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Löftet verdient mit dieser Botschaft, seinen bezaubernden Arien und großartig mitreißender Musik ein internationales Publikum.

Janáček’s drama of infanticide is delivered at full power by Nina Stemme and Agneta Eichenholz in Annilese Miskimmon’s well-crafted production. The orchestra, however, are just too loud.

Rudolf Nureyev's typically intricate choreography serves the Royal Swedish Ballet well, showing off the virtuosic talents throughout the ranks as well as the principal dancers.

Based on the 1947 book Petter and Lotta's Christmas by Elsa Beskow, this version of The Nutcracker by Pär Isberg is a complete delight.

Ek’s vision of the romantic tragedy is seen through a distorted lens, sometimes fascinating, sometimes bemusing.

Ole Anders Tandberg's edgy take on Bernstein's satirical operetta is lifted by some good performances but marred by an overpowering orchestra.

The Royal Swedish Opera revives Tandberg’s 2014 production with a solid cast of Swedish singers.

Elin Rombo shines in a co-production of King Roger with the Royal Swedish Opera and Teatr Wielki, in Warsaw

A semi-successful production with an interesting underlying idea and a solid cast brings Bizet’s masterpiece back to Stockholm.

The Kungliga Operan presents a stagnant production of Verdi’s masterpiece, with a competent cast comprised mostly of Swedish singers.

Grigorian returns to Stockholm in a wonderful performance of Madama Butterfly, with young, upcoming tenor Migran Agadzhanyan as Pinkerton in a 2014 production by Kirsten Harms.

Carè, Katzarava and Treichl give committed performances in a reprise of Cavanagh’s production.

The Royal Swedish Opera produces a new work based on a 1977 novel by Angela Carter, brought to life by composer Jonas S. Bohlin, librettist Torbjörn Elensky and visual artist Ann-Sofi Sidén.

Malin Byström convinces as the Feldmarschallin with Adrian Angelico as a strong Octavian, under the baton of Alan Gilbert.

Young soprano Cornelia Beskow impresses as Tatyana in an all-Swedish performance of Tchaikovsky’s masterpiece.

After her triumph at the Royal Opera House in London as Salome, Byström comes home to Sweden to great acclaim in Giordano’s opera.

The remarkable performance of young soprano Christina Nilsson does not completely rescue a mixed-bag cast and a lack of Personenregie at the Stockholm Royal Opera.

A quasi-concertante setting highlights Theorin's masterful performance as Elektra, Cornelia Beskow's fragile, human Chrysothemis and Katarina Dalayman's haunting Klytaemnestra.

Lindy Hume's Victorian production brings to life Cinderella's story through the capable hands of Jean-Christophe Spinosi.

A frightyfully enjoyable world premiere of Victoria Borisova-Ollas first opera, turned into a giant Halloween party, where the Kungliga Operan is invaded by an audience of vampires, emaciated Victorian ladies and sinister characters.

The Lithuanian soprano makes a most welcome return to the Kungliga Operan as one of the most tragic and beloved of Puccini's heroines. 

Peter Sellars's much-travelled staging of Stravinsky's Oedipus Rex provided a powerful opening for the 15th Baltic Sea Festival under the festival's artistic director Esa-Pekka Salonen.

Ragnarök: the Swedish title for Götterdämmerung resonates with Old Norse folk memories of universal inundation and overthow of the order of the gods.

A performance of Wagner's Siegfried stands or falls by its titular hero and Lars Cleveman is highly experienced. 

Stemme as Brünnhilde delivered her opening battle cry in Victorian riding habit like one of Trollope's racier fox- hunting heroines.

John Lundgren, bullet-headed, youthful and overbearing, gave a world-class performance as Wotan. 

Annilese Miskimmon's production brings to life the sinister, stormy story of Janáček's masterpiece in an Irish setting.

Leonardo Capalbo makes a successful debut in Tobias Theorell’s minimalistic production of Un ballo in maschera in Stockholm.

Strindberg, Munch, Grieg, and Kierkegaard eke out a living in a loft in Stockholm among the joys and sorrows of love and loss.

A funny, original take on The Merry Widow at the Royal Swedish Opera in StockholmHenrik Dorsin rewrites a witty libretto for The Merry Widow to represent a fictitious financial crisis in the Kungliga Operan itself, satirizing the modern cultural scene.

A local solid cast and a lively production make for an entertaining premiere of Mozart's last masterpiece at the Royal Opera House in Stockholm.

Beautiful singing at the Royal Opera House in Stockholm for the Scandinavian première of Giordano's Fedora.

A superb orchestral performance from Lawrence Renes and the Royal Swedish Opera Orchestra lights up Michael Cavanagh's well directed Nixon in China.

Sven-David Sandström’s new chamber opera fails to provide an authentic voice to a trio of 19th-century female mental patients.

José Cura's new Bohème in Stockholm features Kierkegaard, Munch, Strindberg, and even Julbocken – but it's Daniele Callegari that proves the main draw.

In his production of La traviata for the Swedish Royal Opera, Kasper Holten puts Violetta in a strip club and on the streets. Both the staging and the music are excellent, though the cast's acting is uneven.

An evening of two dance world premières, and one Swedish première, by top international names by the Swedish Royal Ballet. Starting with the elegance of William Forsythe, followed by a horrific scene by Chrystal Pite and culminating in the cool gaga-dancing in Sharon Eyals Bill, this is an evening of contrasts.

In Ole Anders Tandberg’s staging of Don Giovanni at the Swedish Royal Opera, the Don seems to prefer making love at gunpoint, or in a public lavatory under the threat of discovery. 

Expectations run high when two of the most brilliant Nordic choreographers première works on the same stage in ths double bill at the Swedish Royal Opera labeled The Emperor. Örjan Andersson and Jo Strömgren exceed expectation, combining sensuousness and aristocratic pride with political stringency. 

The Royal Swedish Opera's Salome, directed by operatic first-timer Sofia Jupither, is dramatic, and its strong directorial concept does not get in the way of the story. Nina Stemme sings astoundingly, and gives a nuanced portrayal of the title character.

German director Christof Loy’s second production for the Royal Swedish opera was of Wagner’s Parsifal. The cast is rather on the luxurious side as well, sporting three of the greatest Wagner singers working today – two of them Swedish, no less!Loy’s Parsifal is a distinctly human drama.

An obsessively man-hating princess, a slave girl who really needs to open up a bit more about her feelings, a prince who actually fell in love at first sight, and an unhealthily large dose of exoticism? Why, it can only be Puccini’s Turandot.