"Passions deserves a place in the permanent stage
repertoire. (...) Jørgensens choreography
is permeated by a musical nerve. He also places unusual
compassion in his dance and music, creating a theatrical
totality. (...) Jørgensens musical sensitivity,
use of space and ability to create dynamic constellations,
create a journey with an impressive internal excitement
and an explosive drama as much as a sacred dedication."
Yngvild Sørbye, Dagbladet December 1995
" Øyvind Jørgensen is precise with
the framework of his performance Passions. The performance
is presented with a tight direction and two musicians
(...) who give the dancers brilliant support with their
eminent playing. (...) The ballet Deilig Er Den Himmel
Blå (The Beautiful Blue Sky) (...) gives one the
feeling of having journeyed, (...) The lighting, costumes,
the dancers entrance give one the feeling of having
met Romeo and Juliet. Innocent, pure, in white, seeking
out each other and the unknown.
Fredrik Rütter, Aftenposten, December 1995
Dark Mask 1995
The evening is saved by young Øyvind Jørgensens
Dark Mask. A solo piece which like Sigurd Berges
sound design is devised with great confidence.
(...) a collapsible framework that alludes to mirrors,
cages, screens, cupboards, houses ... Through this wanders
Gaute Grimeland a dancer currently in a state
of monumental development - playing with himself, with
us, making explosively rapid progressions play out in
a quiet calm. This is not just theatre, this is also
the art of Mime.
Yngvild Sørbye, Dagbladet March 1995
Passion Ambigue 1994
"(...) a stunningly joyful experience. Movement,
light, choreography, music everything functions
superbly. The piece begins with Arne Nordheims
Clamavi solo for cello. Six dancers in a tightly choreographed
collaboration which sent a thrill through the auditorium.
Passionate and exciting."
Sigurd Stenersen, Harstad, June 1994 (on Jørgensens
choreography for Le Jeune Ballet de France)
Changes - Tundra - Princes in Exile
"A geyser of musicality - a three-part programme
like a geyser of musicality, movement and lines. (...)
he renews the heritage of dance and gives it a quality
of his own. Here we have a strong choreographic intent.
(...) A melting together of Balanchine and Graham, lines
Margaret Ljunggren, Aftenposten, October 1993
"The Latin-American rhythms - often staccato
- and passionate guitar-playing created an intensity
that one will remember for a long time to come. At the
same time the piece was playful and strongly choreographed.
The energy lay as much in the composition as in the
performers it was all quite beautiful and serene.
Cecilie L. Steens finale gripped the packed auditorium..
Lit by pink shadowy side-lights, she danced a pulsating
exit. Quiet and filled with power. (...) Impulses is
the most complete performance I have seen in a long
Inger-Margrethe Lunde, Klassekampen, October 1993
"The music is extremely demanding with its staccato
rhythm, which Jørgensen has exploited exceptionally
well (...) he dares to bring out his sensitivity and
emotional depth in this choreographed vocabulary of
Guri Pahle Glad, VG, October 1993
"(...) I would particularly like to mention choreographer
and dancer Øyvind Jørgensen. In Solo he
convinces one with strong composition and performance.
(...) A quietly confident and almost meditative performance
accompanied by the Jon Balke Trio. (...) One senses
the beauty and joy that comes with seeing someone having
mastered their craft in this way.
Inger-Margrethe Lunde, Klassekampen, januar 1993
New Snow 1992
"New Snow by Øyvind Jørgensen to
music by William Ackerman (...) where we saw many beautiful
movements. (...) The piece ends as a veritable tornado.
Jørgensens best work to date.
Margaret Ljunggren, Aftenposten, June 1992