#Elisabeth Andreasson
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Eurovision Fact #442:
A female duo has only ever won the Eurovision Song Contest once. This occurred in 1985 when the duo Bobbysocks won with their song 'La Det Swinge' for Norway.
[Source]
Gothenburg 1985, Eurovision.tv.
#esc facts oc#eurovision#eurovision facts oc#eurovision song contest#esc#esc winners#esc 1985#Bobbysocks#Elisabeth Andreasson#Hanne Krogh
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In interval act sang Elisabeth Andreasson the Eurovision Song of 1994, which she sang with Jan Werner Danielsen, who died from heart failure in 30 years... By the way, Elisabeth participated in Eurovision four times in 1982, 1985, 1994 and in 1996.
And what we have?
The three artists will go to the final And it's....
1)Ingrid Jasmine.
2)Margaret Berger.
3)Gothminister.
Yes, those three goes to the final which will in 3rd february. The second semifinal will in this saturday. I wonder who's three artists will on final. We'll see. Thank you for reading. See you soon!
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Eurovision 1994: The actual result
This is your spoiler warning for 1994. If you don't know now, well I'm going to tell you who won Eurovision.
And of course, even if Ireland had tried to tank their chances, it just wasn't going to work. They won for the third time in a row, the only country to do so before or since. Besides Ireland, other English language entries finished fifth and tenth - not quite as well as was expected. On the other hand, the new countries fared outstandingly. Poland, Hungary and Russia all finished in the top 10, with Poland second. Germany had a good year (and a party) and finished third.
The countries unluckily finishing at the bottom were Estonia, Finland, Lithuania, the Netherlands, Romania, Slovakia and Switzerland all of whom would have to take a year off in 1995. Lithuania scored the first nil points since Austria managed in in 1991.
Here then is the full result of the 1994 Eurovision Song Contest
Ireland - Paul Harrington & Charlie McGettigan - "Rock 'n' Roll Kids"
Poland - Edyta Górniak - "To Nie Ja!"
Germany - MeKaDo - "Wir Geben 'ne Party"
Hungary - Friderika Bayer - "Kinek Mondjam El Vétkeimet"
Malta - Moira Stafrace & Christopher Scicluna - "More Than Love"
Norway - Elisabeth Andreasson & Jan Werner Danielsen - "Duett"
France - Nina Morato - "Je Suis Un Vrai Garçon"
Portugal - Sara Tavares - "Chamar A Música"
Russia - Youddiph - "Vechni Stranik"
United Kingdom - Frances Ruffelle - "We Will Be Free (Lonely Symphony)"
Cyprus - Evridiki - "Ime Anthropos Ke Ego"
Iceland - Sigga - "Nætur"
Sweden - Marie Bergman & Roger Pontare - "Stjärnorna"
Greece - Costas Bigalis and the Sea Lovers - "To Trehantiri"
Bosnia & Herzegovina - Alma & Dejan - "Ostani Kraj Mene"
Croatia - Tony Cetinski - "Nek'ti Bude Ljubav Sva"
Austria - Petra Frey - "Für Den Frieden Der Welt"
Spain - Alejandro Abad - "Ella No Es Ella"
Switzerland - Duilio - "Sto Pregando"
Slovakia - Martin Ďurinda & Tublatanka - "Nekonečná pieseň"
Romania - Dan Bittman - "Dincolo De Nori"
Finland - CatCat - "Bye Bye Baby"
Netherlands - Willeke Alberti - "Waar Is De Zon"
Estonia - Silvi Vrait - "Nagu Merelaine"
Lithuania - Ovidijus Vyšniauskas - "Lopšinė mylimai"
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Man, imagine if Norway pulled a double right after Ireland did a triple. No one would be allowed to make jokes about Norway’s bottom-barrel days ever again.
#esc#eurovision song contest#year: 1996#draw: 12#performer: Elisabeth Andreasson#place: 2#country: norway#language: norwegian#points: 114#voting: douze points#composer: Torhild Nigar#lyricist: Torhild Nigar#host nation#repeat offender
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A Phantom of the Opera Ås masterpost, because I’m gonna be very annoyed later on if I have to look up all the information individually.
So what was the issue with this production?
It was made in 1992, many years before non-replica productions was a thing. The first legal non-replica production was in Hungary in 2003.
The producers had been given the permission to do a “strictly limited concert”. They interpreted this as being allowed to do a lightly staged version with costumes - their concept was to stage non-singing moments, and then stand still for the singing. But the deal only gave them right to perform a concert with max. 25 minutes of music, regardless.
They had rearranged the music for a band of 49, instead of using the music score that followed the rights they had obtained.
At the opening they had - as an emergency solution - transformed the production into a plain concert version with no costumes and sets, with the ensemble in jeans and white shirts. They went on with the premiere and 13 more concerts - following the advice of their lawyer - before being legally ordered to shut down completely. The plan was to do at least 35 performances.
A lot of the aspects of this production was professional - costume design, choreography and directing, lead roles, musical arrangements, huge crashing chandelier. The issue was not necessarily in the quality, but the fact that what they had gotten permission for and what they did was two completely different things. If RUG didn’t close it down, it could create a presedence as to what others around the world might allow themselves to do without permission from the London office.
In the 1990s fans reported of cases where RUG had sent them threats of lawsuits for publishing drawings, phan litterature and photos of costume replicas in their private websites - things that seems absolutely obscene in the modern digital age. Maybe with this as a backdrop, many expected a lawsuit to follow in Ås, but that never happened. It seems RUG didn’t want to punish them for purposely or innocently misunderstanding the deal they were given through a third party. In this RUG was more civilised than their rumour at the time might indicate.
Costumes and some set pieces was later sold at an auction in support of the band and the producers, who had suffered substansial financial loss. The chandelier ended up in a scrapyard, and most programmes/flyers were destroyed. This made it extremely hard to find information on... let’s call it “the Ås incident”. I looked for many years, until it only felt like an urban myth. So I was pleased to find that papers from the time had been digitalized and the whole story, and ditto photos, finally stepped out of the shadows of the past. I know even have a list of cast and creatives:
PHANTOM: Øystein Wiik
CHRISTINE: Elisabeth Andreasson / Eir Inderhaug
RAOUL: Tom Erik Lie
CARLOTTA: Anne Nyborg
PIANGI: Thorbjørn Lindheim
OTHERS: Wilfred Breistrand, Espen Holm, Per Arne Vighals, Anne Haugen, Cecilie Torgersen, Bjørn Johnsen
CREATIVE TEAM: Georg Malvius (director), Toni Herlofson (choreographer), Kiss Markovic (costumes), Geir Johnsen (scenographer and producer), Lars Jegleim (conductor), Bjørn Kjærnes (musical arrangements), Ås Musikkorps (band), Geir Langslet (musical assistant), Ole Petter Berger (sound), Per Thomassen (light).
Legal or illegal, the production was thus the first “Phantom of the Opera” production in Norway - next to follow was the all legal 2018-2019 non-replica production at Folketeateret in Oslo.
#phantom of the opera#poto ås#poto norway#øystein wiik#elisabeth andreassen#eir inderhaug#tom erik lie#anne nyborg#thorbjørn lindheim#georg malvius#toni herlofson#kiss markovic#geir johnsen#i always heard one christine sung the lower parts and the other the high parts#no newspapers mention this#i'm curious about that aspect
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Today, Live, the fruition of a long-held visualization. Years ago, J David Farrell sent me Wild Bird. I became obsessed with Wendy Waldman. Wendy's songs have garnered a Grammy nomination, she's written multiple platinum-selling hits, has recorded a ton of her own music, as well as written and produced a wealth of music across genres.
Wendy co-wrote the iconic Vanessa Williams hit, Save the Best for Last, with songwriters Phil Galdston and John Lind, which was a #1 record that garnered a Grammy nomination as well ASCAP's Song of the Year. The same team had a worldwide hit with Vanessa Williams’ follow-up, The Sweetest Days, as well as the Aaron Neville hit, I Owe You One. Wendy also received the Wrangler Award from the Cowboy Hall of Fame for her song, Corn, Water and Wood, co-written with Carol Elliot and recorded by Michael Martin Murphey.
Wendy's father, Fred Steiner, was a composer who wrote, among other things, the Perry Mason theme. He also composed the music for episodes of Star Trek, Gunsmoke, Rocky and Bullwinkle, and The Twilight Zone. Wendy's grandfather, George Steiner, wrote music for the original Laurel and Hardy and animated features such as Betty Boop. It's in her DNA.
Wendy's first album, Love Has Got Me, was released in 1973, it was proclaimed by Rolling Stone to be the singer-songwriter debut of the year. She was the youngest member of the Warner Bros. brain trust - a group of artists who were known for their innovative approaches to music. The pack included Maria Muldaur, Randy Newman, Ry Cooder, Captain Beefheart, and Van Dyke Parks. Wendy toured extensively throughout the U.S. in the 70s, headlining her own shows as well as opening for artists such as Al Stewart and Linda Ronstadt.
Moving to Nashville in the early 1980s - Wendy wrote numerous hit songs, toured with country artists, and participated in record production and television work. There were some seventy-plus Wendy Waldman songs recorded during this period, including the multi-platinum Nitty Gritty Dirt Band classic “Fishin’ In The Dark” (which Wendy co-wrote with Jim Photoglo) and several other hit singles and BMI Million-Air award winners. Wendy began producing for other artists, one of her earliest productions is the now-classic Suzy Bogguss album Somewhere Between, which won the Academy of Country Music's New Artist Award in 1989.
In 2007, Wendy released My Time In The Desert, her first album of solo material since 1987’s Letters Home. The LP featured her own versions of Save the Best For Last and Fishin in the Dark, as well as the hit, You Plant Your Fields. Following the release of the long-awaited Desert, Wendy formed The Refugees with Cidney Billens ( a great new friend of mine), and Deborah Holland. With nineteen solo albums and multiple Grammy nominations between them, the multi-faceted trio burst onto the Americana scene with their rocking country-folk sound, releasing two critically-acclaimed albums (with more on the way) and touring the U.S. consistently.
A partial list of Wendy’s credits as a record producer includes projects for John Cowan (New Grass Revival, Doobie Brothers); Karla Bonoff; Bryndle; The Refugees; Deborah Holland; The Forester Sisters; Matraca Berg; The Ozark Mountain Daredevils; Jonathan Edwards; Sweden’s Elisabeth Andreasson; The Sweethearts of the Rodeo; Ronny Cox; the final album from acoustic guitar genius Artie Traum; and Polish music superstar Mietek Szczesniak. In addition to her production work, Wendy writes and composes music for television and film. Her songs have been placed in numerous hit shows and movies.
Wendy’s studio has been the home of the venerated KFPK folk music show, Folk Scene. Wendy is also a member the legendary HB Barnum’s Life Choir, with whom she and Mietek Szczesniak collaborated with on the 2020 single “There’s Water For You.” The collective is working together on material for a full length album.
Wendy is currently working on her next solo LP. So far, she has released five singles from the anticipated forthcoming project. The album’s single, The Train Is Leaving, is my latest obsession.
I've been chasing Wendy for years on The Facebook. So looking forward to this sit-down at last, and, with luck, we'll get to hear a couple of her spectacular tunes live.
Wendy Waldman Live on Game Changers with Vicki Abelson
Wed, 9/15/21, 5 pm PT, 8 pm ET
Streaming Live on my Facebook
http://bit.ly/2y47ZCi
WeekdayDaily by Toni Vincent & @peter_and_paul_ Cartoons
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#esc#eurovision song contest#year: 1982#draw: 9#performer: Chips#performer: Elisabeth Andreasson#performer: Kikki Danielsson#place: 8#country: sweden#language: swedish#points: 67#voting: douze points#composer: Lasse Holm#lyricist: Monica Forsberg#duet
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So here’s a pair of comebacks that went exceptionally well! Hanne Krogh from 1971, and Elisabeth Andreassen from 1982 (when she sang for Sweden). And at last! Norway gets a well-earned victory after ages in the basement!
#esc#eurovision song contest#year: 1985#draw: 13#performer: Bobbysocks!#performer: Elisabeth Andreasson#performer: Hanne Krogh#place: champion#country: norway#language: norwegian#points: 123#voting: douze points#composer: Rolf Løvland#lyricist: Rolf Løvland#repeat offender#duet
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And after winning with Bobbysocks! Elisabeth Andreasson came back almost a decade later to sing a duet with Jan Werner Danielsen. He only sang at Eurovision the one time.
They did sing the heck out of this song!
#esc#eurovision song contest#year: 1994#draw: 17#performer: Jan Werner Danielsen#performer: Elisabeth Andreasson#place: 6#country: norway#language: norwegian#points: 76#voting: douze points#duet#repeat offender
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Here’s the second song in the two day Nordic Singers Who Like Eurovision Saga! Elisabeth Andreasson and Kikki Danielsson performed together as the duo Chips for Sweden with a pretty charming tune and great bowties.
#esc#eurovision song contest#year: 1982#draw: 9#performer: Chips#place: 8#country: sweden#language: swedish#points: 67#voting: douze points#performer: Elisabeth Andreasson#performer: Kikki Danielsson
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And here’s Elisabeth Andreasson’s forth and final showing at the Eurovision. They finally let her song solo!
It’s a pretty lovely ballad, too. Love the pan flutes!
#esc#eurovision song contest#year: 1996#draw: 12#performer: Elisabeth Andreasson#place: 2#country: norway#language: norwegian#points: 114#voting: douze points#repeat offender#host nation
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Welcome back to the game Elisabeth Andreasson! We last saw her 1982 and 1985.
#esc#eurovision song contest#year: 1994#draw: 17#performer: Jan Werner Danielsen#performer: Elisabeth Andreasson#place: 6#country: norway#language: norwegian#voting: douze points#composer: Rolf Løvland#lyricist: Hans#lyricist: Hans Olav Mørk#duet#repeat offender
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Øystein Wiik and Elisabeth Andreassen in the “urban myth” concert version in Ås, Norway. The concert version was closed by RUG, who expressed they had never given the permission for a staged non-replica concert.
Photo by Maria Jensen. It comes from an article printed in January 1992:
Communal-project Phantom at Ås.
“Over 30.000 hours is already put into the musical “Phantom of the Opera”, which soon premieres in a staged concert at Ås (Norway). 250 people has worked on it for a year.
At the Auditorium Maximum at Norwegian University of Life Sciences, though for the occasion transformed to the Paris Opera House, you can hear Lloyd Webber’s romantic music. At the lake the opera is built over, seven floors below stage, a boat glides through the mist. On board is a man with the face half hidden by a mask, and a beautiful young woman - the Phantom and the singer Christine Daae - Øystein Wiik and Elisabeth Andreasson.
The boat is a repurposed electical wheelchair, bought cheap by one of the enthusiasts behind the musical at Ås - Geir Johnsen. He’s the producer, director and scenographer, and he also plays the trumpet and flügelhorn in the orchestra. There’ll be 49 musicans, consisting of the Ås Music Band and professional string players, and directed by Lars Jegleim.
The boat is parked, and the singers leaves the boat before singing. In a concert version the acting and dialog is limited compared to a full staging. But a simple scneography and costumes gives indications of setting and storyline, and the style they perform in is approved as a concert by Norwegian TONO. And they don’t lack smoke, mist and scary deaths in the Opera. They even have a falling chandelier the Phantom crashes when the managers defy him. It’s bought from Det Norske Teatret, and weighs over 250 kilos, with a diameter of 3,9 meters. They almost had to tear down the building to get in inside.
This Phantom is not identical to the Phantom appearing at Det Norske Teatret in 1990. They did Ken Hills’ theatrical version, with real opera music migled into the score. At Ås they do Lloyd Webber’s romantic musical, with a score inspired by both pop sound and Puccini. The curtain rises January 31.
The story is though roughly the same, based on Gaston Leroux’s novel from 1911, about the deformed and bitter composer who lives under the Paris Opera House, and who is fatally in love with a beautiful, young opera singer. With a demonic power he makes her voice divine. He gives her the ultimate breakthrough, but she betrays him for suitor Raoul and he goes to war with both the opera house and her.
At Ås there’s both professional and amateurs on stage, a combination they did very well in last year’s production of Chess. Everyone living nearby has contributed to the production, not a no in sight. All costumes are hand sewn by local women after original costume design by Kiss Markovic. The only purchased items is the Phantom’s tailcoat, and one single bra!
In London “Phantom of the Opera” is in its sixth year. In Stockholm the production cost 60 millions Swedish kroner to get up and running. At Ås it cost 6 millions, but Geir Johnsen think they’ll earn at least that in ticket sale, so he can fulfill his dream of making a House of Music at Ås.”
(Journalist: Mona Levin, for Aftenposten)
#obscure phantom productions#phantom of the opera#poto norway#poto ås#øystein wiik#elisabeth andreassen#kiss markovic#i had no idea she did the costumes#she was a major norwegian fashion designer
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Anne Nyborg (Carlotta) and Elisabeth Andreasson (Christine) in POTO Ås (the staged version with costumes, thus the photo was taken during rehearsals)
(photo by Magnar Kirknes / VG)
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Press photo in costume of Øysten Wiik (Phantom), Elisabeth Andreasson (Christine), Eir Inderhaug (alt. Christine) and Lars Jegleim (musical arr.)
Photo from Moss Avis, by Kristin Hauge
#øystein wiik#elisabeth andreassen#eir inderhaug#phantom of the opera#poto norway#poto ås#obscure phantom productions#blonde christine
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Elisabeth Andreasson and Øysten Wiik in the POTO Ås version
“To the Phantom at Ås:
Leading a large ensemble - a mix of professionals and amateurs who’s heading into unchartered water with The Phantom of the Opera at Ås - is musical stars Elisabeth Andreasson and Øystein Wiik.
Both is highly enthusiastic about the music, and the local engagement at Ås, so they didn’t even consider saying no to the offer. Øystein Wiik did however have to say no to two different Jesus Christ Superstar production and a run in Les Miserables in London, as well as an European tour of “A Night in Venice”, to play the Phantom of the Opera in his home county.
The production of Chess last year was so good that when we were allowed to fo Phantom by Andrew Lloyd Webber we simply had to do it, Øystein Wiik explains, as he tries to get used to singing with a half mask. Mikkel Støren at Oslo Nye Teater has made the Phantom mask by first doing a plaster cast of Wiik’s face, then making a fitted plastic mask and a mould of this, and finally dressing the mask with white glove leather. Until the mask is finished, Øystein Wiik wears a temporary model.
(...a lot about Wiik’s career in general)
The production at Ås is a concert version. Do you have any plans of doing the full staged version in the future? - I hope to. I’ve long since rehearsed it, and sung it for director Hal Prince, who said I was ready to jump into any of the current European productions. I would prefer to originate the role somewhere, but so far timing has not been right, Wiik says.
Elisabeth Andreassen was offered the role of Christine Daaé because she so often sing in staircases - it’s such a lovely sound acoustics there! A couple of years ago she secured a spare ticket to Phantom of the Opera in Stockholm (...), and walking up the stairs before the second act she was singing one of the key songs of the show. It lead to an offer of doing a concert version in Mo, Norway. - The concert was a big success, and it was filmed. When Geir Johnsen at Ås saw it, he offered me to repeat the role at Ås, Andreasson says, thanking destiny for her staircase singing.
Eir Inderhaug, winner of the People’s Prize at Talentiaden last year, will alternate with Elisabeth Andreasson in Phantom. Other familiar names are Tom Erik Lie as Raoul, Anne Nyborg as the opera diva Carlotta, and Thorbjørn Lindheim as opera singer Piangi. Toni Herlofson is the choreographer, while Kiss Markovic does the costume design. Bjørn Moren Kjærnes does the musical arrangements, and the orchestra, consisting of 49 musicans, is led by Lars Jegleim. The opening night in Aud Max at Ås is January 31.”
(Text: Mona Levin. Photo: Karina Jensen, for Aftenposten)
#looks like the viennese concert versions#øystein wiik#elisabeth andreassen#poto ås#poto norway#obscure phantom productions
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