Eira studied composition at The Norwegian Academy of Music with teachers such as Rolf Gupta, Rolf Wallin and Bente Leiknes Thorsen. In recent years her compositions have been performed in festivals such as Musica Nova Helsinki, Tampere Biennale, Borealis Festival, Vestafor and Ultima, and she has collaborated with professional ensembles, conductors and soloists such as Key Ensemble, Linnéa Sundfær Casserly, Jutta Seppinen, Ensemble Obsidian and more. She composes both vocal and instrumental pieces, and future projects include a new duo for violist Eivind Ringstad and trombone player Runa Hermansen.

Besides composing written scores, she works with improvisation based realtime composition in collaboration with distinguished jazz musicians such as Ayumi Tanaka, Erlend Albertsen and Ellie Aurora.

Listen to Kristin Kverndokk interviewing Eira & soprano soloist Linnéa Sundfær Casserly about "Witness" at NRK radio (in Norwegian)

Eira has studied composition at The Norwegian Academy of Music with teachers such as Rolf Gupta, Rolf Wallin and Bente Leiknes Thorsen. In recent years her compositions have been performed in festivals such as Musica Nova Helsinki, Tampere Biennale, Borealis Festival Bergen and Ultima, and she has collaborated with professional ensembles, conductors and soloists such as Key Ensemble, Linnéa Sundfær Casserly, Jutta Seppinen, Ensemble Obsidian and more. She composes both vocal and instrumental pieces, and future projects include a new duo for violist Eivind Ringstad and trombone player Runa Hermansen.
Besides composing written scores, she works with improvisation based realtime composition in collaboration with distinguished jazz musicians such as Ayumi Tanaka, Erlend Albertsen and Ellie Aurora.

Listen to Kristin Kverndokk interviewing Eira & soprano soloist Linnéa Sundfær Casserly about "Witness" at NRK radio (in Norwegian)

Eira has studied composition at The Norwegian Academy of Music with teachers such as Rolf Gupta, Rolf Wallin and Bente Leiknes Thorsen. In recent years her compositions have been performed in festivals such as Musica Nova Helsinki, Tampere Biennale, Borealis Festival Bergen and Ultima, and she has collaborated with professional ensembles, conductors and soloists such as Key Ensemble, Linnéa Sundfær Casserly, Jutta Seppinen, Ensemble Obsidian and more. She composes both vocal and instrumental pieces, and future projects include a new duo for violist Eivind Ringstad and trombone player Runa Hermansen.
Besides composing written scores, she works with improvisation based realtime composition in collaboration with distinguished jazz musicians such as Ayumi Tanaka, Erlend Albertsen and Ellie Aurora.

Listen to Kristin Kverndokk interviewing Eira & soprano soloist Linnéa Sundfær Casserly about "Witness" at NRK radio (in Norwegian)

Eira has studied composition at The Norwegian Academy of Music with teachers such as Rolf Gupta, Rolf Wallin and Bente Leiknes Thorsen. In recent years her compositions have been performed in festivals such as Musica Nova Helsinki, Tampere Biennale, Borealis Festival Bergen and Ultima, and she has collaborated with professional ensembles, conductors and soloists such as Key Ensemble, Linnéa Sundfær Casserly, Jutta Seppinen, Ensemble Obsidian and more. She composes both vocal and instrumental pieces, and future projects include a new duo for violist Eivind Ringstad and trombone player Runa Hermansen.
Besides composing written scores, she works with improvisation based realtime composition in collaboration with distinguished jazz musicians such as Ayumi Tanaka, Erlend Albertsen and Ellie Aurora.

Listen to Kristin Kverndokk interviewing Eira & soprano soloist Linnéa Sundfær Casserly about "Witness" at NRK radio (in Norwegian) 

Eira has studied composition at The Norwegian Academy of Music with teachers such as Rolf Gupta, Rolf Wallin and Bente Leiknes Thorsen. In recent years her compositions have been performed in festivals such as Musica Nova Helsinki, Tampere Biennale, Borealis Festival Bergen and Ultima, and she has collaborated with professional ensembles, conductors and soloists such as Key Ensemble, Linnéa Sundfær Casserly, Jutta Seppinen, Ensemble Obsidian and more. She composes both vocal and instrumental pieces, and future projects include a new duo for violist Eivind Ringstad and trombone player Runa Hermansen.
Besides composing written scores, she works with improvisation based realtime composition in collaboration with distinguished jazz musicians such as Ayumi Tanaka, Erlend Albertsen and Ellie Aurora.

Listen to Kristin Kverndokk interviewing Eira & soprano soloist Linnéa Sundfær Casserly about "Witness" at NRK radio (in Norwegian)

Elementori's review of "Witness" at Tampere Biennale 2024:

"Sometimes, a concert features a piece that simply surprises you, speaks to you, and carries you away. This was one of those evenings."
…"Next came the piece that had such an effect on this writer — the one mentioned earlier. Premiering that evening, Witness makes a moral demand: not to avert one’s eyes when confronted with the degradation of humanity and violations against it. Eira Huse’s composition, which processes Hans Leo Hassler’s chorale melody — later incorporated into Bach’s St. Matthew Passion — both musically and textually, breaks away from its source in a creative and captivating way, evolving into something wild and expressionistic. The work transformed into a piercing vocal demand, delivered once again with brilliance by soprano Linnéa Sundfær Casserly — and it resonated deeply with the audience. It felt necessary to seek out the Norwegian artist afterward to offer thanks and exchange a few words about the experience."

Jazzinorge.no's review of Salmon Songs 2025:

Eira Sjaastad Huse's salmon tale, Laksesanger (Salmon Songs), in particular, captivated both the room and the audience. Sjaastad Huse, who proved herself not only to be an outstanding storyteller and composer but also a formidable mezzo-soprano, also participated as a guest artist during Rosendal Songlag's performance in the same venue." - Jorun Larsen

The piece "Salmon Songs" was highlighted in the feature of British journalist and composer Laurence Dunn who covered the entire Borealis
Festival titled “Borealis 2025: Sun, Fish, Pigs and Children”, published in Bachtrack. 

«In one concert, a young Norwegian composer has a piece called Laksesanger (Salmon
Songs), and at one moment the musicians don sunglasses and throw paper money at us
with pictures of salmon on it. Sat beneath the giant whale later the same evening, I
wonder what whales and salmon think about.»


Journalist Rudolph Tang highlighted the piece in his feature about the Borealis Festival for the Chinese music magazine Music Lover (translated from Chinese):

«In the evening, the works of four young composers were showcased, featuring cello, flute,
and mezzo-soprano. One of the pieces, "Salmon Songs" (Laksesanger), by Eira Huse, a
mezzo-soprano and composer from Oslo, also directly addresses the challenges facing
marine ecosystems. The piece incorporates three folk songs about salmon, requiring the
three musicians to both play and perform while moving through the theater's seating
sections. The audience is also asked to rotate their seats to follow the performers' movements. Through the work’s humorous yet poignant expression, the composer aims to
raise awareness of the urgent issue of wild salmon's endangered status, while also
highlighting the environmental impact of farmed salmon.» 

Journalist Rudolph Tang also featured Eira Huse in a video interview (in English). The interview includes excerpts from the premiere of the semi-operatic piece Salmon Songs
— written, composed, and stage directed by Huse.
The video interview can be viewed here.

Elementori's review of "Witness" at Tampere Biennale 2024:

"Sometimes, a concert features a piece that simply surprises you, speaks to you, and carries you away. This was one of those evenings."
…"Next came the piece that had such an effect on this writer — the one mentioned earlier. Premiering that evening, Witness makes a moral demand: not to avert one’s eyes when confronted with the degradation of humanity and violations against it. Eira Huse’s composition, which processes Hans Leo Hassler’s chorale melody — later incorporated into Bach’s St. Matthew Passion — both musically and textually, breaks away from its source in a creative and captivating way, evolving into something wild and expressionistic. The work transformed into a piercing vocal demand, delivered once again with brilliance by soprano Linnéa Sundfær Casserly — and it resonated deeply with the audience. It felt necessary to seek out the Norwegian artist afterward to offer thanks and exchange a few words about the experience."

Jazzinorge.no's review of Salmon Songs:

Eira Sjaastad Huse's salmon tale, Laksesanger (Salmon Songs), in particular, captivated both the room and the audience. Sjaastad Huse, who proved herself not only to be an outstanding storyteller and composer but also a formidable mezzo-soprano, also participated as a guest artist during Rosendal Songlag's performance in the same venue." - Jorun Larsen

Salmon Songs was highlighted in a feature of British journalist and composer Laurence Dunn where he covered the entire Borealis
Festival titled “Borealis 2025: Sun, Fish, Pigs and Children”, published in Bachtrack:

«In one concert, a young Norwegian composer has a piece called Laksesanger (Salmon
Songs), and at one moment the musicians don sunglasses and throw paper money at us
with pictures of salmon on it. Sat beneath the giant whale later the same evening, I
wonder what whales and salmon think about.»

Journalist Rudolph Tang highlighted the piece in his feature about the Borealis Festival for the Chinese music magazine Music Lover (translated from Chinese):

«In the evening, the works of four young composers were showcased, featuring cello, flute,
and mezzo-soprano. One of the pieces, "Salmon Songs" (Laksesanger), by Eira Huse, a
mezzo-soprano and composer from Oslo, also directly addresses the challenges facing
marine ecosystems. The piece incorporates three folk songs about salmon, requiring the
three musicians to both play and perform while moving through the theater's seating
sections. The audience is also asked to rotate their seats to follow the performers' movements. Through the work’s humorous yet poignant expression, the composer aims to
raise awareness of the urgent issue of wild salmon's endangered status, while also
highlighting the environmental impact of farmed salmon.» 

Journalist Rudolph Tang also featured Eira Huse in a video interview (in English). The interview includes excerpts from the premiere of the semi-operatic piece Salmon Songs
— written, composed, and stage directed by Huse.
The video interview can be viewed here.

Elementori's review of Tampere Biennale 2024:

"Sometimes in a concert it happens that a composition simply surprises, speaks to you and takes the listener with it. Tonight was one such evening..."
...Now we have come to the piece that surprised the author and was referred to at the beginning. "Witness", which had its world premiere, shows a moral responsibility not to look away when we witness the oppression of humanity and violations against it. Eira Huse's piece adapts both the text and the music from Hans Leo Hassler's hymn known from Bach's St. Matthew Passion, and frees it from its starting point in a creative and fascinating way. It develops into a violent and expressionistic with a standstill of piercing sopranos where soprano soloist Linnéa Sundfær Casserly once again excels, and the piece sinks deeply into the listener. I had to go and thank the Norwegian composer after the concert to exchange a few words about the experience.

Jazzinorge.no's review of Salmon Songs:

Eira Sjaastad Huse's salmon tale, Laksesanger (Salmon Songs), in particular, captivated both the room and the audience. Sjaastad Huse, who proved herself not only to be an outstanding storyteller and composer but also a formidable mezzo-soprano, also participated as a guest artist during Rosendal Songlag's performance in the same venue." - Jorun Larsen

Salmon Songs was highlighted in a feature of British journalist and composer Laurence Dunn where he covered the entire Borealis
Festival titled “Borealis 2025: Sun, Fish, Pigs and Children”, published in Bachtrack:

«In one concert, a young Norwegian composer has a piece called Laksesanger (Salmon
Songs), and at one moment the musicians don sunglasses and throw paper money at us
with pictures of salmon on it. Sat beneath the giant whale later the same evening, I
wonder what whales and salmon think about.»

Journalist Rudolph Tang highlighted the piece in his feature about the Borealis Festival for the Chinese music magazine Music Lover (translated from Chinese):

«In the evening, the works of four young composers were showcased, featuring cello, flute,
and mezzo-soprano. One of the pieces, "Salmon Songs" (Laksesanger), by Eira Huse, a
mezzo-soprano and composer from Oslo, also directly addresses the challenges facing
marine ecosystems. The piece incorporates three folk songs about salmon, requiring the
three musicians to both play and perform while moving through the theater's seating
sections. The audience is also asked to rotate their seats to follow the performers' movements. Through the work’s humorous yet poignant expression, the composer aims to
raise awareness of the urgent issue of wild salmon's endangered status, while also
highlighting the environmental impact of farmed salmon.» 

Journalist Rudolph Tang also featured Eira Huse in a video interview (in English). The interview includes excerpts from the premiere of the semi-operatic piece Salmon Songs
— written, composed, and stage directed by Huse.
The video interview can be viewed here.

Elementori's review of "Witness" at Tampere Biennale 2024:

"Sometimes, a concert features a piece that simply surprises you, speaks to you, and carries you away. This was one of those evenings."
…"Next came the piece that had such an effect on this writer — the one mentioned earlier. Premiering that evening, Witness makes a moral demand: not to avert one’s eyes when confronted with the degradation of humanity and violations against it. Eira Huse’s composition, which processes Hans Leo Hassler’s chorale melody — later incorporated into Bach’s St. Matthew Passion — both musically and textually, breaks away from its source in a creative and captivating way, evolving into something wild and expressionistic. The work transformed into a piercing vocal demand, delivered once again with brilliance by soprano Linnéa Sundfær Casserly — and it resonated deeply with the audience. It felt necessary to seek out the Norwegian artist afterward to offer thanks and exchange a few words about the experience."

Jazzinorge.no's review of Salmon Songs:

Eira Sjaastad Huse's salmon tale, Laksesanger (Salmon Songs), in particular, captivated both the room and the audience. Sjaastad Huse, who proved herself not only to be an outstanding storyteller and composer but also a formidable mezzo-soprano, also participated as a guest artist during Rosendal Songlag's performance in the same venue." - Jorun Larsen

Salmon Songs was highlighted in a feature of British journalist and composer Laurence Dunn where he covered the entire Borealis
Festival titled “Borealis 2025: Sun, Fish, Pigs and Children”, published in Bachtrack:

«In one concert, a young Norwegian composer has a piece called Laksesanger (Salmon
Songs), and at one moment the musicians don sunglasses and throw paper money at us
with pictures of salmon on it. Sat beneath the giant whale later the same evening, I
wonder what whales and salmon think about.»

Journalist Rudolph Tang highlighted the piece in his feature about the Borealis Festival for the Chinese music magazine Music Lover (translated from Chinese):

«In the evening, the works of four young composers were showcased, featuring cello, flute,
and mezzo-soprano. One of the pieces, "Salmon Songs" (Laksesanger), by Eira Huse, a
mezzo-soprano and composer from Oslo, also directly addresses the challenges facing
marine ecosystems. The piece incorporates three folk songs about salmon, requiring the
three musicians to both play and perform while moving through the theater's seating
sections. The audience is also asked to rotate their seats to follow the performers' movements. Through the work’s humorous yet poignant expression, the composer aims to
raise awareness of the urgent issue of wild salmon's endangered status, while also
highlighting the environmental impact of farmed salmon.» 

Journalist Rudolph Tang also featured Eira Huse in a video interview (in English). The interview includes excerpts from the premiere of the semi-operatic piece Salmon Songs
— written, composed, and stage directed by Huse.
The video interview can be viewed here.

Elementori's review of "Witness" at Tampere Biennale 2024:

"Sometimes, a concert features a piece that simply surprises you, speaks to you, and carries you away. This was one of those evenings."
…"Next came the piece that had such an effect on this writer — the one mentioned earlier. Premiering that evening, Witness makes a moral demand: not to avert one’s eyes when confronted with the degradation of humanity and violations against it. Eira Huse’s composition, which processes Hans Leo Hassler’s chorale melody — later incorporated into Bach’s St. Matthew Passion — both musically and textually, breaks away from its source in a creative and captivating way, evolving into something wild and expressionistic. The work transformed into a piercing vocal demand, delivered once again with brilliance by soprano Linnéa Sundfær Casserly — and it resonated deeply with the audience. It felt necessary to seek out the Norwegian artist afterward to offer thanks and exchange a few words about the experience."

Jazzinorge.no's review of Salmon Songs:

Eira Sjaastad Huse's salmon tale, Laksesanger (Salmon Songs), in particular, captivated both the room and the audience. Sjaastad Huse, who proved herself not only to be an outstanding storyteller and composer but also a formidable mezzo-soprano, also participated as a guest artist during Rosendal Songlag's performance in the same venue." - Jorun Larsen

Salmon Songs was highlighted in a feature of British journalist and composer Laurence Dunn where he covered the entire Borealis
Festival titled “Borealis 2025: Sun, Fish, Pigs and Children”, published in Bachtrack.

Journalist Rudolph Tang wrote about the piece in his feature about the Borealis Festival for the Chinese music magazine Music Lover (translated from Chinese):

«In the evening, the works of four young composers were showcased. One of the pieces, "Salmon Songs" (Laksesanger), by Eira Huse, a
mezzo-soprano and composer from Oslo, also directly addresses the challenges facing
marine ecosystems... Through the work’s humorous yet poignant expression, the composer aims to
raise awareness of the urgent issue of wild salmon's endangered status, while also
highlighting the environmental impact of farmed salmon.» 

Journalist Rudolph Tang also featured Eira Huse in a video interview (in English). The interview includes excerpts from the premiere of the semi-operatic piece Salmon Songs
— written, composed, and stage directed by Huse.
The video interview can be viewed here.