Emma Sventelius, mezzo-soprano

Biography

Emma Sventelius, born and raised in Lund in the south of Sweden, began to study music in 2011 under the tutelage of Dr. Monica Thomasson at Vadstena Vocal and Piano Academy. After two years in Vadstena, Emma studied a Bachelor of Voice at the Royal Danish Academy of Music, completing her studies as an Erasmus student at the University of Music and Performing Arts Vienna 2015-2016. Between 2016 and 2018 Emma studied at The University College of Opera Stockholm as a student of the Swedish tenor Erik Årman.

Her recent and upcoming engagements include Hänsel (Hänsel und Gretel), Olga (Eugene Onegin), Niklas (Tales of Hoffmann)¸ Orlovsky (Die Fledermaus) and 2nd Lady (Die Zauberflöte) at Gärtnerplatztheater, also Octavian (Der Rosenkavalier) at Volksoper Wien (house debut) and Stephano (Roméo et Juliette) at Malmö Opera.

In November 2017, while still a master student, Emma made her international debut as Suzuki in Puccini's Madama Butterfly at Deutsche Oper am Rhein, and during the following season, she sung the title role in Bizet's Carmen at Malmö Opera on tour, as well as Orlando in a performance based on Händel's opera with the same name, at Ulriksdals Castle Theatre, Confidencen, arranged by the Royal Swedish opera in Stockholm. Between 2019 and 2021 Emma was a part of the ensemble at Theater Bonn. There she made a critically acclaimed debut as Octavian in Der Rosenkavalier by R. Strauss and Cherubino in Le Nozze di Figaro by Mozart. As the latter, she also made her debut on the main stage of The Royal Swedish Opera in Stockholm in February 2020. She made her debut at Gärtnerplatztheater in Munich as Olga in Eugene Onegin by P. Tchaikovsky in October 2020.

As an opera singer, Emma has found a special interest in newly composed opera and has premiered several roles, including: Mezzo Soprano 1 in Stabat Mater - a chamber opera by F. Bayani Mabalot, Dalkullan Vera in Det går an by D. Fjällström at Läckö Castle, Ia in Aquilegia by G. Lindström at Sthlm New Opera and Miss Prism in the opera The Importance of being Earnest by B T. Andersson at the International Vadstena Academy.

Equally at home with oratorio, Emma has sung the alto/mezzo-soprano solos in the Mozart’s Requiem, Stabat Mater by G. Pergolesi, the Matthäuspassion, Magnificat and Weihnachtsoratorium by J. S. Bach, Beethoven's 9th Symphony, Den heliga natten by H. Rosenberg, Stabat Mater by A. Scarlatti, Oratorio de Noël by C. Saent-Saëns and Messe pour deux voix by C. Chaminade. With a great love for the lieder, she also performed in several Liederabende.

Emma Sventelius has had the great honour of being awarded several esteemed awards and scholarships over the years. The most recent being The Birgit Nilsson Scholarship in 2020.

www.emmasventelius.se

Calendar
Repertoire
Opera roles

Bengt Tommy Andersson

THE IMPORTANCE OF BEING EARNEST/ Miss Prism

Georges Bizet

CARMEN/Carmen

Frederick Bayani Mabalot

STABAT MATER/ Mezzosoprano 1

Daniel Fjellström

DET GÅR AN/ Saleslady

Engelbert Humperdinck

HÄNSEL UND GRETEL/Hänsel

Ramström, J./ Händel, G.H./ Vivaldi, A.

ORLANDO/ Orlando

Wolfgang Amadeus Mozart

LE NOZZE DI FIGARO/Cherubino

Giacomo Puccini

MADAMA BUTTERFLY/Suzuki

Henry Purcell

DIDO AND AENEAS/ Sorceress

Richard Strauss

DER ROSENKAVALIER/Octavian

Pyotr Ilyich Tchaikovsky

EUGENE ONEGIN/Olga
Concert repertoire

Johann Sebastian Bach

St. Matthew Passion BWV 244
Weihnachtsoratorium

Ludwig van Beethoven

Symphony No. 9 in D minor, Op. 125, "Choral"

Cécile Chaminade

Messe pour deux voix égales

Giovanni Battista Pergolesi

Stabat Mater

Hilding Rosenberg

The Holy Night

Camille Saint-Saëns

Oratorio de Noël

Alessandro Scarlatti

Stabat Mater
Review
DIE FLEDERMAUS, Gärtnerplatztheater, 2022
Online Merker
Emma Sventelius, who recently sang a convincing Octavian, as well as a great Niclausse here at Gärtnerplatz, portrays an Orlofsky in chalk white, and seems less bored than what one usually sees this role. This optical impression fits perfectly in its context and her couplet is rightfully awarded with great ovations.
DIE FLEDERMAUS, Gärtnerplatztheater, 2022
operaworld.es
The fascinating Swedish mezzo Emma Sventelius portrays Orlofsky ... The burning warmth in the colours of her voice, the modulations of a very convincing emotional expression, the nuanced and precise variations; everything about this singer seduces and shows superb technique. This in addition to her recent success in Vienna as Octavian (Volksoper), make her one of the revelations of the night; She undoubtedly has the makings of a great artist.
DIE FLEDERMAUS, Gärtnerplatztheater, 2022
Süddeutsche Zeitung
Emma Sventelius perfectly fills the shoes of this trouser role with her cutting edge Mezzo.
DIE FLEDERMAUS, Gärtnerplatztheater, 2022
Neue Musikzeitung
This mezzo soprano-prince by Emma Sventelius, possessed the sharpness of a Soprano, but with her slender and tall stage presence, in white designer tails and with a Russian Roulette pistol at her temple, she portrayed a convincing "Wien-Babylon" orchid.
HOFFMANNS ERZÄHLUNGEN, Gärtnerplatztheater, 2022
Münchener Merkur
Equally excellent is Emma Sventelius as Niklas. She captures the audience with a multifaceted mezzo and embodies one of the strongest portrayals of the evening.
DER ROSENKAVALIER, Volksoper Wien, 2021
Online Merker
The main event for me, was ... Emma Sventelius as Octavian. An androgynous, willowy Mezzo-soprano, equally convincing as lover and "Mariandl". And recurringly showing off a real "pipe".
DER ROSENKAVALIER, Volksoper Wien, 2021
Kronen Zeitung
A homogenous singer ensemble is granting the success: first and foremost the gorgeous Octavian, the Swedish Emma Sventelius, with a smooth, glowing, high mezzo. She could, at any point, be mistaken for a boy.
DER ROSENKAVALIER, Volksoper Wien, 2021
Online Merker
The Swede Emma Sventelius (who also sang the role in Bonn), offers a truly excellent portrayal, thought through down to the last detail. Rather shy, never exaggerated, but always convincing.
DER ROSENKAVALIER, Volksoper Wien, 2021
Radio Klassik
Emma Sventelius as Octavian reminds me, with her penetrating voice, of Gwyneth Jones. That, in combination with her boyish acting, makes a convincing title role.
DER ROSENKAVALIER, Theater Bonn, 2019
Der Opernfreund
As Octavian, we hear the young Swedish mezzo-soprano Emma Sventelius, and what we hear is really sensational. Sventelius is convincing in her acting and might be the most believable character of the evening. Her demeanour is tomboyish with an air of macho and offers a big emotional expression. Her voice provides the flaming colours of a mezzo-soprano as well as tender lyrical singing, every nuance in absolute perfection - what a singer!
DER ROSENKAVALIER, Theater Bonn, 2019
General-Anzeiger
The clear-cut winner and heartbreaker of all generations is Octavian, vocally brilliant and dramatically powerful, when dressed up in maid's clothes as well as a dashing Count.
DER ROSENKAVALIER, Theater Bonn, 2019
Das Opernmagazin
The young Swedish mezzo-soprano Emma Sventelius, with her blond short hair and her androgynous appearance, is in every way an ideal casting for Octavian ... It's magical how she superiorly masters to sing this role, in which she's almost continuously on stage the entire piece, not only in a foreign language, but in a foreign dialect. Her body language is absolutely convincing as a woman, who plays a man, who plays a woman, and she harmonizes eminently with her partners in the ensembles.
ORLANDO, Royal Swedish Opera, 2019
Capriccio
Emma Sventelius shines in reinterpreted "Orlando". ...As Orlando at Confidencen, she shows a strong stage personality, her voice is soft and pliable, and she masters the brilliant virtuosic as well as the longer lines.
CARMEN, Malmö Opera, 2018
Norra Skåne
Of the soloists, Emma Sventelius is in a league of her own. A young, strong, sonorous mezzo which most likely is going to evolve into something truly great, a strong scenic presence and well-poised, believable acting. It's going to be genuinely interesting to follow her career. Maybe a Brünhilde in the making?
CARMEN, Malmö Opera, 2018
Kristianstadbladet
But it's the two main characters that give the piece its gut-wrenching devastating gravity, both Emma Sventelius as Carmen and Alexander Grove as Don José convinces. They embody their characters with extraordinary acting skills and voice qualities. Standing ovations!
MADAMA BUTTERFLY, Deutsche Oper am Rhein, 2017
Der Kultur Blog
The friend Suzuki, embodied by Emma Sventelius, with her wonderful mezzo-soprano voice, is the only one who has remained true to Butterfly.
MADAMA BUTTERFLY, Deutsche Oper am Rhein, 2017
Westdeutsche Zeitung
The Swedish mezzo-soprano Emma Sventelius is singing and acting the role of Butterfly's servant absolutely captivating.
MADAMA BUTTERFLY, Deutsche Oper am Rhein, 2017
Opernscouts Oper am Rhein
Emma Sventelius as Suzuki, is enchanting in the Flower duet with Cio-cio-San.
MADAMA BUTTERFLY, Deutsche Oper am Rhein, 2017
RP Online
Emma Sventelius was Suzuki, Cio-Cio-San's confidante. The young Swedish mezzo-soprano, who is yet to finish her Master's Degree, has an expansive, bronze coloured lower- and middle register...
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