Rossini Opera Festival - Concert

    Aug, 2018

    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

    Teatro Real - Lucia di Lammermoor

    May, 2018 - Jul, 2018

    Las pasiones llevadas al extremo de "Lucia di Lammermoor" enloquecen al Real

    "Espectacular", "qué gusto oír voces así", "brava" o "perfecta" son expresiones que esta noche el publico del Teatro Real ha regalado a la soprano estadounidense Lisette Oropesa, que ha protagonizado "Lucia di Lammermoor", la ópera de Donizetti, cuyas pasiones desatadas han enloquecido a un coliseo entregado.

    Una ovación que se ha extendido al resto de los cantantes y al coro, y que se ha hecho sentir desde la primera intervención de la soprano, que ya ha emocionado al público con sus agudos, sus trinos, sus filados, y con el control sin límites de su respiración.

    Una voz con una coloratura que le ha permitido una maestría que ha enamorado a los espectadores, alguno de los cuales también lo achacaba al buen momento y a "la madurez" que vive esta gran soprano y gran actriz.

    —  El Diario  •  El Diario

    LA Opera - Rigoletto

    Apr, 2018 - May, 2018

    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

    LA Opera - Orfeo ed Eurydice

    Mar, 2018

    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

    Tucson Desert Song Festival - Recital and Masterclass

    Jan, 2018

    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

    Bayerische Staatsoper - Die Entführung aus dem Serail

    Jan, 2018

    Metropolitan Opera - Hansel and Gretel

    Nov, 2017 - Jan, 2018

    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





    Teatro Real - Rigoletto

    Nov, 2015 - Dec, 2015

    Crítica: 'Triunfo De Gilda'. 'Rigoletto' En El Teatro Real, Con Salsi, Oropesa Y Demuro

    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

    Bayerische Staatsoper - Rigoletto

    Nov, 2015

    MÜNCHEN/ Bayerische Staatsoper: RIGOLETTO

    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

    Bayerische Staatsoper - Die Entfuhrung aus dem Serail

    Nov, 2015

    Opera Philadelphia - La traviata

    Sep, 2015 - Oct, 2015

    La Traviata (Opera Philadelphia) Review

    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

    Skaneateles Festival

    Aug, 2015

    Houston Symphony - Carmina Burana

    Jul, 2015

    San Francisco Opera - Le Nozze di Figaro

    Jun, 2015 - Jul, 2015

    ‘Figaro’ in the shadows at S.F. Opera

    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

    Pittsburgh Opera - The Daughter of the Regiment

    May, 2015

    Review: Superb music, well-acted comedy make 'Daughter of the Regiment' a standout

    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

    New Orleans Opera - Le Nozze di Figaro

    Mar, 2015 - Apr, 2015

    N.O. Opera closes season with appealing ‘Marriage of Figaro’

    As Susanna, Figaro’s bride-to-be, Louisiana-born and -raised Lisette Oropesa was taking on one of the most demanding roles in the soprano repertoire. Being in nearly every scene of a long opera can pose a serious challenge to a singer, but Oropesa rose to it. In her arias as well as in duets and ensemble pieces, Oropesa offered a fine display of vocal versatility, from the lilting coloratura of a young woman in love to the confusion and anger of the object of the lascivious intentions of her overlord, Count Almaviva.

    —  Thomas Hammon  •  New Orleans Advocate

    Chicago Bach Project - St John Passion

    Mar, 2015

    'St. John Passion,' Rising Stars concert lifts voices and hearts

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

    —  John von Rhein  •  Chicago Tribune

    Concertgebouw - Rigoletto

    Mar, 2015

    Oropesa’s Gilda steelt show in Rigoletto

    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

    Opéra National de Paris - Die Entführung aus dem Serail

    Dec, 2014 - Feb, 2015

    Parigi - Opéra Garnier: Il ratto dal serraglio

    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










    Metropolitan Opera - Le Nozze di Figaro

    Oct, 2007 - Nov, 2007

    A ‘Figaro’ With Youth, Agility and Eros

    Ms. Oropesa’s last-minute elevation turns out to be a more interesting story than a pregnant Susanna. She proved a vocally and physically agile Susanna, with an attractively silky, flexible timbre. Her fine comic instincts and cheerfully bright sound put her in command of the stage during much of the first two acts. But she conveyed emotional depth too, most notably in her moving, dark-hued account of “Deh vieni, non tardar” in the final act.

    —  Allan Kozinn  •  New York Times