concert halls all across the country!
At the Nordic Film Days Lübeck awards ceremony, ‘Birds’ was presented alongside a beautiful string trio. How wonderful that this, too, has become part of our film’s story.
When dementia took hold and conversations became wordless, what remained? Nonverbal communication, connection, trust, touch; gestures, breath, movement, the music in our language… My husband was like a quiet child, with a lifetime of experiences stored in his body.
This fall, ‘Birds’ was showcased at the Sans Souci Festival of Dance Cinema in Boulder, Colorado, as part of the program ‘Dance is Like a Fine Wine.’ Since 2019, the festival has included a segment for older adults in public or private care. Together, they watch films, discuss them, express themselves, and interact through dance… We are thrilled to be part of this important project!
A Vardøger is traditionally seen as a protective spirit or companion that precedes a person, warning of their arrival or impending dangers. Today, it often refers to a premonition indicating someone is about to appear.
A group of songs within folk music consists of prayers for good weather for bountiful crops, or chants believed to have magical effects on nature. These are the types of texts that Jorun Marie Kvernberg has drawn upon for her new work for Song Circus. The piece also includes texts taken from the aquaculture industry’s own propaganda apparatus, as well as academic texts of various kinds.
The overarching idea behind the work is to mirror these texts in our time, where we, modern and enlightened individuals, have placed ourselves in a situation where we once again must ask Mother Earth for good weather.
Vardøger is a piece that gives us as an ensemble a large space for co-creative expression. The form and theme of the work have been developed in close collaboration between Jorun Marie and Song Circus, led by Liv Runesdatter.
Vardøger is a musical defense of nature and the protection of fish stocks in our seas. In developing the work, Jorun Marie focuses more on sound fragments than on written music. The music springs from fiddle playing, but also from Jorun Marie’s singing and vocal sound play. Vardøger also incorporates sounds from her father Kvernberg’s silversmithing. Lush, beautiful, and imaginative music!
Når fiskane flotnar og røtene rotnar og ingenting botnar i graver me grev utan vit.
Kor skal songane sveva og
draumane leva og menneska streva i luft utan von?
Svar, måne, svar! Svar, måne, svar!
English translation:
When the fish float and the roots rot and nothing buds in graves we dig without knowing.
Where shall the songs soar and
the dreams live and humans struggle in air without hope?
Answer, moon, answer! Answer, moon, answer!
Jorun Marie writes: “The music should reflect the drama of this obvious truth that again demands our attention: that we are dependent on nature, and that weather and climate both give and take life – even in our modern time. In ancient times, they used magical rituals and songs to awaken the fields in spring. Where do we turn today when the poles are melting and temperatures are rising?
Both musically and thematically, I will try to reflect the span between the past and the present, folk music and contemporary music, the struggle for existence in pre-industrial society, and the fight for repair and redress of our own destruction in our time.”
Live excerpts:
REWIEWS:
Vikene, Ballade.no – Song Circus` concert at Only Connect 2025:
«Rooted in a recontextualization of the folk song tradition—both aesthetically and thematically—Kvernberg’s piece echoes ancient prayers for bountiful harvests, now placed “in our own time, where we as modern, enlightened people find ourselves in a position where we must ask Mother Earth for good weather,” as described in the program notes.
A quick word on Scene 1 at Tou before I go on: through the large window behind Song Circus and Nyland Johansen, we gaze out over the Gandsfjord and into the Ryfylke mountains—a truly national romantic backdrop, one might say.
The four vocalists of Song Circus sing their way steadily into the folk tradition, weaving together fragments of traditional music and crafts (both via tape and live from Nyland Johansen’s accordion), along with bits of language from aquaculture industry advertising. The result is a soundscape that feels both authentic (as in: it really is folk music, with typical phrasing and intervals) and modern (as in: this is happening now, with playful and exploratory use of voice and song).
These industry marketing clichés—touting the purity of production—simultaneously offer a subtle critique of the romanticized idea of purity and origin, so often used to elevate traditional Norwegian culture in a conservative light.
Furthermore, the contrast between industrial romanticism and nature-romantic vocal expression adds a layer of humor I deeply appreciate—present as well in several other performances at Only Connect Stavanger.
But perhaps the most vital quality of Kvernberg’s work and its performance is this: it is strikingly beautiful. And while the beast is never far off, it’s the human quality of the music that captivates me.»
Rewiew by 5against4.com, 2025
A more cohesive example of group dynamics came in the concert given by Song Circus, particularly Jorun Marie Kvernberg‘s Vardøger (a world première). The quartet of voices moved between reverie and a kind of ritual chorus, fuelled by folk elements to form a communal melodic action, enlivened – as if touched by some mix of divine inspiration and madness – by recurring eruptions of vocal tics.
Imagine, the audience in Tbilisi voted our film as Festival Winner 🙏🏻🙏🏻🙏🏻
Feeling incredibly grateful and humbled by the recognition we received yesterday at the Cosonance Music & Dance Film Festival! 🎉 Not only did we take home the Audience Award/Main Award, but we also won Best Experimental Film! 🏆✨ I am so proud of my team!
It was producer Bjarte Mørner Tveit who introduced me to the cinematographer, Joakim. It was the summer of 2018, and we met over a café table.
I shared a bit about my intentions and the themes, and handed him the headphones with the music. He sat there, silent, in deep concentration, for a long, long time. He listened to the soundtracks from start to finish. Then he took off the headphones, looked into my eyes, opened his mouth, and shared his associations with just a few words. I had no doubt that Joakim was pure gold.
Joakim is the embodiment of calm. He moves gently around his surroundings, yet his presence is strong. Eventually, Joakim took over the producer role for Birds.
The Toronto Art Film Spirit Awards is quite a prestigious «arthouse film» festival. We won the award for Best Cinematographer. This is Joakim’s award.
«I’m excited and grateful for Eystein Sandvik’s insightful review of our concert with Leçons de Ténèbres. I’m also glad that we chose Eivind Buene when commissioning a piece based on Couperin’s version, set in the context of the current situation in Israel and Palestine.
READ EXCERPTS FROM THE REVIEW HERE, OR LISTEN TO THE LINK
«It’s a work that grabs me and touches me on various levels and in different ways. It has a distinctive musical expression, a clear concept, and, not least, a clear message.»
«It is a work with strong connections, both to history and to the present.»
«The French Baroque music is very different. It is much more stripped-down, simple, intimate, and yet deeply expressive and very beautiful, despite the strong expressions of suffering portrayed in these Lamentations. I think Eivind Buene has succeeded in creating a modern version of the same slightly Baroque aesthetic.»
«The fundamental approach in this piece is to juxtapose the Lamentations from the Old Testament, which are poetic texts depicting the suffering of a war-torn Israeli people, with Israel’s role today as a long-standing occupying power, and the brutal conduct of the Israeli army toward the Palestinian population.»
«There’s a clear and distinct message here that Israel is not living up to its own ideals and has gone down the wrong path. Particularly one line from the Lamentations is repeated several times, albeit in Latin. In Norwegian, it becomes ‘Return, O Israel, to the Lord your God,’ which can naturally be interpreted as a call to today’s Israel to reflect on the suffering of the Palestinian civilian population.»
«In Couperin’s version, there are partly two bright female voices over a very simple accompaniment. Here, there are four female voices from Song Circus, partly singing in a very high register, cultivating this very bright, shimmering sound over the viola da gamba. It’s a combination of voices and ensemble rarely heard in music composed today, with a subtle use of finger cymbals adding to the expression.»
«It’s not very intense or extreme, and there aren’t many of the vocal special effects often heard in contemporary music written for voices. It’s kept within this simple expression, and it leaves an impression. The simplicity and the unique sound that emerges from this ensemble is both moving and fascinating.»
«There is, of course, an entirely different context here, which the composer could not have foreseen when he completed his work before this date. But I believe the conditions for the massive warfare we now see from Israel are rooted in a dehumanization of the civilian population affected, a dehumanization that is clearly expressed in these testimonies from Israeli soldiers. It is terrifying and horrific to listen to, even though the testimonies unfortunately pale in comparison to the reality now unfolding in Gaza, which makes me experience the power of this otherwise rather quiet music, the setting of the Lamentations, as even greater.»
Look at this beautiful crowd of people 🥰 ‘Birds’ just won an award in the Short Fiction category at the Aryan International Children’s Film Festival of Jaipur (ICFF). 🙏🏻🇮🇳
