The Swedish-born soprano, Malin Hartelius, studied at the Conservatory of the City of Vienna (Opera, Lied and Oratorio) with the celebrated teacher Margarethe Bence.
In 1989 Malin Hartelius became a member of the studio of the Vienna State Opera and joined the theater of St. Gallen where she sang her first Papagena in Die Zauberflöte. As a member of the Vienna State Opera Studio in 1990-1991 season, she appeared in many roles including Celia in Mozartís Lucio Silla and Papagena. In this same season she made her debut at the Zürich Opera again with Papagena followed by Arsena in The Gypsy Baron. The following season 1991-1992 she became a member of the Zürich Opera and appeared in the roles of Pamina in Die Zauberflöte, Adele in Die Fledermaus, Blondschen in Die Entführung aud dem Serail and Ännchen in Der Freischütz.
After debuting at the Ludwigsburger Festspiele (1990) and Schwetzinger Festspiele (1991), Malin Hartelius appeared for the first time at the Salzburg Festival in 1992 as Barbarina in Le Nozze di Figaro. The following Salzburg season found her in much different territory with the role of Nausikaa in Ulysses by Luigi Dallapiccola. Returning to the Salzburg Festival in 1996, she began her association with conductor Franz Welser-Möst in performances of J.S. Bachís B minor Mass (BWV 232) and St. Matthew Passion (BWV 244) with the Camerata Accademica. Returning to the Salzburg Festival in 1997, she sang Blondchen from Mozartís Die Entführung aud dem Serail, under the baton of Marc Minkowski, to such great acclaim that she was immediately re-engaged for the following season.
Malin Hartelius is not only a celebrated opera singer but also highly acclaimed in concert halls throughout the world. Her collaborations with conductors and stage directors have played a significant role in her development. She performs regularly with conductors like Nikolaus Harnoncourt, Ton Koopman, Riccardo Chailly, Sir John Eliot Gardiner, Peter Schreier, Herbert Blomstedt, Frans Brüggen, Bernard Haitink, Marc Minkowski, Stein, Weikert, Wolfgang Gönnenwein, Gelmetti, Frühbeck de Burgos and Enoch zu Guttenberg. She has worked with stage directors Berghaus, Marelli, Lievi and Hampe. Orchestras like the Oslo Philharmonic Orchestra, Orchestra of the Tonhalle Zürich, San Francisco Symphony Orchestra and Concentus Musicus Wien also have enjoyed the collaboration with Malin Hartelius.
Malin Harteliusís operatic repertoire continues to expand with performances of Donizettiís LíElisir DíAmore and Don Pasquale, Mozartís Die Zauberflöte and Le Nozze di Figaro and Straussí Ariadne auf Naxos. Continuing to expand her versatility, she made her recital debut in 1993 at the Théâtre du Châtelet in Paris. In 1997 she had her career breakthrough with a highly praised performance as Adina in Liebestrank at the Opera Frankfurt. She also debuted at the Munich Opernfestspiele as Najade in Ariadne auf Naxos. As member of the ensemble at the Zürich Opera she sang in various productions (e.g. Mitridate with Frans Brüggen). Another important debut followed in April 1998, when she sang Sophie (Rosenkavalier) at the State Opera Unter den Linden, Berlin. In autumn 1999 the young singer followed an invitation at the Opéra National de Paris, where she performed the main role in Rameau's Les Indes Galantes under the baton of William Christie. This opera house presemted her also as Servilia in La Clemenza di Tito, and in 2000 as Adele in Die Fledermaus. In the same year she also achieved a wonderful success as Pamina in the new Zauberflöte production at the Opera Zürich.
In recent seasons Malin Hartelius took part as soprano soloist in John Eliot Gardiner's Bach Cantata Pilgrimage (2000), and debuted as Marzelline (Fidelio) at the Munich State Opera. She was highly praised for her appearance in Nikolaus Harnoncourt's realisation of Schubert's rarely played opera Alfonso und Estrella at the Zürich Opera and performed at the Salzburg Festival 2000 in various concerts alongside the Vienna Philharmonic with Wolfgang Sawallisch (the soprano solo in Schumannís Requiem) and Charles Mackerras conducting. In the Salzburg Festival 2001 she sang Adele in the new production of Die Fledermaus and concerts with the Mozarteum Orchestra under the direction of Ivor Bolton. In Spring 2002 she sang Constanze in Die Entführung aud dem Serail in another new production in Zürich, and at Glyndebourne 2004 she made her debut as Zerlina in Don Giovanni under the baton of Riccardo Chailly. Her first Susanna in Le Nozze di Figaro was at the festival Aix-en-Provence. She also appeared at the Bayerische Staatsoper München, the Opéra Bastille de Paris, concerts with the Berliner Sinfonie Orchester, the Tonhalle Orchestra Zürich and the Philharmonia Orchestra, among others.
By now, Malin Hartelius has achieved the status of a regular headliner at the Zürich Opera House and the Festvertrag Zürich. Already established as one of Europe's favorite lyric coloraturas in both the opera and concert worlds, she looks forward to singing with the Accademia Santa Cecilia in Rome, the Saarländischer Rundfunk, London Symphony, the London Philharmonia Orchestra, Zürich Tonhalle, the Berlin Symphony Orchestra, and the Cleveland Orchestra for the 2004-2005 season.
Malin Hartelius has recorded Mozart's arrangement of George Frideric Handel's Messiah for Sony Classical, as well as Haydn's Die Schöpfung and Johannes Brahms' Ein deutsches Requiem for Farao Classics with Enoch zu Guttenberg.