Not every Eurovision entry arrives by kicking the door down. Some move differently: slower, darker, and with the confidence to let silence do part of the work. Latvia’s Atvara feels like that kind of artist. Eurovision’s official profile describes her as a singer-songwriter with a powerful voice, a cinematic sound, and an instinct for emotionally raw storytelling, blending pop and ballad elements into songs about inner strength, vulnerability, and personal transformation.

Few pairings in this year’s Eurovision field feel as instantly arresting as Finland’s Linda Lampenius x Pete Parkkonen. On paper, they come from very different musical worlds: Lampenius is an internationally recognized violin virtuoso, while Parkkonen made his name in Finland as a pop and soul vocalist with mainstream television roots. In practice, that contrast is exactly what gives the duo its voltage.

For much of the 20th century, the orchestra conductor was imagined as an elder statesman: authoritative, formidable, and often distant. Today, that image is changing. A new generation of conductors — some still under 35 — is rising into positions that were once considered the preserve of older, institutionally seasoned figures. The most visible example is Finnish conductor Klaus Mäkelä, who was appointed the Chicago Symphony Orchestra’s next music director in 2024 and is set to begin his tenure in the 2027–28 season, while simultaneously holding or preparing for senior roles with the Orchestre de Paris and the Royal Concertgebouw Orchestra.

Centuries ago, the far north of Scandinavia had no clear national boundaries. The region was sparsely populated by the Sámi people, who at times paid taxes to multiple kingdoms in overlapping “no man’s land” zones. As early as 1326, Norway and the Republic of Novgorod (medieval Russia) signed the Treaty of Novgorod to divide their spheres of influence in the Arctic, determining which Sámi communities would pay tribute to which realm.