Swedish Mezzo Soprano Ida Ränzlöv is currently a member of the Staatsoper Stuttgart Opera Studio. In their 18/19 season she will perform the roles of Nancy Tang Nixon in China, Dryade Ariadne auf Naxos and The Page of Herodias Salome. 

Recent engagements include Kate Pinkerton Madama Butterfly (Glyndebourne Festival), Sesto (cover) Giulio Cesare (Glyndebourne Festival), The Fox The Cunning Little Vixen (RCMIOS)The Daughter The Vanishing Bridegroom for (British Youth Opera), Faramondo Faramondo (London Handel Festival) and Arminda La finta giardiniera (RCMIOS). Other performed roles include Eduige Rodelinda (CHOC), Rosina Il Barbiere di Siviglia (Smålandsoperan) and Flora La Traviata (Folkoperan/MAM).

Ida was born in Helsingborg, Sweden, into a family of non-musicians. She saw her first opera at age 17 and fell in love with the art form instantly. She graduated with distinction from Malmö Academy of Music in 2016, where she studied singing with Britta Johansson and Conny Antonov. The same year she joined the Royal College of Music’s International Opera School (RCMIOS), graduating in 2018 as a recipient of an Independent Opera Voice Award. She continues to study with Dinah Harris.

Ida is a Glyndebourne Jerwood Young Artist (2018), was a semi-finalist in the Kathleen Ferrier Competition (2018), an alumni of Solti Accademia di Bel Canto (2017), winner of the Lies Askonas Competition (2017) and received the Maisie Lewis Award from the Musician’s Company (2018), of which she also was appointed Yeoman of the Company

She received several scholarships and awards during her training in Sweden, including the Aurora Lillieros Scholarship, Anna Withlock’s Memory Trust Scholarship and John Andersson I Anderslöv Foundation. Her studies in London were generously supported by the Josephine Baker Trust, Vivien & Peter Beckwith Fund and Victoria Robey OBE.

 Photograph © Benjamin Ealovega

Photograph © Benjamin Ealovega

The evening’s star performance came from the Swedish mezzo Ida Ränzlöv as Faramondo, her magnetic stage presence and consistently accomplished vocalism making her completely convincing.
— Opera Magazine