He was born in Stockholm, Sweden, he studied voice at the Royal Music Conservatory in Stockholm and continued his musical education in the School of Theatre and Opera at Gothenburg University. German theatre audiences first saw him in the role of Captain Phoebus in Disney's Hunchback of Notre Dame in Berlin. The musical Elisabeth, where, at the Colosseum Theatre in Essen, he played the roles of Crown Prince Rudolf, and understudy for the lead role of Death, brought him a big step forward. On the side, Jesper Tydén is a composer for pop music, plays the cello and the piano, and he successfully performs concerts as a soloist, where he presents songs from his Swedish homeland as well as songs from various musicals. As a new challenge for his interesting career, the pleasant Swede now stars as American GI Chris in the new independent production of Boublil & Schönberg's Miss Saigon in St. Gallen.

You came directly from Elisabeth in Germany to Miss Saigon at the St. Gallen theater in Switzerland. From a big stage, an large production, to a smaller stage, in a state theater production. It usually happens the other way around. How was the transition for you?

To go into this completely different format was an interesting and very exciting experience. The long rehearsal period for Miss Saigon allowed for an intensive and intimate co-operation with the director, Matthias David. Time restrictions were not as tight here, as they often are in a long-run production. There was space and opportunity to try out different acting and singing elements. There are strong and valuable realizations about the show that I was able to come to during the rehearsal weeks in St. Gallen.

Is there a big responsibility that comes with playing a lead role?' How do you see this? After all, you contribute in a very significant way to the overall success of the piece.

Of course I have a responsibility, but I do not go into a production thinking that the story depends solely on me. I give my best with the material that is given to me. It depends on the show and the character. Naturally, there is pressure, most of all before the premiere, but in the end, everyone contributes to the success of a production.

Since it opened in February 2003, the Swiss staging of Miss Saigon has been enthusiastically embraced by the audience. All the performances are sold out until the summer break. It has been extended to the end of December 2003. What gave you the greatest impression about Miss Saigon?

Miss Saigon is a very tragic story that moves me very much with its sadness and emotion. At the beginning of rehearsal, I actually had nightmares, the story affected me so deeply. Therefore, I can really relate to and understand that part of the character of Chris that I play here. Of course, I have no idea what it's like to crawl in the mud of a war happening, to use a gun to kill people.

Is that the big demand that this show and your role puts on you?

Yes, exactly, to understand and convert all the emotions into reasonable acting. The role is wonderfully written, it shows a wide range of emotions, from very sad moments to great happiness. Chris is a human being within the Vietnam war, and his feelings of love for Kim are in strong contradiction with that. To continuously express those levels of conflict and Chris' individuality, and make it clear to the audience, is challenging and exciting work.

Have you succeeded, to play Chris in such a way, as you see him?

Naturally that's my goal, but I'm not there yet. I'm trying to get everything out of this role. I find new things in every performance, things which bring me closer to the role, and this makes it fun for me to try it out, and to bring out my artistic and personal development into the character of Chris.

In Elisabeth, you played a historical figure in Rudolf, where you have to stay true to reality. As Chris, you play a fictitious figure, which lends itself to your own interpretation of the person. Which is easier to play?

A good, but very intellectual question. For me, as an actor, on stage I create a person and that's the most important thing about it. Whether this person actually existed or not is insignificant for me. The character is developed and worked out with my heart and soul. I have to imagine this fictitious person, Chris in Miss Saigon, exactly the same as the emperor's son Rudolf in Elisabeth, who actually lived.

What means more to you, praise from critics, or from the audience?

The media criticism is definitely important for the production. For me, the audience reaction is totally important in every show. After Miss Saigon, I've received many positive reactions, but also some quite bad reactions. The individual criticisms interest me, naturally, and I am also sensitive towards these. However, with all outside evaluations, I take very lightly and can not be affected by them.

You are always on the go! Solo concerts in Germany. Recording sessions in Sweden, and your running commitment in Switzerland. On the side, you also take time for your fans with autograph sessions and fan club meetings. Is there still a balance between your career and private life?

It's not as bad as it may sound. I am on the road a lot, but nevertheless, I also have free time now and then! There is the balance between career and private life, and this is very important for me. I can not just be there for other people. To continue, I must be able to get strength, and I need my private life. I like my life just as it is now. I like to be on the move, this allows me to do a lot of travelling, to see a lot of things, and work on different projects.

One of these projects is your solo concerts. How did you come up with the idea for the concerts? Do you also hope to have a career as a solo singer?

The idea was just to challenge myself in another way. My routine of putting together my solo concerts is pretty crazy. The concertgoers are predominantly loyal musical theatre fans, and here they are confronted with a classical program, with Swedish ballads, completely unknown for them, English songs and German songs, even sacred music and opera arias. Not until after the intermission do we continue with musical theatre songs. It is an awesome program, and I often ask myself whether it works in warming the public up to it. But seeing how well it has worked, and it gives me a lot of enjoyment to give concerts with the music that I like. I have thought about a career as a solo singer, but this is in the distant future. Right now, it is just great to be able to do both, shows as a musical actor, and to give concerts as a singer.

Your fans have been waiting a long time for a solo album. How is it looking?

I know, I know...unfortunately, I still can't give a specific answer, when it'll be done and ready to be released. I'm working very hard on it. To produce my own CD, with my music and my lifeblood in it, needs a lot of time, and I hope for the patience of everyone that's interested in it.

Towards the end of your time in Essen, you said in an interview that everything has limits, that it was time for a new challenge and for fresh inspiration. With Chris in Miss Saigon you succeeded in that. Now you return again as Rudolf in the musical Elisabeth, which will play at the Theater an der Wien starting in October 2003. Why have you taken the role again in Vienna?

I was interested in working with the director Harry Kupfer, and I'm looking forward to that. Also, it is going to be the original production in an extended version. The Theater an der Wien is a very beautiful theatre, and it is an honour for me to be in this production of Elisabeth when it returns to Vienna after its success all around the world, more than ten years after its first performance. Also, I always wanted to do a show in Vienna. I love the city, and all of this together made me accept the offer.