Tickets are available for their upcoming performance of Rossini’s Stabat Mater at Cadogan Hall here.
ANNE-SOPHIE DUPRELS
You began your training as a pianist and conductor; how has that shaped your approach to performance?
I was very lucky to get musical education from a very young age. I read music before letters (!) and having trained as a pianist and conductor gives me a wonderful perspective on all different aspects of the score. I’ll shape my interpretation working obviously on the text but also with the colors of the instruments in the orchestra. If when learning a role you know certain words will be sung with a trompette or a violin, you will need different colors !
You have performed in many operas with Opera Holland Park. What is different about preparing for performance in a recital like this, versus taking on a full-length opera?
In a way the preparation is the same, you work on the text, on the music, you look for the expressivity, how you’re going to communicate and share the emotions in the music. But all without staging! A concert requires a different type of focus and there is no hiding behind a character. It’s a direct conversation with the audience.
What are you most looking forward to about performing in Cadogan Hall?
I’m very much looking forward to singing this fabulous program, Rossini’s Stabat Mater is absolutely gorgeous and I feel so lucky to be part of this bel canto evening! I get to work with dear and wonderful colleagues, in a beautiful concert hall, this is absolute joy!
BLAISE MALABA
As part of April’s Stabat Mater concert, you will be singing ‘Vieni la mia vendetta’ from Donizetti’s Lucrezia Borgia. How do you balance the technical demands of this aria with the portrayal of such intense emotions?
In this aria, Duke Alfonso sings about vengeance, making it quite demanding both dramatically and vocally. My approach focuses on striking a balance between conveying the emotions and intentions behind the text while maintaining solid technical execution.
You sang in Verdi’s Quattro pezzi sacri, Opera Holland Park’s last concert in this series of exploring sacred works. What did you enjoy most about that experience, and what are you looking forward to about performing as part of Rossini’s Stabat Mater in Cadogan Hall?
It was a great evening, not only because I had the opportunity to sing King Philip’s aria from Don Carlo—a role I believe will come my way at some point in my artistic development—but also because I discovered a piece I had never heard before. The Opera Holland Park Chorus was brilliant. I’m really looking forward to exploring Rossini’s Stabat Mater. It will be my first time singing it and also my debut at Cadogan Hall. The solo part has some tricky moments, but my job is to find solutions and enjoy this incredible music. It promises to be a wonderful evening for everyone on stage and in the audience.
You are starring in Lucia di Lammermoor as part of Opera Holland Park’s 2025 Season. What are you most looking forward to about your role?
Firstly, Raimondo is a great role that will be a valuable addition to my growing list of Italian repertoire. I’m gently discovering it, I like the warmth and the dramatic tension and development that makes it interesting to play, and this is beautifully supported by the flowing Bel Canto lines. This will also be my role debut, making the opportunity even more exciting.
Anne Sophie and Blaise will both perform at Cadogan Hall for Rossini’s Stabat Mater on 6 April. Tickets are available here.
