Tranås at the Fringe international arts festival 10th anniversary 1-8 July

IMPROFEST – an impish party

A celebration of the art of improvisation through music, poetry, voice, performance and dance. A group of seven artists meeting on stage, sharing moments and unfolding stories together.

Anton Kosiei – music – percussion/electronics
Christofer Elgh – music – guitar
Dominic Williams – poetry
Louise Halvardsson – poetry/performance
Netanel Seri – voice/performance
Viktoriia Khoroshylova – dance
Stina Nilsson – dance

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“It is a dream game-like fantasy that revolves around how Ada’s creative impulses are torn between reason and emotion”

Anneli Jupiter as Ada Lovelace, Kristina Hansson Unander as Annabella Byron, Håkan Ekenäs as Lord Byron and The Royal Swedish Opera Chorus as the humanity of all time

Photo: Sören Vilks/Kungligs Operan

“It is a dream game-like fantasy that revolves around how Ada’s (Anneli Jupiter) creative impulses are torn between reason and emotion. They are represented by her parents, the poet Lord Byron (Håkan Ekenäs) and the mathematician Lady Byron (Kristina Hansson Unander) – here depicted as two ghostly bust figures in white marble. There are chromatic textures in the music that run like soft wave movements through the orchestra – first piano and strings with small splashes of woodwind, which then swells out a full orchestral storm that manages to both sound modern and capture a gothic atmosphere” Loretto Villalobos, SvD

“Musically the most intricate is Christofer Elgh’s Ada, here there is a chromatic line in Ada (Anneli Jupiter) that is skilfully varied in her fight against her father Lord Byron, while the voices are woven together without losing their identities” Claes Wahlin, Aftonbladet

Music Christofer Elgh
Libretto Sigrid Herrault
Directed by  Ola Eliasson
Dramaturgy Katarina Aronsson

Swedish unique hit opera is staged in Germany

The chamber opera Valerie’s voice, by Christofer Elgh, is staged in Germany in a collaboration between Stadttheater Gießen and Hochschule für Darstellende Kunst Frankfurt. The opera has previously been performed in Copenhagen, Malmö and Stockholm and received a lot of attention.

Valerie’s voice is based on Valerie Solana’s SCUM manifesto. The opera form is open, flexible and written for soprano, four electric guitars and electronics. The unusual form and cast means that the work can be completely changed depending on the dramaturgy and stage direction. It is unusual for a newly written opera to be staged several times after its first premiere. The music in Valerie’s voice bridges different musical worlds and creates something new and relevant for the audience of our time.

Ann-Christine Mecke, artistic director of the Opera at the Stadttheater Gießen, became interested in the opera when she saw an earlier documentation from the performances in Sweden. In the new production at the Musiktheater Gießen, previously unperformed parts will be performed with a new dramaturgy in collaboration with the Hochschule für Musik und Darstellende Kunst Frankfurt.

The set premieres on January 20 at Musiktheater Gießen and is played on five occasions during January and February.

Musical direction Günther Albers, Nemanja Lukic
Directed by Francesco Rescio
Stage and costume Maik Wendrich
Dramaturgy Ann-Christine Mecke
Composer Christofer Elgh

Musicologist Theresa Bub
Daddies Girl Ani Aghajanyan, Daria Tymoshenko
Extra Glenn Buchholtz
Guitarists Yeojin Jang, Henry Hardt, Axel Rohmer, Javier Cuenca, Steffen Ahrens and Christopher Brandt. 



“Exciting grand opening at Bokdagar in Dalsland”

Leif Holmstrand and Christofer Elgh Photo: IngemarMedia

“An extraordinary experience when composer Christofer Elgh born in Åmål, in collaboration with the poet and artist Leif Holmstrand, partly born from Dals Ed, created a special multi-piece for the occasion. The eyes were naturally drawn to Holmstrand who, wearing a dress, with a certain amount of violence, but without haste, bax a pram, covered in torn black plastic, from the far end of the room and inward. At the same time monotonously reciting from the book The place where the cars queue up dead.

From the other side came Elgh’s screeching, playing electric guitar, guided by evocative sounds from the computer. Hard to describe, but interesting. Something like this has never before been done within the framework of Bokdagar in Dalsland.”

Provinstidningen Dalsland 28 juli

Lyssna på Eller Innuendo


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Bokdagar in Dalsland: Collaboration between Leif Holmstrand and Christofer Elgh

On July 27 at 10 a.m. it is the inauguration of Bokdagar in Dalsland

Leif Holmstrand,writer and artist raised in Dals Ed and Christofer Elgh, composer, raised in Åmål, perform their first joint literary, artistic and musical work of art together.

Bokdagar in Dalsland are five days of author meetings with new and old acquaintances at Not Quite in Fengersfors, Pilgrimsleden in Upperud, Bengtsfors bookstore, Tollebol’s mill, the Old Church in Åmål, Åmål’s city hotel and Åmålstravet.

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Provrum för månar from Kometkarta and the Zodiac at Kronhuset in Gothenburg 31/3 19.00

Lipparella has in recent years completed a number of projects with a focus on the relationship between text, music and space, where new pieces of music have been staged in an art form between concert and musical drama. In the project“Zodiaken och Provrum för månar”, Lipparella continues to develop these perspectives. Here the ensemble collaborates with the poet Lina Hagelbäck and composers Christofer Elgh and Erik Peters.

Lina Hagelbäck-poet, Mikael Bellini-countertenor, Anna Lindal-barockviolin, Kerstin Frödin-blockflöjt & barockoboe, Louise Agnani-viola da gamba & barockcello, Peter Söderberg-luta & Teorb.


The meeting between Ensemble Lipparella, poet Lina Hagelbäck and Christofer Elgh’s music originates in poems from Lina’s new poetry collection Kometkarta. Poems and music depict a world of planetary dimensions where comets, imploding forces, sinkholes, confinement, humour, and “a firework wrapped with strings” coexist. Lina’s poems and reading intertwine with the ensemble’s sounds, electronic music and voices in communion with the audience in the room’s various performative spaces.


In Erik Peter’s version of the Zodiac, the music appears as a sounding starry sky. Karlheinz Stockhausen’s melodies are superimposed on each other in constantly changing combinations and the listener’s attention wanders between the different constellations. The musicians who are freely placed in the room together form the constellation Lipparella. The constellation reappears in a new form with each performance, as if viewed from another place in the universe.

Provrum för månar from Kometkarta and the Zodiaken
at Kronhuset in Gothenburg 31/3 19.00