Welcome to the Royal Swedish Opera!

In a world in which there is seldom time or space for deep emotions and impressions, the Royal Swedish Opera is the place where passion can take center stage.

We present world class directors, singers, choreographers and dancers giving the audience both traditional classics and modern pieces.


Buy your tickets easy online

Our ticketing service at operan.se gives you the possibility to buy your tickets instantly. The tickets are delivered by e-mail, attached as a pdf-file in your purchase confirmation. You can also have your tickets shipped for a small fee.

Buy your tickets here »

The ticketing service at operan.se is open 24/7. No service fee is applied on tickets purchased online. You can also call or visit our Box Office at the Opera House. 


Monday-Friday 3 pm – 6 pm
Saturday 12 pm – 3 pm
Sunday closed
E-mail biljett@operan.se
Phone +46 (0) 8 791 44 00

On performance nights the Box Office is open until curtain.
A service fee of 30 SEK per ticket is applied to all tickets purchased through the Box-office. 

Group bookings

Groups of ten or more get a 15% discount on tickets. The discount cannot be combined with other offers and does not apply to guest performances, premieres, first balcony, special priced performances, lunch concerts or at Rotundan. 


Purchased tickets are non-refundable but can be exchanged no later than one business day before the day of the performance for another performance depending on availability. Tickets that cannot be exchanged may be converted to a gift certificate. No refunds on subscriptions.

Dress code

There is no dress code at the Royal Swedish Opera.

Photography and recording

It is not allowed to take pictures or to record audio or video at the performances.



MAIN STAGE Gustav Adolfs torg 2
ROTUNDAN Jakobs torg 8
STAGE GÄDDVIKEN Kvarnholmsvägen 56, Nacka
BOX OFFICE Gustav Adolfs torg 2
STAGE ENTRANCE Jakobs torg 4


Metro: Take the Blue Line to end station Kungsträdgården.
Bus: Line 53, 62 and 65 Bus Stop Gustav Adolfs torg, Line 2, 55, 57 and 76 Bus Stop Karl XII:s torg. 


Galleriagaraget, night parking 6 pm to 1 am. Entrance from Regeringsgatan 17 and 20, Klara Östra Kyrkogata 4 and Herkulesgatan 10-16.


Taxis may drive up the ramp in front of the Opera House for wheel chair access. There is lift access to all levels of the Opera House.
When booking wheelchair spaces, please inform the Box Office of any further specific requirements. 
Do not hesitate to ask our staff if you need assistance.  


Everybody is welcome to our restaurants and bars. It does not matter if you are here for a performance or just want to pop in for a bite to eat or to enjoy a cocktail. Our restaurant Brasseriet is open all year round and our terraces are open during the summer season.


MONDAY-FRIDAY 11.30 an - 01.00 pm
SATURDAY 12.00 pm - 01.00 am
SUNDAY closed
PHONE 08-791 43 57
E-MAIL restaurang@operan.se

Interval service

Do you want something sweet or salty to eat during the interval? Or maybe just a cup of coffee or a glass of champagne? Pre book your service here »

You can also call 08-791 44 11, email pausservering@operan.se or make your booking at the interval desk in the main hall at the Opera House. 


The Royal Swedish Opera

»Art has always been an echo of our time«
/Birgitta Svendén, ceo and Artistic Director at the Royal Swedish Opera

The Royal Opera is Sweden’s National Stage for the Opera arts. Since the start in 1773 directors, set designers and singers have maintained the European Opera tradition as well as explored what opera could be.

Every year we present world class directors and singers. The ensemble gives both traditional classics and modern pieces. Birgitta Svendén has been general manager at the Opera House since 2009 and has achieved to open up the Opera House and reach a new audience.

The Royal Swedish Ballet

»Every classic starts as a new piece«
/Johannes Öhman, Artistic Director at the Royal Swedish Ballet

As a National Stage for ballet The Royal Swedish Ballet brings both tulle and pointe shoes as well as modern choreography to the audience. With one foot in tradition and the other in the future the company has a faithful audience.

The company’s history started in 1773 when King Gustav III founded the Swedish Opera. Today, the Royal Swedish Ballet is the biggest dance company in Sweden with almost 70 full time dancers. Every year the dancers participate in over 100 shows, most of them at the stage of the Royal Opera. The company is led by director Johannes Öhman.

Young at the Opera

»We know culture can make a difference«
/Anna Karinsdotter, Artistic Director Young at the Opera

To create exciting productions for children and to make it possible for young people to pursue art are amongst the most important tasks for the Opera. For over 10 years our youth department Young at the Opera have provided cultural experiences for a young audience. From being a small department for pedagogy Young at the Opera now meets over 2500 children each year.

Young at the Opera is an essential part of our programming and creates opera and dance productions for children each season. This spring we give The Way Back Home – an opera for children between 4 and 6 years old directed by Katie Mitchell. Next season we look forward to two world premieres: the dance production #jag (#me) and the opera Den långa, långa resan (The long, long journey).

Besides exciting productions our youth department also opens up the opera house with fun activities for children and their families like school break and weekend activities ranging from viewings of the opera house to mini concerts.

Young at the Opera also works actively towards schools in both short and long projects and are involved in social outreach programs like El Sistema.

The Royal Swedish Orchestra

»This orchestra has an old soul, refined over centuries«
/Lawrence Renes, Chief Conductor

An opera orchestra moves the story forward. The music enhances what happens on stage and brings about both laughter and tears. Surprises with a crescendo, touches our hearts with a pianissimo. What would Swan Lake, Turandot or The Magic Flute be without an orchestra?

Formed in 1526, with a 490 year old history, The Royal Swedish Orchestra is one of the oldest orchestras in the world. During the course of the centuries the size and orchestration have varied from a dozen members to a full symphony orchestra with and without singers.  Today The Royal Swedish Orchestra consists of 105 musicians and is regarded as one of the most renowned opera orchestras in the world. Helle Solberg is head of the orchestra.

The Royal Swedish Choir

It’s impossible not to get goose bumps when the auditorium is filled with the voices of the Opera Choir.

Sweden’s biggest professional choir is also one of the oldest choir in the world with its history going all the way back to 1773. The choir was created for the premiere of the opera Thétis and Pelée, by the Swedish-Italian composer Francesco Antonio Uttini, performed at the grand opening of the opera house.

The Opera Choir takes part in most of the opera productions given over a season. Chorus Master since 2014 is James Grossmith, assisted by Martin Virin since 2015.  



The Marriage of Figaro

It is the wedding day of Figaro and Susanna. But it is not only the happy couple that has been longing for this moment. The Count seems to be just as interested in Susanna as he is indifferent to the Countess. Marcellina wants to trap Figaro. And Cherubino simply loves everyone. Desire lurks behind every door. Who will have whom when the day is done and how will they avoid being rejected and abandoned?

When Mozart and Da Ponte created their opera from a banned play it was a revolutionary move to let the valet Figaro defeat the Count. Ole Anders Tandberg’s production is about the mechanisms of lust. Whom do I desire and why? In true Mozartian style, the music expresses the inner thoughts of each one of the eleven characters in a production that is as comical as it is serious. 

The Magic Flute

The Queen of the Night asks Tamino to help her free her daughter Pamina who has been abducted by Sarastro. If Tamino is successful, he will gain Pamina’s hand in marriage. Accompanied by Papageno, a magic flute and an enchanted glockenspiel, they set off on their quest. But not all is what it seems…

Mozart’s beloved opera The Magic Flute is a fairy tale in which light and dark, and the power of love and music are central. This production, directed by Ole Anders Tandberg,  makes a welcome return the Royal Opera!

Nixon in China

In 1972, the American President travelled to communist China for the first time in a visit that was to change world history. In the spotlight are Nixon and his wife Pat, Mao Zedong and his wife Jiang Qing, and their respective political advisors Henry Kissinger and Zhou Enlai. The opera sees them drawn together into tense meetings and political discussions, as well as a descent into bragging, high-profile speeches and surreal fantasies.

Nixon in China was composed by John Adams to a libretto by Alice Goodman, and was first performed in 1987 in USA. That performance was directed by the 2014 Polar Music Prize winner Peter Sellars, who also commissioned the work. Nixon in China is widely regarded as one of the most influential contemporary operas of recent decades. It is a modern classic and the first opera in our time to depict a contemporary political occurrence: the meeting of East and West. This production is a collaboration with Vancouver Opera. 

The Barber of Seville

Count Almaviva is in love with Rosina. To ensure that she is not simply attracted by his money, he pretends to be the poor student Lindoro. However, he is not the only man fond of her. Rosina’s guardian, Doctor Bartolo, wishes to marry his protégée and keeps her under lock and key for this reason. In order that his advances might succeed, Count Almaviva employs the help of the town barber, the crafty fixer Figaro.

The Barber of Seville is Gioacchino Rossini’s exurberant comic opera based on Beaumarchais’ trilogy, which continues with the famous Mariage of Figaro. Even the overture is a miniature masterpiece. 

Short Stories: OperaX3

Short Stories: OperaX3 is a new project initiated by the Royal Swedish Opera to stimulate exciting new compositions. First out to test their operatic ideas are composers Roger Assar Johansson, Tebogo Monnakgotla and Johan Ullén. All three have been presented with the same conditions, orchestral resources and time frame, with free reign to choose their own subjects. The result is three short operas based on real-life figures and events, freely reworked for the opera stage. The evening begins with introductions by the composers about their works. 


Princess Salome has life served on a silver platter. She is desired by men and used to having her own way. But there is one man she cannot have, for he cares only for God. Salome desires the imprisoned and deeply religious John the Baptist. The more he rejects her, the more obsessed she becomes. King Herod, Salome’s stepfather, is also obsessed – by his stepdaughter. He promises her whatever she wishes, if only she will dance for him. Salome dances and then names her price – the head of John the Baptist on a plate.

In Richard Strauss’ brutal Salome we encounter a dysfunctional family and forbidden desire. The opera is based on Oscar Wilde’s play. Interpreted by director Sofia Jupither the drama is dark and concentrated focusing on Salome’s own vulnerability and isolation. 


The Russian princess Fedora Romazov falls in love with her fiancé’s murderer in a psychological crime drama in which every action has catastrophic consequences. Here we follow world-famous soprano Asmik Grigorian as Fedora in a tale of desperation that finally leads to the princess taking her own life.

Fedora is based on Victorien Sardou’s play of the same name, which was written at the end of the nineteenth century for actress Sarah Bernhardt. This marks the first production of Fedora in Scandinavia and is a unique opportunity to enjoy Umberto Giordano’s dramatic music.

Christof Loy has previously directed the critically acclaimed Der Rosenkavalier, Parsifal and La fanciulla del West at the Royal Swedish Opera. Now he returns with a stylish, yet hair-raising interpretation of Giordano’s powerful drama. Soprano Asmik Grigorian has consistently played to full houses in her leading role in Madama Butterfly in recent years, and Andrea Carè was last seen at the Royal Opera stepping in at short notice for an acclaimed performance as Don José in Carmen

The Merry Widow/ Die lustige Witwe

The Merry Widow is to be produced at the Royal Swedish Opera in Stockholm. An opera manager is under pressure and in desperate need of a success: he engages a celebrated opera diva and a dark, uncompromising director to be in the show. A teenage romance sparks anew and a competing production company is lurking in the shadows…

In a high spirited operetta, waltzing free from the original, we see comedian Henrik Dorsin as Head of the Opera and renowned singer Elin Rombo as the merry widow. Director Ole Anders Tandberg and Henrik Dorsin have created a widow for our century.  Performed in Swedish. 

La Bohème

A young woman knocks on the door of an attic in Paris. A young writer opens. This encounter gives birth to one of the dearest love stories of all times. Giacomo Puccini, identifying with his own times as a moneyless student, musicalizes the adventures of a group of dreamers: the Parisian bohemians. But this universal story could just as well have taken place anywhere.

Inspired by Edvard Munch’s colourful paintings, Hans Jaeger’s portrayal of the bohemians of Christiania and August Strindberg’s novel The Red Room, the renowned tenor, director and conductor José Cura illuminates Giacomo Puccini’s masterpiece with a Nordic light, moving La Bohème from Paris to a fictitious Stockholm. The author Rodolfo becomes August Strindberg, the painter Marcello becomes Edvard Munch, the philosopher Colline becomes Sören Kierkegaard, the composer Schaunard becomes Edvard Grieg and the cabaret singer Musetta becomes Tulla Larsen. Well acquainted both with the music and the libretto of this poignant, tragicomic drama, José Cura brings to the Royal Swedish Opera his Scandinavian Bohème. 

Un ballo in maschera - A Masked Ball

At the palace in Stockholm, the King brushes off warnings of a conspiracy. He is consumed by a destructive passion for Amelia, the wife of his friend and adviser Anckarström. The King seeks out his love at a masquerade, an event full of deceit, intrigue and yearning for something different…

Verdi’s opera A Masked Ball was inspired by a true historical event – the assassination of Sweden’s King Gustav III at the Royal Swedish Opera in 1792. This production, directed by Tobias Theorell, was first performed at the Royal Swedish Opera in 2012, gaining acclaim from audiences and critics alike. 


In a remote village, Jenůfa is secretly with child. But her controlling stepmother stops her from marrying the man she loves. Instead, she is courted by her fiancé’s half-brother, but she rejects his advances. In a fit of rage, the jealous brother marks Jenůfa with a knife so that no one else will want her. When spring comes, the river thaws and a terrible secret is uncovered. Before the truth is revealed, however, all suspicions fall on Jenůfa…

For over a hundred years the opera Jenůfa has captivated audiences, drawing them into its claustrophobic small-town world. Inspired by traditional folk melodies, with colourful orchestration and rhythmic bite, Janáček’s music sweeps through the tale creating tense drama and powerful emotions. This production, directed by Annilese Miskimmon, is a collaboration with the Royal Danish Theatre in Copenhagen, and was first performed by Scottish Opera in April 2015 to much acclaim in the British media. 

The Ring of the Nibelung

During a few short weeks in May 2017 the Royal Swedish Opera will perform Richard Wagner’s grandiose musical drama The Ring in its entirety. This production, directed by Staffan Valdemar Holm, with taut Nordic scenography by Bente Lykke Möller, continues the Royal Swedish Opera’s rich Wagnerian tradition, with world-famous soprano Nina Stemme in the role of Brünnhilde.

It took 26 years for Wagner to compose The Ring of the Nibelung and it is today recognised as one of the most complex and ambitious musical dramas in all of classical music. The four parts of The RingDas Rheingold. Die Walküre, Siegfried and Götterdämmerung – are four self-contained tales that explore the deepest existential questions.

This critically acclaimed production has been praised for its well-honed characterisation and exceptional musical quality with dazzling playing from the Royal Opera Orchestra. Staffan Valdemar Holm sets his focus on the profound relationship between father Wotan and daughter Brünnhilde: “Love versus power. Love as catastrophe. That is what this opera is about!”


Midsummer Night’s Dream

It is the height of summer, the longest day of the year, and everyone gets together to celebrate the most loved of all traditions – Midsummer. Expectations are high, seven kinds of flower must be picked, schnapps must be drunk, and everyone dances giddily around the maypole – perhaps there will even be new love in the air? It is a night filled of love and eroticism as nature gushes with vitality. The border between the world of mortals and the kingdom of the supernatural becomes thinner and thinner as the bottles empty. Traditions play jokes on us, the world changes and suddenly we are no longer sure – is it all a dream?

The celebrated Swedish choreographer Alexander Ekman is back at the Royal Swedish Ballet to create a new full-length work. Last time he was at the Royal Opera was in 2012 with the work Tyll, which gained much acclaim. As with Tyll, New York-based Swedish composer Mikael Karlsson, whose acclaimed work ranges from modern classical to pop, creates the music. 


August Bournonville was Ballet Master at the Royal Danish Ballet in Copenhagen at the beginning of the 19th century, where he established his own unique style. He also worked at the Royal Swedish Opera for many years, where he created many wonderful performances, including his much-loved La Sylphide, which was performed as recently as 2012. Based on extant sketches, the 1866 work Ponte Molle has here been reconstructed by Frank Andersen and Dinna Björn.

A distinct step into the now and here with choreographer Sharon Eyal and her hypermodern work Bill. Sensual, cool and dramatic. Eyal, formerly with the Batsheva Dance Company, is today running her own renowned, international dance company.
There are several strong influences in Eyal’s work, from classical ballet to modern expressions. In Bill, she has used life itself as a source of inspiration: moments of joy, sorrow and horror. People and their dreams. Bill premiered at the Royal Opera in 2014 and was received with acclamation from the press as well as the audience.
”… curious but life-affirming dance. I like it!”
Kulturnytt, Swedish National Radio
”… a proof that dance is the ultimate performing art”
Dagens Nyheter
Sharon Eyal will be back to work with the Royal Swedish Ballet in February 2017.

The Nutcracker

The Nutcracker, with Pyotr Tchaikovsky’s well-known music, is one of the most successful classic ballets at the Royal Swedish Opera. This popular version has been choreographed by Pär Isberg, and the story now takes place in Elsa Beskow’s Swedish wonderland: Petter and Lotta’s Christmas. 

Sharon Eyal/Dubois

An evening with two of Europe’s most sought-after choreographers – Sharon Eyal and Olivier Dubois – each of whom have created a new work exclusively for the Royal Swedish Ballet.

Sharon Eyal

Eyal and her dancers formed a deep bond in 2014 during her critically acclaimed production Bill at the Royal Swedish Opera. In her work there is always an androgynous, erotic tension as she invites the audience into an intricately physical world.

Oliver Dubois

Creating powerfully raw choreography focussed on the human body, Dubois’ breakthrough came with his naked Tragédie. As with Eyal, Dubois creates unique worlds, consistently intriguing, unpredictable and boundless. 

A Dream of Swan Lake

Swan Lake, perhaps the most regularly performed ballet in the world, had its premiere at the Bolshoi Theatre in Moscow in 1877. A Dream of Swan Lake takes its starting point from the original choreography and Tchaikovsky’s original score, but expands on the dreams and relationships of the dancers, both to each other and to the work they are rehearsing. Reality and fiction weave together into an intricate drama, flitting between rehearsal studio and stage.

Choreographer Pär Isberg makes the most the tale’s dark edge and brittle beauty to depict the depth of emotion driving the characters: “In the world of ballet we explore the tensions between superficiality, envy and the deep belief in the power of art to move us.”


#jag (#me)

Who am I amongst selfies and avatars? What do you know about #me IRL? Dance production #jag is an adventurous journey through themes of identity, power and powerlessness in the digital age.

In this modern dance production for children between 10 and 12, the dancers play with experiences and expressions from the world of social media and video games. The interplay of music, movement, scenography and shadow play creates a journey filled with challenges, adventures and characters in real and virtual environments.

Choreographer Christina Tingskog’s performances challenge young audiences with extraordinary subjects such as quantum mechanics and astrophysics transformed into poetic, humorous and powerful dance.

The Long, Long Journey (Den långa, långa resan)

There is unrest in the land. Ilon and her dog move to her grandmother’s house in a little town by the sea. But war breaks out and she has to flee the country alone. She packs her bag and ends up on a boat crossing the stormy sea. She arrives safely in Sweden, and joins her colourful aunt. War forced Ilon to leave her crayons behind, but now the vibrant sketches return.

The Long, Long Journey is an opera based on a children’s book by Rose Lagercrantz, inspired by the life of artist Ilon Wikland who fled from Estonia during the Second World War. Wikland is one of Sweden’s most beloved artists, best known for her illustrations in Astrid Lindgren’s books. The libretto for this production, which is designed for children between 7 and 9, is by the Young Opera dramaturge Sigrid Herrault, with music composed by Johan Ramström. Director Ellen Lamm has previously directed works such as Vad är pengar? and Jane Eyre at The Royal Dramatic Theatre.