Career

2024

2023

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    New Orleans Opera - Concert


    Nov, 2023 - Dec, 2023
  • Marie

    Lyric Opera’s ‘Daughter of the Regiment’ a romp rich with laughs and some of Donizetti’s best music

    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
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    Wiener Staatsoper - La traviata


    Sep, 2023 - Oct, 2023

    Violetta Valery

    „La Traviata“: Verdi, die Influencerin und zu viel Phlegma

    Bei Lisette Oropesa, Wiens gefeierter neuer Traviata, besitzt die Kantilene zwar auch einen dramatischen Unterton, ist aber noch nobler, geschmeidiger eingebunden in den Gesamtverlauf der wehmütigen Arie, die sie in makellos geflutetem Pianissimo abschließt.

    Man muss ein gehöriges Stück zurückblättern in den Annalen der Staatsoper, bis man auf eine Traviata von ähnlicher Souveränität stößt. Gewöhnlich teilen sich die Sopranistinnen bei dieser Partie ja in zwei Felder: Die einen können die Brillanz für den ersten Akt aufbringen, die anderen besitzen eher die Lyrismen und die jugendlich-dramatische Spannkraft für den Rest. Oropesa, hierzulande bereits als Konstanze, Gilda und Lucia bestens eingeführt, beeindruckt dagegen in allen drei Sparten, weiß aber alle technischen Fähigkeiten in Ausdruck zu verwandeln. Und das mit einem Timbre, in dem immer wieder Ähnlichkeiten mit Angela Gheorghiu und Ileana Cotrubas aufblitzen.

    —  Walter Weidringer  •  Die Presse
  • Violetta Valery

    [Report] Rome Opera House 2023 Japan performance “La Traviata” first day report

    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
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  • Soprano

    ÁGUILAS / Lisette Oropesa y la maldición de la Princesa de Bouillon

    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
  • Violetta Valery

    Sempre libera... e bella

    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
  • Lucie

    CLÔTURE EN APOTHÉOSE DU FESTIVAL D’AIX-EN-PROVENCE AVEC LUCIE DE LAMMERMOOR

    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
  • Juliette

    Soprano Lisette Oropesa and tenor Amitai Pati shine as the lovers of Savonlinna's Romeo and Juliet

    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 HS  •  Helsingin Sanomat
  • Soprano

    Lisette Oropesa toi hurmaavan tunnelatauksen Espanjasta

    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
  • Soprano

    The Met Chorus shines radiantly in music of loss at Carnegie Hall

    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
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    Teatro Real - Il turco in Italia


    May, 2023 - Jun, 2023

    Fiorilla

    Lisette Oropesa protagoniza "Il turco in Italia" de Rossini en el Teatro Real

    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
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    Lucia

    Una Lucia gotica alla Scala

    Dalla sua ha Lisette Oropesa, interprete ideale di Lucia, per vocalità duttile e partecipazione attoriale sorvegliatissima. Ora sognante, ora dolente, ora smarrita fino alla scena madre finale con l'abito da sposa lordo di sangue.

    —  Stefano Jacini  •  Giornale della Musica
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    Opera National de Paris - Hamlet


    Feb, 2023 - Mar, 2023

    Ophélie

    Hamlet à Bastille : être ou avoir été, telle est la question

    Avec toutes ces funestes méprises, la voix que Lisette Oropesa offre à Ophélie semble d'autant plus pure, d'articulation, de timbre. Pourtant sa ligne de chant est riche d'un médium nourri et sa prononciation du français appliquée, comme ses coloratures. Son immense longueur de souffle lui permet d'enchaîner plusieurs phrases de vocalises (même si l'aigu n'est pas des plus opulents). Son chant paraît de ce fait d'autant plus clair et cristallin au moment fatidique où Hamlet la chasse vers un cloître (vers la mort en fait). Mais même le timbre éclatant, comme du verre, sait replonger dans le grave, comme tombant "à genoux" (la manière par laquelle Hamlet lui avait juré son amour).

    —  Charles Arden  •  Olyrix
  • Soprano

    Mozart füllt Säle und die Riesenbühne

    Lisette Oropesa bescherte etwas fülligere Belcanto-Brillanz

    —  Florian Oberhummer  •  Salzburger Nachrichten
  • Amalia

    "I Masnadieri" im Nationaltheater: Weiblich neu

    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

2022

2021

  • Soprano

    Standing ovation per Lisette Oropesa a Ravello.

    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
  • Soprano

    Lisette Oropesa, como un torrente

    Quizás la estupenda sintonía y colaboración que existe entre estos dos teatros propició la cita, que quedará siempre en nuestro recuerdo como un acontecimiento extraordinario de belleza vocal, expresividad y entusiasmo melódico. Su voz antes ligera ahora ya con un toque lírico considerable, se ha curtido en los mejores escenarios del mundo con especial facilidad para la coloratura y afrontando papeles de enorme envergadura y dificultad. Pero aquí vino defendiendo un programa todo en español, a fuerza de canciones y romanzas de zarzuela de uno y otro lado del Atlántico, llevando sus orígenes cubanos y su pasión española al límite en un recital sin precedentes.

    —  Juan José Roldán  •  El Correo
  • Soprano

    Lisette Oropesa, el cóctel (de zarzuela) perfecto: sí, ella es Cecilia Valdés

    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

    Nous nous reverrons au Ciel

    Tout oppose cette Irene flamboyante et sophistiquée à une Theodora sobre, pudique et pourtant lumineuse à sa façon, délicate, et en cela fidèle au drame de Morell et Haendel. Lisette Oropesa avait déjà abordé Haendel il y a quelques années (Serse, Giulio Cesare, Rodelinda, The Messiah), mais aucun emploi qui aurait pu la préparer à celui-ci. Sa concentration, sa précision nous saisissent dès son premier numéro, exempt de tout narcissisme vocal, et le reste de sa prestation sera à l’avenant. Lisette Oropesa confère à chaque mot son poids idéal et sa juste inflexion (« Fond, flatt’ring world adieu ! »), livrant d’emblée l’essence de Theodora : la jeune fille chrétienne renonce à un monde auquel elle n’a, en réalité, jamais véritablement appartenu. Le naturel de l’expression, la sincérité de l’artiste (« Angels, ever bright and fair ») caractérisent chaque station d’un inexorable chemin de croix, depuis son repli dans un abîme intérieur, après avoir imploré les ombres de la nuit de la dissimuler (poignant « With darkness as it my woe ») jusqu’à la délivrance quand, avec Didymus, elle aperçoit enfin ce Ciel (« Thither let our hearts aspire ») où, dans leur premier duo, ils promettaient de se revoir (« To thee, thou glorious son of worth »). 

    —  Bernard Schreuders  •  Forum Opera
  • Theodora

    Handel con Theodora infiamma la Scala

    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
  • Theodora

    WIEN / Theater an der Wien: THEODORA

    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
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    Royal Opera House - La traviata


    Oct, 2021 - Nov, 2021

    Violetta Valery

    La Traviata review – Oropesa and Avetisyan are exceptional in impassioned Verdi

    As with her Gilda, Oropesa welds sound with sense to create a characterisation of great depth and subtlety. Vocally, Violetta holds no terrors for her: the reckless coloratura of Act I is admirably secure and capped with a dazzling high E flat; the lyricism with which she yields to the moral demands of Christian Gerhaher’s Germont is at once heartbreaking and exquisite; and the emotional and physical anguish of the final scenes are all the more powerful for being etched with such unsentimental restraint. Suggesting fragile beauty on stage, she realises the breathlessness of tuberculosis – and, tellingly, the panic that accompanies it – with unsparing vividness, and throughout we really do believe in the intensity of her feelings for Alfredo and their power to transform and overwhelm her.

    —  Tim Ashley  •  The Guardian
  • Soprano

    In salotto con Verdi (Festival Verdi 2021)

    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
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    Royal Opera House - Rigoletto


    Aug, 2021 - Sep, 2021

    Gilda

    Rigoletto, Royal Opera, review: thrilling music, ascetic sets and a truly grotesque doll

    There is no doubt where the vocal triumph of the evening lies. This is Lisette’s Oropesa’s first Gilda on a British stage: girlish and unaffected, it is a wonderfully complete piece of singing, her “Caro nome” precise and emotional in every detail.

    —  Nicholas Kenyon  •  The Telegraph
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    Soprano

    Martina Franca, Festival of the Valle d'Itria 2021 - Recital by Lisette Oropesa

    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
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    Violetta Valery

    Un/altra Traviata nel vuoto del teatro

    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
  • Soprano

    RECITAL DE LISETTE OROPESA Y RUBÉN FERNÁNDEZ AGUIRRE EN BILBAO

    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

2020

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    Violetta Valery

    Brava Oropesa!

    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
  • Soprano

    Un “dream team” para resucitar la ópera

    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
  • Konstanze

    "Entführung aus dem Serail“ an der Staatsoper: Wütende Buhs, ephorische Bravos

    Wolfgang Amadeus Mozarts Singspiel „Die Entführung aus dem Serail“in der legendären Regie von Hans Neuenfels mit einer grandiosen Lisette Oropesa „Entführung“

    Die amerikanische Sopranistin ist eine Konstanze von Weltformat, verfügt über alle nötigen Koloraturen, Lyrismen und Registerübergänge und gestaltet nicht nur die berühmte „Martern-Arie“ mit einer unglaublichen stimmlichen Intensität. 

    —  Peter Jarolin  •  Kurier
  • Soprano

    Royal Opera: Live in Concert was a Covid-secure evening of world-class singing and music-making

    There was something deeply affecting in hearing the chorus singing once more in the theatre as Oropesa caught the eye and ear during Amina’s engrossing final scene from La sonnambula (The Sleepwalker) with more than just a little help from Felipe Manu’s cameo as Elvino. (Manu is a promising New Zealand-Tongan tenor and currently on the Jette Parker programme.) There are wondrous qualities in Oropesa’s singing and her voice has such bloom and (if she will forgive me) you could see her diaphragm working overtime to provide secure support and allow her to send Bellini’s phrases soaring. Oropesa clearly had a particularly sensitive understanding of nuance in the combination of notes and words she was singing.

    —  Jim Pritchard  •  Seen and Heard International
  • Soprano

    Il Rossini Gala dell’Arena di Verona

    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
  • Violetta Valery

    Llegó Lisette Oropesa y ‘dio el canto’ en ‘La Traviata’ (y el Teatro Real se vino abajo)

    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
  • Soprano

    The Top 5 Moments From the Maggio Musicale Fiorentino’s At Home Gala

    In an outstanding rendition of Douglass Moore’s aria “Willow,” Oropesa offered audiences a refined and moving performance filled with crystal clear high notes, all sung a capella.

    While the performance was pre-recorded, Oropesa also recited the text for Italian audiences in a beautiful and moving reading.

    —  Francisco Salazar  •  Opera Wire
  • Soprano

    BWW Review: Metropolitan Opera's At-Home Gala

    The Met technical folks went to Baton Rouge, Louisiana, to catch Lisette Oropesa who, accompanied by Michael Borowitz, sang a perfectly executed "En vain espère" from Meyerbeer's Le Prophète.
    Her rendition contained some of the best singing I've heard in years.

    —  Maria Nockin  •  Broadway World
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    Metropolitan Opera - La Traviata


    Feb, 2020 - Mar, 2020

    Violetta Valery

    Review: Lisette Oropesa Makes ‘La Traviata’ Her Own

    In Act I, when Violetta, a charming courtesan, is throwing a lavish party, a soprano must summon flights of coloratura brilliance and coquettish sparkle. Ms. Oropesa breezily dispatched runs and embellishments as she mingled with her guests and met Alfredo, the smitten young man from a bourgeois family who has been pining for her from afar.

    Yet you could detect a trace of forced vivacity in Ms. Oropesa’s interpretation, an intentional touch of tremulous fervor in her sound, even as she let bright-voiced, ebullient phrases soar. Here was a young woman determined to prove that she was undaunted and would remain, as she later sings, “sempre libera”: always free.

    —  Anthony Tommasini  •  New York Times
  • Rosina

    Jeunes et prometteurs

     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
  • Soprano

    Gstaad in majesty

    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

2019

  • Ophélie

    WCO’s superlative casting lights a fire amid the gloom of Thomas’s “Hamlet”

    Exemplary in this demanding coloratura role was soprano Lisette Oropesa, whose voice seems to grow richer and more refined with each appearance. She has sung the role on stage before, and the sense of a specialist’s knowledge came through from her love duet in Act I and Act II scene onward.

    Oropesa’s coloratura exploits, especially in the show-stopping mad scene that encompasses all of Act IV, revealed consummate control and grace. Incendiary high notes floated, chromatic runs slid downward with clarity, and trills glimmered. Particularly convincing were the runs that rocketed upward, ending abruptly as high as the E off the staff, incarnating the character’s mad outbursts.

    —  Charles T. Downey  •  Washington Classical Review
  • Soprano

    Review: Richard Tucker Gala 2019

    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
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    Metropolitan Opera - Manon


    Sep, 2019 - Oct, 2019

    Manon Lescaut

    Metropolitan Opera 2019-20 Review: Manon

    Speaking of Lisette Oropesa, she had a major success in her first Met “Manon.” The title role is a mammoth undertaking and has proven a touchstone role for many famed divas of the past. Moreover, Pelly’s production requires a singer who can also dominate as an actress, navigating the complex world that the director created for the opera and character.

    There is no denying Oropesa’s vocal purity and assurance and she wove an elegant legato line throughout “Je suis encore tout étourdie,” with the high A naturals at the apex of main melody statement gleaming. It was one of the few times where the speedier tempi worked well with Oropesa’s fierce coloratura, the unpronounced rallentandoes, and even the breezy take on the sixteenth note descents on “Pardonez à mon bavardage” allowing for a portrayal of Manon as a hurricane of energy ready to be unleashed.

    —  David Salazar  •  Opera Wire
  • Soprano

    Uma grande cantora passou pelo Rio

    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
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    Arena di Verona - La traviata


    Jul, 2019 - Aug, 2019

    Violetta Valery

    La Traviata des mythes

    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
  • Violetta Valery

    The triumph of a "Traviata" of smart choices and great protagonists

    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
  • Amalia

    Les Brigands de Verdi en haut de l’échelle : La Scala triomphe à Savonlinna

    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
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    Teatro alla Scala - I Masnadieri


    May, 2019 - Jul, 2019

    Amalia

    I masnadieri: “Verdi's ugliest opera” returns to La Scala with mixed results

    In the role created for Jenny Lind, Lisette Oropesa, in her La Scala debut, demonstrated a magnificent silvery voice, beautiful vibrato and impeccable coloratura. Her performance was cheered by the public.

    —  Renato Verga  •  Bachtrack
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    Pittsburgh Opera - Don Pasquale


    Apr, 2019 - May, 2019

    Norina

    Review: Pittsburgh Opera revisits silent Hollywood in waggish season finale production

    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
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    La Monnaie - Robert le Diable


    Mar, 2019 - Apr, 2019

    Isabelle

    Robert le diable in het PSK

    De ontegensprekelijke ster van de avond was de Isabelle van Lisette Oropesa. Ik heb haar al een paar keer in cinemavoorstellingen gehoord, meest recent als Marguerite vanuit Parijs, maar dit was mijn eerste live ervaring. De cinema-versie van Oropesa is maar een schaduw van hoe ze in het echt klinkt. Meteen met haar openingsaria "En vain j'espère" zit haar stem juist. Ze zingt met een pakkende frasering, haar hoge noten klinken fantastisch met daarenboven mogelijkheid tot dynamiek van piano tot forte, coloraturen hebben diepgang en met dat alles kan ze nog eens ontroeren ook. Haar paradestuk komt in het vierde bedrijf met de cavatina "Robert, toi que j'aime". Dat zou een saaie aria kunnen worden met een paar honderd herhalingen van "grâce pour toi", maar bij Oropesa blijf je luisteren naar alle smekende nuances die ze weet op te roepen, maar telkens met een ondertoon van het hartzeer dat ze voelt. Het einde van de aria geeft ze een voorwaartse stuwing mee die onvermijdelijk leidt tot een minutenlange ovatie.

    —  Inquisitor  •  Il Grand' Inquisitor
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    Rodelinda

    ‘Rodelinda’ enamora al Liceo

    Con fantasía y buen gusto en las ornamentaciones y una coloratura espectacular, Lisette Oropesa es una Rodelinda de ensueño. La voz es bella, cálida, rica en colores, tan fascinante como su riqueza expresiva. Siempre en escena —y eso que la ópera dura más de tres horas— muestra de forma admirable las agitadas emociones de una mujer enamorada y fiel, que sufre, se resigna y se rebela con furia.

    —  Javier Perez-Senz  •  El Pais
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2018

  •   

    Gilda

    Il «Rigoletto» di Gatti è un Verdi doc

    A questo punto, se Rigoletto smette di essere una palestra dove misurare atletismi e «canne» vocali, i cantanti devono essere valutati per quanto e come contribuiscano a un progetto interpretativo così rivoluzionario. In questo senso è perfetta la Gilda di Lisette Oropesa, che non solo canta benissimo sempre, ma riesce a trasformare «Caro nome» da grande aria della diva in un bellissimo, toccante soliloquio di una ragazzina innamorata.

    —  Alberto Mattioli  •  La Stampa
  • Adina (Elisir)

    L’Elixir d’amour de Pelly, réjouissance théâtrale à Bastille

    24 heures après avoir chanté la dernière des neuf représentations des Huguenots (auxquels elle glisse une référence en proposant la « Reine Margot » lorsque Dulcamara cherche le nom d’Isolde), qui l’ont vu triompher (lire notre compte-rendu) en remplacement de Diana Damrau, la piquante Lisette Oropesa enchaîne avec la Première de l’Elixir d’amour, qu’elle a répété en parallèle (comme elle nous l’indiquait en interview). Pour autant, sa voix garde sa fraîcheur délicate dans le médium et sa finesse acidulée dans l’aigu. Son vibrato rapide et fin se module selon les intentions du personnage, accompagnant ainsi les nuances du chant. Elle garde une grande énergie sur scène, ne ménageant pas ses efforts, en femme volage et capricieuse, mais touchante dans le dénouement.

    —  Damien Dutilleul  •  Olyrix
  • Marguerite de Valois

    Les Huguenots à l'Opéra de Paris, un retour bien sage

    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

    Verona: una “Trilogia popolare” ammantata di stelle

    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
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    Rossini Opera Festival - Adina


    Jul, 2018 - Aug, 2018

    Adina

    Adina attraverso lo specchio

    Il cast vocale si presta compatto a una visione un po' stralunata, ad affetti di carta che si susseguono disinvolti, a partire dall'Adina fra lo svampito e l'infantile di Lisette Oropesa, ancora di limitate esperienze operistiche in Italia e già in possesso di un'ammirevole familiarità con la nostra lingua. Voce leggera, caratterizzata da un sottile vibrato, canta con eleganza e intenzione sempre coerente alla scena.

    —  Roberta Pedrotti  •  L'ape musicale
  • Soprano

    Il trillo di Lisette

    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
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    Teatro Real - Lucia di Lammermoor


    May, 2018 - Jul, 2018

    Lucia

    El Teatro Real enloquece con 'Lucia di Lammermoor'

    La locura de la protagonista, interpretada por la soprano estadounidense de ascendencia cubana Lisette Oropesa, se ha trasladado al público del coliseo madrileño, que ha roto en aplausos y en gritos de \"brava\" en el culmen de su enajenación.

    —  Europa Press  •  Europa Press
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    LA Opera - Rigoletto


    Apr, 2018 - May, 2018

    Gilda

    BWW Review: RIGOLETTO at Dorothy Chandler Pavilion

    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
  • Euridice

    BWW Review: ORPHEUS AND EURYDICE at Dorothy Chandler Pavilion

    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
  • Soprano

    Lisette Oropesa sings at Tucson Desert Song Festival

    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
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    Dew Fairy

    , Gretel

    Review: The Met’s Holiday ‘Hansel’ Is Surreal (and Timely)

    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

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