Dorota Szczepańska - NOSPR

A soprano who specialises primarily in the music of the Baroque and Classical eras. She is an avid performer of chamber music, but also does not shy away from improvisation and jazz. She completed her vocal studies at the Fryderyk Chopin University of Music in Warsaw and at the Hochschule für Musik, Theater und Medien in Hanover, where she studied in the class of Prof. Marek Rzepka.

Among her stage performances, one should mention the title role in G.F. Handel’s Semele under Howard Arman and the role of Maria in F. Schubert’s Lazarus conducted by Trevor Pinnock during the festival Potsdamer Winteroper. She has also appeared at the Baltic Sea Festival in Stockholm with Christina Pluhar and L’Arpeggiata ensamble, performing alongside Céline Sheen, Luciana Mancini, Vincenzo Capezzuto, Alessandro Giangrande, and João Fernandes, as well as in Herrenhausen in Hanover with Rolando Villazón.

Furthermore, her 2024 debut as Cleopatra in Handel’s Giulio Cesare at the Warsaw Chamber Opera – performed alongside, among others, such singers as Yuriy Mynenko and Nicholas Tamagna, and conducted by Adam Banaszak – was a resounding success, which met with enthusiasm from both critics and audiences. Later that year, she also appeared for the first time as Dido in Purcell’s Dido and Aeneas under the baton of Dirk Vermeulen. In 2025, she debuted as Ismene in Mozart’s (Mithridates, King of Pontus) (Mitridate, re di Ponto) conducted by Philippe Jaroussky at the Opera Rara Festival, and as the eponymous Griselda in A. Scarlatti’s opera, performing alongside Sonia Prina under with Il Suonar Parlante conducted by Vittorio Ghielmi at the All’improvviso Festival.

She has also performed the role of La Madre in Stradella’s oratorio San Giovanni Battista alongside Topi Lehtipuu and Silvia Frigato, under Andrea de Carlo with his Ensemble Mare Nostrum, at the Teatro Carlo Felice in Genoa and at the Ravenna Festival. She appeared as Galatea in Handel’s Acis and Galatea conducted by Krzysztof Garstka at the Polish Royal Opera, and as Euridice in Gluck’s work Orpheus and Eurydice (Orfeo ed Euridice) conducted by Paul Esswood. Moreover, she has sung the role of Orlando in the concert version of W. von Bayreuth’s Argenore under Antonius Adamske, and– among others– the soprano part in Mozart’s Requiem under the baton of Martyna Pastuszka an din the company of {oh!} Orkiestra, Reginald Mobley, and The Marian Consort ensamble at NOSPR.

Her recordings include Krzysztof A. Janczak’s Ave Maria with the London Symphony Orchestra and the music for Bohuslav Martinů’s ballet Stín with Ian Hobson and Sinfonia Varsovia, as well as many other albums for labels such as NAXOS, DUX, and ARCANA. She has lent her voice to numerous film and television soundtracks, among others: Michał Lorenc’s The Principle of Pleasure,Krzysztof A. Janczak's Even Mice Belong in Heaven (Myši patří do nebe) and Black Sheep (Czarna Owca). Together with Alon Sariel and Peter Schwebs, she founded the Lamento Project, where Baroque expression is intertwined with popular music.