OPERA

The Royal Swedish Opera presents world-class directors and soloists every year, offering both traditional classics and newly-written works.

The Royal Swedish Opera is Sweden’s national theatre for the operatic arts. Since its inception in 1773, the directors, set designers and singers have been stewards of the European operatic tradition, while also pushing the boundaries of the art form.

» at the age of eleven I got the chance to sing in Tosca. It was absolutely fantastic. It was my entry into the world of theatre« 

/TOBIAS THEORELL
Artistic Director Designate, Opera 

Following on from his post at Folkoperan, where he was artistic director from 2020, Tobias Theorell is the new artistic director of the opera section of the Royal Swedish Opera. He’s a familiar name at Operan, where he’s directed Stiffelio (2011), Un ballo in maschera (2012) and A Midsummer Night’s Dream (2023). But his career at Operan started much earlier.

»I attended Adolf Fredrik’s Music School as a child, and at the age of eleven I got the chance to sing in Tosca. It was absolutely fantastic. It was my entry into the world of theatre. As an adult I became an actor, and then a director. Standing on stage in front of a full house was life-changing, and there were a lot of performances. As well as performing in Tosca I sang in La bohème, Macbeth and Carmen. I was lucky enough to share the stage with great singers such as Erik Saedén and Margareta Hallin – and even José Carreras, who guested in La bohème. In those days everyone sang in Swedish, but he of course sang in Italian – strange, but it worked!«

The highpoint of his teenage career as an opera singer was a role in Benjamin Britten’s chamber opera Albert Herring, which Operan took on tour in autumn 1983. »We travelled all over Sweden and performed. It was brilliant.« And that tour won’t be Tobias Theorell’s final experience of Operan outside the Opera House, as it’s to close for renovation work in autumn 2026. »Having worked a lot with the company I can state that I don’t just assume everyone does a fantastic job – I know it for a fact. And the prospect of going out as a group and creating activities outside the Opera House is extremely exciting. We’ll just have to take out the big tool box and sort out both the big and the small stuff. It feels really great.«

The opera repertoire for the spring was decided on before Tobias’s appointment, but he’s delighted about the works we’re presenting this season. »I’ve directed Le nozze di Figaro myself, both at Staatstheater Kassel and as a play at Stockholm’s Royal Dramatic Theatre. You can’t help but fall in love with this opera – it’s just such a fantastic work. And I must say Mozart improved Beaumarchais’ play by turning it into an opera. He made it more concentrated, deleting what could be omitted, as well as fleshing out the roles. Feelings of mortality and impermanence are in some way part of the contemporary human situation – and I think Mozart depicted these feelings with such compassion and understanding. We’ll now get to see it in a new production by Linus Fellbom, whom I know and admire. His Il barbiere di Sivigliga was wonderful, so full of fun and vitality, and it too is now returning to Operan. Il barbiere is the perfect introduction to opera – it’s so easy to get to grips with.«

On the opera front, spring 2025 will also be bringing revivals of Die Walküre and La bohème. »I’m a big Wagner fan, so I’m looking forward to Die Walküre. It’s incredibly tightly packed, like a thriller, whilst at the same time resembling an Ibsen drama. Staffan Valdemar Holm’s staging is stupendous. And La bohème is quite simply a world-class opera. The music is astounding and the work is so well constructed, with not a single superfluous moment. Puccini is irresistible – you’d have to be made of stone not to cry at the end.« Tobias is also looking forward to Short Stories V, which comprises three all-new short operas. »New works are super-important, and we have to devote ourselves to performing them. It’s long been thought that audiences don’t like new operas, but I don’t believe that’s the case. Performance of new works replenishes and develops the art of opera. You’ve got to do new things and push boundaries, and ask questions such as: What is opera? And: What can an opera involve?«

ROYAL SWEDISH OPERA'S SOLOISTS

The Royal Swedish Opera soloist ensemble consists of twenty singers who appear in our productions together with Swedish and international guests – this season welcomes Elin Rombo, Peter Mattei and Hanna Husáhr on the Main Stage.

Curious about our soloists?
YOU CAN FIND THEM HERE »

ROYAL SWEDISH OPERA CHORUS

Bears, vampires or three-legged grisettes … the Royal Swedish Opera Chorus master their art at the highest level while acting and dancing on stage. The chorus appeared at the first premiere in 1773 and has been a vital part of our institution ever since.

»Hearing the Opera Chorus perform takes your breath away« EXPRESSEN

Curious about our chorus members?
YOU CAN FIND THEM HERE »