"One of the most promising tenors in the world".
This fantastic review was delivered about Mats Carlsson after the concert in Strömshall last Saturday, an event arranged by the diligent and capable Jussi Björling Society. The review with regard to Carlsson's voice was made by Kerstin Meyer, one of our truly greatest singers. - I'm immensely flattered by hearing something like that, says Mats Carlsson. Especially after considering the fact that I have only three years of professional experience behind me as an opera singer. After the Jussi Björling-classic "Till havs" the entire 200-man strong audience applauded enthusiastically and bounced up from their seats in a wave of ovation. Sundsvalls Tidning 15/9 2008

Ernani contains several interesting roles, and because it is a concert performance the cast have to describe the dramatic events. This requires high-class soloists. And that Södertälje Opera has access to by far .... In the famous heroic tenor role of Ernani, Mats Carlsson has a pure voice with great beauty and a kind of introspective, almost meditative clarity.
SVD 26/11 2010

As Pinkerton, the Swedish tenor Mats Carlsson sings with a fervor and an intensity that sometimes becomes deafening in the small auditorium. His sonorous voice has an evenness to it in all ranges, but comes off best in the higher range. A wonderful timbre and a whole-hearted performance.
Skånska Dagbladet 17/4 2007

As the deceitful lover, Mats Carlsson, without competing with any of the other singers, delivers the most beautiful singing-performance of this production,wholly musical and with delicate nuances.
Politiken 16/4 2007

“It is with great pleasure we note that Mats Carlsson(born in Strangnas),delivers his best interpretation so far. He acts with great self-assurance in his third major part(now as the duke),on Folkoperan, and his scenic performance in the rewarding tenor-part is one of the highlights of the production. The same goes for his singing - brilliant in the higher range,warmly expressive and technically impressive. I totally agree with the music-expert who, during the interval,somewhat surprised noted that Mats Carlsson, unknown to him, is a complete success.”
Eskilstuna-Kuriren 22/9 2006

...Mats Carlsson´s performance became a formidable and sensational success. A pure, lyrical-dramatical tenor, with strength and carrying capacity in the higher range. The well-informed audience applauded intensly. We enjoyed Stenhammar´s "Sweden" (lyrics by Heidenstam), as well as Radames "Celeste Aida" from Verdi's Aida. A brilliant tenor who will most certainly become a renowned artist, even though he likes it best in Nacka with his family, and has yet to tread on the path to the big opera-houses. We thank Irene on the board for booking this coming star. Who do you think his singing-coach is? Why, Erik Saeden of course. He made sure that Gösta Winberg opened the damper, and now the turn has come to Mats.”
Lars Hemmingsson - Jussi Bjorling Society 5/3 2005

...……………..must excuse, it was the tenor Mats Carlsson who got the biggest rounds of applause, (he even got standing ovations after "Nessun Dorma" from Turandot.) He is believed to have a successful future as the next big tenor in Sweden before him, and I can only agree with that. His arias felt all too short. During the interval, words like "fantastic", "lovely", "wonderful", "what gems", "what a tenor" and so on, were heard from the audience.
Värnamo Nyheter Konsert 9/4 2005

“Mats Carlsson's voice has most certainly developed, and with his self-assurance and his clear lustre, he ranks as one of the best in the Swedish "tenor-team." With bravura-pieces like "Nessun Dorma" from Puccini's Turandot - what a terrific opener! - and E lucevan le stelle from Tosca, he showed the audience what great opera-art is all about. These arias are often sung, hence common tenor pieces, but Mats Carlsson's personal and sonorous interpretation added a further dimension to both of them. ” Eskilstuna-Kuriren 2/1 2007

“The best soloist was Mats Carlsson, whose gentle tenor owns a plasticity and a warmness that is exceptional.”
Nerikes Allehanda 30/11 2004

“And Mats Carlsson's elegantly singing duke loves her, and demands that Maddalena dresses and touches him like Gilda did.”
Corren 25/9 2006

  (Mahler Das Lied von der Erde, Stockholm Concert Hall)
“And such a fullness of the voices as now with Anna Larsson and Mats Carlsson is not heard every day. That Larsson with her motherly warmth and human brittleness manages traditions after Kerstin Thorborg and Kathleen Ferrier in an illuminating way we knew already, but that Carlsson's crystal clear diction and perfect blend of light and dark timbre of his voice can compare to Set Svanholm and Fritz Wunderlich was a bewildering surprise”
SVD 14/3 2010

“But of course I fall for Mats Carlsson, who sings the lead role, Ernani. He has a wonderful tenor with a silver thread of sound and singing as if it were as easy as that, however difficult it is. So he gets a kiss on the forehead from the conductor Giovanni Impellizzeri, after well done aria.”
ST Kulturdelen 24/11 2010

“Pinkerton is performed by the Swedish tenor Mats Carlsson, and he has a bright future before him, this amazingly resilient Italian-style tenor.”
Kristeligt Dagblad 18/4 2007

“Like when the Duke, brilliantly sung by the tenor Mats Carlsson, contrary to his perception of himself and the world, understands that he has met love.”
DN 22/9 2006

“The biggest impression in the two performances is made by Mats Carlsson. as the Duke. His hollow-eyed, disillusioned duke sings one-hundred-per-cent body and soul Verdi, focused in a dark nucleus but with a brilliant expansion and power in the higher range.In his existence, Gilda becomes a human life-buoy, his hope of truth, and his despair after her abduction is not an irritated one,which very often is the case in other productions, but a seriously heart-rending one.”
Tidsskriften OPERA 5/06

“The singing is excellent. Mats Carlsson has a very brilliant tenor and his duke was presented as a somewhat stuck-up person, who was also able to show some gentle manners. ”
Norrköpings Tidningar 7/10 2006

“And then Folkoperan has yet another trump card in Mats Carlsson's lovely tenor voice for the duke's bravura-pieces.”
Södermanlands Nyheter 22/9 2006

“Mats Carlsson was a truly intimidating duke - but managed to make it absolutely comprehensible why both Gilda and Maddalena fall for him.”
Nerikes Allehanda 22/9 2006

“Eric Sjöström., managing director of Folkoperan, grows lyrical when he is told that we are interviewing Mats Carlsson. - A brilliant tenor, he says, praising Mats. When we heard him for the first time, we understood that something big was in the making. That is why Folkoperan hurried to sign him on for the fall production of Romeo and Juliet. ”
Eskilstuna-Kuriren 23/2 2005

“Folkoperan. has an ability to engage very good singers. One of those is, without doubt, Strängnäs-born Mats Carlsson, who is believed to have a successful future before him - he has already landed a contract for a major part in the fall production of Romeo and Juliet, and that is fully understandable. He surprises the audience in a positive way with his vocal proficiency, especially in the higher ranges. He makes his début with vocal skills and a nice timbre, greatly appreciated by the audience. ”
Eskilstuna-Kuriren 28/2 2005.

“The entire singing-ensemble was first-class. Mats Carlsson, as Alfred the singing teacher,made a great impression from the very beginning with the serenade about the pidgeon which flew away, and continued to let us listen to his tenore robusto in a series of famous pieces from, amongst others, Die Fledermaus.”
Norrköpings tidningar 13/1 2006

“Mats Carlsson's duke takes, with the unconstrained, beautiful tenor voice....”
Expressen 22/9 2006

“Mats Carlsson's voice comes through as strong and utterly stable. And after Puccinis's Nessun Dorma, the audience lets him hear well-deserved exclamations of "BRAVO!,on behalf of his excellent singing-technique and his solid tenor voice. He also gives a very nice rendition of "Dein ist mein ganzes herz" from the Hungarian composer Franz Lehár's operetta "Land des lächelns"( 1929). ”
LT 3/4 2006