Career

C’est justement pour la musique et pour le chant que le public s’est déplacé, et surtout pour entendre une nouvelle fois l’incomparable Lisette Oropesa, une chanteuse constellée dont Violetta est l’un des rôles fétiches. La soprano colorature a soulevé l’enthousiasme du public tout au long de la soirée, son interprétation est soutenue par une technique remarquable qui lui permet d’exprimer sans défaut toutes les facettes du rôle : la joie insouciante et l’élan passionné, la fragilité du corps et du cœur, la maladie et la misère, le renoncement et la grandeur morale, le désespoir et l’agonie. La palette émotionnelle complexe de la traviata (la dévoyée) est rendue avec une maîtrise impeccable. Totalement engagée dans le rôle, la chanteuse se fond dans son personnage auquel elle confère une aura lumineuse incandescente dont elle irise tout le lyrisme dramatique. La passion amoureuse la consume tout autant que la maladie qui la ronge. Lisette Oropesa apporte la beauté rayonnante de sa voix à une interprétation d’une authenticité émotionnelle poignante. La palme revient à Lisette Oropesa, qui domine toute la production et nous entraîne dans d’autres sphères, lumineuses et lointaines, dont les beautés sublimes transcendent le monde abyssal du sacrifice auquel son personnage est exposé.

—  Luc Roger  •  Résonances Lyriques

Lisette Oropesa war nun die Juliette und überraschte mit totaler Aneignung von Cléments Regiekonzept samt zweifelhafter Personenführung. Ihr Sopran besitzt eine individuelle Farbe und den gebührend leuchtenden, jugendlichen Klang für die Rolle. Die Koloraturen in „Je veux vivre“ perlen vollendet, die zweite, sogenannte „Gift“-Arie („Dieu! quel frisson“) singt sie mit Emphase und dramatischem Impetus.

—  Bernd Hoppe  •  Der Opern Freund

In der Derniere der Serie feierte Lisette Oropesa ihr überfälliges Hausdebüt, die Sängerin mit kubanischen Wurzeln genießt international bereits Starruhm. Wie berechtigt dieser ist, war schon nach wenigen Minuten klar. Oropesas gut geführter lyrischer Sopran verfügt neben einem sehr ansprechenden Timbre über eine bemerkenswerte Phrasierungskunst. Da wird keine Silbe, keine Phrase dem Zufall überlassen, die Sängerin gestaltet intensiv und gibt der Violetta ein ganz persönliches, individuelles Profil. Dass der Spitzenton in der großen Arie des ersten Aktes ein wenig forciert wirkt – geschenkt! Spätestens als Sterbende reiht sich Oropesa in die großen Interpretinnen dieser Rolle ein. Die drei Hauptdarsteller wurden frenetisch gefeiert, der Beifall für Oropesa erreichte Orkanstärke.

—  Peter Sommeregger  •  Klassik Begeistert

Lisette Oropesa IST Manon mit jeder Faser, jeder Mimik, jeder Geste und mit einer stupenden vokalen Rollengestaltung. Die Stimme leuchtet, brennt, kennt Leidenschaft, Trauer, Stimmungsschwankungen und ist von immenser Kraft, ohne jegliches Forcieren. Da ist eine tiefe Empfindsamkeit zu verspüren, eine Jugendlichkeit, eine Unerschrockenheit, aber auch Wehmut und Selbstvorwürfe und vor allem ein Verständnis für und eine Liebe zu dieser Figur. Das ist weniger kalkulierende femme fatale als vielmehr einfach eine junge Frau an der Schwelle zum Erwachsenwerden, welche für ihre Fehler bitter bezahlen muss.

—  Kaspar Sannemann  •  Oper Aktuell

Grande sorpresa ci ha colti nell’apprendere, pochi giorni prima della recita, dell’arrivo, nella città scaligera, del celebre soprano Lisette Oropesa. Si rimane colpiti, anche in questa occasione, dalla musicalità e dalla duttilità di una vocalità sempre sorvegliata e guidata da un presidio tecnico di eccellente precisione. Alla pienezza dei centri, segue un registro superiore che si articola attraverso lamine di suono di cristallina purezza.

—  Marco Faverzani  •  Opera Libera

Oropesa sich die grundlegende Lyrik ihres trag fähigen Koloratursoprans bewahrt. Sie entwickelt die anspruchsvolle Partie aus einem schimmernden, trauerumflorten Grundklang, den sie auch in virtuos-ele ganten

—  Walter Weidringer  •  Die Presse

Amalia is Cuban‑American soprano Lisette Oropesa. She debuted in this role at La Scala in David McVicar’s aforementioned production. Her interpretation of the aria was spot on, initially sad and then brilliantly joyous in the cabaletta, with clean coloratura and brilliant high notes. Despite the poor staging and the confusing younger versions of Carlo, Francesco and Amalia that appear intermittently throughout, Oropesa managed to convey Amalia’s nobility and strength of character.

—  Ossama el Naggar  •  Concerto Net

Oropesa navigated the transition from innocence to maturity both in her stage presence and voice, moving from lyric coloratura to dramatic soprano which distinguishes her altered state.

—  Jane Rosenberg  •  Seen and Heard International

L'américano-cubaine Lisette Oropesa, est magnétique dans le rôle principal d'Alcina, sœur de Morgana. La grande voix de la soprano léger, parée d'une robe bleu azur scintillante, donne toute sa complexité au rôle de la magicienne maudite. Toutes ses interventions sont riches d'un jeu d'actrice subtil et mesuré, engagé jusque dans sa posture. Sa voix puissante au reconnaissable vibrato rapide reçoit des acclamations. Elle convainc en amoureuse souriante, tout comme en magicienne, reine, femme, dévastée et plaintive, sa technicité lui permettant de mettre un effet « éraillé » sur sa voix. Des intervalles vertigineux au souffle dramatique, les frissons gagnent la salle à maintes reprises : la voix, solidement ancrée dans la poitrine, s'élève sans effort apparent et c'est ainsi qu'elle enchaîne les vocalises avec une virtuosité ensorcelante.

—  Olga Szymczyk  •  Olyrix

Son retour à l’acte II avec le « O rendetemi la speme » confirme son extraordinaire appropriation du rôle et la sensibilité avec laquelle elle livre ces airs magnifiques, s’appuyant sur son médium moelleux, dispensant de somptueux aigus piani filés. Elle assure ensuite crânement le « Vien, diletto, è in ciel la luna ! », en lien avec le chef qui joue des rythmes pour faire de l’air toute autre chose qu’un passage purement virtuose.  Ses interventions finales parachèvent enfin le parcours de cette héroïne qu’elle a menée à bon port malgré les écueils, et a finalement transcendé, en alliant virtuosité et sensibilité, et en rendant hommage à la difficile, mais si belle, écriture bellinienne.

—  Paul Fourier  •  Cult.news

Lisette Oropesa Mathilde souveraine, affichant un sens du phrasé unique, une élocution parfaite, un legato glorieux, bref une maîtrise sans faille du style rossinien.

—  Camillo Faverzani  •  Premiere Loge Opera

„Im wunderschönen Monat Mai“, aus dem „Dichterliebe“-Zyklus. „Als alle Knospen sprangen/da ist in meinem Herz/die Liebe aufgegangen.“

Hier hing es um was, jenseits und vor allem: weit unterhalb der Koloraturen. Womöglich das Schwerste an diesem Abend für diese Sängerin, weil es so einfach zu klingen hat.

—  Joachim Mischke  •  Hamburger Abendblatt

Si apprezzano nell’interpretazione di Lisette Oropesa la cavata e l’afflato lirico, l’abbandono alla elegante cantabilità delle melodie di Mercadante, l’irrobustimento del peso specifico della sua vocalità, che in queste pagine anticipa, in un recital dalla coerente e ben ponderata scelta dei brani, quella appropriata alle quattro successive romanze da camera di Giuseppe Verdi, È la vita un mar d’affanni, Stornello, Chi i bei dì m’adduce ancora, Perduta ho la pace. La lettura di queste quattro pagine è un microcosmo di stati d’animo, di fraseggio ricercato, un esempio di versatilità. Qui Lisette Oropesa riesce a trovare la “tinta” più appropriata per ciascuna romanza, la giusta accentazione, la migliore prosodia per ogni parola.

—  Luigi Raso  •  L'ape musicale

Sugli scudi, due degli interpreti principali. Lisette Oropesa, che canterà prossimamente il ruolo a Parigi, ha fatto sensazione con un canto che, senza insistere troppo su sopracuti, messe di voce e ornamentazioni aggiunte, mirava soprattutto a restituire un vero personaggio. In una prestazione di simile livello, le va riconosciuta una scena della pazzia del secondo atto memorabile anche per la gestualità, non condizionata per una volta dallo spartito sul leggio. Peccato che non si eseguisse il finale scritto per la Malibran, ma la polacca, i duetti con basso e tenore, e il suo “Ah vieni al tempio” (uno di quei momenti dove la musica di Bellini tocca il cielo e i cuori) verranno ricordati e giustamente.

—  Jorge Binaghi  •  Conessi all'Opera

Con una dirección de actores detallista, la soprano Lisette Oropesa debutaba en el exigente rol de Stuarda, su primer Donizetti dramático. Y aunque no fue la apoteosis belcantista, dio credibilidad a la reina que se humilla y se enoja, la incauta que insulta a la monarca para, después, encaminarse al suplicio, la redención y la resignación.

—  Maricel Chavarría  •  La Vanguardia

Nos gustó mucho el melismático bolero de Delibes en el que exhibió todo tipo de escalas, picados y sostenidos gorgoritos y una inmaculada afinación. En la segunda mitad, como belcantista de depurada técnica, la jovial soprano atrajo la atención con el aria de la ópera L´Elisir D´Amore de Donizetti y sobre todo, en la difícil canzonetta «La Primavera» de Mercadante. Sin duda, Lisette Oropesa se movió a sus anchas en las piezas más ligeras, en las que su voz se adentraba con absoluta seguridad en los filados etéreos y en el dominio del registro agudo.

—  Nino Dentici  •  El Correo

Un menu conséquent en somme, que la soprano vedette dévore avec un appétit qui semble plus que jamais venir en chantant. L’interprète confère à chaque mot tout son sens, à chaque émotion tout son poids, qu’il s’agisse d’évoquer l’amour, la peine, le rêve ou le regret. De cette Andalousie dont il est d’abord question, l’artiste restitue la chaleur et l’âme, dansante et enivrante, d’une voix aussi large que les jardins de l’Alcazar, avec un timbre aussi chaud et fleuri qu’une rue du vieux Cadix. Il y a aussi ce soleil, éclatant, qui émane d’aigus hardis mais tout en maîtrise, ici triomphaux, là presque susurrés, mais toujours d’une implacable tenue sonore. Le public s’en délecte, applaudissant après chaque mélodie cette artiste n’hésitant pas, à l’occasion, à esquisser quelques pas de danse chaloupés.

—  Pierre Géraudie  •  Olyrix

The opening song, Rossini’s “L’invito” from Les soirées musicales, embodies a plea to a distant lover to come and join the singer, but here it functioned as a compelling invitation to an evening of vocalism by demonstrating the gorgeous state of Oropesa’s soprano. The lovely purity and resonance one remembers from performances here are coupled with greater fullness and depth of tone, which enhance her interpretations of the lyrical operatic repertoire and may one day lead to more dramatic fare. In any case, the flowing middle section of “L’invito” sounded especially luscious.

—  George Loomis  •  Musical America

Enfin, Lisette Oropesa déclame avec un solide legato, une prononciation impeccable et une égalité dans les registres, de longues phrases incarnées et défendues avec une émotion palpable, notamment son entrée et sa partie conclusive où la salle frémit avec elle de l’intensité du moment et de la gravité d’un texte musical aussi impérissable.

—  Philippe Scagni  •  Olyrix

Lisette Oropesa, y la soprano estadounidense no defraudó; pocas cantantes cuentan con una voz tan idónea para el papel como la suya. Posee las agilidades y sobreagudos que exige el personaje y que buena parte del público espera; pero Manon no es un papel para una soprano ligera, ya que necesita de una cantante con un centro carnoso para poder desplegar todos los colores que un rol tan amplio y complejo necesita; Oropesa no solo lo tiene, sino que lo sabe explotar. De esa forma logró plasmar cada situación dramática, utilizando para ello solo el canto y sin tener que recurrir a ningún efecto de tipo verista fuera de estilo. El mejor ejemplo fue el patetismo que consiguió en el último acto. A eso hay que unir en despliegue escénico insuperable, porque la soprano se entregó a la producción de Vincent Huguet encarnando el personaje en todas sus dimensiones.

—  César Rus  •  Opera Actual

Allen voran die mitreißend singende wie auch darstellerisch berührende Lisette Oropesa in der Titelrolle. Die kubanisch-amerikanische Sopranistin bringt alles mit, was für diese Rolle essenziell ist: Eine wunderschöne Stimme, gerade groß genug, hell und fein timbriert, ausdrucksstark und technisch so versiert, dass sie mit eleganter Leichtigkeit anmutig und geradezu schwerelos durch die Kadenzen schweben kann. Sie ist zu zartestem Pianissimo fähig, aber auch in kraftvolle Sequenzen wie in „Sempre lbera“ sattelfest.  Bewundernswert, wie sich Oropesa in den sich ändernden Gefühlswelten verwandeln kann, von verliebter Glückseligkeit im ersten Akt bis zur erschütternden Verzweiflung in „Addio del passato“ und dem letzten Aufflackern des Lebens- und Liebenswillen angesichts des Todes. Darstellerisch überzeugt sie mit ehrlicher, liebenswerter Aufrichtigkeit, nicht mit großen Gesten.

—  Manfred A. Schmid  •  Online Merker

Was Lisette Oropesa in dieser Partie leistet, ist fulminant. Virtuos perlen ihre Koloraturen. Das wie goldener Honig leuchtende Timbre ihres Soprans betört in den lyrischen Passagen. Da fehlt nichts. Ihre mit höchster Intensität vorgetragene Wahnszene versetzt das Publikum in Euphorie.

—  Kurier  •  Kurier

Es war das Vorspiel zu dem Moment, als die Protagonistin des Abends, eine der gefragtesten Sopranistinnen der Welt, die Bühne betrat und bewies, warum ihr Terminkalender so voll ist. Lisette Oropesa verblüffte das Publikum mit einem abwechslungsreichen Repertoire, in dem Meisterwerke von Größen wie Donizetti, Verdi, Bellini und Rossini zu hören waren. Ihre Stimme vereinte die Weichheit von Samt und die angenehme Frische einer Sommerbrise.

—  Mallorca Magazin  •  Mallorca Magazin

The second songs were two Mozart concert arias by American soprano Lisette Oropesa. It was a superb performance combining Oropesa's flawless technique, rich tone, and wonderful accompaniment worthy of an opera orchestra. I thought it would have been great if yesterday's program consisted of only Mozart opera overtures and arias.

—  Gwangyeol Jeon  •  MBN (MSN.com)

Lisette Oropesa, who will join the Met forces on their Asian tour, last appeared at the Met as Gilda in Verdi’s Rigoletto in December 2022. Judging from the reception she received, the soprano has been greatly missed. Although this brief appearance singing two Mozart arias hardly sated her fans’ desire to hear more of her.

The first of the two arias was “Vado, ma dové,” K. 583, which Mozart composed in 1789 for soprano Louise Villeneuve. Little is known of the soprano, except that she was the first Dorabella in Così fan tutte; Mozart write this insertion aria for Villeneuve to sing int Martín y Soler’s Il Burbero di Buon Cuore.

Unsurprisingly, with the passage of time, Oropesa’s lyric coloratura soprano has grown in size and complexity. “Vado, ma dové” was less of a coloratura showpiece for Oropesa than an opportunity for her to display the beauty of her middle range. Her voice was especially creamy and rich in the second section of the aria in which she sang imploring for love to be her guide.

Mozart composed “A Berenice – Sol nascente” K. 70 when he was only 13 as a birthday present to Prince-Archbishop Sigismund von Schrattenbach. The young genius found a congenial patron in the archbishop, as opposed to his successor Hieronymus Colleredo, who famously dismissed him from his service.

“A Berenice – Sol nascente” is a licenza, as opposed to either a stand-alone aria or an insertion. Intended as an epilogue for Giuseppi Sarti’s opera-seria Vologeso, it opens with an extended recitative in praise of Prince Sigismund, which provided another opportunity for Oropesa to display the warmth of her middle register, as well as her flair for bringing words to life.

—  Rick Perdian  •  New York Classical Review

The soprano Lisette Oropesa showed brilliant vocal acting in her Don Pasquale nugget and later soared assuredly over the trio from Der Rosenkavalier. 

the ecstatic conclusion to Rossini’s William Tell, with Finley as the Swiss freedom fighter, Oropesa’s soprano glinting again and the chorus movingly imploring: “Reign over us once more!” 

—  Neil Fisher  •  The Times

Por su parte, Lisette Oropesa, no tan conocida por los liceístas, pero que dejó una huella importante en sus dos actuaciones previas con Händel y Verdi, demostró una vez más la calidad y amplitud de un instrumento que proyecta con insultante facilidad, de exquisita técnica, y el amplio repertorio que abarca, con una muy meritoria romanza de zarzuela “Madre de mis amores” de Monte Carmelo de Federico Moreno Torroba, una extraordinaria “Je veux vivre”  del Roméo et Juliette de Gounod y una cuidada y divertida escena de L’elisir d’amore junto a Camarena; es de esperar que la soprano estadounidense cuya bisabuela era de Barcelona, pueda a volver pronto al Liceu.

—  Fernando Sans Rivière  •  Opera Actual

Singolarmente la Oropesa ha giocato le sue carte migliori nell’aria dai Masnadieri (opera con cui aveva fatto il suo fortunato debutto nella sala del Piermarini), come nell’aria dei gioielli del Faust, in cui ha fatto valere tutta la sua souplesse virtuosistica come i trilli granitissimi,  per guadagnarsi poi il massimo successo nella struggente “Robert, toi que j’aime” dal Robert le Diable di Meyerbeer, magistralmente risolta con una levigatezza d’emissione, una fantasia nelle mezzevoci e nei pianissimi, una cadenza spettacolare per arditezza strumentale e precisione davvero superlative.

—  Davide Annachini  •  DelTeatro

Lisette Oropesa démontre sa maîtrise, avec subtilité, du répertoire italien, notamment dans la virtuosité et l'ornementation, parée en sus de trilles enivrants. Le répertoire français (Marguerite, Isabelle) reprend et épanouit ces couleurs, dans une gradation des sentiments et des demi-teintes rayonnantes de transparence. 

—  José Pons  •  Olyrix

La Oropesa è un’Amina deliziosa, ingenua e tenera ma non manierata, anzi resa molto autentica e viva dalla toccante alternanza di momenti intensi di malinconia, felicità, drammaticità ed esultanza. Il suo timbro è particolare, comunicativo e simpatico, il suo stile e la sua tecnica sono inappuntabili.

—  Mauro Mariani  •  Giornale della Musica

Lisette Oropesa sang die Matilde mit viel Gefühl, wunderschönem Timbre und sicherer Höhe.

—  Johannes Marksteier  •  Online Merker

Mais Violetta Valéry, en ce dimanche après-midi, n'est nulle autre que Lisette Oropesa, triomphale de puissance mélodieuse tout en incarnant parfaitement la séductrice assumée. Son jeu et sa voix dynamique élargissent l'espace scénique et acoustique, sachant percer le mur d'orchestre et des c(h)œurs par ses accents, sans négliger les grands moments de douceurs et la claire déclamation du texte.

—  Juan Barrios  •  Olyrix

It’s hard to imagine a more appropriate choice for the role of Cleopatra than the incandescent Lisette Oropesa. A coquette par excellence, she has the vocal and dramatic prowess to embody Ptolemaic Egypt’s last queen. Her glorious lyric coloratura had just the right timbre, feminine and fruity. Vocally, she excelled in all her arias, but her Act II aria “V’adoro pupille” was the most sensual. Technically, her Act III aria “Da tempeste il legno infranto” was the most dazzling.

—  Ossama el Naggar  •  Concerto Net

Toute la gamme des émotions y est: la révolte, l’affliction, les coups de colère, la résignation, la tendresse. Lisette Oropesa n’est pas qu’une jolie voix de soprano colorature au timbre cristallin. Son chant s’enflamme; la voix est surprenamment longue, couronnée d’aigus percutants, quoique aucunement criards, descendant parfois dans le grave sans effet de rupture dans les registres. Un éclat radieux en émane.

—  Julian Sykes  •  Le Temps

The ultimate star of the show, though, is Oropesa, an American soprano who is making her Lyric debut. An innate physical comedian with a comfortable, compelling stage presence, she is a complete natural as Marie.

Oropesa has a supple, agile soprano voice, with a winningly honest and direct style. Seemingly unfazed by the vocal or physical demands of this role, this indefatigable singer handles its legendary coloratura with eye-opening ease and aplomb. Expect to see Oropesa back as soon as Lyric can re-sign her.

—  Kyle MacMillan  •  Chicago Sun Times

Lisette Oropesa als Violetta endlich auch in Wien zu erleben ist. Oropesa verwandelt mit ihrem leuchtend-blühenden Sopran die gefürchteten Koloraturen von „È strano“ gekonnt in überschwänglichen Ausdruck, genauso wie sie mit „Addio del passato“ zwischen letztem Sehnen und zartem Verzweifeln zu Tränen rührt.

—  Stefan Musil  •  Kronen Zeitung

On the opening day of La Traviata at the Roman Opera House, Lisette Oropesa, who played the heroine, showed the Japanese audience that she is the goddess of opera and the ultimate Violetta. She has a pretty appearance and looks great in Valentino's costumes, and even in the long aria of the first act, she did not lose her composure, and she did not hesitate to use her ultra-high notes to resonate bravely. Her emotional expression is rich, but the reason it never becomes tedious is probably because there is a mysterious mystique in her voice. There are singers who play this role in a verismo style and end up with a dull voice, but Oropesa's emotional expression is musical and elegant, and the high level that she aims for in her opera. No matter how much you listen to her, she has a voice that makes you want to hear more, and some of her sounds reminded me of golden-era Maria Callas recordings (even though her physique was completely different!) ). There is a faint classical elegance to it, and above all, the tragic nature of the story is conveyed in a very true manner.

—  Hisae Odajima  •  NBS

Para entonces y ya desde el bolero “¡Ay pobre Curro mío!” de Gounod con el que se abrió el recital, Oropesa se había metido en el bolsillo al respetable gracias a la capacidad comunicativa de su voz y de su manera de frasear. La voz es de un timbre seductor, con matices levemente oscuros en origen que adquieren brillo mediante una técnica de colocación y de proyección intachables, de manera que cuando sale, la voz tiene un temblor de emoción y una gama de colores que la hacen inconfundible. Con el sonido perfectamente cubierto en toda la gama, las transiciones entre registros prácticamente no existen, el sonido fluye con una naturalidad desarmante sin saltos ni cambios, plenamente audible en todo el espectro dinámico. Con tales herramientas técnicas a su servicio, Oropesa puede abordar con seguridad el terreno expresivo del fraseo que la ha encumbrado al podio mundial de la ópera.

—  Andrés Moreno Mengíbar  •  Scherzo Magazine

La seconda recita della Traviata areniana ha presentato un ottimo cast capitanato dal soprano americano Lisette Oropesa che aveva già fatto il suo debutto trionfale nell’opera verdiana riscuotendo un successo folgorante: non c’era alcun dubbio che lo avrebbe confermato. Sarebbe banale se non noioso descrivere le sue doti di cantante e attrice; Oropesa è nata per interpretare il mitico ruolo e “condannata” a portare il pubblico ad un felice delirio: e così è stato ieri sera. Il fisico perfetto per Violetta, la naturalezza disarmante d’attrice, la voce dal vibrato caratteristico ma ben timbrata e dotata di una lucentezza particolare, la tecnica impeccabile hanno riscosso un grande successo; numerose chiamate a scena aperta e espressioni infinite d’ammirazione per lo stupefacente soprano statunitense.

—  Irina Sorokina  •  L'ape musicale

La distribution comprend à la fois des chanteurs français et pour les deux principaux protagonistes des artistes américains. Lisette Oropesa qui incarne Lucie s’est illustrée depuis un certain nombre d’années aussi bien dans les rôles de soprano léger comme Adina de L’Elixir d’Amour, Norina de Don Pasquale ou Marie de La Fille du régiment mais également dans des rôles de soprano lyrique comme Violetta de La Traviata ou Gilda de Rigoletto. Dotée d’un registre aigu très étendu qui lui permet de briller sur toutes les vocalises avec une virtuosité confondante, elle est ici l’interprète idéale de Lucie faisant valoir dans ce rôle un médium conséquent mais aussi une ampleur vocale dans le haut registre tout en ciselant à merveille ses vocalises. De surcroît l’interprète est complètement engagée dramatiquement et a obtenu, comme il fallait s’y attendre, un véritable triomphe après son air de la folie du 3ème acte. 

—  Christian Jarniat  •  Résonances Lyriques

The biggest star of the production is the soprano Lisette Oropesa , whose interpretation of the young Julia is not only amazing vocal art, but also fresh stage work, which depicts a young person in love first brightly, then in darker tones when things in love start to go seriously wrong.

—  Samuli Tiikkaja  •  Helsingin Sanomat

This deep dive to songs influenced by Spain fits very well to the image of Lisette Oropesa’s artistry. Spanish is her native language and French is her preferred singing language. The quickly changing, dramatic, moods of the music also fit to Oropesa’s quickly reacting personality and expression.

Her voice transforms from dark, colorful low register to very high notes. A lot can happen during one long voice. Oropesa plays with the shades of the music, she stretches time and highlights the text so that it touches your soul.

Dark emotions, pure joy and playfulness, heart-wrenching pain, and longing – Oropesa’s singing gave room for all of the emotions and they came across easily, naturally and masterfully. Everything seems to be easy and natural for this soprano.

—  Riitta-Leena Lempinen-Vesa  •  Itä-Savo

Oropesa’s “Ihr habt nun Traurigkeit.” ... she sang with a touch of rubato, her lines opening up and gliding above the orchestra. There was a feeling of joy in her singing.

—  George Grella  •  New York Classical Review

la apoteósica - no sabría definirla de otra manera - Fiorilla de Lisette Oropesa, quien hizo y deshizo en lo vocal. No brilló tanto en la página de salida Non si dà follia maggiore, quiza a merced de la edición crítica por encima de tradiciones interpretativas... pero, su voz se desplegó en frescura, luminosidad y con ese carácter efervescente del personaje en el dúo con su marido Per piacere alla signora, así como en el terceto - que deriva en dúo - del segundo acto, Scusate... Trovarvi sola... Credete allefemmine. Y, por su puesto, en su aria final, donde volvió a poner en juego variaciones medidas, sutiles, agudo descollante, no tanto el de cierre, con un timbre centelleante, de bello vibrato y derrochando comedia, salpicada del justo patetismo para intentar entender el por qué de su arrepentimiento.

—  Gonzalo Lahoz  •  Platea Magazine

Verosimilmente, con protagonisti di rara competenza stilistica, civiltà e tecnica di canto, e ben meditata espressività come Lisette Oropesa, una Lucia interiorizzata anche nel quadro clou della pazzia

—  Angelo Foletto  •  La Repubblica

Comme Hamlet, l’Ophélie de l’opéra d’Ambroise Thomas constitue l’un des personnages les plus exigeants, du point de vue de la tessiture vocale, du répertoire dramatique. La soprano américaine Lisette Operesa, forte d’un impressionnant parcours musical et couronnée déjà par de nombreux prix, qui reprendra à Aix en juillet prochain le rôle de Lucia de Lammermoor de Donizetti, est tout simplement éblouissante. Son jeu coquin et sensible, plein de grâce et de malice, sa voix ensoleillée, qui tutoie les aigus en traversant d’un seul coup la voix lactée de deux gammes entières, avec une diction française parfaite et une maîtrise achevée des tempi et du chromatisme, a emporté le public qui lui a réservé lors de la première plusieurs longues ovations. Aussi vivante que vibrante, cette artiste au sourire ravageur possède un talent du diable qui n’a pas fini de faire parler d’elle. 

—  Hélène Kuttner  •  Artistikrezo

Lisette Oropesa bescherte etwas fülligere Belcanto-Brillanz

—  Florian Oberhummer  •  Salzburger Nachrichten

Lisette Oropesa überraschend viele Wesenszüge von Verdis späteren Frauenrollen: Sie bindet in den Cavatinen und Cabalettas die Spitzentöne zwar makellos pianissimo in die Linie ein.

Doch ihr Legato ist unter der zart lebendigen Oberfläche sehnig gestützt, die Melodien hält sie entschlossen fest und spannt sie in der Staatsoper zu enorm tragfähigen Bögen auf. Und Lisette Oropesas düstere Tiefe lässt an die Dramatik der Lady Macbeth denken, die wenige Monate vor den "Masnadieri" das Licht der Welt erblickt hatte.

—  Michael Bastian Weiß  •  Abendzeitung München

And her vocalism was ravishing. Strong emotional currents run thru everything Lisette sings; she can find just the right colour for every note and word, and it all seems perfectly spontaneous. A magical, palpable  hush settled over the House during Lisette's "Caro nome": an exquisite portrait of a young girl on the brink, the innocence of the words underscored by a subtle sense of longing. In the ensuing scenes, phrase after phrase of captivating tone and nuance - from her defiance in the vendetta duet to the heart-wrenching poignancy of her farewell to her father - showed again what a thoughtful and unique artist this soprano is. 

—  Oberon  •  Oberon's Grove

In a mostly international cast, Lisette Oropesa inhabited the title role with enormous style, her creamy tone absolutely suits the part.

—  Martin Kettle  •  The Guardian

Applaudita più di tutti è Lisette Oropesa, al debutto nel ruolo di Elvira: 'agilità sfoderata nei passaggi di bravura è ragguardevole, lo scintillio della voce non sacrifica l'eleganza della frase; è su que. sto terreno esclusivo che il soprano americano costruisce la performance, lasciando a cimenti futuri la possibilità di caratterizzare a fondo un personaggio che pure, nei tre atti, cambia pelle più volte.

—  Stefano Valanzuolo  •  Il Mattino

Für die US-amerikanische Sopranistin Lisette Oropesa, ihre strahlende Stimme und ihre Verkörperung der Lucia drücken Superlative kaum aus, was sie gesanglich und mimisch mit selten gehörter Virtuosität geleistet hat.

—  Brigitte Janoschka  •  Passauer Neue Presse

Spicca tra le voci soliste Lisette Oropesa. Dotata del pieno controllo del suo strumento il Soprano dimostra eccellenti doti tecniche mai tendenti all’eccesso.

—  Matteo Pozzato  •  Le Salon Musicale

Chi rivela una crescita artistica e interpretativa formidabile è Lisette Oropesa nei panni della protagonista. Quando sentimmo per la prima volta il soprano in questo ruolo avevamo previsto un ulteriore sviluppo e ne abbiamo la prova: la sua Violetta ora è completa, dal virtuosismo del I atto al liricismo del II, fino al canto drammatico del III. L’interprete è anche cresciuta sotto il punto di vista attoriale, gestendo benissimo anche la maturazione scenica di questo iconico personaggio.

—  Francesco Lodola  •  Ieri Oggi Domani Opera

Lisette Oropesa, una de las mejores Violetta del momento, puso al público en pie en esta velada, con su interpretación que apoyada en una notable técnica le permitió expresar sin fisuras todas las facetas del personaje: alegría despreocupada e impulso apasionado, fragilidad del cuerpo y del corazón, enfermedad y miseria, renuncia y grandeza moral, desesperación y agonía. La compleja paleta emocional de la Traviata está magistralmente representada. Lisette Oropesa fue la reina indiscutible de la noche.

—  Luc Roger  •  Opera World

Lisette Oropesa is Lucia, his sister. With a slender stature and southern appearance, she develops a noticeable stage presence from the very first moment and fascinates with her natural play. Her youthfully fresh soprano is absolutely confident in the high notes and skilled in coloratura, leaving nothing to be desired.

—  Jan Krobot  •  Online Merker

After her brilliant performance as Konstanze in Hans Neuenfels ' Abduction and her solo concerto, Lisette Oropesa's role debut as Lucia was eagerly awaited. A complete success. Like the Cuban-American at the beginning of “ …Ed ecco! ecco su quel margine…' startled by the ghostly appearance of the dead woman, already indicates how sensitive, filigree and highly endangered the young woman she portrays is. Her oath of love is highly credible, and the mad scene is touchingly dramatic. 20 gripping, varied minutes that are incredibly touching. Oropesa has been the most sought-after Lucia since her role debut in 2017 at the Royal Opera House London. The acting is unsurpassed and the singing is almost perfect. The coloraturas are supple and clear, her silvery-bright, modulation-capable soprano voice is paired with a secure technique and strong charisma. 

—  Manfred A. Schmid  •  Online Merker

La soprano estadounidense, con antepasados cubanos y catalanes, se lució con el aria de la locura de Lucia di Lammermoor y arrancó dos largos minutos de aplausos del público, visiblemente emocionado. 

—  Maricel Chavarría  •  La Vanguardia

La soprano tiene todo lo necesario para ser la gran diva y dama de la ópera que es. Aquí lo sabemos desde aquella histórica Traviata, cuando se convirtió en la primera mujer en bisar en el Teatro Real. Una función que, además, hizo que todos los ojos de la lírica mundial mirasen a Madrid, porque todos los demás teatros del planeta seguían cerrados tras el confinamiento.

—  Nacho Fresno  •  Shangay

Oropesas Sopran ließ Gilda keine kühle Virtuosität angedeihen, sondern trug das Herz auf der Zunge. Ihre Stimme ließ in der weich gebetteten Mittellage eine leise Wehmut anklingen, die an längst vergangene Opernzeiten erinnerte. Die Sängerin spielte die Figur ohne Übertreibung, erfüllte sie mit herzwärmender Naivität und Jugendlichkeit

—  Dominik Troger  •  Online Merker

Den meisten Applaus erntete Lisette Oropesa für ihre alle Herausforderungen meisternde Konstanze

—  Marion Eigl  •  Wiener Zeitung

Oropesa gelingt es, mit ihrem schlanken, flexiblen Sopran die in den von ihr ausgewählten Liedern beschworenen Stimmungen und Bilder einfühlsam auszuloten. 

—  Manfred A. Schmid  •  Online Merker

El programa, amplio en ese abanico, fue además extraordinariamente generoso, tanto como la cercanía de la cantante. Oropesa no lo puede evitar. Es simpática y extrovertida, y necesita el contacto constante con el público. No importa si canta o no. Ella es pura comunicación permanente.

Y generoso y grande también es su nivel interpretativo, ya que la soprano es dueña de un instrumento, y de unos conocimientos, propios de los mejores. Y por eso es un privilegio escucharla; porque cante lo que cante, lo hace con sabiduría, e imprimiendo un estilo que recuerda a épocas donde deslumbraron los grandes como De los Ángeles o Callas.

—  Jacobo Ríos-Capapé Carpi  •  Valencia Plaza

Il cast è quanto di meglio ora si possa ascoltare, in primis la magnifica Lisette Oropesa, una angelicata Giulietta. La tecnica sopraffina e il timbro puro e argenteo le consentono una emissione omogenea tra i vari registri, un legato ipnotico, attacchi in piano e in pianissimo, mezzevoci delicate, colorature aeree di impalpabile leggerezza che spandono una luce madreperlacea sul personaggio, immerso per quasi tutta l’opera in una profonda e struggente afflizione. Facile negli acuti e sovracuti come nei gravi che affondano fino al Do sotto il rigo, nel canto spianato con lunghe arcate melodiche come nel bel canto di agilità, impreziosito da variazioni ed ulteriori abbellimenti. Il personaggio si districa alla perfezione nel contrasto inevitabile e straziante tra l’amore romantico per Romeo, sublimato soprattutto nella stessa musica che i due amanti intrecciano nel quintetto e nell’insieme del finale primo, e quello filiale per lo spietato padre. L’aria “Morte io non temo, il sai…” è tutta giocata tra una serena espressività da un lato e trepidante paura della morte con glissandi soavi di rara intensità dall’altra. Nel finale poi il soprano si abbandona esitante ad una disperazione sconvolgente che prende alla gola.

—  Ugo Malasoma  •  Opera Click

È stato il debutto di Lisette Oropesa a chiudere la lunga stagione di programmazione della Fondazione Ravello. Tre bis e tanti applausi per uno dei più importanti soprani di oggi, acclamata sui palcoscenici dei più grandi teatri del mondo.

La Oropesa, accompagnata all’Auditorium Oscar Niemeyer dalla Nuova Orchestra Scarlatti, particolarmente ispirata, diretta da Fabrizio Maria Carminati ha dato sfoggia di tutto il suo talento interpretando sette gemme del suo repertorio: Fiorilla, Giulietta, Hélene, Isabelle, Musetta e Manon.

—  Gazzetta di Salerno  •  Gazzetta di Salerno

Un aleteo vivaracho abría el recital con la Paloma de Oropesa, quien desde un primer momento ya prometía desde aquí la asombrosa vocalización de cuanto cantaba, y si algo no se le entendía es porque era prácticamente imposible (las zonas más agudas de las sopranos suelen luchar con este escollo). Digamos también que por el hecho de alcanzar agudos estratosféricos su voz no es delgada y ni sin cuerpo, una cualidad que la hace más versátil y su color más variado. Es verdad que también posee un vibrato nervioso, que debe ser más de una técnica determina o una costumbre antes que defecto de su canto, puesto que en las 'Siete canciones populares españolas' que siguieron dicho vibrato se lentificó en las piezas más pausadas ('Asturiana', 'Nana').

—  Carlos Tarín  •  ABCdeSevilla

Y claro, como hemos dicho, llegó la traca final: Yo soy Cecilia Valdés. ¡Y tanto que ella ‘es’ la protagonista de esta zarzuela cubana! Lo disfrutó en el escenario del Teatro de La Zarzuela pero, sobre todo, nos lo hizo disfrutar a nosotros en el patio de butacas. Sensual, coqueta, divertida, canalla, tímida…, todo esto porque ella, efectivamente, ¡ella es Cecila Valdés! Luego, las generosas propinas, el apoteosis y el delirio de los fans.

—  Nacho Fresno  •  Shangay

Theodora – qui trouve dans le timbre lumineux aux aigus délicats de Lisette Oropesa l’image idéale de la vierge martyre

—  Loïc Chahine  •  Díapason Magazine

Theodora era Lisette Oropesa, voce con un vibrato stretto, sfrutta le caratteristiche del suo timbro posando a una Santa perennemente sul malinconico fisso, in estasi, dai pochi colori vocali, agìta sul volto la stilizzata recitazione. Nell’aria Fond flatt’ring world, gioca la carta del patetico, con suoni filati, in Angels, ever bright si fa astratta preghiera, mentre trova accenti accorati e “plaintive” nella più bella tra le arie della Theodora, quel With darkness deep che Handel addirittura riscrisse…Coro omogeneo e scattante, capace di smorzare e rendere percepibile la sublimazione della preghiera finale.

—  Brescia e Armisano  •  Corriere Dello Spettacolo

Lisette Oropesa, schwarze Locken, grau-silbriges Abendkleid, sang die Titelrolle. Sie hat mit ihrem Strahle-Sorpan als Konstanze in der Wiener Staatoper die Herzen des Publikums im Sturm erobert. Hier muss sie die „Tugendboldin“ (wie man Händels Heldin bezeichnet hat) interessant machen. Sie tut es so weit wie möglich mit Stimme, Technik und lebhaftem Minenspiel, dessen sich auch alle anderen Sänger bedienen: Wenn man das Ganze schon nicht spielen darf (das Programmheft kündigt allerdings eine szenische Aufführung mit dieser Besetzung irgendwann irgendwo an), dann muss man doch wenigstens zeigen, wie man fühlt und leidet. Leidet vor allem, denn Theodora wird verfolgt, soll zur Prostitution gezwungen werden, will das Opfer des Didymus, der sie retten möchte, nicht annehmen… kurz, selbst wenn man den englischen Text nicht mitliest, weiß man doch nach der Inhaltsangabe worum es geht. Tragisch.

—  Renate Wagner  •  Online Merker

Bob Crowley’s sets, famously marked by heavily architectural semi-circular structures choked with objects that get in the way (banquettes, a gambling table, hoop skirts), never seemed to pin Oropesa to the spot as it did with other performers. In Act I she vibrated with life and young innocence, hitting the coloratura heights in the climactic Sempre libera without the brilliance ever seeming forced. The open warmth of her tone, lack of affectation and gentle half-voice allowed her to easily display unfettered hurt and vulnerability, much needed as the libretto carved from the Alexandre Dumas play La Dame aux camélias presses on.

—  Geoff Brown  •  The Times

Il grande successo della serata è merito senza dubbio dei due protagonisti: il Maestro Francesco Izzo al pianoforte e Lisette Oropesa, stella ormai affermatasi nel panorama lirico mondiale.

Il soprano, originario della Louisiana, in un bellissimo ed elegante abito da sera nero, che ne valorizza la figura longilinea, si posiziona al proscenio e intona i primi versi dei brani di apertura del concerto (arie di Saverio Mercadante); il pubblico rimane da subito affascinato dalla purezza e dalla morbidezza di una voce immacolata, luminosa e che si espande facilmente in sala.

—  Marco Faverzani  •  Opera Libera

Both Álvarez and Oropesa are great actors. Oropesa also happens to be the finest lyric coloratura in the world today. Her soprano is quite dark lower down – hers is no tweetie-pie Gilda – and “Caro nome” revealed rock solid technique including an excellent trill. She narrowed her voice daringly fine at the top, but just within the bounds of control.

—  Mark Pullinger  •  Bachtrack

Oropesa ha esibito una bella incisività nel recitativo, eseguendo poi con perfetta musicalità e un suono dolce e vibrante l’aria, prima della funambolica cabaletta dove la precisione dei trilli era sostenuta da un eccezionale controllo del fiato e si accompagnava sempre a una ragione espressiva. Notevolissima poi nell’articolazione della frase, nitida e priva di qualsivoglia artificio, nell’intensa pateticità di “Adieu, notre petite table” da Manon di Massenet.

—  Fabio Larovere  •  Conessi all'Opera

La complessita della protagonista viene esaltata dal canto recitato di Lisette Oropesa

Lisette Oropesa, statunitense di origini cubane, é una Violetta da manuale: recita con il canto. Le sfaccettature di un personaggio complesso prendono vita momento per momento.

—  Dino Villatico  •  Il Manifesto

Digámoslo cuanto antes: el recital ha sido un éxito sin paliativos. Uno, que no es amigo de este formato, no recuerda en los últimos años una cantante con la calidad vocal de Oropesa en recital alguno. La voz es de bello color, uniformidad en todos los registros –aunque algo matizado en la zona más grave, lo que parece natural- un fraseo de calidad y una implicación con el texto digna de aplauso.

Además, técnicamente Oropesa nos ofreció detalles de alta calidad, de esos que están destinados para disfrutar casi en la intimidad. Por poner solo dos ejemplos, el trino final de la segunda pieza de Mercadante, La primavera, está alcance de pocas; y en la segunda parte, en la operística, toda la escena final de La sonnambula de Bellini fue un ejemplo de buen decir, de implicación con el personaje y de generosidad con el público pues la soprano incluyó el recitativo, muy sentido, el aria y la cabaletta final.

—  Enrique Bert  •  Platea Magazine

Lugar y fecha: Gran Teatre del Liceu (15/XII/2020) Seductora y carismática, así fue la Violetta Valéry de la estadounidense Lisette Oropesa, éxito personal y ovación en el Liceu. Recuperadas las funciones de La Traviata tras ampliar el tope de 500 espectadores a 1.000, faltaba disfrutar de la tercera de las cuatro Violetta en discordia, vistas ya Kristina Mkhitaryan y Pretty Yende, y a falta de Ermonela Jaho en la última función. Lisette, la más ligera, sorprendió, pues más allá de un primer acto brillante, donde desplegó su instrumento a piacere, Mi bemol al nal del “Sempre libera!” , agudos fáciles, luminosos y timbrados, creció con el desarrollo de la partitura. En su dúo con Germont padre coloreó, buscó expresión y matices, siempre sul ato, con un fraseo detallado, articulando cada frase con una escuela belcantista de primera. En su aria nal “Addio del passato” , la más aplaudida, controló el vibrato, aportó drama y acabó con un pianissimo volátil inolvidable. Brava la Oropesa!

—  Jordi Maddaleno  •  La Vanguardia

Con fines benéficos e intención de redimirse, claro. La más brillante, de largo fue la soprano cubano-estadounidense Lisette Oropesa, que interpretó el aria «Regnava nel silenzio» de «Lucia di Lammermoor». La ópera de Donizetti, a la que habían consagrado en este 2020 la «prima» de La Scala antes de que llegara la pandemia, se vio relegada a una actuación más.

—  Ismael Monzón  •  La Razón

Und Konstanze der Stern, der alles überglänzte. Wer Lisette Oropesa schon an der Met (im Kino) kennen gelernt hat, als so nachdrückliche Manon von Massenet, wie man sie von einer damals noch weitgehend Unbekannten nie erwartet hat, der war nicht überrascht – und doch: eine Konstanze, die mit dunkel leuchtendem Sopran und attackierender, darstellender Koloratur so leidenschaftlich gesungen und gestaltet wird, erlebt man nicht alle Tage.

—  Renate Wagner  •  Online Merker

The American soprano Lisette Oropesa partnered Castronovo in a Donizetti duet, but her slinky Manon (the gavotte from Massenet’s opera) and affecting Amina (the finale of La Sonnambula) were more memorable.

—  Neil Fisher  •  The Times

Excellent interpretations by all the interpreters involved. Lisette Oropesa confirms herself as a singer perfectly at ease in the bel canto repertoire, as well as able to immerse herself in the different characters she has to face in a few minutes, although so different from each other (Semiramide and Rosina in the Barbiere in the first part of the concert).

—  Blogartpost  •  The.blogartpost

Now, in the final stretch, Lisette Oropesa arrives. You have to go see it, and especially to listen to it. Even if it is only for the few seconds in which her Amami Alfredo transports us to the great ones that we all have engraved in our brain, which is the best hard drive that can exist.

It is true that we are in need of beautiful things. And it is no less true that the Oropesa gives us the ear. When we still remember his Lucia from two years ago (and his Gilda del Rigoletto from 2015), now comes his Violetta, which enshrines her in the Real: from chaste diva, chaste goddess, to absolute diva. But with the closeness that the divas of the 21st century require. Her elegance on stage, in addition, adds many points.

El Real, we insist, is at fifty percent capacity for health reasons. Those who were on July 18 filled all the gaps with applause; a welcome that makes history. The shadow of the encore flew over the room after his sublime Addio del passato of the final act. Just as the illusion that he would come out to be applauded behind the curtain that closed the first one also flew overhead. As before, as could be done when the voice prevailed.

—  Nacho Fresno  •  Shangay

Mais il faut dire que le moment le plus admirable nous est venu de Lisette Oropesa qui, depuis son domicile de Baton-Rouge aux Etats-Unis, a choisi d’interpréter a capella une chanson du saule. Pas du tout celle de Verdi ni celle de Rossini, mais celle de la Ballad of Baby Doe de Douglas Moore. Un moment d’enchantement, aidé par l’une des meilleures captations de la soirée, pré-enregistrée.

—  Cédric Manuel  •  Forum Opera

The high point, though, for me, came from Lisette Oropesa, singing an aria from Meyerbeer’s Robert le Diable from her house in Baton Rouge: astonishing singing, her coloratura thrilling beyond belief.

—  Tim Ashley  •  The Guardian

There’s a melancholy feeling that very occasionally accompanies the greatest performances. Tangled up in the thrill of witnessing a historic interpretation of an iconic work comes the sad realization that you may never encounter its equal.

The Metropolitan Opera has seen a number of superb sopranos appear as Violetta Valéry in the past decade: Diana Damrau, Natalie Dessay, Sonya Yoncheva, and Angelina Gheorghiu are just a handful of the most recent leading artists to make a mark in La Traviata’s touchstone role.

The sensational performance that Lisette Oropesa gave on Wednesday night in her role debut at the Met deserves to be counted in the very first rank.

Oropesa brings a voice ideally suited to the role: direct and lively, bright yet round, so focused you can almost see it as it pierces through the air of the auditorium and slams into the back wall. Yet even with its power and laser clarity, her soprano never feels aggressive, as she wields her instrument with musical sensitivity and classic elegance.

—  Eric C. Simpson  •  New York Classical Review

 Appréciée du public parisien depuis sa Marguerite de Valois dans Les Huguenots à l’automne 2018, Lisette Oropesa compose une Rosine en tout point captivante. La jeune soprano ne manque ni de piquant ni de charme. La voix est brillante, l’aigu aisé, les vocalises sont parfaitement exécutées et la ligne de chant ornementée avec subtilité. Actrice accomplie, elle évolue comme un poisson dans l’eau dans l’univers imaginé par Michieletto. 

—  Christian Peter  •  Forum Opera

One of the highlights of the 2019-2020 edition of the Gstaad New Year Music Festival was the recital of the American soprano Lisette Oropesa. In rehearsal in Paris for Le Barbier de Seville, the singer did not hesitate to make a quick return trip to Gstaad, despite the strikes in France and their batch of trains canceled, to offer a memorable evening. The program was particularly varied and eclectic, alternating opera arias and lieder, in four different languages. Unmistakable charisma, clear and luminous voice, ample and majestic, healthy and homogeneous over the whole range, with brilliant treble and perfectly assured vocalizations, Lisette Oropesa has everything to make a good career, and besides the biggest scenes are l 'tear. In Gstaad, she was especially able to highlight her musicality, her impeccable diction, whatever the language sung, and its sense of expressiveness, playing on each word, each sentence, each inflection of the score, whether in melancholy and sad compositions or in flamboyant and brilliant pages. She was accompanied on the piano with finesse and tact by Natalia Morozova, a follower of Gstaad since she has been performing there for ten years.

—  Claudio Poloni  •  Concerto Net

He was well-matched by his Ophélie, Lisette Oropesa, who melded dramatic sensitivity with a clean, pearly soprano. The technically demanding mad scene, the conclusion to the opera’s broad-strokes depiction of Ophélie’s fragility, was delivered with a delicate effortlessness.

—  Harry Rose  •  Washington Post

This year’s award winner was Lisette Oropesa, who just one day earlier was essaying “Manon” Live in HD at the Metropolitan Opera. Oropesa’s career has been on the rise for quite some time with the soprano conquering Europe in recent years and now doing much the same on this side of the Atlantic.

Oropesa opened the night offering an aria from Rossini’s “Tancredi.” The aria “Come dolce all’alma mia” features difficult coloratura runs and a chance to show off a soprano’s virtuosic powers and high notes. It is light and playful but it ultimately doesn’t create the impact that other Rossini arias do, particularly for an opening number of a gala. Oropesa sang the aria with delicacy and a fluid coloratura line that showed her mastery of the vocal style. But it wasn’t really the best display of Oropesa’s powers nor what she could ultimately do with her lyrical voice.

She left that for the middle of the program in her “Qui la Voce…Vien diletto” from “I Purtiani.” Here Oropesa started the opening phrase with a piano sound that continuously grew in form and shape with each repetition of “Rendetemi la speme.” The voice grew in size and in expression, showing Elvira’s increasingly agitated state. As the phrase rose to a high note so did Oropesa’s sound, and she eventually descrescendoed to a mere piano that created a haunting effect.

In the cabaletta, the soprano sang with precision and exciting tempi. One particularly exciting moment was the phrases “Vien, o caro, all’amore” as she drove the tempo forward during the roulades, creating an unpredictability and excitement that one rarely hears in this aria. During the repetition, Oropesa opted for the “less is more” philosophy with her ornaments. There were sparkling high notes and interpolations that resounded and showed off the soprano’s glittering top register. But ultimately Oropesa was holding off for the final E flat that was effective and resounded throughout the hall. One thing to take note was that Oropesa also chose to sing through the whole Cabaletta instead of doing the traditional cuts in galas; this really allowed the soprano a chance to show different shades of colors.

Her final showcase was in the sextet of “Lucia di Lammermoor.” Here the ensemble decided to perform from the beginning of the second act scene allowing the performers to showcase their acting abilities. Oropesa got to bring her chemistry with baritone Artur Rucinski, creating a tense moment as she was forced to sign a marriage contract; they were so immersed in the agitation of the moment that the pen flew out of his hands at one point. They showcased raw emotions in their actions and in the famed sextet, it was all about the passionate music. Rucinski and Oropesa’s powerful voices particularly stood out in the ensemble and her final C sharp was impeccable and a great way to cap off the evening.

—  David Salazar  •  Opera Wire

Lisette Oropesa's performance in Massenet's opera at the Met is alone worth the price of admission.

Ms. Oropesa slips into the title role as if it were custom couture. In her first aria, “Je suis encore tout étourdie,” sung with enunciation so clear it could be transcribed, she has an innocent lightness that gives way to intoxicating joy as it becomes apparent that Manon is already too grand for her humble packaging at the start: slight frame; childish hat and ponytail; plain outfit in muted blues.

As the opera continues — with Massenet’s effervescent and eclectic score, eager to please and utterly pleasing under the baton of Maurizio Benini — Ms. Oropesa’s musicality becomes even more layered.

It can be easy to play Manon as a ruthless femme fatale, for example, as she becomes the toast of Paris, and Ms. Oropesa was suddenly big-voiced, glamorously tossing off high notes with insouciant sprezzatura. But hear also how she shrinks her sound to a stark mournfulness in “Adieu, notre petite table,” pained yet chilly as she prepares to leave des Grieux for another man’s luxury.

—  Joshua Barone  •  New York Times

O melhor da noite ainda estava por vir, e a sequência que encerrou o programa oficial, com a ária Qui la voce e a cabaletta Vien diletto, do segundo ato da ópera I Puritani, de Bellini, recebeu de Oropesa uma interpretação arrebatadora: se a ária foi extremamente musical, a cabaletta foi de arrepiar, com uma demonstração exuberante de agilidade e domínio técnico. Era evidente que estávamos todos diante de uma grande cantora.

—  Leonardo Marques  •  Movimento

Lisette Oropesa était Violetta, un rôle qu’elle chanta il y a quelques années et qu’elle a interprété l’espace d’un soir à Athènes quelques jours avant, histoire de se le remettre en voix. Ce qui étonne toujours chez Oropesa et qui ravit, c’est d’abord son phrasé italien quasi parfait, son sens de la couleur, l’impeccable contrôle de la voix et la tenue du souffle. On lui a reproché quelquefois une sorte de supériorité de la technique sur l’émotion ; on a au contraire ici l’union d’une technique impeccable et le sens donné à chaque mot, le poids de l’expression (quel deuxième acte ! quelle intensité dans amami Alfredo !) et l’intériorité, un mot étrange dans une représentation devant 15000 personnes, où elle est une petite tache blanche sur l’immensité de la scène. Lisette Oropesa, aux origines cubaines, a une évidente familiarité avec un phrasé latin, et une vraie sensibilité, outre une technique de fer acquise dans la formation américaine. C’est d’emblée une Violetta avec laquelle il va falloir compter, car m’est avis qu’elle va les multiplier. Son Addio del passato est exemplaire, et même sa lecture de la lettre, si claire. Et en plus elle a les notes qu’il faut, dans les agilités (ses gioir du premier acte) comme dans les moments plus lyriques du deuxième (dite alla giovine bouleversant et sans doute aussi décuplé par l’émotion distillée par son partenaire Domingo).

—  Guy Cherqui  •  Wanderer

Born to the romantic bell-cadet, the 36-year-old lyricist demonstrated her great class: her medium-sized, well-placed, luminous voice - obviously more suited to her more moving last two acts than to her crafty requirements - her huge Roman amphitheater, her aesthetic and the good taste of her song (trillions, ornamentations) constantly reminded the early Verdi's Bell-Candid debts, the stage presence was ethereal, emotional and emotional j with correct passion doses. Athens was lucky enough to enjoy - and rightly so! - a singer who has all the backgrounds (youth, beauty, voice, stage displacement) to shine worldwide in the role of tragic partner!

—  Eutychios D. Choriatakis  •  Athinorama

Lisette Oropesa s’attaque au rôle à l’origine conçu pour Jenny Lind (dont le bicentenaire sera sans doute commémoré l’année prochaine en Suède). Ce seul personnage féminin se révèle le plus attentionné de tous. L’Amalia d’Oropesa n’a pas que le cœur sur la main, mais également sa respiration et ses palpitations, qui deviennent pratiquement physiques d’une manière qui évoque le souffle audible d’une Violetta ou d’une Gilda. Oropesa sait profiter au maximum de l’écriture vocale : plus ses coloratures et ses sauts impeccables entre les registres montent vers les niveaux stratosphériques, plus son timbre chaleureux et teinté de mélancolie gagne en beauté et en sûreté. Lorsqu'elle apprend que Carlo est en vie, elle effectue un changement soudain d'intention, touchant à la folie, qui offre un instant irrésistible. Les spectateurs ravis s’unissent pour la récompenser, elle, ses collègues et tout l’orchestre (qui vient sur le plateau), d'une ovation debout.

—  Andreas Wahlberg  •  Olyrix

Grande attesa circondava il debutto scaligero del soprano americano Lisette Oropesa, che è stata lungamente applaudita. La voce è luminosa e timbrata, il colore molto bello, la linea di canto sempre sorvegliata e ricamata con grande gusto. Il meglio di sé mi pare che Oropesa lo abbia dato nei cantabili, ove la dimensione malinconica della melodia trovava singolare espressione, mentre una qualche imprecisione si è fatta registrare nei passaggi virtuosistici.

—  Fabio Larovere  •  Conessi all'Opera

There are some voices in opera that are so sublimely expressive that they stand out like a Michelangelo fresco in a black and white film. Pittsburgh Opera’s season finale production of Donizetti’s “Don Pasquale” features such a voice.

Soprano Lisette Oropesa, no stranger to the Benedum Center stage, was recently granted the prestigious Richard Tucker Award, granted annually to an American singer on the precipice of a dazzling career. Her performance on Saturday showcased impeccable clarity of tone and articulation coupled with exquisite lyricism.

Ms. Oropesa, for her part, was enchanting, moving swiftly from coquettish to incendiary as the plot to humble Pasquale coalesces. With her rising prestige confirmed by the Richard Tucker Award (other winners include Renee Fleming and Joyce DiDonato), Ms. Oropesa’s career is likely poised to blossom in the coming seasons.

—  Jeremy Reynolds  •  Pittsburgh Post Gazette

Alles wat deze Cubaans-Amerikaanse sopraan aanraakt, verandert in goud. In Amsterdam hoorde we haar eerder als een fenomenale Nannetta in Falstaff (De Nationale Opera) en Gilda in Rigoletto (De Nationale Opera en de NTR ZaterdagMatinee). Haar krachtige lyrische sopraan klonk als een warm bad.

Oropesa’s eerste aria werd onthaald met langdurig applaus. Haar tweede aria, ‘Robert, toi que j’aime’ in de vierde akte, was een showstopper pur sang. Wat een prachtaria, en wat een prachtsopraan. Trillers, coloraturen, legatolijnen, dictie: alles klopt bij Oropesa. Hopelijk houdt ze het hoofd koel en weet ze zich te hoeden voor rollen die ze wijselijk moet afhouden. Dit is een stem die niet vaak voorkomt heden ten dage.

—  Lennaert van Anken  •  Place de l'Opera

Un lujo, tanto como el que ofreció el impresionante y auspicio debut de Lisette Oropesa en el papel titular, quien impuso una voz de gran belleza y esmalte, dominio estilístico y sentido teatral, fascinando con las arias a su cargo y poderosa en el ornamento.

—  Pablo Meléndez-Haddad  •  El Periódico

Purissima l’emissione di Lisette Oropesa, una Gilda  che ha letteralmente incantato il pubblico.

—  Giuseppe Pennisi  •  Il Sussidiario

Le personnage d’Adina, riche et belle fermière, campé par Lisette Oropesa est pétillant à souhait. La soprano virevolte comme une elfe sur le plateau pleine de charme, de malice et fait des étincelles vocales dans le registre du belcanto.

—  Jean-Christophe Mary  •  Putsch Media

En revanche, deux femmes dominent le spectacle, d’abord la Reine Marguerite de l’américaine Lisette Oropesa, éblouissante de bout en bout, avec un timbre caressant qui demeure chaud jusque dans les aigus et suraigus dont elle se joue avec une facilité déconcertante. Un souffle aux ressources impressionnantes, des couleurs chatoyantes, des sons filés qui laissent pantois : à 35 ans, elle se hausse d’emblée de Reine de Navarre en Reine de Paris ! De surcroit, son abattage de meneuse de revue au sourire craquant fait fondre la salle, à ses pieds à la fin de ce deuxième acte où son brio fait merveille. 

—  Alain Duault  •  Opera Online

Gilda è il soprano statunitense Lisetta Oropesa, reduce dal recente successo in Adina al Rossini Opera Festival, che stupisce per plasticità di modulazione e pulizia del fraseggio.

—  Matteo Pozzato  •  Le Salon Musicale

Autentica trionfatrice della serata è la deliziosa Adina di Lisette Oropesa, che coinvolge, commuove, seduce. È perfetta per l’irresistibile physique du rôle, valorizzato dagli adorabili costumi di Claudia Pernigotti, ma soprattutto per una vocalità che, perfettamente centrata per i passaggi più leggeri, valorizza le screziature di una pasta omogenea, malleabile, sontuosamente governata. Non è certo la sortita delle “Fragolette fortunate” a porle problemi, semmai permettendole di delineare un personaggio civettuolo e bamboleggiante ma con grazia; ma dove sorprende è nel finale, perché – già a partire dal Quartetto – perfettamente comprende l’improvviso viraggio verso un patetismo più pronunciato e poi – dopo l’agnizione – verso l’inattesa felicità finale. La Oropesa è perfettamente consapevole di questo scarto di registri e, con ironia ma senza calcare la mano, fa del suo risveglio dopo lo svenimento quasi una pagina preparatoria della Sonnambula. Tanto più le si attagliano le agilità di forza e la grammatica del Rossini serio quanto più risulta vittoriosa negli autentici fuochi d’artificio della rutilante, spettacolare cabaletta finale, in cui sormonta acrobazie d’ogni sorta – anche fisiche, mentre s’inerpica sulla torta – per esprimere una gioia ritrovata e condivisa.

—  Giuseppe Montemagno  •  Conessi all'Opera

Sottile con il fisico da cui proviene sembra la voce di Lisette Oropesa, ma questo con questo filo l'artista sa tessere trine preziose, ricami e trasparenze, giocare in un'ampia gamma dinamica; scala caparbia le vette del pentagramma, e quando sembra che il suono possa essere un po' dritto e rischiare d'indurirsi, stupisce modulandolo con decisione. Così, ancora una volta non è un qualche arcano incanto timbrico o coloristico a colpire nell'astrazione del vocalizzo Le rossignol et la rose di Saint-Saëns, bensì, si direbbe, il suo contrario, un suono quasi prosciugato all'essenza e di lì condotto nelle volute della coloratura estetizzante del secondo Ottocento. Non trascendentale, affabile, piuttosto, fine, sciolta, duttile e sicura. Quando, poi, in chiusura di programma, torna al belcanto italiano con un omaggio a Rossini, la leggerezza fanciullesca si riarrotonda per offrire una piacevole, sognante Amenaide (“Come dolce all'alma mia”) e una Fiorilla (“Squallida veste e bruna”) debitamente ardita nei virtuosismi. Fra applausi calorosissimi, Juliette tornerà a dimostrare l'affinità del soprano con il repertorio francese e Violetta la sicurezza della preparazione anche in un cimento dei più insidiosi.

—  Roberta Pedrotti  •  L'ape musicale

Oropesa cosechó, tanto tras la célebre escena de la locura (cuando se pasa 15 minutos cantando tras asesinar a su marido en la noche de bodas) como en los saludos finales una enorme ovación, bastante poco propia de los estrenos del Teatro Real, a menudo contenidos en entusiasmo, cuando no directamente fríos.

Pero la soprano norteamericana probó su espléndido instrumento vocal, su control de la dinámica y su conexión con sus evidentes capacidades interpretativas, que en esta producción, especialmente oscura y violenta, la hacen aparecer con un camisón totalmente ensangrentado. Su éxito en el papel la precede gracias a teatros como la Royal Opera House de Londres, donde lo interpretó el año pasado.

Oropesa estuvo al borde del bis, algo muy poco frecuente en cualquier teatro, también en el Real. Y éste parecía provocado por el entusiasta director musical, Daniel Oren, que aplaudía y animaba desde el coro.

—  Daniel Basteiro  •  El Español

Lisette Oropesa was a truly magnificent Gilda. She portrayed her character's girlishness, innocence, and obsessive love. Her voice was clear and bell-like, especially above the staff. Her "Caro Nome" ("Dear name") was most impressive with its radiant, silvery tones and tasteful decoration. Amazingly, she finished the main part of her aria, climbed a long flight of stairs, and immediately began the trill that ends the scene. Twentieth century operagoers told tales of the legendary Erna Berger and her long trills. Twenty-first century patrons may have their own legend-in-the-making with Oropesa. She definitely is a singer to watch.

—  Maria Nockin  •  Broadway World

Dressed in white with a billowing cape as the deceased Eurydice, Lisette Oropesa looked and moved like one of the dancers. Her sounds were liquid silver and she seemed to be an amazingly graceful creature from another world. She sang through a veil at times, but it never marred the focus of her sound. My only thought was that her part was too short.

—  Maria Nockin  •  Broadway World

Leonard Bernstein’s 1949 “Two Love Songs” tell of a love that is stronger than life and can weld two souls together so that they sing a single melody. Oropesa’s butter cream tones were completely unified with Borowitz’s shimmering melodic strains. She finished the first half of the recital with an exquisite rendition of the “Vocalise” that Camille Saint-Saens wrote on a visit to Egypt in 1901. It is a wonderful text-free song that allows the coloratura to use some of her most intricate and difficult maneuvers. For Oropesa, it was a pièce de résistance.

—  Maria Nockin  •  Opera Today

It was fun to watch the fidgety Hansel (the mezzo-soprano Tara Erraught) and fretful Gretel (the soprano Lisette Oropesa) trading nonsensical taunts, dancing together and skipping their chores while their parents are off working, like mischievous siblings everywhere.

—  Anthony Tommasini  •  New York Times

The cast is outstanding, especially the Lucia of Cuban-American soprano Lisette Oropesa. A consummate actor with a fresh, pearly sound and exquisite top notes, Oropesa creates a flesh-and-blood character out of Donizetti’s sketchy heroine. Her mad scene is beautifully judged, full of nuance and changes of pace – deeply disturbing rather than tragic – and her tender relationship with Alisa (superbly acted by Rachel Lloyd) is the most honest in this ghastly story.

—  Amanda Holloway  •  The Stage

Nanetta, interprétée par Lisette Oropesa (Gilda surprise la saison dernière à Bastille). Elle aussi soprano, sa voix plus légère et son vibrato serré insufflent une certaine innocence au personnage, gazouillant naïvement pendant que les autres protagonistes montent des stratagèmes pour se piéger. Ses aigus cristallins et sa maîtrise du souffle impressionnent le public, notamment à l'acte III, où, déguisée en Reine des fées, elle produit de merveilleuses envolées lyriques.

—  Malory Matignon  •  Olyrix

Vocally, Oropesa was well ahead of the pack. Her command of phrasing of the coloratura is exceptional: she can accelerate into a run and shape the dynamic as she leads up to a high note which she duly nails in the middle, with no vibrato needed to mask any possible inaccuracy. The timbre is always perfectly smooth and controlled – even when executing complex runs and complex acting moves – and there’s plenty of power to ensure that she’s being heard above the orchestra. Oropesa’s voice had something of a hard edge, but that may well have been a deliberate point of characterisation: in the one scene in which Norina genuinely softens, her love scene with Ernesto, her voice acquired a sweetness that was notably absent for much of the evening. It was a properly starry prima donna performance.

—  David Karlin  •  Bachtrack

 Son sens de la nuance, exceptionnel et charmant, lui garantit de toute façon d’emblée une ovation en fin de soirée : capable de percuter le spectateur d’un aigu flamboyant, elle allège ailleurs son chant sur quelques syllabes susurrant un aigu intense et long. Elle achève son premier air (et le public) d’un suraigu pur dont le vibrato s’élargit progressivement pour se changer en trille.

—  Damien Dutilleul  •  Olyrix

Oropesa was een fantastische Gilda. Met een stem zo breekbaar als glas, transparant en sterk tegelijk, is ze een ideale vertolkster voor deze rol.

—  Jacqueline van Rooij  •  Place de l'Opera

Making the most of her role was the raven haired Spanish lady Konstanze sung by Lisette Oropesa notable for her creamy tone. Extremely well focused she projected her voice strongly through the house right from her first aria ‘Ach ich liebte’ and I especially admired her heavenly aria ‘Martern aller Arten’ from Act II.

—  Michael Cookson  •  Seen and Heard International

The evening opened with “Ragion nell’alma siede,” an aria from Haydn’s opera Il mondo della luna. It was a gutsy move, and Oropesa easily filled the smaller venue with sound. The accuracy during runs was striking, as were the highest notes, all produced with facility. Her tone turned especially limpid on the little cadenza. Pianist Vlad Iftinca, who was a consummate musical partner throughout the program, gave vitality to the long introduction to the piece.

—  Charles T. Downey  •  Washington Classical Review

La transparence du chant, les vocalises irisées et sa simplicité désarmante ont déclenché une salve d'applaudissements bien mérités!

—  Julian Sykes  •  Le Temps

The Cuban-American soprano Lisette Oropesa, was a classy Guild, with a very beautiful, balanced and tuned voice.

—  Luca Della Libera  •  Il Messaggero

Lisette Oropesa gave a simply dazzling performance as tomboy-turned-lady, Marie. From the graceful, ardent first notes (sung off stage) to the glorious finale on the shoulders of the regiment, she was seemingly born to play the part. Her garçon persona – carried off with irresistible spirit and aplomb – was belied by one of those effortlessly lovely female voices, quite thrilling at the higher register, soaring above the chorus and the other leads when needed. It was a consummate performance, sung with notable facility.  

—  Hilary Stroh  •  Bachtrack

Three familiar songs by Mendelssohn himself followed. In “Wanderlied,” “Auf Flügeln des Gesänges,” and “Suleika,” soprano Lisette Oropesa’s clear, agile, well-placed voice easily projected this composer’s distinctive brand of submerged passion, and pianist Gilbert Kalish subtly rendered his busy accompaniments.

Oropesa’s pinpoint intonation rang like a silver bell through Mendelssohn’s euphonious harmonies. A delighted audience rewarded the pair with vigorous applause.

—  David Wright  •  New York Classical Review

Soprano soloist Lisette Oropesa has a rich, complexly timbred voice that works well for this music.

—  J. Robin Coffelt  •  Theater Jones

Oropesa is immediately engaging and she demonstrates impressive control of her voice, most notable in Susanna’s playful aria “Deh vieni, non tardar.”

—  Jennifer Minich  •  MD Theatre Guide

Unter den vorzüglichen Solisten, die fast alle in Doppelrollen zu erleben waren, stachen Anna Prohaska als Phani/Fatime und Lisette Oropesa als Hébé/Zima mit leuchtendem Sopran und nie steril wirkenden Koloraturen hervor.

—  Georg Etscheit  •  Musik Heute

Auch Lisette Oropesa ist von der Allerheiligen-Hofkirche schließlich herübergekommen. Sie und ihre beiden amerikanischen Kollegen, Matthew Grills und John Moore, geben Arien und Duette von Donizetti, Leoncavallo, Puccini und Rossini zum Besten. Besonders Lisette Oropesa singt sich mit ihrer glasklaren Sopranstimme in die Herzen des Publikums.

—  Jennifer Gaschler  •  Süddeutsche Zeitung

“Oropesa performed the lovely solo, “Et incarnatus” with radiant beauty, and her stunning trills, leaps and embellishments were in perfect tandem with the winds of the CSO”

“In the evening’s first half, Oropesa displayed impressive vocal flourishes and flexibility in the soprano showpiece, “Exsultate, jubilate.”

—  Janelle Gelfand  •  Cincinnati Enquirer

A special word for Lisette Oropesa, whose character, Mater Gloriosa, is supposed to appear out of the sky. The top tier of Verizon Hall was perfectly suitable, with her in a white gown and voice sounding, well, gloriosa.

—  David Patrick Stearns  •  The Inquirer

Making her debut with the orchestra, soprano Lisette Oropesa spun out a radiant sound that communicated every hopeful, calming word in the fifth movement.

—  Tim Smith  •  Baltimore Sun

Eccellenti e straordinari tutti gli interpreti, dall’ineguagliabile Pappano e dai due solisti, il baritono Vito Priante e, soprattutto, il soprano Lisette Oropesa

—  Sergio Prodigo  •  Focus Italy

Ms. Oropesa and Mr. Churchwell brought uncommon freshness to this music, which somehow hovers on the divide between breathless desire and spiritual calm.

Ms. Oropesa combined vocal refinement with articulate delivery of the texts. It’s impressive that all of the English translations printed in the program (the recital spanned Italian, German, French and Spanish) were by Ms. Oropesa herself. Clearly, she involves herself deeply in the words she sings.

—  Anthony Tommasini  •  New York Times

Notable la encarnación de Lisette Oropesa, una voz de lírico-ligera con cuerpo,  impecablemente proyectada, bien colocada y correctamente apoyada sobre el aire. Buena la coloratura como pudo comprobarse en una brillante interpretación del “Caro nome” culminada por un trino largo y de buena factura. Estupendo también fue el mi bemol del final de la vendetta. Cierto es que el timbre no es especialmente bello ni singular y que a alguno de los filados que prodigó le faltó un punto de firmeza y posición, pero estamos, sin duda, ante una soprano con los papeles en regla, con control sobre su instrumento, sobre la intensidad del sonido, la respiración y los resortes del canto. Eso sí, en el aspecto interpretativo no es un prodigio de expresividad.

—  Raúl Chamorro Mena  •  Codalario

Für die erkrankte Patricia Petibon übernahm dankenswerterweise kurzfristig Lisette Oropesa die Rolle der Gilda, die sie mit ihrem vollen, leuchtenden, farbenreichen Sopran sehr schön darbot.

—  Martina Bogner  •  Online Merker

It is possible for a lyric singer to be a great Violetta – among recordings, one I treasure is Bidu Sayão from the Met, who imprinted the role with her distinctive prettiness and pathos. It was Sayão I thought of as I heard how easily Oropesa’s voice carried in the large space, and how elegantly she shaped every phrase, always making the words matter. Throughout, there was telling attention to detail, from the little internal trills in “Sempre libera” that hardly any sopranos today bother with, to the gorgeously tapered phrase endings in “Addio, del passato.” And of course, it helps that Oropesa, like Sayão, is ravishing looking – in her 1950s gowns here (see more on that below), she resembled Pier Angeli.

—  David Fox  •  Reclining Standards

Soprano Lisette Oropesa was a superb Susanna, singing with both delicacy and quick-witted allure. Her duet with the Count at the beginning of Act 3, in which Susanna pretends to be willing to accept his advances, was a particular high point.

—  Joshua Kosman  •  SFGate

Soprano Lisette Oropesa's Marie was a triumph at the Benedum Center, utterly winning in both the role's vocal challenges and the physical demands of Curran's staging. Her voice is wonderfully suited to the role, warm and rounded in tone but also pure, and sparkling in coloratura. “The Song of the Regiment” started with a lovely vocal flourish, then proceeded with irresistible elan.

Oropesa proved a master of physical comedy throughout, especially in a dance lesson Curran interpolates during the orchestra entr'acte after intermission. In the first act, we meet Tonio, Marie's guy, who joins the regiment to be with her. But at the end of that act the Marquise of Berkenfeld claims Marie as her “niece.”

The second act takes place at the castle of the Marquise, who is providing Marie with lessons to add refinement appropriate for an arranged aristocratic marriage. The choreography for the four dancers gives Marie klutzy moves right out of a routine by Les Ballets Trockadero de Monte Carlo. Oropesa offered a perfect lesson in comic gestures and timing.

—  Mark Kanny  •  Pittsburgh Tribune-Review

As Susanna, Lisette Oropesa pulls of the the notable aria “Venite, inginocchiatevi “ (“Come, kneel down before me”) perfectly. However, Oropesa’s best moments come through her mastery of the physical humor so prevalent in the play. She executes slapstick with the skill of Charlie Chaplin and keeps the audience laughing so hard that the music occasionally feels like lagniappe. Kudos must be given the blocking in the work.

—  Michael Martin  •  NOLA Defender

Lisette Oropesa brought her limpid, plaintively expressive voice to the two soprano arias.

—  John von Rhein  •  Chicago Tribune

De show werd echter gestolen door Rigoletto’s dochter Gilda, vertolkt door de Amerikaanse sopraan Lisette Oropesa (vorig seizoen Nanetta in Falstaff bij De Nationale Opera). In haar stemgeluid lagen zowel een warme laagte als een glanzende hoogte besloten, en haar vocale acrobatiek was indrukwekkend. Vooral indrukwekkend was haar ‘Caro Nome’, dat in eerste instantie voortijdig moest worden afgebroken omdat iemand in de zaal onwel werd. Ze eindigde de aria met een prachtige triller waar maar geen eind aan leek te komen.

—  Laura Roling  •  Place de l'Opera

Ben affiatato anche il duo protagonista, con Lisette Oropesa nel ruolo di Konstanze in luogo della prevista Albina Shagimuratova. Anche lei soprano ancora giovane, al suo debutto a Parigi ma già Konstanze alla Staatsoper di Monaco, la Oropesa è stata premiata dal pubblico grazie a una prova molto convincente. Elegante e misurata in scena come si conviene al personaggio, ha persuaso per la sua capacità di mettere in rilievo anche nel canto gli stati d’animo, ora malinconici, ora rapiti, ora sdegnati che la parte prevede. Da ciò l’ottimo effetto di Welcher Wechsel herrscht in meiner Seele, sospirosa e malinconica, da ragazza più che da donna infelice nella voce della Oropesa, seguita da Marten aller Arten, cantata con accenti incisivi e appassionata recitazione. 

—  Lorenzo De Vecchi  •  Opera Click