Press

“…a beautiful shift takes place between the organically pulsating pieces where Nordberg is playing and Kvarnström is dancing, and the passages where recorded electronica creates a more restricted movement pattern, where Nordberg leaves the instruments and fine duets become possible… Nordberg makes a strong dance performance, where the solo where he shapes the air around him with black shimmering confetti, or is it dust, becomes one of the moest beautiful moments of the performance…” – Västerbottens-kuriren, 2015

”…painfully beautiful. Sweetly alive art in a rare fine combination…” – Dagens Nyheter, 2014

”…astonishing music, seamlessly presented by Nordberg who plays it clearly, listening, strong…”– Expressen, 2014

“…the completely brilliant Jonas Nordberg on theorbo, lute and guitar…” – Dagens Nyheter, 2014

“The notes from the lute reach my heart when Nordberg is playing standing with his back towards the audience. His face against the light as if there was something beautiful beyond the darkness…” – Nummer, 2014

”…a passion wanting to explode in the chest, which finds its way into our senses with melancholic timbres which Jonas Nordberg and Christoph Urbanetz perceptively create from the lute, theorbo and viola da gamba.” – Svenska Dagblaget, 2014

”…the music glitters with melancholy and offers solitude to our senses…for some moments Nordberg leaves his instruments and dances, to deep bass sound and heavy electronica chords. In a strong solo Nordberg’s naked back is shimmering in the smoke filled light…” – Svenska Dagbladet, 2013

“…Jonas Nordberg has an unusual physical expressivity in his handling of the theorbo and baroque lute. He treats the baroque chords emotionally, expressing rises and falls with his face almost as were it jazz improvisation. “ – Hallands Nyheter, 2013

”…Eva Fegers, superbly accompanied on the theorbo by Swedish lutenist and guitarist, Jonas Nordberg, a star in his own right…” – windcanal.de on Moeck Recorder Competition, 2011

“…Jonas Nordberg is a notable theorbist who ‘drove from the bass’ (as stressed importantly by Julia Bishop discussing continuo in the master class). His chosen strings (not gut) enhanced the power of an instrument which often looks better than it can be heard). We enjoyed his complete visibility, including a hunched posture reminiscent of the young Franz Bruggen playing the recorder!…” – musicalpointers.co.uk, 2011