Ida Ränzlöv | Mezzo soprano

Ida Ränzlöv graduated with honours from Malmö Academy of Music in 2016, where she attended vocal studies under Britta Johansson and Conny Antonov. That same year, she also joined the Royal College of Music’s International Opera School (RCMIOS), graduating in 2018 as the recipient of an Independent Opera Voice Award.

Ida is an Associate Artist of The Mozartists and was previously a member of the Opera Studio at the Staatsoper Stuttgart (2018–19), a Glyndebourne Jerwood Young Artist (2018), and a semi-finalist in the Kathleen Ferrier Competition (2018). She is also an alumna of the Solti Accademia di Bel Canto (2017), winner of the Lies Askonas Competition (2017), and recipient of the Maisie Lewis Award from the Musicians’ Company (2018), where she was appointed Yeoman of the Company.

During her studies in Sweden, she was awarded several scholarships, including the Aurora Lillieros Scholarship, the Anna Withlock Memory Trust Scholarship, and the John Andersson i Anderslöv Foundation grant. Her studies in London were generously supported by the Josephine Baker Trust, the Vivien & Peter Beckwith Fund, and the Victoria Robey OBE.

In 2023, Ida was awarded the prestigious Birgit Nilsson Scholarship and is currently a member of the ensemble at the Staatsoper Stuttgart. During the 2023/24 season, she has performed the roles of Hänsel (Hänsel & Gretel), Nancy T’ang (Nixon in China), Zweite Magd (Elektra), Wellgunde (Das Rheingold), and Jenny (The Rise and Fall of the City of Mahagonny). Other notable roles in Stuttgart have included Rosina (Il barbiere di Siviglia), Orlofsky (Die Fledermaus), Varvara (Káťa Kabanová), Cherubino (Le nozze di Figaro), Dryade (Ariadne auf Naxos), Lola (Cavalleria Rusticana), Second Norn (Götterdämmerung), Meg Page (Falstaff), and Page (Salome).

Beyond her work in Stuttgart, Ida’s recent and upcoming engagements include Cherubino (Glyndebourne Festival and Glyndebourne on Tour), covering Sesto (Giulio Cesare, Glyndebourne Festival), The Fox (The Cunning Little Vixen, RCMIOS), The Daughter (The Vanishing Bridegroom, British Youth Opera), the title role in Faramondo (London Handel Festival), Arminda (La finta giardiniera, RCMIOS), Eduige (Rodelinda, Cambridge Handel Opera Company), Rosina (Smålandsoperan), and Flora (La Traviata, Folkoperan/MAM).
 

For newly graduated musicians and singers, my first piece of advice is to network! Don’t be afraid to email or call agents, concert hall managers, and casting directors. In Sweden, we tend to be quite reserved about this, but opportunities won’t simply fall into your lap—you need to be proactive to break into the industry. Stay true to yourself and your artistry, and never compare yourself to others.

For students unsure about which path to take, start by focusing on finding the right teacher. Take trial lessons and look for someone who truly suits you. The same applies to your course selection—choose a programme that aligns with your personality and goals.  Malmö Academy of Music was fantastic at recognising individual needs, and I felt fully supported in tailoring both my curriculum and schedule to fit me. Above all, trust your instincts. You are the one who needs to feel comfortable in your studies so that you can fully embrace all the opportunities your chosen programme has to offer!