The Opera Section

Tobias Theorell, known for his work as a director in both opera and theatre, is the artistic director of opera at Royal Swedish Opera.
“The autumn opera season of 2026 moves between the familiar and what still feels new. It brings together classicism, late Romanticism and contemporary works – all of which, in different ways, explore relationships and what we can truly rely on.”

Puccini’s Tosca returns in Knut Henriksen’s production, which has held a natural place in the repertoire since its premiere in 2004. “There is something special about coming back to a production like this. The music and the drama speak so directly,” says Theorell. “And now it’s the last chance to see this staging. With an outstanding cast, too – Daniel Johansson, Karl-Magnus Fredriksson, and the title role will be shared by superstar sopranos Malin Byström, Christina Nilsson and Elisabet Strid!”

At the same time, Mikael Karlsson’s Melancholia returns – the opera that had its world premiere at the Royal Swedish Opera in 2023. “It’s a work that truly moved many people, and now we’ve been able to build on that experience and refine it,” says Theorell. “It’s more concentrated now – and it’s exciting that those who saw it before can come back and experience it anew.” The iconic singer Anne Sofie von Otter reprises her role as the mother, Gaby, while her daughters are now sung by Kerstin Avemo and Ida Ränzlöv.

This autumn also brings a brand-new production of Mozart’s Così fan tutte, directed by Clara Svärd. “It’s an opera many think they know, but one that can always be rediscovered,” says Theorell. “She takes the story seriously and doesn’t try to simplify it. It’s a very modern narrative – a relationship comedy with a darker undertone, where there are no easy answers.”

He describes the work as a study of human behaviour: “It’s about self-image versus reality, about self-deception, and the illusion that we are more noble than we really are. At the same time, there is something forgiving in it – the idea that it’s okay to be human, to have conflicting emotions.”

Mozart’s music brings this out, Theorell adds: “It’s not just a string of great hits, but something far more complex. It feels incredibly modern, both musically and psychologically.” The roles of Fiordiligi and Dorabella are sung by Julia Sporsén and Johanna Rudström.

On 1 December, Così fan tutte will be performed for the final time – the last performance in the Opera House for several years before it closes for renovation. “It’s a special moment,” says Theorell. “We have the opportunity to end with an opera that contains so much of what it means to be human – the contradictions, the emotions and the questions.”

The season then continues outside the Opera House, when Johann Strauss’s operetta Die Fledermaus is staged at Filadelfiakyrkan. “It’s a very elegant and sophisticated comedy, with more darkness than one might first expect,” says Theorell. “It’s often played just for laughs, but if you take it seriously, there’s a lot there – while the music is utterly irresistible.” Elin Rombo and Per Lindström sing the leading roles.

Performing in a new setting gives the production a distinctive character: “It becomes more intimate and unpretentious, yet still a full-scale production with chorus, orchestra and direction. We’re leaving the Opera House for a time, but the encounter with the audience continues – just in other places.”