Tête-à-tête – with Rasmus Klintberg

Hello Rasmus. Tell us about yourself.
I was born directly into a restaurant family. My mother was a pastry chef and part of the national culinary team, and my father is a sommelier, so there was never much doubt about what I would do.

I started working in restaurants at the age of 15. After graduating, I continued in the restaurant industry, but made a brief attempt as a salesperson for six months. I quickly realized that it wasn't for me, so I returned to what I enjoyed and started working at Furillen on Gotland.

It was there that I decided if I was going to do this, I would become truly excellent at it. I received some wine books from my father and worked very hard, while also studying as much as I could in all my free time.

After a few seasons in Åre, I heard that Aloë was going to open. I took the bus from Åkersberga to Älvsjö to meet the team, just a week before opening, and shortly thereafter started as a waiter. I completed one last season in Åre, but then returned to Aloë full-time in April 2016, and the following year, Höglander offered me the position of head sommelier.

You were only 23 at the time, how did that feel?
I was terrified. But Daniel said something that stuck with me: “If I believe in you, then you must also believe in yourself.” So, I simply had to accept the trust placed in me and go for it. In 2018, we earned our first Michelin star. Four months later, we chose to close, as Daniel felt it had become too much of a fine-dining establishment in the wrong way. We reopened with a clear ambition to achieve two stars, which we did in 2020. Then the pandemic arrived, and with the restrictions, I lost some of my energy and joy in restaurant life.

What happened next?
I moved on to Villa Dagmar to build their wine list in preparation for its opening. It was a completely different challenge, creating something for a hotel with a restaurant, bar, and rooms. It was also there that I began to rediscover my joy, as the world slowly brightened. Somewhere along the way, I realized I wasn't finished with fine dining. I was good friends with Johan Iller, who was then the restaurant manager at Operakällaren. When he was leaving, he asked if I wanted to take over. Höglander taught me everything I know about gastronomy. He was innovative and challenging, yet had a deep respect for history. That made the decision easy. Operakällaren is the stronghold of Swedish gastronomy – to work here is to become part of history.

I started in June. Ten days later, the then head chef Viktor Westerlind resigned, and shortly thereafter, Höglander re-entered the picture – and we were once again in the same place.

What does it mean to be head sommelier at Operakällaren, beyond the obvious?
Fundamentally, it involves managing the wine cellar, but also developing it appropriately. As the person responsible for all wine throughout Operahuset, I work with several wine lists – both at Operakällaren and Operabaren – as well as with all wine packages and pairings.
While I have considerable freedom, there is also a clear responsibility to understand and interpret Operakällaren's wine profile. This includes its history, values, and position. I cannot base decisions solely on my personal preferences; I must remain objective in my selections.
The only significant change I have made is to shift focus away from the USA and the New World, to give France and Europe an even stronger role. The French heritage, and the connection to Tore Wretman and Provence, are central here.

Tell us about Operakällaren's wine cellar.
It was Sweden's first temperature-controlled wine cellar when it opened in 1961. At that time, it was also common for private individuals to store their wines here.

The foundation for the cellar we have today was laid by Jean Paul Benezet, who served as the cellar master at Operakällaren for a long time. He is French and developed it with a focus on Bordeaux and Burgundy. Since then, it has been managed by skilled sommeliers.

One of the most unique aspects of the cellar is our verticals. As there have been relatively few head sommeliers over the years, we have been able to continue purchasing from the same producers, which has created significant depth. Domaine de la Romanée-Conti is a clear example, where I believe we have one of the largest collections. It is precisely these verticals that give the wine list such depth. Simultaneously, we offer a very broad selection within Champagne and Burgundy, working with numerous producers.

What do you do if a guest wants to buy a bottle that would break a vertical?
Perhaps I shouldn't say this if the owners are listening, but I prefer not to break verticals. I would probably try to guide the guest towards a different vintage instead, haha.

How many bottles are in the cellar?
Between 35,000 and 40,000 bottles.

How would you describe your relationship with wine – craftsmanship, passion, or obsession?
It is my passion. I think about wine almost constantly. If I travel, I prefer to visit a wine region. If I read, it's usually about wine. I probably have around 200 bottles at home. Wine, football, and music are three cornerstones of my life, along with food. Cooking is my therapy – putting on music and spending hours in the kitchen. And the world of wine is endless. It encompasses chemistry, history, and culture. The more one learns, the more one realizes how much more there is to discover.

Name a wine that has left a unique impression on you.
I was on a trip to Bordeaux and visited several of the classic châteaux, but a lunch at Château Margaux truly stands out. It's like a fairytale castle – the most beautiful in all of Bordeaux. We sat in their cellar, around a large wooden table, and drank Château Margaux 1954. One usually wants to put words to what one is drinking, but there, it was truly impossible. It was pure joy.

What still fascinates you about wine?
That there is always more to learn. It's impossible to reach the end – and even if one could, everything is constantly changing.

But today, it's almost as much about hospitality for me. It's about how to make people feel. Small gestures, smiles, thoughtfulness. Having the opportunity to influence a guest's experience, sometimes even their day or well-being. That is what makes service so special – and what makes it so enjoyable to be involved in developing restaurants.

How do you approach the balance between prestige and accessibility in a wine list?
It's easy to be blinded by prestige wines, especially early in one's career. However, I quickly realized that only a very small portion of the world has both the interest and the means to drink such wines. A large part of the work therefore revolves around the rather difficult-to-define concept of “value for money.” It is in this balance that the craftsmanship lies – between the exclusive and the accessible. And it is important not to let one's ego take over, as most guests fall into the latter category.

How closely do you work with the kitchen?
Very closely. We have weekly meetings to discuss dishes and wine, and as soon as the kitchen has an idea, I get an initial sense of the flavor profile, allowing me to start thinking in the right direction. Then we taste together. Sometimes broadly, sometimes more precisely. Recently, we tested 32 different wines with a scallop dish before finding the perfect match. In other cases, two might suffice. It's a continuous interplay where both sides adjust until everything truly harmonizes.

What makes a wine pairing truly memorable?
When it doesn't just complement, but when the elements truly elevate each other. When it feels like one plus one equals three.

How do you assess a guest within seconds?
I don't believe I have a distinct method; it happens quite intuitively. However, I always strive to approach my profession with the utmost seriousness, without taking myself too seriously. Otherwise, there's a risk of appearing condescending to the guest, and that would mean losing something very important.

We recently hosted a delightful group of young guests who were quite apprehensive about being in this environment. I told my sommelier colleague Linus that we needed to do something to help them relax, so we decided to serve vodka Red Bull – but we decanted the Red Bull into a wine carafe, haha. The entire party started laughing and truly relaxed afterwards. Absolutely, we are at Operakällaren – but the most important thing is that the guest feels comfortable. That is what they will remember.

Is there anything you wish guests would order more often?
Sherry. It is perhaps the wine in the world that offers the most complexity for its value.

How does the setting influence your wine service?
At Operakällaren, the dining room service is almost like a theatrical performance. Everything is part of the experience – flambéing, serving, how one moves within the room. Opening a bottle is not merely an action; it is almost part of the show.

How do you manage the pressure?
Much of it comes down to experience. I do not feel the same pressure today, and I strive not to take myself too seriously. This allows me to enjoy it more.

What do you drink yourself when you are not working?
Champagne and sherry.

Can you recommend some good value wines?
Look at the temporary selection; there are many gems to be found there. However, two specific recommendations are Chinon, Cuisine de ma Mere, 2024, for 149 SEK, and Sancerre Les Roches Domaine Vacheron, 2024, for 339 SEK.

If you weren't working with wine – what would you be doing?
Probably something in football. Perhaps as a football journalist.

Which part of the evening do you enjoy the most?
The moment just before the guests arrive. I go inward, have a coffee, drink some water, and mentally prepare. I leave my more introverted side behind and step into my role. But I also love when service is in full swing, when the room is vibrant, and I get to interact with the guests.

What do you want guests to feel when they leave Operakällaren?
Warmth and joy. That it was a memorable experience.

If you could take one bottle from the cellar – which would you choose?
Romanée-Conti 1989. One of the world's most iconic vineyard sites and a fantastic vintage. Otherwise, preferably a 1979 Salon.