Winner of the 2008 Swedish Conducting Competition, Blendulf is already established in his native Sweden. He has a strong relationship with the Royal Stockholm Philharmonic Orchestra, appearing with the orchestra three times in the 2012/13 season, culminating in a performance of Prokofiev's Symphony No.5 together with the world premiere of Anders Nilsson’s violin concerto in May 2013.
He has also worked with the Swedish Radio Symphony Orchestra, where he returns next season, and made an acclaimed debut with Gothenburg Symphony Orchestra in 2012 after stepping in at very short notice. Other upcoming highlights include reinvitations to the symphony orchestras of Malmö and Helsingborg, as well as a return to the Nordic Chamber Orchestra, Dalasinfoniettan and the Uppsala Chamber Orchestra. He makes his first appearance with the Swedish Chamber Orchestra in autumn 2012.
In opera, Blendulf has worked with the Royal Swedish Opera for productions of Carmen, Don Pasquale, and in 2012, the world premiere of Anders Eliasson's chamber opera Karolinas sömn. Other productions have included Gounod's Faust with Folkoperan and Berg's Wozzeck with Norrlandsoperan in Umeå.
Daniel Blendulf, the cellist turned conductor, has gone from young and promising to impressive. In a programme of Beethoven and Prokofiev’s Fifth Symphony, he displayed both musical depth and emotional breadth with assuring confidence. He has the ability to pull out all of the stops while still giving the sound space to breathe - allowing the audience to hear the whole, and the individual lines, simultaneously. (DN.se, May 2013)
“Daniel Blendulf, who has turned to conducting from the cello, steered the orchestra with precision while at the same time bringing to the fore the work's humour and playfulness…He was a confident master of the orchestra and gave every indication that he is someone from whom we can expect great things in the future.” (Värmlands Folkblad, November 2012)
“Daniel Blendulf brings a graceful and finely balanced approach to the reduced forces of the Kungliga Hovkapellet, and deals masterfully with the challenging acoustics of the hall in bringing both Lena Hoel’s soprano and the delicate instrumental voices to the fore. ” (Nummer.se, June 2012)