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Klara Ek has a voice of remarkable clarity and beauty - qualities recognized by many of the world’s leading conductors and orchestras. Notable debuts include Die Schöpfung with Washington's National Symphony Orchestra under Helmuth Rilling, Bach’s Magnificat with the Berliner Philharmoniker under Ton Koopman, Schumann's Szenen aus Goethes Faust with Gewandhausorchester Leipzig under Christopher Hogwood, Mahler’s Symphonies Nos.2 and 4 with the Simón Bolívar Symphony Orchestra and the Los Angeles Philharmonic under Gustavo Dudamel, as well as The Creation with the Chicago Symphony Orchestra and Mahler’s Symphony No.4 with the London Symphony Orchestra and Tonhalle-Orchester Zürich, all under Bernard Haitink.

This season Klara makes her debut at the Hokutopia International Music Festival, Japan as Contessa in Le nozze di Figaro conducted by Ryo Terakado and joins the Academy of Ancient Music alongside Andreas Scholl on tour in Pergolesi’s Stabat Mater in Brussels, Paris, Birmingham and London. Klara also returns to the Copenhagen Philharmonic for a performance and recording of Beethoven’s Symphony No.9 under Lan Shui, and the Toronto Symphony Orchestra and London Chamber Orchestra (Christopher Warren-Green) for Messiah. Further appearances include the Johannes-Passion with the Wiener Symphoniker (Giovanni Antonini), Orfeo ed Euridice with the Wiener Akademie (Martin Haselbock), Mahler’s Symphony No.4 with Palau de la Musica (Nikolaj Znaider), Castilla y Leon Symphony Orchestra (Nathalie Stutzmann) and Tenerife Symphony Orchestra (Michał Nesterowicz) and the BBC National Orchestra of Wales for Mahler’s Symphony No.2 (Thomas Søndergård).

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"Ek gained in vocal power and concentration, ultimately achieving an expressive focus that commanded attention." (George Hall, The Guardian, February 2014)

“Ek provided an angelic soprano solo in the piece’s central moment of compassion, from the Gospel of John – ‘And ye now therefore have sorrow, but I will see you again, and your heart shall rejoice …" (Toronto Globe and Mail, May 2013)

"…her keen sense of drama, combined with impeccable intonation and creamy timbre, made me wish to hear her in a complete production of one of these [Mozart] operas." (Peter Marks, bachtrack, March 2013)

"Klara Ek's blazing, impetuous Berenice is worth every one of those five stars on its own" (The Guardian, 2010)

“Klara Ek, a soprano with a clear, classical, crystalline sound.” (The Washington Post, May 2009)

“The great discovery of the evening was the young Swede, Klara Ek, with her expressive, polished style.” (Classique News, January 2009)

“Klara Ek's voice proved a thing of expansive beauty. Her remarkable clarity throughout the taxing coloratura gymnastics of ‘Rejoice greatly, O daughter of Zion’ was breathtaking, as were the purity and directness of her gentle I know that my redeemer liveth.” (Pioneer Press, December 2008)

“Her light, gleaming, but never acidic soprano makes her a name to watch.” (Financial Times, January 2007)

“Klara Ek brought a brilliance and éclat to the extravagant showpiece.” (Sunday Express)