Hanli Stapela stars as Mimi in Opera Afrika’s new production of La Bohème, currently running at the State Theatre in Pretoria till 27 March, before their season in Johannesburg opens on 11 April.

You have worked abroad extensively and lived and worked in the USA for many years. What brought you back to SA?

That is still not clear even to me. I was in South Africa on a break after incessant travel in Europe and between Europe and the USA.  While driving through the Karoo, which I adore, I decided to stay for a while. Wide open spaces, endless blue skies, the distinct aroma of the Karoo veld or travel weariness? Any or all of the above could be blamed. My parents were also aging and I wanted to spend more time with them, which turned out to be divine intervention, as my beloved
mother passed away recently. I cancelled upcoming engagements (obviously there wasn’t anything like a big Met or La Scala engagement, or I wouldn’t have been here) and not long after that started singing again and then teaching in South Africa. Thus the while has turned into years.

This will be your debut performance for Opera Africa. What excites you most about this opportunity?

The experience of the combination of such exciting young and very experienced singers. We have an enormous wealth of talent in this country, but hardly any opportunities for serious young singers who would like to make a living on the opera or classical concert stages to hone their art. Opera Africa has brought together a team of people, in particular conductor Timothy Myers and director Themi Venturas, from whom all of us, young and old, have learnt an enormous amount within a short space of time.

Do you find South African audiences respond differently than those in Europe or the States? And if so, how and why?

Audiences in Europe and the States generally know the repertoire better, so they often know when an aria or a section ends for applause. Many members of the regular South African theatre-going public get irritated by ‘inappropriate’ applause, but I would rather have that than an inhibited audience who feels too scared to show their appreciation. I have experienced enthusiastic and less enthusiastic audiences all over the world.

In concert or full operatic performance, what do you prefer?

As a young artist concerts were difficult, because you stand in front of an audience as yourself. No costume, special lighting or make-up. You also jump from one character, musical style, composer and language to the next, without the continuity of a story and relative anonymity which opera offers. Once I have learnt how to engage with the audience in concert, I started enjoying that as much as opera.

Your most favourite operatic role ever?

That is a very hard question to answer, but if I have to choose it will probably be Massenet’s Manon.

And your most memorable performance?

It has to be a performance of Gounod’s Faust (another one of my favourite roles) with the Italian conductor Carlo Franci. It is a rare experience when you feel that a performance has come close to musical perfection, as this one felt for me. It was so magical that I felt at the end of the opera as if it was Hanli and not Marguerite who was transported to heaven.

Which venue that you have performed in holds a special memory in your heart?

It is difficult to choose between the New Year’s Eve when I sang Rosalinde in Die Fledermaus in the Avery Fisher Hall (New York) with the city covered in a deep blanket of snow, while decorated in fairy lights, or the outdoor concert in Plettenberg Bay, when the full moon rose behind me while I was singing Rusalka’s Song to the moon.

Any one role that still eludes you and that you wish to perform?

I would love to sing several Richard Strauss roles, like the Marschallin in Der Rosenkavalier, Arabella, Daphne and the Gräfin in Capriccio and probably most of all Massenet’s Thaïs.

During your stint as opera repetiteur at the State Theatre Opera, what made you want to be centre stage rather than in the wings?

In my case the deciding factor had nothing to do with being on or off stage, as it is still the creative process that I love most. I had already been taking singing lessons for many years, but had always rebelled against suggestions that I should make a career from singing. Once I was exposed to the industry, I believe that it was inevitable that I should do the thing that I was always meant to do.

Has this backstage experience influenced your approach to production at all? And do you recommend similar experience to aspiring soloists?

It has given me enormous empathy for anybody who operates out of the limelight, but who is an integral part of a production. Without the excellent input of all kinds of people in the theatre, we cannot do our best when we step onto the stage to perform. Being a repetiteur is not something that most singers would do, as they are obviously trained as singers and not pianists. Having said that, I would urge all singers to get the best music schooling and background they can possibly get, as it is essential for understanding the music that we are performing and greatly enhances the performance experience.

What would your advice be to young and upcoming soloists? And what is the most important message you wish to leave with your students at TUT & UP?
To all young musicians I would say: Strive towards excellence. If your dream is to make a career in classical music, you have to be willing to work very hard to rise above all the other beautiful voices and accomplished musicians. Very important is to also appreciate and enjoy the journey. This is too taxing a career not to enjoy what we do.

La Bohème is one of the most performed operas of all time. Why would you urge local audiences to attend this specific production?

This production looks as beautiful as it sounds. A huge amount of work has gone into creating and maintaining energy on stage, both in the fun and the tragic moments. At the same time I believe that we will deliver musical magic.

Photo: Stefan Louw as Rudolfo and Hanli Stapela as Mimi in La Bohème, staged by Opera Afrika at the State Theatre.

For full details on performances of La Bohème, please contact out What’s On calendar.