Born in 1070, Lina Nyberg began her career in jazz as leader of a quintet, formed by prominent Swedish musicians, and of a duo o voice and piano with pianist Esbjörn Svensson, with whom she recorded the first of her seventeen albums under her own name. Since then, this remarkable and peculiar singer has been developing her work both as leader as well as in punctual collaborations with North-American musicians such as Marilyn Crispell and John Taylor. It is, however, in the domain of symphonic and orchestral composition that Lina Nyberg has established more assertively her artistic identity, in particular with the trilogy of which Terrestrial is the third and last chapter.

Lina Nyberg’s trilogical odyssey began in 2914 with the premiere of Sirenades, a set of pieces composed for a quintet, which was followed by Aerials, a composition for a string quartet about planes and astronauts that included versions of jazz standards such as “Fly Me to the Moon”. With an explicit epic and operatic dimension, the trilogy is also conceptually a manifesto in praise of nature and of the importance of fighting for the preservation of the planet. Besides the pertinence of its theme, which reveals a musician sensible to her times and willing to decode its malaises, Nyberg’s creative tour de force is also distinctive because of the beauty and creativity of the music and by the rigor of her compositions. The Orchestra of Guimarães will again face a highly defying challenge, in which both Lina Nyberg’s vocal expressivity and the poetic dimension of the music she creates aim to elevate sound as a privileged means of mediation between human beings and the physical and emotional landscapes they inhabit.