Tobias Ringborg


"in the pit, Tobias Ringborg and the Scottish Opera Orchestra pay scintillating attention to the score, holding the tension on a tight rein, and whipping up a real storm"

Sarah Urwin Jones, The Times

"Directed from the fortepiano by Tobias Ringborg, the orchestral playing is bold and imaginatively coloured"

Anna Picard, Independent of Sunday

"Most of the drama comes from the pit, thanks to Tobias Ringborg's big-boned musical approach."

Hugh Canning, Sunday Times

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Tobias Ringborg has established himself on the concert podium and in the opera house, as conductor, soloist and chamber musician. His career started in 1994 when he won the prestigious Soloist Prize in Sweden. The same year he graduated from the Royal College of Music in Stockholm and his violin studies continued at the Juilliard School in New York. Ringborg has appeared with every Swedish and several Scandinavian orchestras, often both as soloist and conductor, and has made some 20 CD recordings.

As an operatic conductor he made his debut in 2001 at the Stockholm Folkoperan and has since then been closely associated with the Royal Swedish Opera. He has also led productions at Malmö Opera, the Norwegian Opera, the Danish National Opera and Oper Leipzig. In 2005 he made his London debut, with the English Chamber Orchestra at the Barbican.

Ringborg has conducted the Royal Stockholm Philharmonic at the 2011 Nobel Prize Ceremony, Rigoletto, La Bohème, Turandot and Fedora at the Royal Swedish Opera, Turandot at Dalhalla, I Puritani at Danish National Opera, Il trovatore and Le nozze di Figaro at Scottish Opera, Cavalleria Rusticana, Pagliacci, La Bohème, Don Giovanni, Macbeth and L’elisir d’amore at Opera North, Idomeneo, Le comte Ory and Aniara in Malmö, Turandot and L’elisir d’amore in Gothenburg, Die Fledermaus in Oslo, Madama Butterfly and Tosca at New Zealand Opera, and Idomeneo at Garsington Opera.

Recent and upcoming highlights include La Bohème for New Zealand Opera, The Magic Flute for Scottish Opera, his Australian debut with Madama Butterfly in Adelaide, Offenbach’s Orphée aux enfers in Malmö, I barbiere di Siviglia for Den Norske Opera in Oslo, as well as concerts with Victoria Symphony (Canada), Swedish Radio SO, Auckland Philharmonia, Dalansinfoniettan, Norrköping Symphony and the Royal Stockholm Philharmonic, Scottish Chamber Orchestra, Sinfonieorchester Wuppertal and the Orchestra of Opera North.

In 2010 he was awarded the Herbert Blomstedt Prize from the Royal Swedish Academy of Music, of which he since 2011 is a member

This biography is for information only and should not be reproduced.

Beethoven: Symphony No. 3 & Violin Concerto

Sinfonieorchester Wuppertal (September 2020)

The attentive orchestra under [Tobias] Ringborg plays together with great sensitivity.

Johannes Vesper, Westdeutsche Zeitung

Orphée aux enfers

Malmö Opera (February 2020)

Tobias Ringborg brings pace to the orchestra, which elegantly glides between idyllic, pastoral and cancan passages.

Bo Löfvendahl, Svenska Dagbladet

Malmö Opera’s eminent orchestral and choral resources are used spiritedly, with Tobias Ringborg and Elisabeth Linton working well at the head of the artistic team.

Carlhåken Larsén, Sydsvenskan Orfeusre

… the lively orchestra in the pit under the conductor Tobias Ringborg.

Camilla Marie Dahlgreen, Information Orfeusrec

… Tobias Ringborg’s orchestra pit where Offenbach’s appealing beats and vibrant woodwind lines peak over the dark-toned chords of the work.

Hanna Höglund, Expressen Kutur

Malmö Opera Orchestra under Tobias Ringborg performed well.

Mattias Gejrot, Ystads Allehanda

Tobias Ringborg exudes cancan rhythms from the orchestra pit.

Johanna Paulsson, Dagens Nyheter

Madama Butterfly

State Opera of South Australia (November 2019)

Puccini’s music is delivered with exceptional beauty by the Adelaide Symphony Orchestra under noted Swedish conductor Tobias Ringborg.

Graham Strahle, The Australian

As always, the Adelaide Symphony Orchestra provides highly sympathetic accompaniment, conducted by Tobias Ringborg, making his Australian debut and in what must be seen as a real coup for the company.

Brett Allen-Bayes, Limelight Magazine

an inspiring Adelaide Symphony Orchestra under Swedish Tobias Ringborg.

Brian Angus, Bachtrack

Ringborg breathes with his singers, intuitive and alert to the nuance of the score.

Ewart Shaw, The Advertiser

Of course, there is no opera without the orchestra and the Adelaide Symphony Orchestra does not disappoint. Every nuance of one of Puccini’s finest scores is there, thanks to the conductor Tobias Ringborg.

Barry Hill, Stage Whispers

…the excellent Adelaide Symphony Orchestra conducted by Tobias Ringborg.

Katherine Arguile, In Daily

The orchestra came to life under the guidance of Tobias Ringborg in a way I have not heard this group of talented musicians come together before. The nuance of the vision of Ringborg brought the orchestra to life in a journey that underpinned the action on the stage and carried, and married, with the orchestra to make Puccini magic. The romanticism and emotional turmoil with which Puccini imbued his work was evident from the moment Rinborg lifted his baton..

Adrian Barnes, Glam Adelaide

The star, in a way, was the orchestra, which did justice to Puccini’s magnificent score. Swedish conductor Tobias Ringborg, making his Australian début, led the Adelaide Symphony Orchestra.

Peter Rose, Australian Book Review

Die Zauberflöte

Scottish Opera (May 2019)

Worthwhile, above all, because it brought Tobias Ringborg back to Scottish Opera, where his performances over the years have never failed to excite. So it was again in Mozart’s Singspiel. Ringborg brought a defining intelligence, an assurance of style, a depth and intensity to [the] performance … For its audience-pleasing consistency, this Flute could not be faulted, but it needed Ringborg in the pit to elevate it above the crowd.

Andrew Clark, Opera Magazine

Tobias Ringborg’s pleasingly pacy conducting gets a lightness of tone from the orchestra that helps make the whole thing shine.

Thom Dibdin, The Stage

The conductor Tobias Ringborg keeps the music focused, helped by some period-sensitive touches such as minimal string vibrato and natural trumpets and timpani.

Simon Thompson, The Times

In the pit, Tobias Ringborg's passion for this composition is in plain sight as he chooses to conduct without a baton, instead sculpting the sound with his bare hands - commanding an obedient and responsive orchestra who themselves cannot resist a glimpse of the on-stage eccentricities during their periods of rest.

William Parker, Opera Guide Scotland

In the elevated pit with all players out in front of the stage, Tobias Ringborg held stage and players together well bringing out period colours from a Mozartian-sized band that included natural trumpets, small-bore trombones, basset horns and period timpani.

David Smythe, Bachtrack

The five star production is thanks to the stars aligning in every aspect of its creation [including the] lively conducting.

Lauren Humphreys, The Reviews Hub

La bohème

New Zealand Opera (September 2018)

The players of the Orchestra Wellington responded spiritedly to Tobias Ringborg’s thoughtful and colourful leadership.

Lindis Taylor, Opera Magazine

Tobias Ringborg’s superb conducting allowed the orchestra to swoon where necessary but without giving in to undue sentimentality. Overall, the crowd scenes in the central acts and the byplay between the bohemians was handled swiftly and due emphasis given to comic moments. Puccini’s little pictoral touches, such as the pizzicato falling of snow or the crackling of the flames consuming Rodolfo’s play, were consistently brought out to striking effect. Ringborg was more flexible in the showstopping moments for the singers, allowing Devoe in particular to fill out her rapturous lines. The orchestra too was in ecstatic form, ably supporting this highly appealing performance of Puccini’s masterpiece.

Simon Holden, Bachtrack ****

Tobias Ringborg, in his third Puccini outing with the company, sweeps this fine quartet along in the irresistible momentum created by Auckland Philharmonia Orchestra.

William Dart, NZ Herald

The APO played beautifully under the baton of Tobias Ringborg without succumbing to sentimental excess. The playing and singing during the gloomy Act III in particular was full of contrasts and subtleties that avoided obvious musical or theatrical gestures and clichés.

Peter Hoar, Radio New Zealand

But the clincher is the conducting of Tobias Ringborg. He guides the production with a sure sense of style, drawing some superb playing from Orchestra Wellington, not afraid to occasionally overpower the singers as Puccini clearly intends, and generally marshalling the emotional highs and lows in masterly fashion. This should not be missed.

John Button, Stuff

With Tobias Ringborg conducting the Auckland Philharmonia Orchestra, Puccini’s music soars, each nuance of that often complicated but overwhelming joyful emotion called love exquisitely handled. Gorgeously atmospheric and completely engrossing, this is a triumphant performance that cannot be missed.

Sarah Kidd, Ambient Light

One cannot overlook the Auckland Philharmonia Orchestra led by Tobias Ringborg (conductor) who in my opinion, delivers one of the most spectacular musical performance that I can remember ever seeingat the Aotea Centre.

Jarred Tito, Libel

Throughout, the orchestra accompanied with the utmost sensitivity, Tobias Ringborg and his players completely at one with the onstage ebb-and-flow of incident and emotion, and making the most of even incidental-sounding sequences, such as the beautiful colourings from the wind and brass in the passage immediately following the bohemians’ teasing calls to their recalcitrant colleague, about to declare his love to his new-found companion.

Peter Mechen, Middle-C

Rachmaninov / Korngold / Barber

Auckland Philharmonia (August 2018)

Tobias Ringborg certainly made it so with Auckland Philharmonia Orchestra and the tingle of expectation running through a packed Auckland Town Hall augurs well for the Swedish maestro when he conducts NZ Opera's La Boheme next month.

William Dart, NZ Herald

Trouble in Tahiti

Opera North (October 2017)

Tobias Ringborg conducts with the right insouciant panache. I loved every minute and recommend it warmly.

Rupert Christiansen, The Telegraph ****

Conductor Tobias Ringborg leads a vital version of the jazz-inflected score.

George Hall, The Stage

Tobias Ringborg's razor-sharp handling of the American vernacular idiom is a joy from the off, too.

David Nice, The Arts Desk

Side titles rolled for Osud; none were needed here. That owed much to Tobias Ringborg's deft touch with the orchestra in Bernstein’s compendium of styles.

Martin Dreyer, Opera Magazine

Cavalleria rusticana

Opera North (September 2017)

Tobias Ringborg conducts a magnificently passionate performance with the orchestra in superb form, dynamic contributions from the chorus and a committed set of principals.

Gavin Castle, The Examiner

The ravishing music was subtly and precisely interpreted by conductor Tobias Ringborg.

Richard Wilcocks, Bachtrack ****

The orchestra matched the intensity of the stage drama with suitably committed playing, conductor Tobias Ringborg beautifully shaping Mascagni’s soaring phrases.

John Leeman, Seen and Heard International

 Marvellous, then, with some glorious playing from Tobias Ringborg’s orchestra – harpist Celine Saout deserves a shout out.

Graham Rickson, The Arts Desk ****

Conductor Tobias Ringborg squeezes every nuance of drama and passion from Mascagni's music. The Orchestra of Opera North's translucent performance of the famous Intermezzo bathed the auditorium in a radiant glow.

Jim Seton, Ilkley Gazette

Tobias Ringborg’s orchestra blows hot and cold, reflecting the ambivalence on stage.

Martin Dreyer, Opera Magazine


Opera North (September 2017)

Tobias Ringborg conducted with sensitivity, following the emotional surges expertly.

Richard Wilcocks, Bachtrack ****

Ringborg conducts with the fierce brash energy that this crude score requires.

Rupert Christiansen, The Telegraph ****

It is wonderfully conducted by Tobias Ringborg, too.

Tim Ashley, The Guardian ****

Leoncavallo’s greasepaint-and-adultery thriller Pagliacci, conducted with verve by Tobias Ringborg

Richard Morrison, The Times

Tobias Ringborg ... found plenty of colours in the score.

Michael Tanner, The Spectator


Royal Swedish Opera (December 2016)

The orchestra of the Royal Opera House, conducted by Tobias Ringborg, did a very good job of driving the action forward and giving the singers a rich musical carpet on which to shine. Ringborg conducted with force, never timid or afraid of covering his singers, but nevertheless careful of their needs. The strings provided a lustrous wall of sound when required. Several elegant details in the complex score were correctly highlighted. A very good performance.

Laura Servidei, Bachtrack ****

[The bicycle scene] has all the fun details in the score as Tobias Ringborg elegantly highlights. He directs with great sensitivity and precision, a perfect counterpart to Loy’s precise touch on the scene.

Bo Löfvendahl, Svenska Dagbladet

... the glossy orchestral sound Tobias Ringborg gets out of the Royal Orchestra ...

Per Feltzin, Sveriges Radio

The Royal Orchestra was led by Tobias Ringborg, who managed to bring an almost perfect representation of the work with the orchestra. Great compliment.

Peter Franken, place de l’opera

"Fedora" is a suspenseful melodrama dressed in gorgeous clothes and lush Pucciniesque music, which orchestra conductor Tobias Ringborg brings out and enhances so that you really do not get why nobody played this opera in Scandinavia before. The Royal Orchestra plays it sensitively and extremely balanced. Nothing is lost.

Gunilla Brodrej, Expressen

Ringborg and the Royal Orchestra and the Royal Opera Chorus make this Fedora resurrection are unforgettable.

Eleonore Büning, Frankfurter Allgemeine Zeitung

The third musical star is conductor Tobias Ringborg with his terrific grip on Giordano's very colourful tonal language.

Camilla Lundberg, svt

Tobias Ringborg conducts with audible passion and excitement. The first bars already move the audience to a state of ecstasy, which … does not lift until the finale note. He plays with the passion in the ravishing and billowing melodies and together with Royal Orchestra he makes the evening perfect.

Jochen Rüth, Opernfreund


Garsington Opera (June 2016)

Streamlined by well-judged cuts, conductor Tobias Ringborg’s reading was emotionally intense. The orchestra was excellent, its ensemble tightly controlled, the sound country-house deluxe; the chorus supplied vast reserves of energy.

Flora Willson, The Guardian (4 stars)

Tobias Ringborg conducts a practical edition ... with electrifying momentum. A magnificent realisation of one of the greatest of serious operas.

Hugh Canning, Sunday Times

In the pit the orchestral thunderstorms thundered and raged, Tobias Ringborg an expert hand at the helm...

Rebecca Franks, The Times (4 stars)

In the pit, the orchestra showed themselves to be well versed in the prevailing style of period-inflected modern-instrument performance, playing with real punch and precision; ... The conductor Tobias Ringborg favoured drama over grandeur, perhaps, but never let any moments of Mozart’s score, full of so much glorious music, feel underplayed. All told, this was an imposing and impressive achievement.

Hugo Shirley, Opera Magazine

There was no doubting the conductor’s living and breathing the music. His enthusiasm was infectious; the orchestra’s vivid response ... was not the least of the evening’s special qualities.

Mark Berry, Boulezian & Opera Today

Heavily cut for a summer audience, Mozart's long opera comes in at under two and a half hours of music... But what riches remain, and how fabulously the cast and chorus sing under Swedish conductor Tobias Ringborg. ... the stylish, ever sensitive Ringborg.

Mark Valencia, WhatsOnStage (4 stars)

The terrific chorus and orchestra are impressive under Tobias Ringborg, a newcomer to the Garsington family.

Claudia Pritchard, CultureWhisper (5*)

Tobias Ringborg, making his Garsington debut, directed the orchestra from the fortepiano. He is most definitely a singers’ conductor, and the playing on this occasion was of a chamber music quality ... The grand, elemental effusions were well managed. The cast, production team and orchestra were given a rapturous ovation, and rightly so.

Melanie Eskenazi, musicOMH (4.5*)

There is orchestral authority, too, from conductor Tobias Ringborg in the very first bars, with dotted rhythms tense and commanding before a swing into a lightning-flash seascape. ... Ringborg does emphasise the through-composition of the drama, amazing for 1781...

David Nice, The Arts Desk

... the orchestra responds to conductor Tobias Ringborg’s flexible approach with a notable sense of historically informed style.

George Hall, The Stage (4 stars)

The orchestra plays magnificently under the direction of Garsington newcomer Tobias Ringborg.

Tim Hughes, Oxford Times

Mr Ringborg gets an urgent, wholly committed performance from his orchestra of Mozart’s music.

Paul Levy, Arts Journal

Opera Arias with Pumeza Mathsikiza

Decca (rel. June 2016)

The conductor Tobias Ringborg ensures a sequence of secure and characterful accompaniments, with the Turandot extract a particular highlight.

George Hall, Opera Magazine


Orchestra of Opera North (February 2016)

Ringborg vividly brought out the dramatic contrasts within [Tchaikovsky’sFantasy-Overture: Romeo and Juliet]. Equally powerful, in the second half, was his intense treatment of the Prelude and Liebestod from Wagner’s Tristan und Isolde, the composer’s own concert version of the overture and Isolde’s Act 3 aria that bookend an opera devoted to the transfiguring power of love.

Ron Simpson, The Reviews Hub


New Zealand Opera (September 2015)

You will be spellbound from Puccini's dramatic opening chords, delivered by a magnificent Auckland Philharmonia Orchestra, under a conductor, Tobias Ringborg, who knows how to make the music bloom.

William Dart, NZ Herald

What really made the evening compelling was the spellbinding musical direction of Swedish conductor Tobias Ringborg. Here is a musician who completely understands Puccini’s music; when to move forward to avoid any sentimentality-filled wallowing and when to pull back to create a mesmeric moment. He created plenty of tension to go with that on stage, but also delivered superbly controlled rubato. Line was always paramount, making each new musical episode seem logically born out of the previous. The Auckland Philharmonia Orchestra followed their conductor’s lead with maximum flexibility. Special attention should be called to the gloriously soaring string tone doubling the voices in the love duet and the plaintive wind solos so atmospheric in the opening of the last act. It is fantastic to hear the orchestra as an equal dramatic player in its own right, here matching the stellar contributions of those on stage.permeating out from the thuribles.

Simon Holden, Bachtrack

In the pit Tobias Ringborg and the Auckland Philharmonia gave a powerfully dramatic performance of the score that served both the singers and the work well, while the chorus contributed strongly particularly with their powerful and chilling rendition of the ‘Te Deum’ at the end of Act 1.

Michael Sinclair, The Opera Critic

The APO delivers magnificent committed playing, with a thrilling dynamic range under the faultless direction of Tobias Ringborg. The pianissimo, the vibrant string playing and the full throated roar of brass and percussion is never less than spot on.

Penny Dodd, Theatre Review

Swedish conductor Tobias Ringborg knows every word and every note of this opera and conducts the Auckland Philharmonia with immense energy from the pit.

Takeshi Ito, Stuff

The Auckland Philharmonia Orchestra under the baton of Tobias Ringborg was wonderfully polished and clear.

Sam Jury, Broadway World


Dalhalla Opera (August 2015)

... a musically ... magnificent performance [by the cast] as well as the sonorous and well disciplined chorus, all under Tobias Ringborg's fiery command.

Av Lars Sjöberg, Expressen

The orchestra, Dalasinfoniettan combined with Gävle Symfoniorkester, sounds fine under Tobias Ringborg.

Claes Wahlin, Aftonbladet

The combined orchestras of Dalasinfoniettan and Gävle Symfoniorkester sounded exquisitely well. Tobias Ringborg conducts a grand and revolutionarily dramatic Puccini, without ever becoming contrived - fully in tune with the production's magnificent visuals.

Av Bo Löfvendahl, Svenska Dagbladet

Il Trovatore

Scottish Opera (May 2015)

Scottish Opera ended its 2014-15 season on a high with this solidly cast, superbly conducted revival. The transformative agent was Tobias Ringborg… Ringborg has two essentials for a Verdi conductor: temperament and style. The former was evident from the vitality he drew from the very first choral tableau, and his knack of drawing the threads of a scene into a natural, powerful climax; the latter in his sensitive, never manicured phrasing of the aria accompaniments, always giving his singers the right support and allowing the music to breathe. Verdi’s instrumental voicing pulsated under his care…The immaculately tuned succession of chords at the start of the prison scene was another pleasurable detail. Ringborg is the most inspiring Verdi conductor I’ve heard since Richard Armstrong; I can’t think of higher praise.

Andrew Clark, Opera Magazine

With the conductor, Tobias Ringborg, encouraging razor-sharp rhythms and tubby, ominous bass lines from the orchestra and the chorus delivering stonking denunciations of everyone, this is true Verdian music-making.

Richard Morrison, The Times ****

In the pit, Swedish conductor Tobias Ringborg elicits a renewed sense of purpose from the Scottish Opera Orchestra. There is fire in their belly, tempered nonetheless by Ringborg’s insistence on clarity of texture and energised, but disciplined, pacing. He reacts instinctively to the nuances of the singers, without allowing the momentum to falter.

Ken Walton, The Scotsman ****

Swedish conductor Tobias Ringborg keeps the orchestra crisp and the pacing neat...

Kate Molleson, The Guardian

... the Orchestra of Scottish Opera, conducted by Tobias Ringborg, plays as well as it has all season. ... Ringborg subsequently achieved a near-perfect balance between pit and stage.

Keith Bruce, Herald Scotland ****

Under the brisk baton of Tobias Ringborg the Orchestra of Scottish Opera sound full blooded throughout.

Lauren Humphreys, The Public Reviews ****

This is also a distinguished night for the company’s orchestra and chorus, both of them providing taut music-making and unstoppable dramatic momentum. Much of the credit goes to Swedish conductor Tobias Ringborg, who pushes the score along as if he had real fire and brimstone in his veins.

George Hall, The Stage ****

Down in the pit, Tobias Ringborg was managing to get the most sensitive playing out of the orchestra that has been heard in the Theatre Royal all year. Consistently quite reserved tempi allowed the singers the chance to shine and there was a wonderful (and in Glasgow, rarely achieved) balance between the pit and the stage. At just one moment in the third act did it seem that there was the danger of everything going out of kilter but this was soon rectified. Musically this production was something of a triumph.

Kelvin Holdsworth, Opera Britannica ****

Le Nozze di Figaro

Scottish Opera (October 2016)

I wouldn’t have wanted to miss a single note of Ringborg’s Mozartian soundworld.

Andrew Clark, Opera Magazine

The orchestra, conducted by Tobias Ringborg, deserves mention for being a notch higher than Scottish Opera’s usual standard, delivering Mozart’s score with vivid attention to detail and a fine dynamic range.

Gregor Forbes, Bachtrack ****

Conducted by Tobias Ringborg, a confident orchestra sets to at a very brisk clip and plays with spirit and precision throughout...

Keith Aitken, Scottish Daily Express *****

The musicians, under Swedish conductor Tobias Ringborg, emerge from the evening with the great credit.

Keith Bruce, The Herald

But it’s in the pit where extraordinary things are happening. It’s been a while since the Scottish Opera Orchestra has sounded so energised and psyched up as they were on opening night under Swedish conductor Tobias Ringborg, leading from the fortepiano. From the opening note of the overture, he has us on the edge of our seats. This is vigorous, articulate Mozart, the strings – particularly the cellos – digging in with swashbuckling determination, yet maintaining an airborne topping of refinement and clarity. Ringborg finds unexpected gems in the wind writing, like the bassoon motif that suddenly pokes through the texture to make its mischievous point. The dances sparkle with feisty, Rameau-like panache. Ringborg’s bristling musical vision is the distinguishing feature of this stage-friendly Figaro. Indeed it drives it, presenting the orchestral score as the spiritual engine room of the opera. It’s where the emotional welly of this production lies.

Ken Walton, The Scotsman ****

There is a drive and verve from the pit, where Tobias Ringborg has the Orchestra of Scottish Opera shimmering.

Thom Dibdin, The Stage


Scottish Opera

...conducted by Tobias Ringborg, this is a more gripping and surprising Rigoletto than any I can remember. The visual aesthetic - bright single-colour costumes against a black
background, perfectly lit...finds an echo in Ringborg's taut, extremely stylish conducting: he is a find. Ringborg ensures that everyone, including the chorus, sounds well schooled.

Andrew Clark, Financial Times

Down in the pit, Tobias Ringborg and the Scottish Opera Orchestra pay scintillating attention to the score, holding the tension
on a tight rein, and whipping up a real storm. The duets soar and the penultimate scene crackles...with lightning, both visually
and in the pit.

Sarah Urwin Jones, The Times

And honours go to the precise and stylish conducting of Tobias Ringborg, who has musicianship coming from every pore, while
the orchestra played its socks off for him.

Michael Tumelty, The Herald

Tobias Ringborg drives the house band through Verdi's stormy score with pace and panache...

Keith Aitken, Scottish Daily Express

Tobias Ringborg Opera Repertoire




L'Elisir d'amore


Ungdom og Galskab (Youth and Folly)


Cristina di Svezia


Roméo et Juliette




La Clemenza di Tito
Così fan tutte
Don Giovanni
Idomeneo, Re di Creta
Die Zauberflöte


Il Barbiere di Siviglia


La Bohème
La Fanciulla del West
Manon Lescaut
Il Tabarro




The Bartered Bride


Ariadne auf Naxos


Eugene Onegin


Loranga, Masarin och Dartanjang


Don Carlo
La Traviata
Il Trovatore

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