Ljóðakeppni fyrir grunnskólanema
Á Ljóðadögum Óperudaga efnum við til ljóðasamkeppni fyrir alla grunnskólanema á landinu.Þema hátíðarinnar er „Ljóð fyrir loftslagið“ og því hvetjum við alla krakka til að senda okkur ljóð um náttúruna, loftslagið, framtíðarsýn sína og drauma sína eða annað sem passar við þemað. Krakkarnir eru hvattir til að senda okkur ljóð á íslensku eða sínu móðurmáli.Veittar verða viðurkenningar í tveimur flokkum, 1.- 5. bekk og 6. - 10. bekk en valnefndina skipa íslenskir rithöfundar, fulltrúi Forlagsins, fulltrúi Norræna hússins, fulltrúi Borgarbókasafnins og fulltrúar hátíðarinnar. Ljóð sem berast á öðrum tungumálum en íslensku fá sérstaka viðurkenningu. Ljóðin verða birt á ýmsum stöðum um bæinn og á samfélagsmiðlum meðan á hátíðinni stendur. Á næstu árum verða þau svo ef til vill notuð í fleiri verkefni á vegum hátíðarinnar í samráði við ungu skáldin.Ljóðakeppnin stendur frá 27. september til 20. október.Sendið okkur endilega ljóð, ásamt fullu nafni, heimilisfangi og símanúmerið forráðamanns á:Ljóðadagar ÓperudagaPósthólf 8783108 ReykjavíkEÐAoperudagar@operudagar.isFyllum borgina af ljóðum á Ljóðadögum!
KEX HOSTEL · 31. oct / 1. nov / 3. nov
Glacier's Elegy is an unstaged operatic monodrama for voice, laptop and flute. Glacier's Elegy is a farewell, the final farewell. The Glacier steps forward and addresses humankind for the last time and uses references from several works of Icelandic literature to communicate. The references are from works by romantic poet Steingrímur Thorsteinsson, novelist Halldór Kiljan Laxness, modernist poet Steinn Steinarr, and from Bárðar Saga Snæfellssáss.
Háteigskirkja · 3. nov
ExistenceCould I read the poems of the earth, just for a moment? If I were to sing, sing you a poem... These are lines from poems by Snorri Hjartarson and Marinella Arnórsdóttir. The concert Existence may be considered as an ode to the earth where the composers ÁsbjörgJónsdóttir and Birgit Djupedal invite their audience into the existence that they have created with their music. They have created a world of music where all the pieces connect and create one whole piece together but can also stand alone. The poems by Snorri Hjartarson and the recently written poems by Marinella Arnórsdóttir were a great inspiration to the pieces where different backgrounds, culture, organ, singing, classical, jazz, improvisation and electronic music meet. They first performed this concert last summer in the Skálholt Summer Concerts Festival but now they will perform it for the first time in Reykjavík. They perform the pieces themselves along with the Icelandic soprano, Heiðdís Hanna Sigurðardóttir. The concert will be on Sunday, November the 3rd at Háteigskirkja in Reykjavík at 15:00 and take approximately one hour.
Climate soup and guests
Everyone is welcome to have some free climate soup in the Nordic House every day during the festival from 12:00 - 14:00. We'll have some wonderful guests to chat to about the environment. Some of the days, short pop-up concerts and performances will take place.Wednesday 30th of OctoberOpening concert of the festival in the main building of the University, soup in the Nordic House afterwardsThursday 31st of OctoberGuest: Andri Snær Magnason, writer Pop-up concert in the hall of the Nordic HouseFriday 1st of NovemberGuest: Rakel Garðarsdóttir from Vakandi. Jón Svavar Jósefsson recites Icelandic rhymesSaturday 2nd of NovemberGuests from HampfélagiðSunday 3rd of NovemberGuests from Kolviður
Little Match Girl Passion & Death speaks
Fríkirkjan · 1. nov
Tickets are on sale HEREDavid Lang's two pieces, Little Match Girl Passion and Death speaks will be performed in Fríkirkjan on the 1st of November at 20:00 as a part of Reykjavík Opera Day's programme. After the concert, Helgi Rafn Ingvarsson will interview the composer himself, David Lang.Performers: Vocal quartet of Little Match Girl PassionEyrún Unnarsdóttir, soparnoGuja Sandholt, mezzo sopranoEyjólfur Eyjólfsson, tenorOddur Arnþór Jónsson, bassPerformers of Death speaksVocals: Sigríður Thorlacius, Bríet Ísis Elfar, Tui Hirv, Eyrún Unnarsdóttir, Guja SandholtMatthildur Anna Gísladóttir, piano, Daníel Friðrik Böðvarsson, guitar, Helga Þóra Björgvinsdóttir, violinDirector: Pálína JónsdóttirTaken from David Lang's website:I wanted to tell a story. A particular story — in fact, the story of The Little Match Girl by the Danish author Hans Christian Andersen. The original is ostensibly for children, and it has that shocking combination of danger and morality that many famous children's stories do. A poor young girl, whose father beats her, tries unsuccessfully to sell matches on the street, is ignored, and freezes to death. Through it all she somehow retains her Christian purity of spirit, but it is not a pretty story.What drew me to The Little Match Girl is that the strength of the story lies not in its plot but in the fact that all its parts—the horror and the beauty—are constantly suffused with their opposites. The girl's bitter present is locked together with the sweetness of her past memories; her poverty is always suffused with her hopefulness. There is a kind of naive equilibrium between suffering and hope.There are many ways to tell this story. One could convincingly tell it as a story about faith or as an allegory about poverty. What has always interested me, however, is that Andersen tells this story as a kind of parable, drawing a religious and moral equivalency between the suffering of the poor girl and the suffering of Jesus. The girl suffers, is scorned by the crowd, dies, and is transfigured. I started wondering what secrets could be unlocked from this story if one took its Christian nature to its conclusion and unfolded it, as Christian composers have traditionally done in musical settings of the Passion of Jesus.The most interesting thing about how the Passion story is told is that it can include texts other than the story itself. These texts are the reactions of the crowd, penitential thoughts, statements of general sorrow, shock, or remorse. These are devotional guideposts, the markers for our own responses to the story, and they have the effect of making the audience more than spectators to the sorrowful events onstage. These responses can have a huge range—in Bach's ''Saint Matthew Passion,'' these extra texts range from famous chorales that his congregation was expected to sing along with to completely invented characters, such as the ''Daughter of Zion'' and the ''Chorus of Believers.'' The Passion format—the telling of a story while simultaneously commenting upon it—has the effect of placing us in the middle of the action, and it gives the narrative a powerful inevitability.My piece is called The Little Match Girl Passion and it sets Hans Christian Andersen's story The Little Match Girl in the format of Bach's Saint Matthew Passion, interspersing Andersen's narrative with my versions of the crowd and character responses from Bach's Passion. The text is by me, after texts by Han Christian Andersen, H. P. Paulli (the first translator of the story into English, in 1872), Picander (the nom de plume of Christian Friedrich Henrici, the librettist of Bach's Saint Matthew Passion), and the Gospel according to Saint Matthew. The word ''passion'' comes from the Latin word for suffering. There is no Bach in my piece and there is no Jesus—rather the suffering of the Little Match Girl has been substituted for Jesus's, elevating (I hope) her sorrow to a higher plane.—David Langdeath speaks was commissioned by Carnegie Hall and Stanford Lively Arts, specifically to go on a program with the little match girl passion. The opportunity came without many other parameters, so there were a lot of questions I had to answer. Would the new piece be for an existing ensemble or some group I would assemble for these performances only? Would it relate to little match girl, musically or emotionally, or would it start from its own place?Something that has always interested me about the little match girl story is that the place where we are left emotionally at the end is so far away from where the match girl is. We are all weeping at the end and yet she is happily transfigured, in the welcoming arms of her grandmother in heaven. The original story switches starkly back and forth at the end, between her state and ours, perhaps in order to show us just how far away from redemption we are; it is Andersen's way of making us feel left behind.This reminded me of certain other stark comparisons between the living and the dead. I remembered the structure of Schubert's beautiful song "Death and the Maiden" in which the text is divided in half; the first half of the song is in the voice of the young girl, begging Death to pass her by, and the second half of the song is Death's calming answer. This seemed to be the same division as in the Andersen story — the fear of the living opposed against the restfulness of death.What makes the Schubert interesting is that Death is personified. It isn't a state of being or a place or a metaphor, but a person, a character in a drama who can tell us in our own language what to expect in the World to Come. Schubert has a lot of songs with texts like these — I wondered if I assembled all of the instances of Death speaking directly to us then maybe a fuller portrait of his character might emerge. Most of these texts are melodramatic, hyper-romantic and over-emotional; one of the knocks on Schubert is that he often saved his best music for the worst poetry. Nevertheless, I felt that taking these overwrought comments by Death at face value just might lead me someplace worth going.I went alphabetically in the German through every single Schubert song text (thank you, internet!) and compiled every instance of when the dead send a message to the living. Some of these are obvious and some are more speculative — Death is a named character in "Der Erlkönig," the brook at the end of Die Schöne Müllerin speaks in Death's name when it talks the miller into killing himself, the hurdy gurdy player at the end of Winterreise has long been interpreted as a stand-in for Death. All told, I have used excerpts from 32 songs, translating them very roughly and trimming them, in the same way that I adjusted the Bach texts in the little match girl passion.Art songs have been moving out of classical music in the last many years — indie rock seems to be the place where Schubert's sensibilities now lie, a better match for direct storytelling and intimate emotionality.I started thinking that many of the most interesting musicians in that scene made the same journey themselves, beginning as classical musicians and drifting over to indie rock when they bumped up against the limits of where classical music was most comfortable. What would it be like to put together an ensemble of successful indie composer-performers and invite them back into classical music, the world from which they sprang?I asked rock musicians Bryce Dessner, Owen Pallett, and Shara Worden to join me, and we added Nico Muhly, who, although not someone who left classical music, is certainly known and welcome in many musical environments. All of these musicians are composers who can write all the music they need themselves, so it is a tremendous honor for me to ask them to spend some of their musicality on my music.
Concert for the climate
Main Hall of the University of Iceland · 30. oct
The opening concert of the festival takes place in the University of Iceland and is a collaboration with the University's own Lunch Time Recital Series, Háskólatónleikar. All the pieces on the programme have a connection to Nature and two new pieces will be premiered. Greta's Song by Gísli Jóhann Grétarsson is a piece written to excerpts from Greta Thunberg's speeches and Amadah by Catherine Maria Stankiewicz for solo cello and a dancer.Programme: Atli Heimir Sveinsson (1938-2019):Úr Jónasarlögum: Úr HulduljóðumDalvísaCatherine Maria Stankiewicz (1984):Amadah for solo cello and a dancerJ. Massenet (1842 - 1912):Elegie for voice, cello and pianoGísli Jóhann Grétarsson (1983):Greta's SongBjörk Guðmundsdóttir (1965):A New WorldEntry is free.After the concert, everyone is invited to a free climate soup in the Nordic House for as long as there's some soup in the pot!
Listening to Mother Earth - Poetry, Music and Meditation
Grensáskirkja · 30. oct / 31. oct
This is a workshop led by Bylgja Dís Gunnarsdóttir, Erla Björg Káradóttir, Henning Emil Magnússon and Sigurlín Bjarney Gísladóttir. It takes place on the 30TH and 31st of October in Grensáskirkja, Háaleitisbraut 66, 103 Reykjavík from 7.30 pm– 10.00 pm. If you are interested please send an email: email@example.com. The participation fee is 2000 kr. At the workshop we will meditate on Mother Earth, read poetry, sing and have discussions in a contemplative manner. Methods used among others are from the composer Pauline Oliveros. Everyone 18 years and older are welcome. We all have a background in music. Henning Emil plays the guitar, Sigurlín Bjarney the piano but Bylgja Dís and Erla Björg are opera singers. We have practised and studied meditation and lead meditation groups. Erla Björg is also a life coach and Sigurlín Bjarney is a writer who has published seven books.
Concert for the climate - Laugarborg
Laugarborg, Eyjafirði · 2. nov
Sigríður Aðalsteinsdóttir, mezzó-sópran, Helga Bryndís Magnúsdóttir, píanóleikari og Ásdís Arnardóttir ,sellóleikari, flytja ljóð fyrir loftslagið á tónleikum í Laugarborg. Á efnisskránni er meðal annars Greta's song sem er nýtt verk eftir Gísla Jóhann Grétarsson við texta úr ræðum barráttubarnsins Gretu Thunberg fyrir mezzósópran, píanó og selló. Einnig verður fluttur rómantíski ljóðaflokkurinn Haugtussa eftir Edvard Grieg. En hann er saminn við ljóð Arne Garborg sem fjalla um náttúrubarnið Veslemøy (Gíslaug). Tónleikarnir eru hluti af Óperudögum í Reykjavík og bjóða Tónlistarfélag Eyjafjarðar og tónlistakonurnar gestum á tónleikana. Allir velkomnir, enginn aðgangseyrir!
Odes for nature
Seltjarnarneskirkja · 30. oct
Cozy evening concert with soloists from the Chamber Choir of Seltjarnarneskirkja, many of whom have studied classical singing for years, in Iceland and abroad. Friðrik Vignir Stefánsson is the current conductor of the Chamber Choir and will be the accompanist at this concert. The program consists of all kinds of odes to the nature.
Climate Change PubQuiz with Jón Svavar
Kex Hostel · 31. oct
Climate Change PuzQuiz at KEX Hostel, Gym and Tónik (hall) on Thursday 31st of October at 9 pm. Host: Jón Svavar JósefssonThe rules:Each team: 2-4 people. It's only possible to register from 8:30 pm or straight after a concert that will take place at 8 pm. Price for the highest-scoring team. Free entrance to this event! Before the PubQuiz there will be a concert from 8 pm in the Gym og tónik hall.Information about the concert can be found here.
Poetry night at Kaffi Laugalækur
Kaffi Laugalækur · 30. oct
On October 30th the fourth poetry evening will be held by Jana Björg, this time at Kaffi Laugalækur. The evening will be a part of Operadays´ poetry events. This years theme is "poetry for the climate" Various young writers from Reykjavik will come forward and share their work with us. The goal of the event is to give young people the opportunity to express themselves while getting inspiration and encouragement to continue to express themselves in this way. The poets listed will read and then (if there is time) there will be an open mic. Place opens at 20:30Everyone welcome!The poets:Jana BjörgEyrún ÚaJenný JóhannsdóttirÁrni DagurHekla SveitóAgnes ÞóraRagnhildur BjörtFinnur KaldiGuðbjörg RíkeyArna TryggvadóttirEyrún
All around town · 30. oct / 31. oct / 1. nov / 2. nov / 3. nov
During the festival, from 30th October – 3rd November, we will open up Poetry Stations where everyone is welcome to participate and read/sing/play their favourite poem/ode for the climate.These Poetry Station will be placed at six locations: Grófin Culture House, Gerðuberg Culture HouseReykjavík City HallMjódd - Shopping MallHarpa Concert HallKjarvalstaðir, Reykjavík Art MuseumOpening hours: 12:00 -16:00, with thse exceptions: Harpa: only open on the 2nd and 3rd of NovemberReykjavík City Hall Poetry station will close at 15:00 on the 1st of November.Gerðuberg Culture House: is open from 13:00 - 16:00 on the 2nd and 3rd of NovemberMjóddin is closed on SundaysDuring the opening hours of the Poetry Stations, participants can sing, play and perform poems for the climate. Let‘s sing, shout, whistle, whisper, play, read and fill the city with odes for the climate during Reykjavík Opera Days
Day of the dead - tales from Mexico
Borgartún 24 (Osteostrong) · 2. nov
Day of the dead “Live smiling to die happy” is a saying from Mexico. It is known all around the world how they take a day to celebrate the lives of those who have passed away. They celebrate with colors, joy and a feast. Icelanders have embraced the tradition of "The Day of the Dead" and every year a large number of people decorate themselves and enjoy stepping into a different state of mind. At the concert, Svanlaug Jóhannsdóttir discusses how the ideas of the day could be used to give life more depth and joy to our lives. Guitarist: Tómas Dan Jónsson. Various songs will be performed in Spanish, including songs made famous by Chavela Vargas, Alejandro Fernandez and Lhasa del Sela. The concert is a part of “Ljóðadagar Óperudaga”.
St. John's Passion
Langholtskirkja · 2. nov
Tickets hereCantoque Ensemble and Brák Baroque Ensemble come together here for the first time to perform St. John Passion by J.S. Bach as an elaborate period performance.Brák Baroque Ensemble is lead by the renowned violinist Elfa Rún Kristinnsdóttir. The group consists professional musicians who all share a passion for historical performance of medieval and baroque music and seek to bring music from this period to a wide audience in Iceland. Since 2014 the group has held numerous concerts around Iceland receiving raving reviews and great receptions by audience and critics alike and received three nominations for the Icelandic Music Awards.Cantoque Ensemble is a newly formed baroque vocal group, based in Reykjavík. It consists of some of Iceland´s best known classical and baroque singers. The group includes two prize winners and two nominees in the category of Best Classical Singer of the Year at the Icelandic Music Awards. Cantoque’s members have sung numerous roles at the Icelandic opera and are very active on the concert platform.
Kaldalón, Harpa · 3. nov
Festival's Finale will take place at Kaldalón Music Hall in Harpa. 3rd of November at 8 pm. During the concert artists that have participated during the festival will perform. From the 27th of September until 20th of October we had a poetry contest for all children in Elementary schools in Iceland. The winners will be announced.
Hallgrímskirkja · 30. oct / 31. oct / 1. nov / 2. nov / 3. nov
Every day during the festival, there'll be a poetic pop-up in Hallgrímskirkja from 15:00 - 15:15 where guests of the church can take a moment to sit down, listen and contemplate about life and Nature.Photo: https://www.flickr.com/photos/auspices/
Dreymi þig ljósið
Háteigskirkju · 3. nov
Service for All Souls DayThe Choir of Hamrahlíð College performs works for choir by Þorkell Sigurbjörnsson (1938-2013), Atli Heimir Sveinsson (1938-2019), Jón Nordal (1926) and Haukur Tómasson (1960) during a service for All Souls Day.Reverend: Eiríkur Jóhannsson. Sigurrós Jóhannesdóttir, trumpetGuðný Einarsdóttir, organistFree entry
Forget-me-not Lunch Time Recital
Kjarvalsstaðir · 30. oct
Students from the singing department of Icelandic University of the arts throw a lunch concert series at Kjarvalsstaðir at 12.15 o’clock every Wednesday for 6 weeks. The next concert, 30. Oktober, will be dedicated to “Ljóðadagar” where the students will perform all sorts of poems connected to the environment and global warming under the theme of “death and darkness”. Free entrance and everyone welcome to come enjoy the concert.