All too often, tradition and avant-garde are positioned as irreconcilable antagonisms in arts and culture debates. The work of Danish composer Josefine Opsahl proves that this assumption is not only simplistic, but completely misguided.

Back in 2012, at the age of just 20, the cellist released a remarkable debut album, "Leaving My Silent Empty House," together with her sister, harpist Trine Opsahl. Four more albums followed, most recently "Cytropia" (2025). In addition, she has composed operas and symphonic works that are characterized by her distinctive blend of classical and electronic elements.

Her crystal-clear, sometimes blood-curdling intonation is like an unadulterated glimpse into the depths of the soul. Three years ago, The Strad described Opsahl as a "groundbreaking and remarkable composer." We can only agree.