Stockholm based Bengt Gomér designs for the stage.
His work encompasses opera, musicals, dance, concerts and plays, as well as visual art installations. His recent projects have been primarily related to music – he works visually, and creates live performance derived from musical inspiration that combines stage design, lighting and video. He sometimes directs these projects himself, but he also enjoys collaborating with a wide range of directors, including Sam Brown, Åsa Melldahl, Nils Spagenberg, Mellika Melouani Melani and Olivier Tambosi.
With his wife soprano Nina Stemme, he has created varied projects including staged concerts for the Royal Swedish Philharmonic, the Swedish Chamber Orchestra, the New York Philharmonic and the Tasmanian Symphony Orchestra; fully staged operas (Turandot – Dalhalla Opera); and opera evenings he has conceived himself (Bluebeard’s Castle / Erwartung – Konserthuset Stockholm / David Geffen Hall, New York). He has enjoyed collaborations with some of the world’s leading singers and conductors, including Katarina Karneus, Johannes Martin Kränzle, Malin Byström, Peter Mattei, John Lundgren, Alan Gilbert, Daniel Harding, Sakari Oramo, Thomas Dausgaard & Japp van Zweden.
Bengt frequently collaborates with composers and librettists and has worked on over a dozen world premieres. He recently created a visual concept for the presentation of Mikael Karlsson’s new song cycle for Anne Sofie von Otter (Konserthus Örebro), and he has worked with the composers Karolina Eiriksdottir, Line Tjørnhøj, Joao MacDowell, Jonas Forssell, Sven-David Sandström and Moto Osada a.o.
He is committed to developing the next generation of artists and has taught scenography and lighting at the Stockholm University of the Arts.
”The staging by the director Bengt Gomer demonstrated how to make maximally dramatic use of minimal space. Mr. Gomer used the constricted space at David Geffen Hall to create a simple, haunting staging. Behind the two singers, a video showed images of a murky tunnel, with industrial cables lining the endless walls. It allowed Ms. Stemme and the baritone Johannes Martin Kränzle to dominate the drama.” – Anthony Tommasini, The New York Times
”With a brilliant staging by Bengt Gomer (including set and lighting) and his team, the semi-staged concert was a superb realization of complex musical drama that engaged all our senses, gripping and absorbing” – Ako Imamura, Bachtrack
”Friday evening’s double bill succeeded on many fronts, thanks to the great pairing of the works, evocative conducting, and inspired direction. While Gomer’s production achieved much with a highly limited set, some of the more shocking moments within the works, such as the final reveal in “Erwartung,” suffer from its strangeness. Nonetheless, the New York Philharmonic staged a sensational and highly thought-provoking concert.” – Logan Martell, Opera Wire
”The language of Schönberg and Bartok might be rather elusive from an intellectual standpoint, but viscerally, no misunderstanding is possible. Its emotional power is undeniable, and it could not have been more evident than in this evening’s absolutely stunning performances. Katarina Karnéus executed the treacherously difficult Schönberg pieces with technical transcendence and impeccable musicianship. Her dramatic palate was immense, and her skill as an actress compelling. Johannes Martin Kränzle as Bluebeard, and Nina Stemme as Judith gave the best performances this listener has yet heard either by way of recording or several decades of Metropolitan Opera productions. An immense video screen, capable of casting transparent images, was placed at the rear center of the stage, revolutionizing the entire aesthetic of operatic scenery.” – Raymond Beegle, Classical Voice