The Swedish mezzo-soprano Elisabeth Jansson has a prolific international career. She is a much sought after concert and oratorio soloist, and she has worked with several of Europe’s leading orchestras and conductors. Since 2005 Elisabeth Jansson has been a member of the Royal Opera in Copenhagen, where she regularly appears in major Mezzo roles.

In the Spring of 2017 she was made an Associate of the Royal Academy of Music for her achievements on the international opera stage.

In 2016 Elisabeth Jansson was knighted by the Danish Queen for her contribution to Danish cultural life.

She has a warm, silky, rich voice, charisma and formidable presence on stage.


Elisabeth Jansson has been an ensemble member of the Royal Danish Opera in Copenhagen where in recent seasons she has performed various roles such as Carmen, Orlovsky/Flagermusen, Der Komponist/Ariadne auf Naxos, Donna Elvira/Don Giovanni (a role debut in Season 21/22),  the lead role of Consciousness in Manualen by Louise Alenius, Sesto/La clemenza di Tito, Elisabetta/Maria Stuarda, Elektra in Orest by Manfred Trojahn, 2.Magd/Elektra, and 2. Lady/The Magic Flute. She has also been a soloist in the Royal Danish Opera’s New Year’s concerts.

Her recent engagements and future highlights include among others:

  • Bach’s Christmas Oratorio with Copenhagen Phil and Copenhagen Royal Chapel Choir;
  • Kaito/Fervaal at Festival Radio France Occitaine Montpellier;
  • Der Komponist/Ariadne auf Naxos at Les Théâtres de la Ville de Luxembourg;
  • Mother/Breaking the Waves (by Missy Mazzoli) with Vadstena Academy, Sweden;
  • Cherubino/Le Nozze di Figaro, Ena Systern/SystrarnaLa Badessa/Suor AngelicaBianca/Eine florentinische Tragödie (concert) and Börtz’s Sinfonia 13 at Malmö Operan;
  • Octavian/Der Rosenkavalier at Lithuania National Opera and Ballet Theatre;
  • Mahler’s Kindertotenlieder with Aarhus Symfoniorkester and with the Taiwan Philharmonic (NSO) in Taipei;
  • La mort de Cléopâtre by Berlioz with Aalborg Symfoniorkester;
  • Handel’s Messiah (Mozart’s version) with the Helsingborg Symphony Orchestra;
  • Verdi’s Requiem w. Jönköpings Sinfonietta.


Past engagements of Elisabeth Jansson in recent years include Recital with Copenhagen Opera Festival at Børsen, Beethoven 9 with The Israel Philharmonic Orchestra in Tel Aviv and Jerusalem, Blumenmädchen and Knappe in Parsifal with Sir Simon Rattle and the Berliner Philharmoniker at the Festspielhaus Baden-Baden and the Philharmonie in Berlin. She participated in a recording of the new opera Aladdin by C.F.E. Horneman in the role of the Genie of the Ring in 2020.

In 2017 she performed in Stefan Herheim’s highly praised production of Les contes d’Hoffmann at the Royal Opera Copenhagen, singing Nicklausse, La Muse and La Voix de la tombe. Also in 2017 she sang a hugely successful Marchesa del Poggio in Verdi’s early opera Un giorno di regno at the Opernfestspiele in Heidenheim.

Engagements during 2016 include performances of Octavian/Der Rosenkavalier at Teatro alla Scala in Milano under Maestro Zubin Mehta, after which she was invited to sing Mozart’s Requiem under Maestro Adam Fischer, again at La Scala. She also made her debut at the Landestheater/Felsenreitschule in Salzburg where she sang Hänsel/Hänsel und Gretel.

In 2005 Elisabeth Jansson became a member of the Royal Opera in Copenhagen, where she regularly appears in major Mezzo roles such as the titular role in Bizet’s Carmen, Mélisande in Debussy’s Pelléas et Mélisande, Rosina in Il barbiere di Siviglia, Dorabella in Così fan tutte, Octavian in Der Rosenkavalier, Marchesa Melibea in Il Viaggio a Reims, Miranda in The Tempest and Cherubino in Le nozze di Figaro. In 2009 she performed the role of Caroline Mathilde in Bo Holten’s critically acclaimed opera The visit of the Royal Physician (Livlægens besøg). Elisabeth Jansson is the only performer in the world who has sung this role so far.

Elisabeth Jansson’s career has taken her across Europe as well as Japan and Taiwan, giving recitals, concerts, oratorios and performing on opera stages. She sang in venues like Concertgebouw in Amsterdam, Alte Oper Frankfurt, Philharmonie Köln, Staatsoper Dresden and Théâtre des Champs Elysées in Paris.


Elisabeth Jansson studied at the Richard Strauss Konservatorium in Munich, the Royal Academy of Music in London and the Royal Opera Academy, Copenhagen.


Elisabeth Jansson has received numerous awards such as the Elena Gerhardt Lieder Prize, the Isabel Jay Operatic Prize, the Joel Berglund Scholarship, and the Michael Head Prize for singing.


Elisabeth Jansson – La clemenza di Tito by W.A. Mozart – Parto, Parto (the Royal Danish Opera, Oct. 2023)

Elisabeth Jansson – La clemenza di Tito by W.A. Mozart – Deh, per questo (the Royal Danish Opera, Oct. 2023)

Elisabeth Jansson – La Damnation de Faust by H. Berlioz – D’amour l’ardente flamme (2022)

Elisabeth Jansson – La clemenza di Tito by W.A. Mozart – Oh Dei, que smania e questo (the Royal Danish Opera, Oct. 2023)

Elisabeth Jansson – Ariadne auf Naxos by R. Strauss – Sein wir wieder gut… (excerpt, 2022)

Elisabeth Jansson – Carmen by G.Bizet – Habanera (2019)


La Clemenza di Tito at the Royal Danish Opera – Sept. 2023

“The most beautiful experiences were provided by the Royal Danish Opera’s mezzo-soprano Elisabeth Jansson in the trouser role as Sesto (…)
– Thomas Michelsen,

Carmen at the Royal Danish Opera

“…men vid andra föreställingen som jeg besökte gjorde i stället Elisabeth Jansson sin debut i denna rollernas roll för en mezzo. Och det var en mycket strong rolldebut. Inte minst för att Elisabeth Jansson förmår vara naturligt sensuell och inte försöker spela sensuell. Därför kan hon tona ner uttrycket både i säng och sceniskt agerande och nå effekt utan effekt. Bara det kändes skönt att höra och se. Och hon hade klokt tänkt igenom och utarbetat varje liten fras.”
– Lennart Bromander, Tidskriften Opera

Un Giorno di Regno at Opernfestspiele Heidenheim -July 29th, 2017

“…Eine Wucht für sich ist die Marchesa der Elisabeth Jansson, eine rundum überwältigende Mezzosopranistin, die dramatische Vehemenz mit der Leichtigkeit einer Soubrette mischen kann und dazu noch ein heiß-kompliziertes Tänzchen mit Chefkoch Ivrea (León de la Guardia singt nicht nur die Titelmelodie des „Paten“ zur Gitarre, sondern bekommt auch Szenenapplaus für sein Muskelspiel) wagt…”
– Manfred F. Kubiak, Heidenheimer Zeitung


All events in May 2024: Singers

May 2024 All Events: Singers

We are thrilled to reveal all the projects (premieres and first performances) our Singers (listed alphabetically) have lined up for…