Signe Lykke




Motherboard is a community, a laboratory which radically rethinks opera.

Motherboard is a group of artists, who each represent a field within the crossartistic core disciplines of opera.

Motherboard is opera for the 21st century.

Motherboard is: Composer Signe Lykke, soprano & performer Katinka Fogh Vindelev, choreographer Tim Matiakis, filmdirectors Cille Hannibal & Frigge Fri and scenographer Karin Gille.


Photo by C Echeverri



Nordkraft has been transformed into an opera, and it takes completely new paths to capture the captivating atmosphere and the intense emotional life in Jakob Ejersbo’s classic novel.

Collected reviews of Nordkraft

♥♥♥♥♥ Politiken
★★★★★ Nordjyske
★★★★ Financial Times

I Shall Feed My Eyes – A vocalpiece for Ars Nova


’I shall feed my eyes’ is a vocal piece by Signe Lykke where the psysical limits of Ars Novas acoustic voices are challenged, manipulated and mirrored in a meetiing with speciallydesigned elecotronical elements performed by Anders Stig Møller.

Review by Seismograf

Body Textures – EP release


Body Textures – EP released on Dacapo Records

The textural work Body Textures by Signe Lykke is a beautiful sonic journey into the human body’s different cells. Cross-sectional images of cell types such as fat, protein and connective tissue form the basis of this orchestral work, and have served as an inspirational source for the different texture areas and movements.
Morten Ryelund conducts the Danish Youth Ensemble

Panic Day – Composition for Uppercut Dance Theatre



VIIRS – A symphony by Signe Lykke, Lasse Ziegler and Anders Bach


VIIRS (Visible Infrared Infrared Radiometer Suite) is a three movement symphony for electric guitar, drumset, percussion, three voices and electronics. The piece investigates the matter of light pollution.
Composed and performed at Spot Festival 2018 by Signe Lykke, Lasse Ziegler and Anders Bach.

Pneumaticks, 55’ – audio visual live performance and installation with film and music


PNEUMATICKS, audio-visual work, 55 minutes

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.

We follow her in real time, with the breath’s inhale, exhale and pauses like symphonic markers – on a cyclical journey, into the creation of a soul, a lung of air that contains a life. Her task is infinite. She unifies the elements. She creates constantly while she lives. With arduous effort and perfect ambition, she moves us around and shapes the world, like the source of life itself.

Film: Day-for-night recordings = moonlight. Long shots follow 4 phases of the creation of a pot: Balanced soil walks the earth. Fertile earth, digs the soil. Fired earth gives birth. Hand polished dirt is mortal coil.

Music: 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 Lil Lacy and Signe Lykke
Film by Ulrik Heltoft & Ann Sophie von Bülow

Katinka Fogh Vindelev – soprano
Laura Mayer – alto
Simon Rønne Rischel – baritone
Morten Lohmann Sønderskov Jensen – bass clarinet
Soma Allpass – cello
Lil Lacy – cello
Sound by Bjørn Gjessing

Live performances
CLICK-festival, Helsingør / May 13th and 22nd 2017
Maltfabrikken, Ebeltoft / June 29th 2017
Musikhuset, Århus / October 29th 2017

Maltfabrikken, Ebeltoft / June – August 2017

Wetlands – an a capella piece for Det Unge Vokalensemble


Wetlands – performed by Det Unge Vokalensemble in Cisternerne, Cph

Wetlands creates a tonal portrait of the uncertainty of the tide. It is inspired by the Wadden Sea’s eternal shift between the large contrasts; from the complete absence of water to storm and tide.
The idea is to challenge the traditional way of writing for a choir, and rather lower the voice as an instrument where elements such as phonetical text, whisteling and polythrytmic accompaniment is a part of the soundscape.
Futhermore, the music is written with a particular setup in mind where the choir encloses the audience in a circle and where the conductor in the eye of the storm, enclosed by both choir and audience. This way the listener will get a unique sense of being surrounded by water from all sides, and it will work as a sort of surroundsound.

Read a full interview in Danish with Signe on Wetlands here

Signes first solo violin piece


Performed by Christina Åstrand at Wilhelm Hansens classical stage during Distortion 2014.
Listen to the piece and an interview with Signe on P2 here