Reviews

Album: Soundtrack of an Imaginary Opera

Operaramblings, 12th May 2022: “I don’t think I’ve ever listened to anything quite like this.”
https://operaramblings.blog/2022/05/12/soundtrack-for-an-imaginary-opera/

Requiem for Mimì and Other Women Who Died in Opera

Underdusken, 30th April 2021: “Musikken er utrolig spennende, og trekker inspirasjon fra en drøss kilder, blant annet katolsk kirkesang og Sally Potters kortfilm Thriller, men klarer fremdeles å stå på egne bein. […] En av de siste delene i stykket er en dialog mellom Mimí og Musetta, en annen karakter fra La Bohéme, og å høre noen av Norges ypperste sangere stå i et kirkerom og messe “They like my boodie, my boodie”, er en opplevelse jeg sent kommer til å glemme.”
https://underdusken.no/musikkanmeldelse-only-connect-2021/s…AR2A5CmN5DiY4BgiIwABtBpysa5rqB_JY3WDG1DpLb3bdJFk1Ld8hNwmcNk

Tacit-Citat-ion (string quartet)

Portrait concert of R. S. Ahvenniemi, Festspillene i Bergen

Scenekunst, 5th June 2020: “Her hører vi ein mogen og reflektert komponist som også vil bort frå mytane om den einsame kunstnarinspirasjonen. Å komponere er hardt og systematisk arbeid, insisterer ho, og altså: sosialt.”
http://www.scenekunst.no/sak/reflekterte-rebecka/

NRK, 6th June 2020: “Årets mest forfriskende konsert var utvilsomt samtidsensemblet BIT 20s portre!konsert av den Bergensbaserte komponisten Rebecka Ahvenniemi.”
https://www.nrk.no/anmeldelser/anmeldelse_-festspillene-i-ber…IwAR2nTn2k4jx5Y5V-fMl4iR9OqXNXGPj-mDThRgW35ZfH9TJzhvaSKV8KoSw

Album: Tacit-Citat-ion

Midwest Record, 28th March 2019: “Unadorned but never simple, this set goes beyond general genre markers and takes you places you never imagined. Deep stuff for listeners looking for some real meat in their contemporary classical.”
http://midwestrecord.com/MWR1501.html

Infodad, 11th April 2019: “Ahvenniemi intellectualizes music to a level well beyond even the one that Hindemith occupied”
http://transcentury.blogspot.com/2019/04/ever-changing-viola.html

Cinemusical, 29th April 2019: “the album makes for an often fascinating listen with many fantastic, committed performances”
http://maestrosteve.xanga.com/2019/04/29/eclectic-explorations-of-color-and-sound/

The Art Music Lounge, 8th May 2019: “Rebecka Ahvenniemi’s Strange Music: (…) interesting and well- composed.”
https://artmusiclounge.wordpress.com/2019/05/08/rebecka-ahvenniemis-strange-music/

Graveyard, 12th July 2019: “if you’re looking for an experimental album that’s a little different, look no further.”
http://www.reviewgraveyard.com/00_revs/r2019/music/19-07-12_tacti-citat-ion.html

WRUV, 2nd July, 2019: “Fairly abstract works for electronics, fixed media, voice and/or instruments. Instrumentals interesting.”
https://wruv.wordpress.com/2019/07/02/rebecka-sofia-ahvenniemi-tacit-citation/

Klassiskmusikk, 13th May, 2019: “Verkene på Ravellos initiativrike nye plate viser mange sider av Ahvenniemis musikalske personlighet, fra kvasi-opera lyrisk uttrykk i Dada-aria (2016) eller den dekonstruerte Schubert-romansen Herz beim Spinnrade (2013), til kompakt satsutvikling i de to strykekvartettene, Wuthering Modes, not Moods (2017) og Tacit-Citat-Ion (2018, en omarbeidelse av en strykekvartett fra 2014), som begge fortsetter å klinge i øret lenger enn sin relativt korte spilletid.”
http://arkiv.klassiskmusikk.com/review/tacit-citat-ion/

Sonograma, 29th June 2019: “Ahvenniemi exemplifies the new generation of musical tradition in the Nordic countries.”
http://sonograma.org/suplement-de-discos/rebecka-sofia-ahvenniemi/

Tempo, 6th March 2020: “Simultaneously rejecting nostalgia and revelling in those things which made the Romantics strange, Ahvenniemi plays with past and present alike in a very serious way, but her music is at its best when she allowed it to go over-the-top.”
https://www.cambridge.org/core/journals/tempo/article/rebecka-sofia-ahvenniemi-rebecka-sofia-ahvenniemi-tacitcitation-ravello-rr8011/9BFB37DE2B2DC66AAD3C0C20D5F3BABD