Christofer Elgh was born in 1969 in Åmål in Dalsland Sweden and has studied composition for Sven-David Sandström, Xavier Alvarez, Salvatore Sciarrino, Pär Lindgren, Bent Sörensen, Hans Gefors and Kent Olofsson.

“Musical drama, text, movement and stage design in various forms are central to my creation. As a composer, I have been interested in cross-border projects where different media and cultural environments meet in new constellations.”

Christofer has composed about eighty works, including innovative opera, orchestral music, electronic music, music for dance performances, theater and film projects.

Reviews

Sincerity in Piteå

“Christofer Elghs gripande och ibland snudd på primalskrikssåriga reaktion kring Norma Jeane Baker, alias Marilyn Monroe. Mot en fond av illrött ljus formad till något som både kan föra tankarna till rosor och blodgenomströmmade hjärnvindlingar gestaltas, med utgångspunkt i Baker/Monroes desillusionerade text om svårigheten med att vara uppriktig och sann i en värld av lögner, hennes på många sätt tragiska öde. Musikaliskt rör vi oss från en långsam inledning med spröda klockklanger, stråkdrag över slagverk och summertonsblås rakt in i en luftkonditionerad mardröm av hetsigt pilande klanger och plötsliga tystnader, skarpa som pistolskott.”

– Anders Lundqvist, Norrbottenskuriren


Valeries Voice, Malmö

“This Opera is the tip of the iceberg of the new international wave of politically conscious art music that we have seen little of to date on the large Swedish concert stages, but which is finding alternative spaces such as Bastionen in Malmö.”

– Hanna Höglund, Expressen


Valeries Voice, Stockholm

Elgh has also allowed the musical form a freedom that in theory means that the parts can be reordered in almost any way with the help of a pedal. The hourlong show is both refreshing and uncomfortable, but there is also space for reflection and doubt. Atmospheric, dreamily beautiful sections where one can rest in between the sludgy satiric parts in a mess of juice and blood red lingon jam. ”Cutting up,” as Stridsberg points out in the foreword to her Swedish translation of the Manifesto, also means to criticise, to question. The strength of ”Valerie’s voice” is that it does not simply dole out verbal kicks to the groin, but also dares to scrutinise its own text.

– Johanna Paulsson, Dagens Nyheter


Valerie’s voice

“Operans repetitiva form fungerar utmärkt, både för att förmedla manifestets budskap och för att ge en bild av Solanas person.”

– Hanna Fjällman, Nutida Musik

Contact

Email: christofer.elgh[at]kmh.se

Mobile phone: +46 70 206 69 74