You can help expand this article with text translated from the corresponding article in Swedish. (July 2017) Click [show] for important translation instructions. Machine translation, like DeepL or Google Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article. You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing Swedish Wikipedia article at [[:sv:Anna Brita Wendelius]]; see its history for attribution. You may also add the template {{Translated|sv|Anna Brita Wendelius}} to the talk page. For more guidance, see Wikipedia:Translation.

Anna Brita Wendelius, née Ramklou (1741–1804), also known as Wendelia, was a Swedish artist and singer. She was a member of the Royal Swedish Academy of Music and the Utile Dulci.

Anna Brita Wendelius was married to a wealthy merchant, Anders Wendelius. She was known as a non professional musician and singer, and was also a published poet. She was one of only three females known to have been a member of the Utile Dulci, the other being Anna Charlotta von Stapelmohr and Anna Maria Lenngren.^[1] In 1777, it is mentioned that she performed at one of the ceremonies of the Utile Dulci with her own written recitative and aria. In 1795, she was elected as a member into the Swedish Royal Academy of Music, together with Margareta Alströmer and Christina Fredenheim.

• Anna Ivarsdotter Johnsson och Leif Jonsson: "Musiken i Sverige. Frihetstiden och Gustaviansk tid 1720-1810 (The Music of Sweden. The age of Liberty and the Gustavian age 1720-1810."
• Ann Öhrberg: Fasa för all flärd, konstlan och förställning” Den ideala retorn inom 1700-talets nya offentlighet. Samlaren. 2010

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