CD – Aurora ACD5095
… dette er hardtslående verk med trøkk og en pågåenhet som er imponerende.
Klassekampen 2019, Egil Baumann
**
…Come to the Edge! wird eindringslich und variantenreich, aber nie aufdringlich wiederholt. Die weichen Dissonanzen des homophonen, harmonisch raffinierten Chorsatzes verleihen der Aussage subversive Kraft…
…intelligent untermauert und kompositorisch zu messerscharfen Strukturen geformt.
MUSIKTEXTE 165 - 2019
**
Ore's inseparable score and libretto, taut and distilled, made much of the transformative and exploratory implications of repetition of intervals, thematic cells and of the texts themselves. She has a remarkable ability to elevate a seemingly banal phrase through questioning repetition, which underlined her determination to crossexamine even the most blatantly wrongheaded of opinions.
Dead Beat Escapement is a strong and unashamed statement against the death penalty. A contemporary opera focusing on a contemporary issue, this work felt true to the noble idea of art as a mirror of its time, asking questions that matter and demand an answer.
Opera Now 2008, Ingrid Gäfvert
A. - ein skuggeopera er påtrengende stilsikker og befriende kompromissløs musikkdramatikk om historiens mørke avkroker.
Morgenbladet 2001, Lars Petter Hagen
Det er bare å gi seg hen til den lavmælte ordklangen som rommer mer drama enn samtlige operaer av Wagner til sammen. Det Ore og Haugen har gjort, er rett og slett å lage opera ut av det dramaet som utfolder seg hver gang vi uttaler en setning. Det er enestående musikkdramatikk.
Klassekampen 2008, Egil Baumann
The vocal sextet Schwirren sustain chill and challenge from beginning to end. This is a fascinatingly poetic musical response to a remarkable text, executed by a crack team of singers.
www.musicweb-international.com, Dominy Clements
I can barely begin to describe the virtuosity of the work (Schwirren), from its opening, impossibly discordant screech to desperate, vocalized flailing to overlapping recitation. I can say this: in my auditory memory it became a marriage of music and text not to be put asunder.
Here is a mind-blowing glimpse of another world and a CD which makes one ashamed to know so little of contemporary Norwegian music. Cecilie Ore (b.1954) studied in Holland and has been widely performed in Northern countries. She is preoccupied with aspects of time and its perception and organisation and employs the same time machines to construct the four pieces - 'polyphonic clockworks ticking relentlessly'.
Med fare for a bli beskyldt for sjåvinisme må denne anmelderen konstatere at kveldens store opplevelse var av norsk fabrikat – urfremførelsen av Cecilie Ores ’Nunquam Non’.