‣ statement

I mainly sing and focus on contemporary music starting from the beginning of the 20th century up until today. I like that it’s possible to be in a dialogue with the composers during the creation of a new piece. And that creative minds behind the work I get to perform have a strong modern, visual concept, an important story to be told or a complex character they want me to portray.

‣ currently working on

  • Dyrets År 1666 by John Frandsen a new opera, premiere postponed to august 2021 due to Covid-19
  • Kun Stemmen bliver tilbage by Signe Lykke for percussionist Sara Nigard Rosendal and I
    Words by Iranian poet Forough Farrokhzad, translated by Shadi Angelina Bazeghi Premiere fall 2020
  • Kafka Fragmente op. 24 by György Kurtág with violinist Louise Gorm, recording in spring 2021

‣ Kafka Fragmente by György Kurtág

Together with violinist Louise Gorm, I work intensely on Hungarian composer György Kurtág’s (1926 – ) Kafka-Fragmente. The longest of his vocal cycles consisting of forty songs for soprano and violin organized into four parts of unequal length. The prose texts and fragments are taken from Franz Kafka’s diaries and from posthumously published letters and stories. Kurtág started composing the piece in 1985 without a preconceived plan, completed in 1987, and premiered it the same year. The texts, which range from quick jottings to powerful almost explosive sketches, permit a large variety of musical settings. For the most part they possess a philosophical dimension that touches on Kafka’s existential questioning,
which the composer has made his own.

‣ Hindemith Opus 18

German composer Paul Hindemith (1895-1963) wrote his Opus 18 in 1920 but it wasn’t performed live until 1922. The song cycle consists of 8 comic, touching and dramatic pieces with texts by poets such as the German surrealist Else Lasker-Schüler and the beloved nonsense literary figure Christian Morgenstern.

I recorded three of the songs in March 2020 at the Concert Hall Odeon in Odense, Denmark

Anne Mette Stæhr // Piano
Jonas Fogh // Videographer and postproduction
Jacob Kirkegaard // Sound recording and mix
Niels Jørgen // Styling
Katinka Fogh Vindelev // Concept & Idea

‣ Liebestod

Liebestod kredser om døden og kærlighedens mellemværende og undersøger hvad det vil sige at dø af kærlighed igennem kunstens, videnskabens og virkelighedens øjne. I løbet af vores proces byder vi forskere, digtere, filosoffer og andre helt almindelige mennesker indenfor, og beder dem lære os noget om hvordan krop og sind er forbundet. Alt dette materiale tager vi med os ind i et sammensat værk, der åbner ind til sorgens bortgemte rum.

OPERANORD’s Liebestod projekt, er udviklet i løbet af 2017/2018 og havde urpremiere på Takkelloftet på Den Kgl. Teater – Operaen i november 2019.

Det kunstneriske hold består af digteren Cia Rinne, komponisterne Henrik Strindberg og Sofia Jernberg, billedkunstner Dagmar Radmacher og iscenesætter Louise Beck. Desuden indgår dramaturg Sosha Teperowska, sopran Katinka Fogh Vindelev og skuespiller Oscar Boy Willems samt musikerne Andreas Borregaard, David Hildebrandt, Garth Knox og Nina de Heney i den kunstneriske proces, der leder frem til urpremieren i november.

‣ Liebestod blev opført på

Det Kongelige Teater – Operaen / Takkelloftet @ 3-8 NOV 2019 / DK

‣ One World Above, Another Below

One world above, another below is a 45 minute chamber opera inspired by journeys abroad; nature and culture, the outer space and the inner person, electronic manipulated field recordings and classical traditions.

The piece is a reflection of one’s own reality in another context.

Composer Lil Lacy collaborated with electronic musician and composer Tobias Sejersdahl to create the electronic composition.

The piece is commissioned by Århus Sinfonietta

Reading the air.
To listen and to respond.
One world above, another below.

Concept and composition: Lil Lacy
Electronic composition: Tobias Sejersdahl
Conductor: Rei Munakata
Soprano soloist: Katinka Fogh Vindelev
Artistic curator: Allan Gravgaard Madsen
Århus Sinfonietta: www.sinfonietta.dk

‣ One World Above another below was performed at

Spot Festival @ April 2019 / Symphonic Hall / Aarhus / DK

‣ Messias i Nat

Händels Messias i ny fortolkning – et nyskrevet oratorium

Instruktion: LIV HELM

”Se, jeg siger jer en hemmelighed: Vi skal ikke alle sove hen, men vi skal alle forvandles, i ét nu, på et øjeblik, ved den første trompet.

MESSIAS I NAT er et nyskrevet oratorium frit efter Händels klassiske mesterværk MESSIAS. I denne nutidige, rasende og håbefulde fortolkning går fire klassiske sangere samt et kor i dialog med Händels Messias og dets messende budskab om frelsens komme. Fortvivlelsen over verdens tilstand italesættes og vi efterlades med et vovefuldt håb: Messias vil aldrig komme. Vi må selv være Messias, der forandrer alting nu i nat.

‣ Messias i nat er opført på

1 – 13 Dec 2018 @ Husets Teater / CPH / DK

‣ Moonologue

Moonologue – for our Suns is a new opera produced in collaboration between composer Katinka Fogh Vindelev and visual artist Marie Kølbæk Iversen. It is an independent continuation of Kølbæk Iversen’s long-term art project Io/I, which is on view at Louisiana Museum of Modern Art until January 20, 2019, as part of the exhibition “The Moon.” Performed by countertenor Morten Grove Frandsen and soprano Vindelev herself ! 

In the opera’s libretto, written by Kølbæk Iversen, the diverging identities of Io is explored: Io is Jupiter’s inner-most moon, which was discovered in 1610 by Galileo Galilei, but she is also the Greek-Roman mythological priestess after whom the moon is named. Through Galileo’s Italian (‘io’ is the Italian word for ‘I’) the different manifestations of Io are synthesised into a composite Self; a Self thus also encompassing Galileo as well as the artists – the audience even; a Self which speaks through the Moonologue.

In her composition of Kølbæk Iversen’s text, Fogh Vindelev takes as her starting point this blurring of identities, which she reflects in the two voices – a male and a female voice, a countertenor and a soprano (sung by Morten Grove Frandsen and Fogh Vindelev herself) – that intersect and diffuse each other beyond the singers’ cultural and biological genders. The composition shifts between recitative and abstract parts together reflecting the hybridising, supernatural, and mythic character of the text.

The collaboration manifests as two live performances at Louisiana Museum of Modern Art during the fall and winter of 2018, for which Kølbæk Iversen has created the masks and costumes: one at full moon on November 23, and one at new moon on December 7, 2018. In addition, the opera is released as a limited vinyl edition by Antipyrine Records on the occasion of the first performance.

‣ Moonologue has been performed at

Louisiana Museum of Modern Art @ NOV 2018, DK
Louisiana Museum of Modern Art @ DEC 2018, DK
Khio Oslo National Academy of the Arts @ JAN 2019, NO​
Cisternerne @ VEGA ARTS @ MAJ 2019, DK
Henie Onstad @ MAJ 2019, NO

‣ Re-formation - A stone from the heart

Re-formation – A stone from the heart (2017) is a theater ritual exploring the church room. The audience is invited to take part of a sonic, visual and performative ritual, where this “now” is enough – and where a breathing space from all of the expectations of wanting more, of being more, of obtaining more, is left behind for a moment.

Re-formation – A stone from the heart is a co-production between Theater Møllen and artist collective Vontrapp. The work is part of the 500 years’ marking of the Reformation, which in Denmark took it’s starting point in Haderslev.

KONCEPT & IDEA / Vontrapp og Teatret Møllen
PERFORMERS/ Connie Tronbjerg, Thomas Jacob Clausen Rønne
SOLO SOPRANO / Katinka Fogh Vindelev
ORGANIST / Jonas Hellesøe Nielsen
CHOIR / The Junior Choir of the Cathedral of Haderslev, Thomas Berg-Juul,
The Cathedral of Roskilde’s children & junior choir, Christa Hauser

‣ Re-formation - A stone from the heart has been performed at

The Cathedral of Haderslev @ SEP 2017, DK
The Cathedral of Roskilde @ SEP 2017, DK
Church of Trinitatis, Copenhagen @ SEP 2017, DK​

‣ Pneumanticks - an audiovisual live performance and installation (2017)

PNEUMATICKS is a cinematic symphonic work about the source and unification of body and soul. In northern Uganda, at the source of the Nile, lives Leotissa Ayelango. She makes pots from two types of soil, that exist on each side of her village, Nyaravur. Blending the soil with the water from the river, shaping it with small fragments of old pots and creating new ones. Her work happens in balance between earth, air, water and fire. Through-composed symphonic work in 4 movements for two cellos, tree singers and one bass clarinet, with individual elements of improvisation. The work is acoustic throughout, but also contains electronically manipulated sounds and effects. The work is a result of close collaboration among the composers and visual artists.

Composition by Signe Lykke & Lil Lacy
Film by Ulrik Heltoft & Ann Sophie von Bülow
Musicians: Katinka Fogh Vindelev (soprano), Laura Mayer (alto), Simon Rønne Rischel (baritone), Morten Lohmann Sønderskov Jensen (bass clarinet), Soma Allpass (cello) and Lil Lacy (cello)

‣ pneumaticks has been performed at

CLICK festival @ MAY 2017 Helsingør, DK
Maltfabrikken @ JUNE 2017 Ebeltoft, DK
Musikhuset @ OCT 2017 Århus, DK

‣ pneumaticks has been installed at

Maltfabrikken, JUNE 2017, Ebeltoft, DK

‣ leaves - the colour of falling

LEAVES is a genre-crossing operatic production, commissioned for the Copenhagen Opera Festival in 2015. The gala performance of LEAVES took place underground in a huge Cold War-era bunker beneath Copenhagen’s municipal hospital. Once used as a subterranean emergency hospital but long since abandoned, the audience was led through the labyrinthine corridors that have been closed to the public for decades.

The eleven songs comprising LEAVES are composed by Efterklang and Karsten Fundal and directed by Christian Lollike from the theatre Sort/Hvid. English lyrics by Ursula Andkjær Olsen and set design by Marie Rosendahl Chemnitz.

Efterklang and The Happy Hopeless Orchestra are: Lisbeth Balslev (soprano) Morten Grove Frandsen (countertenor) Katinka Fogh Vindelev (soprano) Nicolai Elsberg (bass)
Casper Clausen (Efterklang) Mads Brauer (electronics, Efterklang) Rasmus Stolberg (bass, Efterklang) Bjarke Mogensen (accordion) Jenny Lüning (bratsch) Josefine Weber (bratsch) Marie Louise Lind (cello) Josefine Opsahl (cello) Ying-Hsueh Chen (percussion) Sara Nigard Rosendal (percussion) Michael Min Knudsen (harmonium, celeste)

‣ LEAVES - The Colour of Falling has been performed at

Atomkælderen, Copenhagen Opera Festival, AUG 2015, Copenhagen, DK

Store Vega, FEB 2017, Copenhagen, DK
Uppsala Konsert & Kongress @ FEB 2017, Uppsala, SWE
Cross Linx, Muziekgebouw @ MAR 2017, Eindhoven, NL
Cross Linx, De Oosterpoort @ MAR 2017, Gronningen, NL
Cross Linx, De Doelen @ MAR 2017, Rotterdam, NL
Cross Linx, Muziekgebouw @ MAR 2017, Amsterdam, NL
The Barbican Hall @ MAR 2017, London, ENG
Ancienne Belgique @ MAR 2017, Brussels, BE

‘Stillborn’ and ‘Imagery of Perfection’ are sung by the soprano Katinka Fogh Vindelev who also stars in the videos. Filmed by Søren Rye. Edited by Jonas Bang. Scenography and costumes by Marie Rosendahl Chemnitz. Lights by Bjarke Jepsen.

‣ liquid rooms

Danish Composer Karsten Fundal’s large orchestral piece LIQUID ROOMS with Odense Symphony Orchestra had its premiere in October 2014. A concert installation with solo singer Katinka Fogh Vindelev (soprano), video artist Michala Clemmensen, light artist Mikael Sylvest and costume design by Stina Resting. Lyrics by Mark R. Slaughter, conducted by Henrik Vagn Sørensen

‣ Liquid Rooms has been performed at

DOK5000, OCT 2014, Odense, DK

Live video except from Liquid Rooms performed by Soprano Katinka Fogh Vindelev and Odense Symphony Orchestra at Dok5000 in Odense on the 3rd of October 2014.

‣ efterklang

Since 2009 Katinka has been collaborating with the renowned Danish band Efterklang, starting out as a choir singer at their Performing Parades symphony Ochestra concert in Leeds, UK. From 2012 – 2014 she 20 Piramida symphony orchestra concerts, became a part of Efterklang’s 6-piece live band, and went on a world tour playing more than 150 concerts playing keys and singing backing vocals. That tour started out premiering the Piramida album in Sydney Opera House during Vivid Festival later came venues such The Met Museum (NYC), Grieghallen (NO), Barbican Hall, Royal Albert Hall (UK), Det Gamle Radiohus (DK) and Festivals such as Hostess Club Weekender Tokyo, One Of A Million Festival,By:Larm Festival, Immergut Festival Best Kept Secret, Haldern Pop, End Of The Road, La Route Du Rock, And Clockenflap Festival In Hong Kong . Katinka has also been adding vocal to the albums Magic Chairs, Piramida and the live recording of the Piramida album with Copenhagen Phill!

‣ Dying Dyveke

– i et mix af opera, elektronik og soundscapes

Med afsæt i guldalderkomponisten Peter Heises Dyveke sange har den elektroniske komponist og musiker Sandra Boss i samarbejde med den klassiske sanger og performer Katinka Fogh Vindelev skabt performancekoncerten Dying Dyveke.

Et mix af opera, elektronik og soundscapes med hjælp fra en strygekvartet, der eksperimenterer ved at spille på udspændte, elektronisk manipulerede fiskesnører.

Medvirkende: Katinka Fogh Vindelev (Sopran) Katrine Grarup Elbo (Violin) Cæcilie Balling (Violin) Line Fafner (Bratch) Josefine Opsahl (cello) Sandra Boss (electronics)

‣ Dying Dyveke blev opført på

SPOT festival @ Godsbanen, Aarhus DK

‣ film soundtracks

From time to time Katinka gets invited to sing on film soundtracks

The act of Killing by Karsten Fundal (2012)

A Ghost Story by Daniel Hart (2017)

Darling by Erik Knive Skodvin and Rauelsson (2017)

Vildheks by Flemming Nordkrog (2018)

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