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| Info | Setlist | ||||||||||
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01. Musicbox intro 02. Overture 03. All Is Full Of Love 04. Unravel 05. Harm Of Will 06. Generous Palmstroke 07. It's Not Up To You 08. An Echo, A Stain 09. I've Seen It All 10. Cocoon 11. Unsion 12. Hidden Place 13. Venus As A Boy 14. Pagan Poetry 15. You've Been Flirting Again 16. Isobel 17. Play Dead 18. Jóga 19. Hyperballad 20. Bachelorette first encore 21. Anchor Song 22. Human Behavior second encore 23. It's In Our Hands |
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| Pictures (email) Observe that there usually is a NO camera policy at these concerts. | |||||||||||
| Reviews |
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| http://www.f-r.de/fr/195/t195001.htm Die tätowierte Königin Björk mit Chor und Orchester in der Alten Oper Von Sandra Danicke Die Königin trägt ein Tattoo am linken Oberarm, sie trippelt auf bloßen Füßen. Oder hopst strümpfig vor und zurück, auf und ab, weil sie die gestreifte Harlekinstrumpfhose an hat, die so toll zu dem schwarzen Artistinnenkostüm passt. Wenn die Königin auftritt, regnet es Flitter. Ihr Oberteil glitzert im Licht. Die Federn an ihrem Röckchen zittern im Luftzug, und weil die Königin manchmal ein scheues Wesen ist, fasst sie sich häufig ins braune Zottelhaar. Steht mit tastenden Bewegungen und klein, so zerbrechlich auf großer Bühne und . . . singt, dass das Volk ganz ergriffen ist davon, denn die Königin hat die schönste und seltsamste Stimme, die es jemals vernommen hat. Diese Stimme kann kraftvoll und ein wenig rau, sogar wütend klingen, sie kann grell und kann stolz klingen, wie es sich für Königinnenstimmen gehört, dann wieder kindlich und so fragil wie ein zartes Glasvögelchen. Als könne etwas daran kaputt gehen, wenn man mal eine Sekunde nicht aufpasst. Wenn die Königin singt, lauschen die Menschen deshalb besonders andächtig, weil sie keine Sekunde nicht aufpassen wollen, jeden einzelnen dieser fremdländischen Töne in sich aufsaugen, keinen Laut dieser wichtigen, schönen Botschaft versäumen wollen - schließlich ist die Königin aus einem fernen Land extra hergekommen. Einem, das weiß ist und kalt oder grün und verwunschen, denn die Königin ist eine Eiskönigin; soviel hatten die Menschen verstanden. Und dass die Königin manchmal verliebt ist und traurig dabei. Dass sie meistens verliebt ist und glücklich dabei, und dann freut sich die Königin wie es einer Schneekönigin ansteht, hüpft ausgelassen über die Bühne, lässt ihr ballonförmiges rotes Federkleid, dieses prachtvolle Gewand, das einer Zirkusprinzessin wohl anstünde, lässt sie wippen und die großen roten Plastikpailletten am Oberteil klappern, rennt übermütig von rechts nach links nach rechts, reckt den Arm in die Luft und stösst schrille Melodien aus ihrem großen, weit aufgerissenen Mund. Das tut sie, wenn sie sich wohl fühlt. Zunächst aber ist die Königin ein verhuschtes Geschöpf, dass nicht weiß, ob das Volk hier es tatsächlich gern haben würde. Deshalb gibt sie sich introvertiert und singt wie für sich, wie im Wald, wenn man Angst hat, und stampft nur manchmal den linken Fuß auf, lässt den linken Arm ungelenk durch die Luft rudern. Ihr Gefolge aus Grönland, ein Inuit-Chor, hilft ihr beim Singen, ein Orchester aus England hilft auch und macht, dass die Menschen im Saal, die gekommen sind, der Königin zu huldigen, erschauern und Gänsehaut kriegen. Und dann jubelt sie, diese Menschenmenge, weil die Königin so schöne, so traurige und ein paar fröhliche Lieder weiß. Und die Königin sagt artig dankeschön. Man erzählt sich aber, dass die Königin ab und zu wütend sein kann, denn die Königin ist auch eine freche. Dass sie dann bockig ist zu den Menschen, es sogar vorkommen kann, dass die Königin jemanden haut, der gemein zu ihr ist, aber wofür ist sie schließlich Königin? Die Königin hat ein Tattoo am linken Oberarm, sie trägt weder Schuhe noch Strümpfe, aber offenes Haar. Sie darf das, weil sie die Königin ist. /f-r.de - 3456 |
| Hiya everybody, Yesterday i saw this wonderful concert of björk. She is such so full of energy and did fill the opera house with harmony and pleasure. I can call her " sonnenschein" !!!!! I think everybody did enjoy it and also björk started to get comfortable after her embarrassment in the beginning. I’m still thinking of this fantastic evening with björk and i would like to thank her... Greetings from Freiburg -also a good place for björk to play J . P.S. by the way: this is a great hompage of björk...carry on !!!! /Michi - 3455 |
| Hello, Frankfurt was my second Show after Stuttgart. In Stuttgart, after what had happened that evening, Björk and everyone else seemed a bit shocked, but she seemed to be on track after "Manhattan Lullaby". Great musicianship from her and the Harpplayer, I must say, because it was obviously a spontaneous decision by Björk to do this song as a tribute to the victims in Manhattan. She conferred with the harpplayer (I should know her name) during the song before, it seemd to me. In Frankfurt Björk seemed to wake up during the second half, I think she really enjoys performing the older material with an orchestra and choir. This line-up is really very special, especially "Bachelorette" and "Isobele" come across as spectacular performances, not to mention "Hyperballad" and "Joga". This is definetely Björks best Live-Performance so far. I wonder, where can she go from here ? Clearly deserving special mentioning are the canadian throat-singer, who seems to get along very well with Björk and Matmos, who play a really special opening-set. It was slightly expensive seeing Björk twice, but it was definetely worth it. She's unique and still seems to enjoy performing very much. I hope to see many more Björk-Shows in the future. / - 3454 |
| Hi there ! This Evening was special. Gave me hope and huge grins on my face. Matmos = interesting and somehow funny when they used these huge pink baloons. But then after about 40 Minutes Matmos = 22 Songs ! Perfect Acoustic Settings. And Björk first in a b l a c k Swan Dress then in the beautiful red one with shimmering sequins and dark red feathers. Gorgeous. The first Half was more quiet but nevertheless wonderful. In the Second Half and during the Encores she turned the Alte Oper into a Carnival of Sounds full of Emotions and Power. Supported by the both absolutely excellent Inuit Choir from Greenland and the Il Novecento Orchestra the new and the old Songs performed a Dance which I've never seen before in my life. Wicked Stuff !!! My Favourite Part was this mindblowing sequence starting from Isobel leading to Bachelorette. And the new but unreleased song It's In Our Hands with the rhythmic hand-clapping made me freak out even more than Human Behaviour during the 1st Encore. Inspiring and definitely MINDBLOWING SHOW !!! /Ceremony - 3453 |
| It was an unbelievable night, which I will remember my whole life! I can't find words for this wonderful sound-experience I made yesterday.There is nothing which could be more beautiful and charming. Thank you! /Kikki - 3452 |
| Hello! I had the privilege to see Björk live on stage at the Frankfurt "Alte Oper". At 9.00 p.m., right after the (heavily discussed) performance of Matmos, the orchestra started playing the beautiful "Dancer in the Dark" ouverture. And then there she was. Dressed in a (again heavily discussed :)) black swan dress, she didn't seem to be nervous at all. She didn't speak much but she didn't have to. Her music and her gestures spoke for themselves. I want to thank Björk, the wonderful choir, and all instrument players for a great evening. That was an experience I'll never forget. /Benjamin "Violently Happy" Bischoff - 3451 |
| I came around the Alte Oper very early, since I was waiting for this gig since years; in fact I came around from Italy where I live to see this concert. Suddenly (around 3-4 o'clock if I remember well) what seemed a tour bus came around as well, and I just followed it backwards the building wondering who was in there. yeah, she was in and she just came out leavng me a bit speechless, in a beautiful white dress. All I told her were cheap words to express my admiration and a bunch of 'Thank You's to which she replied with... a 'Thank You'as well! She was very detached but I bet this is normal, speaking of Bj. experiences with obsessed fans. Then she disappeared like a drop in the snow and I waited for the gig. Which was immense After the Matmos set and Overtoure (not Frosti as listed on the site!) she came out and the Opera started to be fullfilled with love, but very quietly. The sensation was to be at a very familiar, discreet event and after a bunch of songs I just felt confortable as well with that.. She appeared so fragile (but still a marvellous violent human being as usual), and the voice seemed not to be devasted as Bj. usually does, but it was more tender, warmer I would say. The set was beautiful, with high points on Unison (here the sensual emotion started to overflow), Venus (kinda standing ovation, everyone excited and oh so happy), Joga (her best in my bittersweet wicked mind) and then on the last three songs we all got up from the chairs and waved and danced and drinked it all, it seemed like being at a big intense Café with Bj. :-) personally I wasn't just in the very first rows, but I gt up as well and..... runrun to the first row, where I standed dancing and taking it and feeling her at my best. I bet she felt us as well, and I am INDEED very grateful. she wasn't exactly 'grateful', I would say she was.. graceful thankyou. thankyou /David - 3450 |
| Hi, I'm right back from Frankfurt and wanna contribute how I felt during the show.. First of all I was very happy about the long tracklist of 22 Songs. I would have never thought this. I felt that the concert was definetely an experience, an ocean of colors and sounds that I could not stop swimming in. I could feel the energy surrounding Björks appearance eventhough I sat a little further away from the stage in the "Rang". She gave an interpretation of the songs not only through her powerful voice but by her whole body and many were so energized by that(like me) that they couldnt keep sitting still in their seats but jumping off and dancing with her, accompanied by shouts like "Bjork we love you" But it also seemed to me (sorry, but i cant get rid of that feeling) that there was something like a layer of ice covering the islandic vulcan. Bjork was acting very friendly but distanced and it did not seem to me that she was fully in contact with the people, especially when she repeated her "Danke Schön" about three times in an automatizised robot-style. For me it was as if she wanted to say: "I am offering you a great show and i show you all my strength, but dont think you can catch a part of my personality by looking at me" The first time when i could feel that there's more communication between her and the people was when she introduced the crew. I experienced Björks Presence on the Frankfurt stage as a Paradoxon: both at the same time she was unbelievably present...and somehow very far away or as Björk would say herself: "I'll keep it in a hidden place". Neverthelless...takk bjork, for what you gave us to see from you. Petra Leitmeir, Berlin, Germany /Petra Leitmeir - 3449 |
| it was a great night. i liked the athmosphere with the orchestra and the choir, i've never had such an expierience bofore. the first part of the concert (matmos) seems very strange to me, but i liked it very much, especially the cage thing ;-) great! the second part was björk on stage with her black dress. she looked a little bored, maybe sad, but she changed! the third part was very powerful. not only because of her outfit. i'ver never seen an audience of an opera-house standing up and dancing. it was human behaviour, when i saw that nobody was sitting anymore. i'd like to thank everyone in the house for this unforgettable evening. especiallly one man... i think he knows... /LegoMZ - 3448 |
| Hi all, I just came home from Björk in Frankfurt tonight - at about seven I entered the festively lit beautiful Old Opera, lying in between all the Frankfurt skyscrapers. The opera hall itself was a kind of blocky vectory brown fifties-style affair (it was rebuilt cause after the war only the outer walls remained). In the darkness you could see a veritable pile of electronics stacked on the stage with eerie blue light coming from their displays and I thought, "aha that must be matmos". And voilá, a short time later Matmos entered the stage and started doing their crazy genius stuff. They had about three laptops, synthesizers, microphones, guitars, a rat cage, ... ;-) However about the whole time during their set people were still coming in which was very annoying. The set was great though. I don't know which one I liked better, the song with the masterfully played rat cage or the one with the balloon turned into an instrument (you'd never think that inflating a balloon would produce such a great rhythmic sound, save for squeaking it! ;-) Everybody enjoyed the artsy cutting-edge electronics matmos did, maybe save for some banker types who had gone to the concert for becoming sort of semi-hip ("what kind of silly stuff is that?"). After that, it was intermission again (when would we finally come to see björk??) ... After an eternally long time (spent by me nervously smoking cigarettes) we went in again and the lights went out, and in the total darkness björk went on the stage. But somebody spotted her and called out "hey björk!" after which there was loud applause and cheering in the dark. ;-) She played Frosti on her music box while snowflakes were falling down on her head lighted from below. There was more frenetic applause when she became visible. Björk didn't say hello or introduce herself though but the orchestra just started playing the Ouverture from Dancer In The Dark. Then Björk started singing with "All is full of love". After each song she was greeted with loud applause and there was even louder applause and cheers when she once said "Dankeschön!" with a funny icelandic accent. There were great songs like "I've Seen It All" and at the end of the set the absoloutely gorgeous "Cocoon" and "Unison", the latter of which was very moving. The choir sang very beautifully, they were moving with the rhythm and apparently enjoyed themselves. Still during the first set, the whole atmosphere remained in my opinion a little frosty, just like the giant photos of icelandic scenery which were shown in the background during the first set. Björk had a slightly neutral and distant stage appearance, and somehow kept a little distance to the audience. When she sang the very intimate parts of "Cocoon" she was actually not facing the audience but she had turned sidewards, which I understand though. Still of course her singing was emotional to the most and she gave everything the whole time. In the first set Björk was dressed in a dark blue glitter kind of shirt and a short black kind of tull or lace dress and marvellous, funny tights with vertical stripes. In the second set she had put on a fantastic victorian-like red dress made of feathers and a glittering red top whose pieces rhythmically clanged when she was dancing, very beautiful. She was barefoot all the time. She wore black cajal around the eyes and a hairstyle similar to the one you can see on the photos in "telegram". Before the beginning of the second set I noticed some people who were sitting in the aisle leading to the front seats, so I went there too and had a better view ;-)... Several people were also standing next to the walls to get a better view. A little bit of bitching about the acoustics: All the songs on that evening were great yet it was, I'm afraid I must say, not as great as I had anticipated. That was because of the acoustics which were often distracting from the songs a little. Usually the Alte Oper's got gorgeous acoustics, but this time the engineers, at least in my opinion, blew it, I'm sorry to say, acousticwise. It sounded like if you put a very large pair of speakers in an... well, opera. See, what is the point of bringing an orchestra to an opera if you rig everything up with microphones and then put the sound through two sets of giant rock concert speakers at the sides? This way the sound was kind of reverberating in the opera hall, and the bass was booming where it shouldn't have been. Unfortunately also because of the speakers at the beginning the concert lacked a bit the "live" feeling you had expected (as other people were saying too). Björk sang MOST wonderful, but her voice was very noticeably coming out of the speakers to the left and the right, - like I hear her in my living room on the stereo. Dear audio engineers, please let her sing without a microphone the next time! A little bit more bitching: I had the impression that in the song "Jóga" when the complicated electrobeats stepped in they were a little faster paced than the orchestra had been playing which resulted in a very slightly noticeable orchestra/beats timing trouble at the beginning. However of course the minor acoustic problems stopped nobody including me from really, really enjoying song after song and giving frenetic and LONG applause everytime, so that they always started playing the next song before the applause had faded at all ;-). The canadian throat singer was a beautiful girl who sang the most astonishing sounds, and she too had loud applause. Björk kind of thawed out a little during the second set and you could see that she was very happy with the appreciation she got from the audience. At one point during the concert somebody shouted "I love you!" from somewhere and she had to smile. She also danced a lot and generally gave everything with her voice. Matmos were two concentrated figures hunched over their equipment on the right side, and Zeena sat on the left playing her harp or celesta or accordeon and the choir stood in the background swinging to the music in a laidback way. Björk received standing ovations when she had sung the last song, and after maybe five minutes of clapping and shouting and even stamping which made the whole building shake and ring with applause, she came back and sang "Human Behaviour" at which everybody just freaked out and things generally got partywise. This was the best time and the ice really broke, finally things even became kind of popconcert-like despite the opera, with everybody standing up and people coming down into the aisle to dance, and loud cheering and applause throughout the song. The mood of the evening which had been a little strict and solemn at the beginning due to the surroundings broke and things were more of a celebration. Björk totally moved with the audience, running to each side of the stage getting loud cheers and then dancing and singing wildly, finally ending the song with a loud scream. WOW! (If anyone has a bootleg of that PLEASE MAIL ME! ;-) Björk, Matmos, Zeena, the orchestra and the choir were then celebrated by the audience after playing their last, "yet unreleased" song (yeah right, check the 'net), "It's In Our Hands". They had created a very special, intimate atmosphere which made strangers smile warmly at each other as people made their way out. By the way, some guys had hung a large transparent down from the second level that said "MATMOS I LOVE YOU!" Matmos were kind of intrigued. ;-)) So much for that, I'll be going to bed now dreaming of more concerts to come ;-). regards, /jan - 3447 |
| Hi I just came home from Björk's concert in Frankfurt. I have to say it was a great experience I'll never forget. The pre-show (Matmos) started punctual at 8pm and was about 40 minutes long. Björk entered the stage at 9pm, dressed with the blue-swan-dress. The first song was Frosti which ended in Selmasongs's Overture. She actually semmed a little bit bored, during the first part of the show. But after Hayperballad there were no doubts that she liked the evening (that's how i feel anyway). She even spoke some german words "danke schön" which means thank you. Well thank you Björk for that special evening. /svsol@web.de - 3446 |
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