Born in Gothenburg, Sweden, in 1988, Simon became interested in writing music in hes teens. He started off his education at Gotland School of Music Composition and continued at Malmö Academy of Music, later also studying at the University of Music and Performing Arts, Vienna. He has studied with among others prof. Luca Francesconi prof. Detlev Möller-Siemens, prof. Bent Sørensen and prof. Rolf Martinsson. With music performed in countries like England, Austria, Germany, Iceland, Faroe Islands, China, USA, Kurdistan and of course Sweden, Simon can proudly present himself as an international composer and musician. He has worked with conductors like Brad Lubman, Paul Mägi and Michael Bartosch and among ensembles and musicians who has performed his music Brussels Philharmonic (BE), Malmö Symphony Orchestra (SWE), Ensemble mise-en (US), Norrköping Symphony Orchestra (SWE), CHROMA (UK), Béla Quartet (FR), Helsingborg Symphony Orchestra (SWE), Kreutzer Quartet (UK), Ensemble Nordlys (DK), Brusk Zanganeh (SWE/Kurdistan), includes just a few.

https://soundcloud.com/simon-sofelde/fugato-brussels-philharmonic-1

https://www.youtube.com/watch?v=BR1nuwXcZmw&ab_channel=incipitsify

Sound is central in Tally’s creations. Her music is a flow of playful contrasts where a sense of humour and poetic use of sound are blended to mix. Beside writing works for contemporary music scene, she has composed music for films. In recent years, importance of orchestral music has increased in her oeuvre. Mirjam Tally is also performer of electroacoustic music: she has a duo "Unejõgi" ("Dream river") together with Estonian folk musician Meelika Hainsoo. Elements of Estonian folk music are mixed with electroacoustic sounds, with influences of minimalism, glitch, drone and electronic pop.

She has graduated from the Estonian Academy of Music as a student of Lepo Sumera in 2000. Since 2006, Tally lives on the island of Gotland, Sweden. In 2009-2010, she was Composer in Residence at Swedish Radio P2 channel. In 2017, Tally was Composer in Residence at Studio Acusticum in Piteå and at Västerås Sinfonietta, Sweden. In 2018, Tally´s album "Interferences" won the Manifest prize in Sweden, in category "best experimental".

In 2009, Tally's orchestral work “Turbulence” was selected as one of recommended works at International Rostrum of Composers. She has received 2 prizes for her work “Turbulence” - the Composer Prize of the Estonian Music Days Festival (2007) and the small Christ Johnson Music Prize (2008) by the Royal Swedish Academy of Music. In 2021, she received the Carin Malmlöf-Forssling Prize by the Royal Swedish Academy of Music for “her rich and headstrong art that moves freely between different musical forms and expressions. As a composer, Mirjam Tally evokes a very special sound world, magical and at the same time captivating, where there are no limits to the creative joy and imagination”.

Tally´s music has been performed in over 20 countries, including festivals Mixtur in Barcelona, Spain (2013), Dark Music Days on Iceland (2006, 2016, 2017), Summartónar on Faeroe Islands (2008, 2017), The Venice Biennale's International Festival of Contemporary Music in Italy (2008), ISCM World New Music Days in Lithuania, Sweden and Croatia (2008, 2009, 2011), Nordic Music Days on Iceland (2011, 2016), in Finland (2013), and in London (2017), Sound of Stockholm (2010-13), Svensk Musikvår (2017), Geiger festival in Gothenburg, Sweden (2012); several festivals in Estonia.

Collaborations: Nordic Affect (Iceland), John Storgårds and Lapland Chamber Orchestra (Finland), BIT20 Ensemble (Norway),  Altera Veritas, Kaspars Putninsh (Latvia), UMS’n JIP (Switzerland), Marco Blaauw, New European Ensemble (The Netherlands), bassclarinetist and composer Jorge Variego (Argentina), flutist Anna Svensdotter, Swedish Radio Orchestra, Swedish Radio Choir, Eric Ericson Chamber Choir, Uppsala Chamber Orchestra, The Gothenburg Combo, trio ZilliacusPerssonRaitinen, 40f, Sonanza (Sweden) and others. She has collaborated with several musicians, choirs and orchestras from Estonia, most frequently with filmmaker Ülo Pikkov, conductor Risto Joost, flutist Monika Mattiesen and Kristi Mühling (kannel).

Turbulence (2006) for orchestra

Birds and Shadows (2008) for violin and string orchestra

Winter island (2009) for string trio or string quartet

Déja vu (2010) for kannel or harp and string orchestra

Density (2010) for orchestra

music for Ülo Pikkov's film Body Memory (2011)

New Moon Morning (2012) for flute quartet and tape

En strimma hav (2012) for mixed choir

Lament (2013) for orchestra

“Yellow Hat" (2013) soundtrack for Jesper Kurlandsky´s film of Virpi Pahkinen

“Land of tree worshippers” (2014) for mixed choir, tape and sound objects

“Warm life at the foot of the iceberg” (2014), versions for different instrumentations

Your shadow (2015) for mixed choir and tape

“Interferences” (2017) for Paezold contrabass recorder and tape; EAM versions

Andrea Tarrodi, born in 1981, is a Swedish composer based in Stockholm. She started playing the piano at the age of 8, and became interested in composition shortly thereafter.

Tarrodi studied composition at the Royal College of Music in Stockholm, Conservatorio di Musica di Perugia, Italy, and the College of Music in Piteå with, among other teachers, Jan Sandström, Pär Lindgren, Fabio Cifariello-Ciardi, Jesper Nordin and Marie Samuelsson. She completed her master´s degree in composition at the Royal College of Music in Stockholm in 2009.

In 2010 her piece Zephyros for orchestra received 1st prize in the Uppsala Composition Competition, which led to several performances of the piece by different orchestras around the world. 
During 2011-2013 Tarrodi is Sveriges Radio (Radio Sweden) P2´s Composer in Residence. A residence that includes, among other projects, commissions from the Swedish Radio Symphony Orchestra and the Swedish Radio Choir. In spring 2012 she was appointed "Composer of the Spring Season" in the Berwald Concert Hall. In the same year Tarrodi received the Swedish MPA:s Classical Music Award of the Year - chamber music for her piece Empíreo for strings, harp and percussion. During 2013-2014 Andrea Tarrodi is the Västerås Sinfonietta´s Composer in Residence.

Tarrodi writes for many types of ensembles, and is particularly interested in vocal and orchestral music. Her works have been performed by, among others, the Swedish Radio Symphony Orchestra, the Royal Stockholm Philharmonic Orchestra, the Gothenburg Symphony Orchestra, the Cape Philharmonic Orchestra, the Spartanburg Philharmonic, the Swedish Chamber Orchestra, the Malmö Symphony Orchestra, Västerås Sinfonietta, Eric Ericson´s Chamber Choir and the Swedish Radio Choir. Tarrodi´s music has been performed in the US, Germany, Austria, UK, Norway, Iceland, Serbia, Portugal, Italiy, the Netherlands, Turkey, Mexico, China, Australia and South Africa. Tarrodi's music has been represented twice at the Baltic Sea Festival.

Molly Teleman, born in 1982, is a Swedish composer based in Östergötland, Sweden. After brief studies in trumpet and violin as a child, she began piano lessons ten years old and singing in her teens. When she began a professional music high school she took on studies in composition for David Swärd. Piano playing and singing followed her, but composition became more and more prominent as time went on.

After piano and composition studies at folk high school, she studied composition and pedagogy at Music College of Ingesund, for Sverker Magnusson. She then left for Bergen, Norway and the Bergen University; the Grieg Academy. There Teleman studied composition for the late Morten Eide Pedersen. Guesting lecturers were among others Kaija Saariaho and Bent Sørensen. She completed her fine arts degree in composition in Bergen in 2007.

After her degree Teleman moved back to Sweden and studied other subjects as well, such as Culture Journalism, Creative Writing, History of Ideas and Literature. She has been active as a music and film critic in Östergötland since 2007, for news magazines such as Norrköpings Tidningar and ÖstgötaCorrespondenten.

Molly Teleman writes for all kinds of acoustic ensembles and is as yet particularly enthusiastic about choir and chamber music. Her works have been performed by Forsvarets Musikkorps, Unge Musikere, Musikaliska Sällskapets Kammarkör, Östgöta Kammarkör, KFUM:s Kammarkör, Oskarshamns Folkhögskolas Kammarkör, among others. Her music has been represented at the Borealis Festival and Sound of Stockholm.

She is a member of FST, STIM (The Swedish Performing Rights Society) and KVAST (for female composers).

…..

Molly Teleman, född 1982, är en svensk kompositör bosatt i Östergötland. Som barn spelade hon en kort tid trumpet och sedan violin, två instrument som hon övergav för att tio år gammal börja spela piano. I tonåren började hon även ta sånglektioner. När hon började på Musikgymnasiet DeGeer, en musiklinje med yrkesprofil, tog hon sina första kompositionslektioner för tonsättaren David Swärd. Hon fortsatte spela piano och sjunga, men komponerandet blev allt mer dominerande allt eftersom tiden gick.

Efter gymnasiet studerade Molly Teleman piano och komposition på Ingesunds Folkhögskolas Musiklinje, något som ledde vidare till kompositionsstudier på Musikhögskolan Ingesund för Sverker Magnusson. Efter fyra år i Arvika flyttade hon till Bergen, Norge, och Griegakademiet på Bergens Universitet. Hon studerade där för Morten Eide Pedersen i två år, med gästföreläsare som Kaija Saariaho och Bent Sørensen med flera. Molly Teleman tog sin bachelor i fine arts, composition 2007.

Efter examen återvände hon till sin hemstad Norrköping och studerade andra ämnen, som kulturjournalistik, idéhistoria, litteraturvetenskap och kreativt skrivande. Hon har varit aktiv som musik- och filmkritiker i Östergötland sedan 2007, i tidningar som Norrköpings Tidningar och ÖstgötaCorrespondenten.

Molly Teleman komponerar för alla akustiska ensembleformer, men är än så länge särskilt entusiastisk för kör och kammarmusik. Hennes musik har blivit framförd av ensembler som Forsvarets Musikkorps, Unge Musikere, Musikaliska Sällskapets Kammarkör, Östgöta Kammarkör, KFUM:s Kammarkör, Oskarshamns Folkhögskolas Kammarkör, bland flera. Hennes musik har dessutom framförts på Borealis Festival och Sound of Stockholm.

Hon är medlem i FST, STIM och KVAST. 

Stefan Thorsson (b. 1968) is a Swedish composer based in Berlin. He completed his Master studies in Composition in 2008 at the Academy of Stage and Music in Gothenburg and at the Hanns Eisler Academy of Music in Berlin, with the thesis project Dialogue Music: The Dead Angles of Contemporary Music. He works mainly with contemporary stage art, theater and film. Central to Thorsson’s process is a visual and musical exploration of the potential for his work to be infiltrated by other genres and times. Often in the form of experimental, improvisational projects that include diverse media, his works pose existential questions about music as a contemporary art form. Since 1998, Thorsson has collaborated with artists from other fields on some fifteen cross-disciplinary art projects. On his own, he has composed over thirty works, ranging from soloists and various chamber ensemble formations to larger choirs and orchestras. In tandem with his compositional practice, he writes reviews and essays for three magazines: KunstForum (visual arts), Scenekunst (performing arts) and Nutida Musik (contemporary music).

2015

New work: Broken Piece (17′) for 1: Violoncellosolo, percussion quartet and string orchestra, and 2: Chamber ensemble. (Not premiered)

New work: Good Morning Kirkland! (3’33″) A trio for piano with optional woodwind and string instrument. (Not premiered)

New work: Via di San teodoro (30’) for soprano, mezzosoprano, string quartet, electronics & video. (Not premiered)

New work: Triptych 1981 (15′) for two violins. (Not premiered)

Stage Art: Do No More Than Look (15’) for video & electronics. (Premiered in New York, USA, 18.09.2015)

Stage Art: Det siste mennesket (20’) for electronics. (Premiered in Skien, Norway, 26.02.2015)

Text: Et parlament av former. An art review, KunstFORUM (KF).

Text: Dramaturgienes konsekvenser. An art review, KF.

Text: Ekte fiksjon. A music festival review, Scenekunst (SK).

Text: Døden i Körnerpark. An art review, KF.

Text: Følelsens mekanisering. An art review, KF.

2014

Stage Art: Der Letzte Mensch  (60’) for electronics. (Premiered in Berlin, 20.09.2014)

New work: V (21’) for Orchestra. (Not premiered)

New work: Three point one four (13’) for Mixed Choir a Cappella. (Not premiered)

New work: The Dismounted Heaven (10’) for Viola, English Horn & Chamber Ensemble (Not premiered)

New work: One of two elegiac trios (23’) for chamber ensemble. (Not premiered)

Text: Ordtsunami i Berlin. A music festival review, SK.

Text: Redefining displaced form. An art review, KF.

Text: Ultraschall. A music festival review, Nutida Musik (NM).

2013

New work: Hybrid (12’) for String ensemble. (Not premiered)

Festival: Auto Body (8’) for Chamber Choir, ISCM, Vienna, Austria.

New work/Stage Art: A prayer for the unborn child (60’) for electronics. Premiered in Novi Sad, Serbia.

Text: Tidens pil og irreversible hendelser. An essay on time, KunstFORUM (KF).

Text: Metallarbetarens eteriska dotter. An essay on Kaija Saariaho, Tidningen Kulturen (TK).

Text: Maerzmusik. A music festival review, TK.

Text: Musik som minnesmärken. An essay on Lars Petter Hagen and Christian Boltanski, TK.

Text: A question of grain. An art review, KF.

Text: Is it a mortal sin to stagnate? An art review, KF.

Text: The language of art. An art review, KF.

Text: Art fallen into oblivion. An art review, KF.

2012

New work: Don’t bang the drum (11’) for Orchestra. (Not premiered)

New work: A dog came in the kitchen (13’) for String trio & Vocal quartet. (Not premiered)

New work: Seven (49’) for Piano trio. (Not premiered)

New work: Into my arms (5’) for Chamber ensemble. (Not premiered)

Text: Robert Schumann & misslyckandets triumf. An essay on Schumann, TK.

Text: Vridning – Motstånd – Stoft. An essay on contemporary german music, TK.

Text: Simplicity full of nuances. An art review, KF.

Text: Beräknande konst i Hamburg. Art review, TK.

Text: Nørgård i tid och evighet. An essay on Per Nørgård, TK.

Text: Cartaditalia. An essay on contemporary italian music, TK.

Text: Svampens uppgift är att befria världen från gammalt skräp. An essay on John Cage, TK.

Text: Ultima musikdrama – The List. A music festival review, TK & Scenekunst, Norway.

2011

New work: Auto Body (8’) for Chamber choir. Will be premiered at ISCM 2013, Vienna, Austria.

New work: The Shadows (16’) for two pianos. (Not premiered)

New work: 11 Rhythmic Studies (14’) for piano. (Not premiered)

New work/Stage Art: The lost humanity (30’) for Organ & Electronics. Premiered at Jacobskyrkan, Oslo

Text: Det klingande sakramentet. An essay on liturgical music, TK.

Text: Är musiken hemlös? An essay on Heiner Goebbels, TK.

2010

Festival/Stage Art: Saba Pacha (40’) for Chamber ensemble. Ultima festival, Oslo.

New work/Stage Art: Who is Lou? (60’) for electronics. Proekt Fabrika, Moscow, Russia

New work: Streich Quartet V (18’) for String Quartet. (Not premiered)

2009

Festival: Shore Leave (15’) for Chamber ensemble, ISCM, Sydney, Australia.

New work/Stage Art: Esther is Crawling (50’) for electronics. Aarhus museum of modern art, Denmark.

New work: Waltz after Stromberg (9’) for Chamber ensemble. (Not premiered)

Text: Det som har varit följer med oss men nu i nya otydliga skepnader. An essay on experiences of music through history, TK

Text: Den nya musikens åldrande, isolering och estetiska kortslutning. An essay on Adorno, TK

2008

New work/Film score: Kredens (30’). A documentary by Jacob Dammas, Warsaw, Poland.

Text: Dialogue music. Master dissertation at the Academy of Music and Drama in Gothenburg, Sweden.

Text: Att lyssna är att observera sig själv. An essay on Helmut Lachenmann, TK

Svensk bio:  http://www.klastorstensson.com/biographies%20PDF/Biografi%20(Svenska).pdf

Engelsk bio:  http://www.klastorstensson.com/biography.htm

[Curriculum Vitae in English].

Nederländsk musikforskare, musikteoripedagog och tonsättare. Sedan Peter år 1990 flyttade till Gotland, har han arbetat som musikteoripedagog vid gymnasiet i Visby. Peter grundade år 1994-95 Gotlands Tonsättarskola (tillsammans med Ramon Anthin och Barbro Möller) och har arbetat som gehörspedagog vid Tonsättarskolan fram till år 2014. I uppdrag av Kungliga Musikhögskolan i Stockholm skrev Peter år 2010 musikteoriutredningen "Musikteoriutredningen - en vision för ett ämnesområde i förändring". År 2015 doktorerade Peter vid Uppsala Universitet med avhandlingen Counterpoint and Partimento: Methods in Teaching Composition in Late Eighteenth-Century Naples (Uppsala: Acta Universitatis Upsaliensis, 2015. Studia musicologica Upsaliensia no. 25).

På senare är har Peter arbetat som timlärare i musikteori vid Kungliga Musikhögskolan i Stockholm. Sedan hösten 2017 är Peter lektor i musikteori vid Norges Musikhögskola i Oslo. 

Nyligen publicerade Peter en komplett vetenskaplig utgåva av den Neapolitanska mästaren Nicola Sala's 189 partimenti i tre volymer (Uppsala: Acta Universitatis Upsaliensis, 2017. Studia musicologica Upsaliensia nos. 27a–c).

Kontakt: vantour@telia.com

For list of academic publications, see: www.vantour.se


David Tudén (1991) är en frilansande kompositör utbildad vid Kungliga Musikhögskolan i Stockholm där han tog sin masterexamen 2020.
Hans musik och verksamhet undersöker ofta nya fält genom utommusikaliska berättelser och associationer. Bland dessa fältöverskridande verk är ”Plumones in utero” (2019) ett exempel. I verket möter musiken läsning  ur Emanuel Swedenborgs dagbok, inläst av Pär Hansson, vilken verkar i dialog med den antika romerska poeten Ovidius texter. David Har även samarbetat med Alkemisten Christer Böke för orkesterverket ''Chrysopoeia'' (2020) samt Marinbiologen och forskaren Christina Lin i verket ''Perpetual Becoming'' (2023). 

Perpetual Becoming framfört under östersjöfestivalen 2023 på Baltic sea festial science lab: https://www.youtube.com/watch?v=ZYkrrKbjMOA
 

Phlogistón framfört av Kymatic Ensemble på Musikaliska Kvarteret 2023: https://www.youtube.com/watch?v=unX3my1K1nE

Carl Unander-Scharin was born in Stockholm in 1964, studied at the Royal College of Music and at the University College of Opera in Stockholm where he acquired a Master of Fine Arts in Church Music in 1991. He studied organ under Hans Fagius, conducting under Eric Ericson, Gustaf Sjökvist and Jorma Panula, singing for Solwig Grippe, Hans Gertz, Nicolai Gedda, Erik Saedén and Gösta Winbergh, counter-point and musical theory for Lars-Erik Rosell and Per-Gunnar Alldahl. Between 1991 and 1995, Carl studied at The University College of Opera in Stockholm, where he acquiered a diploma in Operatic singing. Carl also holds a teacher's degree as well as a choral conductor's degree, both from the Royal College of Music in Stockholm. In 2015, Carl defended his PhD thesis "Extending Opera" at KTH The Royal Institute of Technology 

He has a parallel career as a composer and as a lyric tenor. Having sung roles at many Swedish venues such as the Folkoperan, Vadstena-Academy, and the likes, he was during 2000 to 2011 employed as a tenor soloist at the Royal Opera in Stockholm, where he appeared in 25 roles – such as Tamino (Mozart's "Die Zauberflöte"), Almaviva (Rossini's "Il Barbiere da Siviglia"), Raoul de Gardefeu (Offenbachs "La Vie Parisienne), Gonzalve (Ravels "L´heure Espagnole) and many more – all in all 355 performances. During 2009, Carl appeared as Nadir in Bizet´s "Les Pêcheurs de Perles" at Folkoperan, a rendering of this high and complicated role that was highly praised. Carl is continuously performing in concerts and oratorios, especially in Bach’s tenor parts, for example the passions and the oratorios. A rarely performed piece "Faust et Helène" by Nadia Boulanger, was staged by Malmö Opera during winter 2014 - with Carl performing as Faust. 

During the summer season 2018 at the Drottningholm Theatre, Carl performed as Francesco Gonzaga, a rendering of this complicated contemporary role (specifically composed for Carl´s voice by composer Djuro Zivkovic) that received critical acclaim. 

On two occassions, Carl has made extraordinary "jump-ins" in contemporary operatic music with short notice. In the spring of 2017, Malmö Opera needed immediate help in order to be able to perform K-B Blomdahl´s "Aniara" that same evening. Carl managed to learn the highly complicated part Cheftekniker 1 while travelling to Malmö in order to sing the part that same evening. The jump-in was highly acclaimed and Carl also sang the role on the subsequent performance, both of which where conducted by Tobias Ringborg. 

Also, in December 2008, Carl made a jump-in in SD Sandström´s "Batseba". The opera was to have its' first performance on the evening of December 13, and Carl was asked to learn the part as Amnon during the very afternoon of that day in order to save the performance. This was accomplished and the appearance (under the baton of Leif Segerstam) was successfull – and was also broadcast directly on radio. 

Carl has participated in 16 CD recordings both as a composer and as a tenor; most recently in recordings of music by Bach (b-minor mass 2015 under the baton of Ingmar Månsson) and the newly composed St John Passion by Fredrik Sixten (conducted by Ragnar Bohlin). For a full list of recordings by Carl Unander-Scharin, see: www.electronic-opera.com/publications_6

Carl Unander-Scharin is a prolific composer of operas, electronic/ interactive music and spiritual music. His radio-opera Mannen på Sluttningen/ The man on the Hillside represented the Swedish Broadcasting union in Prix Italia in 1991. His first opera for the stage - Tokfursten/ The King of Fools was premiered in Vadstena in July 1996, and was released on CD (CAP 22046). Tokfursten received major acclaim nationally and was also internationally notified.

The song cycle for radio, Figures in a landscape was commissioned by the Swedish Broadcasting Union, and awarded an honorary mention in Prix Italia, 1999.

Lysistrate - his third opera, was commissioned by the University College of Opera - and premiered in June 1998. This opera was staged in Oslo in April 2002.

In September 2001, his fourth opera Hummelhonung / Sweetness was staged by the Stockholm Royal Opera.

At the castle in Vadstena, his fifth opera Byrgitta had its world premiere July 26, 2003. This opera is based on the life of Birgitta Birgersdotter, Sweden’s most famous person from the medieval times and the only saint of Swedish origin.

The oratorio Apostlagärning/ Acts was given its first performance in May 2004, and broadcast on the radio and web. It was encored in 2006, and was also selected to represent the future possibilities of oratorio writing by the Church of Sweden's cultural council.

His 6th opera, a commission from the Royal Opera in Stockholm, had its premiere in Dec 2006. It is a comic opera for children and others - Loranga, Masarin and Dartanjang, based on books by Barbro Lindgren, and was reprised in 2007 and 2008. 

In august 2006, the third motet Spritual Exercises was premiered by the Swedish Radio choir, conducted by Peter Dijkstra.

For the Kroumata percussion ensemble and the Swedish soprano Erika Sunnegårdh he wrote The World As I see It with texts by Albert Einstein. This piece was selected by Swedish Radio to be presented at Rostrum 2007.

The choral work To The Unknown God was premiered in May 2007 by St. Jakobs Chamberchoir under Gary Graden. 

The interactive Dreamplay The Crystal Cabinet was premiered by Piteå Chamber Opera, and toured the north of Sweden in the fall of 2008.

From 2007 to 2009, Carl Unander-Scharin was composer-in-residence at the Gothenburg Opera House, where the operathriller The Insomnia Clinic/ Sömnkliniken was premiered in February 2009. It was a collaboration with Alexander Ahndoril.

In the fall of 2010 Medmänniskor/ Mankind (an oratorio with texts by Stefan Einhorn) - was given its first performance in the Berwaldhall by The Swedish Radio Choir under Peter Dijkstra.

The Elephant-Man, Carl´s ninth opera commissioned by NorrlandsOperan and with a libretto by Michael Williams was commissioned and performed by NorrlandsOperan in 2012.

The dancework Artificial Body Voices was created in collaboration with Åsa Unander-Scharin, Klas Wahl, Lene Juhl and Mark Viktov in 2011 and shown on Swedish Television as well as at the Studio Acusticum in Piteå.

The interactive exhibition Opera Mecatronica was premiered in the Reactorhall at KTH in november 2010 and has since then been presented at Operadagen Rotterdam, the Royal Opera in Stockholm. Parts of Opera Mecatronica has been shown in Hungary, South Africa, Canada, USA, Finland. 

Between 2010-2015 Carl was a PhD student at KTH (The royal institute of Technology) in collaboration with the University College of opera in Stockholm, and between 2011-2014 he was appointed Visiting Professor at the same venue, being responsible for development and teaching within the realm of opera and technology. The internationally appraised courses in Extended Opera toured Sweden, to Holland (Operdagen Rotterdam), South Africa (Cape Town Opera) and Hungary (Liszt Academy). 

Since 2014, Carls holds the position as Visiting Professor at the University of Karlstad/ Musikhögskolan Ingesund.

Current commissions include Varelser och Ballader/ Beings and Ballads (Musica Vitae 2016), Calligrammes (Berwaldhallen 2017) and ReCallas (Croatian National Opera 2019), Plåtsax - Hjärtats Instrument (private commissioner, 2018), Riddartornet (Mälardalens Högskola, 2018)

Carl Unander-Scharin is  a member of the Society of Swedish Composers (FST) since 1997, and became an elected member of the Royal Swedish Academy of Music in 2015.

Víctor Varela föddes i Caracas, Venezuela 1955. 

Utbildningsvägen gick via det Nationella Konservatoriet Juan José Landaeta i Caracas (diplom i komposition 1987); Sweelinck Conservatorium Amsterdam (Kompositionspris 1993) och Royal Conservatoire i Haag (Elektronisk Musik). 
Varelas musik har framförts vid ett stort antal konserter och festivaler i Europa såväl som USA, Latinamerika och Japan.

I Sverige har han deltagit i festivaler och serier som: Stockholm New Music, GAS, Geiger, New Sweden i Piteå, Nytt i Småland, Frontside i Göteborg, Sound Space i Malmö, Svensk Musikvår och Ny Fredag i Stockholm Konserthuset.

Hans verkskatalog inkluderar musik för symfoniorkester, vokal och instrumental kammarmusik, musik för ballet och med elektroakustiska källor. 

I Sverige har han komponerat till ensembler som Gageego!, KammarensembleN, Norrbotten NEO, Stockholms Saxofonkvartett, Duo EGO och Ars Nova. 

Har skrivit till solister som Anders Jonhäll, Jörgen Pettersson, Jonas Olsson, Per Sjögren och Robert Ek.

Víctor Varela har fått beställningar och arbetsstipendier från Svenska Rikskonserter, Konstnärsnämnden, Kultur Rådet, FST och STIM. 

1996 representerade han Venezuela i World Music Days (ISCM festivalen-Köpenhamn); 2005 representerade han Sverige på samma festival i Zagreb. 
I Venezuela erhöll Varela det Nationella Kompositionspriset (1987-89) och Caracas Stads Musikpris (1987-90). 2002 fick han Göteborgs Stad Kulturstipendium. 

Han varit docent i harmonilära, orkestrering och analys av Samtida Musik vid Konservatoriet J. J. Landaeta och IUDEM, och även varit föreläsare vid Universidad Central de Venezuela, Universidad Simón Bolívar, Stanford University (USA) och Göteborgs Musikhögskola.
Varela är bosatt i Sverige sedan 1994, är svensk medborgare sedan 2001 och i 2002 blev han medlem i FST -Föreningen Svenska Tonsättare-.