The world premiere of Ludwig van Beethoven’s Missa solemnis took place in April 1824, which makes this concert something of a 200th anniversary. Conductor laureate Herbert Blomstedt leads the Swedish Radio Symphony Orchestra, Swedish Radio Choir and soloists Julia Kleiter, Katija Dragojevic, Maximilian Schmitt, and Tareq Nazmi in Beethoven’s symphonic mass.





The Swedish Radio Symphony Orchestra is known worldwide as one of Europe’s most versatile orchestras with an exciting and varied repertoire and a constant striving to break new ground The multi-award-winning orchestra has been praised for its exceptional, wide-ranging musicianship as well as collaborations with the world’s foremost composers, conductors and soloists.

Permanent home of the Swedish Radio Symphony Orchestra since 1979 is Berwaldhallen, the Swedish Radio’s concert hall. In addition to the audience in the hall, the orchestra reaches many many listeners on the radio and the web and through it´s partnership with EBU. Several concerts are also broadcast and streamed on Berwaldhallen Play and with Swedish Television, offering the audience more opportunities to come as close as possible to one of the world’s top orchestras.

“The orchestra has a unique combination of humility, sensibility and musical imagination”, says Daniel Harding, Music Director of the Swedish Radio Symphony Orchestra since 2007. “I have never had a concert with the orchestra where they haven’t played as though their lives depended on it!”

The first radio orchestra was founded in 1925, the same year that the Swedish Radio Service began its broadcasts. The Swedish Radio Symphony Orchestra received its current name in 1967. Through the years, the orchestra has had several distinguished Music Directors. Two of them, Herbert Blomstedt and Esa-Pekka Salonen, have since been appointed Conductors Laureate.

For more than 90 years, the Swedish Radio Choir has contributed to the development of the Swedish a cappella tradition. Under the leadership of legendary conductor Eric Ericson, the choir earned great international renown. It is still hailed as one of the best choirs in the world. The choir members’ ability to switch between powerful solo performances and seamlessly integrating themselves in the ensemble creates a unique and dynamic instrument praised by critics and music lovers alike, as well as by the many guest conductors who explore and challenge the choir’s possibilities.

Permanent home of the Swedish Radio Choir since 1979 is Berwaldhallen, the Swedish Radio’s concert hall. In addition to the seated audience, the choir reaches millions of listeners on the radio and the web through Klassiska konserten i P2. Several concerts are also broadcast and streamed on Berwaldhallen Play, offering the audience more opportunities to come as close as possible to one of the world’s top choirs.

With the 2020–2021 season, Kaspars Putniņš begins his tenure as the tenth Music Director of the Swedish Radio Choir. Since January 2019, Marc Korovitch is the choirmaster of the Swedish Radio Choir with responsibility for the ensemble’s continued artistic development. Two of the orchestra’s former Music Directors, Tõnu Kaljuste and Peter Dijkstra, were appointed Conductors Laureate in November 2019. Both maintain a close relationship with the choir and make regular guest appearances.

The Swedish Radio Choir was founded the same year as the Swedish Radio Service began its broadcasts and the choir had its first concert in May 1925. Right from the start, the choir had high ambitions with a conscious aim to perform contemporary music.

Julia Kleiter gave her operatic debut 2004 at Paris Opéra-Bastille as Pamina in Die Zauberflöte conducted by Jiří Kout. During the following ten years she performed the role in many productions in Madrid, Zurich, at the Edinburgh Festival, the Metropolitan Opera in New York, in München and at Salzburg Festival. In 2014 she performed the role again in Paris – this time under Philippe Jordan.

Recent highlights include a live stream of Lehár’s Schön ist die Welt at Bayerische Staatsoper in Munich, Contessa in Le Nozze di Figaro in London conducted by Sir John Eliot Gardiner, in Milan and Zurich, Ilia in Idomeneo in Milan, Essen and under Nikolaus Harnoncourt in Graz and Zurich, Donna Anna in semi-staged performances of Don Giovanni on tour with Basler Kammerorchester in Hamburg and Paris, Eva in Die Meistersinger von Nürnberg under Kirill Petrenko in Munich, under Philippe Jordan in Paris and under Daniel Barenboim in Berlin. Coming highlights include Die Meistersinger von Nürnberg in Munich, Così fan tutte in Hamburg and Le Nozze di Figaro in Dresden, debuts in Amsterdam in a world creation by Manfred Trojahn and in Brussels in the part of Marschallin in Der Rosenkavalier. 2023 are scheduled, among others, Der Freischütz in Hamburg and Munich.

As a concert singer and song recitalist she is guesting in all major concert halls and working with conductors such as Helmut Rilling, Riccardo Muti, Jeffrey Tate, Marc Minkowski, Ivor Bolten, René Jacobs, Christoph Poppen, Daniel Harding or Marek Janowski. Lately she performed Schumanns das Paradies und die Peri in Zürich, Brahms’ Ein deutsches Requiem in London under Luisi, Haydns Schöpfung in Milan and Berlin as well as Bruckners Te Deum in Munich under Mehta or Dvořák’s Requiem under Philippe Herreweghe in Berlin.


Katija Dragojevic is a Swedish mezzo-soprano, who works on international stages such as La Scala, Covent Garden and Salzburger Festspiele.

She is educated at the Royal Academy of Music in Stockholm and at the Guildhall School of Music and Drama in London, and debuted in 2000 as Krista in Janacek’s The Makropulos Affair at La Monnaie in Brussels. Other roles she has done include the title roles in Xerxes and Carmen and Cherubin in The Marriage of Figaro, and she has also appeared as Zerlina in Kasper Holten’s acclaimed film adaptation of Don Juan, based on Mozart’s Don Giovanni.

As a concert singer, Dragojevic has appeared with symphony orchestras such as the Swedish Radio Symphony Orchestra, the Elbphilharmonie Orchestra, the Orchester de Paris, the Gulbenkian Orchestra in Lisbon, the NDR Sinfonieorchester in Hamburg and the Symphonieorchester des Bayerischen Rundfunks in Munich. She has performed, among others, Bach’s Matthew Passion, Mozart’s Requiem, Berlioz’s Les nuits d´été, Mahler’s Des Knaben Wunderhorn and Beethoven’s Ninth Symphony, with conductors such as Ivor Bolton, Daniel Harding, Andris Nelsons, Leif Segerstam, Manfred Honeck and Robin Ticciati.


Tenor Maximilian Schmitt studied singing with Anke Eggers at the Berlin University of the Arts and was artistically coached by Roland Hermann.

Schmitt gained his first stage experience as a member of the Opera Studio at Bayerische Staatsoper in Munich before joining the ensemble of the Mannheim National Theater for four years in 2008. In 2012, he made his debut at the Amsterdam Opera as Tamino under Marc Albrecht. In 2016 Maximilian Schmitt he debuted as Idomeneo in another major Mozart role, this time at the Opéra du Rhin in Strasbourg. Immediately afterwards, he appeared for the first time at the Vienna State Opera as Don Ottavio. In 2017, he made a guest appearance at La Scala in Milan, where he debuted as Pedrillo in Mozart’s Abduction from the Seraglio under Zubin Mehta. In 2019, he sang his first Max in Weber’s Freischütz at the Aalto Theater in Essen, followed in 2022 by his debut as Erik in the Flying Dutchman at the Graz Opera.

Maximilian Schmitt is a regular guest on the major international concert stages. His broad repertoire ranges from Monteverdi and Mozart to Mendelssohn, Elgar, Mahler, Zender and Britten. Invited by conductors such as Claudio Abbado, Daniel Harding, Manfred Honeck, René Jacobs and Robin Ticciati, he has already worked, with the Akademie für Alte Musik Berlin, the Tonhalle-Orchester Zürich, the symphony orchestras of the Bavarian and Central German Radio, the Vienna Symphony Orchestra, the Cleveland Orchestra, the Tokyo Symphony Orchestra, the Swedish Radio Symphony Orchestra and the Gewandhausorchester Leipzig. Schmitt is also a regular guest of the Orchestre de Paris or the Orchestre National de France.

The Kuwait-born German bass Tareq Nazmi began his stage career at the Bavarian State Opera’s Opera Studio, subsequently becoming a member of that company’s ensemble and singing such important roles as the Speaker in The Magic Flute, Publio in La clemenza di Tito, and Colline in La bohème. He starred as Bottom in A Midsummer Night´s Dream in a new staging by Damiano Michieletto at Vienna’s Theater an der Wien and debuted at the Salzburg Festival in 2016. Nazmi has toured Europe singing Pope Clement VII in Benvenuto Cellini in concert with Sir John Eliot Gardiner. His concert appearances also include the National Symphony Orchestra, the Orchestre de Paris, and the Deutsches Symphonie-Orchester. He has given recitals with pianist Gerold Huber in Munich, Cologne, Ingolstadt and at London’s prestigious Wigmore Hall.

Approximate concert length: 1 h & 30 min without intermission