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.The Cuban-American soprano Lisette Oropesa is magnetic in the main role of Alcina, sister of Morgana. The great light soprano voice, adorned in a sparkling azure blue dress, brings all the complexity to the role of the cursed sorceress. All her interventions are rich in subtle and measured acting, engaged even in her posture. Her powerful voice with a recognizable fast vibrato receives acclaim. She convinces as a smiling lover, as well as a sorceress, queen, woman, devastated and plaintive, her technique allowing her to put a "gritty" effect on her voice. From dizzying intervals to dramatic breaths, shivers sweep through the audience repeatedly: the voice, firmly rooted in the chest, effortlessly soars, enchanting with its virtuosic vocal acrobatics.— 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.Her return in Act II with the aria "O rendetemi la speme" confirms her extraordinary embodiment of the role and the sensitivity with which she delivers these magnificent arias, relying on her velvety middle range, providing sumptuous high piani filés. She then boldly performs "Vien, diletto, è in ciel la luna!" in connection with the conductor who plays with rhythms to make the aria something other than simply a virtuosic passage. Her final interventions finally crown the journey of this heroine whom she has brought safely home despite the obstacles, and has ultimately transcended, by combining virtuosity and sensitivity, and paying tribute to the challenging, yet beautiful, bel canto style of Bellini.— 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.Lisette Oropesa, a sovereign Mathilde, displays a unique sense of phrasing, perfect elocution, glorious legato, in short, an impeccable mastery of the Rossini style.— 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."In the beautiful month of May," from the "Dichterliebe" cycle. "When all the buds were bursting/ then in my heart/ love sprung up." Here staked something, beyond and above all: far beneath the coloraturas. Possibly the hardest thing on this evening for this singer, because it has to sound so simple.— Joachim Mischke • Hamburger Abendblatt
Dopo avere riservato applausi calorosi durante la serata, al termine il pubblico si è scatenato in ovazioni e acclamazioni interminabili, da qui una serie di bis: dalla Danza rossiniana di cui abbiamo detto a un’aria dalla Zarzuela Las Hijas del Zebedeo di Ruperto Chapí, terminando con “I’ te vurria vasa’”, omaggio a Napoli commovente per lo scrupolo esecutivo e l’intensa espressività messa nei versi, tra l’altro con ottima dizione. Bellissima chiusa per una serata da inserire fra le migliori di questa stagione sancarliana.After holding back enthusiastic applause throughout the evening, at the end, the audience erupted into never-ending ovations and acclamations, leading to a series of encores: from the Rossinian Dance we mentioned, to an aria from Ruperto Chapí's Zarzuela Las Hijas del Zebedeo, and concluding with "I te vurria vasa", a moving tribute to Naples characterized by meticulous execution and intense emotional expression in the lyrics, also delivered with excellent diction. A beautiful ending to an evening that ranks among the best of this San Carlo season.— Bruno Tredicine • Opera Click
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.On the shields, two of the main performers. Lisette Oropesa, who will soon perform the role in Paris, made a sensation with her singing, which, without dwelling too much on high notes, messa di voce, and added ornamentations, aimed primarily at embodying a real character. In such a high-level performance, she deserves recognition for a scene of madness in the second act, memorable even for its gestures, not conditioned for once by the score on the music stand. It's a pity that the finale written for Malibran was not performed, but the polonaise, the duets with the bass and tenor, and her "Ah vieni al tempio" (one of those moments where Bellini's music touches the sky and hearts) will be remembered and rightfully so.— Jorge Binaghi • Conessi all'Opera
La ópera pertenece, como muy bien anuncia el programa del Teatro Real, al llamado belcantismo, oportuno recordatorio que aquí llega en todo su significado, algo más complejo de lo que puede parecer. Para que se manifieste en todo su esplendor el canto tiene que ser efectivamente bello, lo que en esta ocasión se logra plenamente gracias a la excelsa interpretación de la soprano Lisette Oropesa, en una reina de Escocia ante la que sucumbimos no tanto por lo que dice sino por lo que transmite Donizetti a través de su privilegiada voz y de su sutil y penetrante arte interpretativo. Un alma femenina que recuerda, se queja, se rebela con b y se revela con v como un ser humano vivo y próximo.The opera belongs, as prominently advertised in the Teatro Real program, to the so-called bel canto style, an opportune reminder that here it arrives in its full meaning, something more complex than it may seem. For it to manifest in all its splendor, the singing has to be effectively beautiful, which on this occasion is fully achieved thanks to the sublime performance of soprano Lisette Oropesa, as a Queen of Scotland before whom we succumb not so much for what she says but for what Donizetti conveys through her privileged voice and her subtle and penetrating interpretive art. A feminine soul that remembers, complains, rebels with 'b' and reveals with 'v' as a living and close human being.— Álvaro del Amo • El Mundo
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.We greatly enjoyed the melismatic bolero by Delibes in which he displayed all sorts of scales, staccato and sustained trills, and immaculate tuning. In the second half, the jovial soprano, with her refined bel canto technique, captivated attention with the aria from Donizetti's opera L'Elisir d'Amore and most notably, within the challenging canzonetta "La Primavera" by Mercadante. Undoubtedly, Lisette Oropesa comfortably excelled in the lighter pieces, in which her voice confidently ventured into ethereal sustains and the mastery of the high register.— 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.A substantial menu, indeed, that the star soprano devours with an appetite that seems to grow even stronger as she sings. The performer brings to each word its full meaning, to each emotion its full weight, whether evoking love, sorrow, dreams, or regret. From Andalusia, the subject at hand, the artist captures the warmth and soul, danceable and intoxicating, with a voice as expansive as the gardens of the Alcazar, with a timbre as warm and blooming as a street in Old Cadiz. Then there’s the sun, brilliant, radiating from bold but perfectly controlled high notes, here triumphant, there almost whispered, but always with an implacable sonic presence. The audience revels in it, applauding after each melody this artist who, on occasion, does not hesitate to break into a few swaying dance steps.— Pierre Géraudie • Olyrix
One of the striking features of the program was how quickly and seamlessly Oropesa could turn on a dime from extroverted vocal display to quiet introspection or sensuous languor in the more serious song selections. The timbre would morph from diamantine brilliance to a darker silver tone with a cool luster depending on the music.None— Eli Jacobson • Parterre
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.Lastly, Lisette Oropesa declares with a solid legato, impeccable pronunciation, and evenness in her registers, long embodied phrases defended with palpable emotion, notably her entrance and her concluding part where the room quivers with her during the intensity of the moment and the gravity of such an imperishable musical text.— Philippe Scagni • Olyrix
Manon en “los locos años veinte”. Art déco. Las Kardashian. “Una de las pocas óperas en la que el hombre es la víctima y el tenor no es celoso”. Más allá de la palabrería, elucubraciones, interpretaciones y reinterpretaciones escénicas, del regreso de la ópera Manon de Massenet al Palau de Les Arts -ya se escuchó en 2010, en tiempos de Helga Schmidt- queda la esencia de una de las grandes óperas del repertorio; es decir, el canto y su base sinfónica. Fueron precisamente la soprano cubano-estadounidense Lisette Oropesa y la Orquestra de la Comunitat Valenciana los genuinos triunfadores de una función de contrastes y nivel, convertida en inolvidable por el canto y la expresión excepcional de la diva y una orquesta que tocó, cantó y sonó maravillosamente toda la noche bajo el gobierno efectivo de su titular, James Gaffigan. Desde los primeros momentos, -“Je suis encore tout étourdie”-, la Oropesa dejó enunciados los perfiles expresivos y vocales de un personaje que le va como anillo al dedo. Musical y dramáticamente. A pesar de su poderosa personalidad, y de su condición de figura puntera de la lírica actual, en su interpretación fue solo Manon, la genuina y única. No hizo de Manon: fue la propia Manon la que el jueves, cantó y actuó en la escena inmensa del Palau de Les Arts. Tal fue su entrega, identificación con el personaje y médula vocal de un papel marcado por figuras legendarias de la ópera, con Victoria de los Ángeles a la cabeza. Oropesa, que debutó el rol en 2019, en el Metropolitan de Nueva York, incorpora su nombre a la nómina selecta de las mejores Manon que fueron y son. Cantó desde el alma, otorgando sentido y expresión a cada palabra, a cada sílaba, a la evolución de una casi niña de 16 años, caprichosa y Lolita, que tras cinco actos y seis escenas concluye convertida en una heroína del amor y la libertad. Y fue esa transición difícil, desde la ingenuidad y la frivolidad a la pasión que es capaz de aparcar todos los sueños y anhelos de antaño para dejar que el amor imponga su ley en tiempos difíciles y contra cualquier conveniencia, la guía que marcó una noche en la que ella fue absoluta protagonista. El abismo entre la jovencita caprichosa y la heroína que cierra la historia con esa frase intensa y sencilla que sale de sus labios agónicos: “Et c’est là l’histoire de Manon Lescaut”. Antes, momentos tan memorables como cuando en el segundo acto entona el aria más célebre “Adieu, notre petite table” con sutileza vocal transparente y cargada de efusión y nostalgias; o el contraste, en el frívolo tercer acto, con un “Je marche sur tous les chemins” redondeado con gracia y sabores dieciochescos en la gavota “Obéissons quand leur voix appelle”, donde retoma las jóvenes alegrías del amor y la juventud... Como Manon, el arte de Oropesa es voluble y versátil, fresco y joven. Atrevido y decidido. Impregnado de pasado y abierto a la incertidumbre del futuro. Y, como su hermana Charlotte (Werther), sin recovecos ni medias tintas.Manon in the “roaring twenties”. Art Deco. The Kardashians. “One of the few operas where man is the victim and the tenor is not jealous.” Beyond the chatter, musings, interpretations, and stage reinterpretations, what remains of Massenet's opera Manon’s return to the Palau de Les Arts - having last been heard in 2010, during the time of Helga Schmidt - is the essence of one of the great operas in the repertoire; that is, the singing and its symphonic foundation. It was precisely Cuban-American soprano Lisette Oropesa and the Orchestra of the Valencian Community who were the true winners of a performance filled with contrasts and quality, made unforgettable by the singing and the exceptional expression of the diva, and an orchestra that played, sang, and sounded wonderfully throughout the night under the effective leadership of its principal conductor, James Gaffigan. From the first moments, - “Je suis encore tout étourdie”-, Oropesa defined the expressive and vocal outlines of a character that fits her like a glove, both musically and dramatically. Despite her powerful personality and her status as a leading figure in contemporary opera, in her interpretation, she was solely Manon, the genuine and unique. She did not play Manon: it was as if Manon herself sang and acted on the immense stage of the Palau de Les Arts on that Thursday. Such was her commitment, identification with the character, and vocal core of a role marked by legendary opera figures, with Victoria de los Ángeles leading the way. Oropesa, who debuted the role in 2019, at the Metropolitan Opera in New York, adds her name to the select list of the best Manons that were and are. She sang from the soul, giving meaning and expression to every word, every syllable, to the evolution of a nearly 16-year-old girl, capricious and Lolita-like, who after five acts and six scenes ends up transformed into a heroine of love and freedom. And it was this difficult transition, from naivety and frivolity to a passion capable of setting aside all dreams and longings of yesteryears to let love impose its law in difficult times and against any convenience, that guided a night in which she was the absolute protagonist. The chasm between the whimsical young girl and the heroine who ends the story with that intense and simple phrase that escapes her dying lips: “Et c’est là l’histoire de Manon Lescaut.” Earlier, there were such memorable moments as when in the second act she sings the most famous aria “Adieu, notre petite table” with a transparent vocal subtlety full of effusion and nostalgia; or the contrast, in the frivolous third act, with a “Je marche sur tous les chemins” rounded off with grace and eighteenth-century flavors in the gavotte “Obéissons quand leur voix appelle,” where she revisits the youthful joys of love and youth... Like Manon, Oropesa's artistry is fickle and versatile, fresh and youthful. Bold and decisive. Infused with the past and open to the uncertainty of the future. And, like her sister Charlotte (Werther), without complications or ambiguities.— Justo Romero • Levante
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.Foremost among them is the captivatingly singing and emotionally engaging Lisette Oropesa in the title role. The Cuban-American soprano possesses everything essential for this role: a beautiful voice, just large enough, bright and finely timbred, expressive and technically skilled enough to gracefully and almost weightlessly float through the cadenzas with elegant ease. She is capable of the most delicate pianissimo, but also solid in powerful sequences like in "Sempre libera." Admirable is how Oropesa can transform herself in the changing emotional worlds, from the blissful joy of being in love in the first act to the heartbreaking despair in "Addio del passato" and the final flicker of life and will to love in the face of death. In her portrayal, she convinces with honest, lovable sincerity, not with grand gestures.— Manfred A. Schmid • Online Merker
So wie auch, und ganz besonders, Lisette Oropesa. Wenn sie die Ophélie gibt, dann bleibt die Figur nicht bloß eine gläsern-zerbrechliche Femme fragile: Stattdessen erfüllt die Koloratursopranistin ihre einmal schlichten, dann wieder reich verzierten Kantilenen mit der Fülle und der Wärme einer Liebenden, die auf für sie unbegreifliche Weise enttäuscht wird und daraufhin in den Tod geht. Ein Hauch Cotrubas klingt da im Timbre an, eine Prise Gheorghiu – und doch ist Oropesa eine Diva eigenen Ranges, die ihre leuchtenden Spitzentöne in zartes Piano zurücknehmen kann: Das provozierte Jubelstürme schon nach ihrer Wahnsinnszene.Just as, and especially, Lisette Oropesa. When she assumes the role of Ophélie, the character is not merely a fragile, glass-like femme fragile: Instead, the coloratura soprano infuses her sometimes simple, sometimes richly ornamented cantilenas with the fullness and warmth of a lover who is incomprehensibly betrayed and subsequently succumbs to death. In her timbre, there's a hint of Cotrubas, a dash of Gheorghiu - and yet Oropesa is a diva of her own class, capable of modulating her luminous high notes into delicate piano: This provoked storms of applause already after her mad scene.— Walter Weidringer • Die Presse
Entre todas estas piezas, todas interpretadas a un nivel sinigual que dejó fascinado a un publico totalmente entregado, destacó Oh, nube! Che lieve per l'aria, de la obra de Donizetti Maria Estuarda, que la soprano interpretará por primera vez en su carrera en el Teatro Real la próxima temporada. Valga subrayar los bises con los que Oropesa concluyó una velada redonda. Después de volver sobre sus pasos, la soprano tomó la palabra para compartir una información de la que había sido conocedora días antes. Su bisabuela, nacida en la isla de Mallorca, era el último eslabón en unirse a un largo linaje de mujeres ligadas a tierras hispanoparlantes en la familia de la artista. Con motivo de ese lazo, que continúan la cantante, de origen cubano, y su madre, española de nacimiento, interpreto como colofón final la Romanza de María la O, de la zarzuela del compositor cubano Ernesto Lacuona, Maria la O y, por último, Las carceleras de la zarzuela cómica española Las hijas de Zebedeo.Among all these pieces, all performed at an unrivaled level that fascinated an utterly devoted audience, one stood out: "Oh, nube! Che lieve per l'aria," from Donizetti's Maria Stuarda, which the soprano will perform for the first time in her career at the Teatro Real next season. It is worth highlighting the encores with which Oropesa concluded a perfect evening. After retracing her steps, the soprano took the floor to share information she had learned days earlier. Her great-grandmother, born on the island of Mallorca, was the latest link in a long lineage of women connected to Spanish-speaking lands in the artist's family. To commemorate this bond, both the singer, of Cuban origin, and her mother, born in Spain, performed as a final flourish the Romanza from Ernesto Lecuona's Cuban zarzuela "Maria la O," and lastly, "Las carceleras" from the Spanish comic zarzuela "Las hijas de Zebedeo."— Ángel Mora • El Español
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.None— 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.None— 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!”None— Neil Fisher • The Times
En deuxième partie, Oropesa nous offrira une valse de Juliette miroitante à souhait : sa voix possède ce brillant orné de velours qui laisse jaillir une artiste élégante et noble. Ensuite Camarena attaquera « Ah, lève-toi, soleil » du même ouvrage. Magistral aussi, car l’éclat de son instrument est mis au service d’un interprète engagé, intelligent et sensible.In the second part, Oropesa will offer us a shimmering waltz from Juliette as desired: her voice possesses that brilliant, velvet ornamentation that reveals an elegant and noble artist. Next, Camarena will tackle "Ah, rise, sun" from the same work. Also masterful, as the brightness of his instrument is at the service of a committed, intelligent, and sensitive performer.— Xavier Rivera • Crescendo Magazine
Il succitato duetto ha consentito alla brava Lisette Oropesa di scaldare la voce prima di affrontare la difficile aria dei verdiani Masnadieri, durante la cabaletta della quale abbiamo potuto apprezzare il bellissimo trillo della cantante statunitense e i suoi affascinante acuti, se presi in pianissimo. Dopo l’esecuzione della Sinfonia tratta dalla stessa opera (che ha guadagnato calorose ovazioni al violoncello solista) si è passati all’impegnativo duetto del Rigoletto fra Gilda e il Duca durante il quale la voce del soprano, così ricca di armonici, si fondeva un poco a fatica con quella tendenzialmente frigida del tenore. Seconda parte del concerto tutta dedicata alla Francia, dove una Oropesa tecnicamente pregevole, ma stranamente priva di coquetterie, ha eseguito l’aria “des bijoux” dal Faust di Gounod e il perigliosissimo “Robert, toi que j’aime” da Robert le Diable di Meyerbeer.The aforementioned duet allowed the talented Lisette Oropesa to warm up her voice before tackling the challenging aria from Verdi's Masnadieri, during the cabaletta of which we were able to appreciate the beautiful trill of the American singer and her fascinating high notes, if taken in pianissimo. Following the performance of the Symphony from the same opera (which garnered warm ovations for the solo cellist), they moved on to the demanding duet from Rigoletto between Gilda and the Duke, during which the soprano's voice, so rich in harmonics, somewhat struggled to blend with the inherently cold tenor. The second part of the concert was entirely dedicated to France, where a technically excellent Oropesa, oddly lacking in coquettishness, performed "des bijoux" aria from Gounod's Faust and the extremely risky "Robert, toi que j'aime" from Meyerbeer's Robert le Diable.— Giancarlo Arnaboldi • Conessi all'Opera
Lisette Oropesa que le public parisien a découverte dans Les Huguenots à Bastille en septembre 2018 propose ensuite « Robert, toi que j’aime », un extrait d’un autre opéra de Meyerbeer, Robert le diable. Son interprétation émouvante et nuancée, parsemée de demi-teintes exquises capte durablement l’attention en dépit de deux aigus légèrement stridents et un peu bas dans la dernière section de l’air qui n’ont pas empêché le public de l’applaudir chaleureusement. Cette partie, finalement plus captivante que la première, s’achève en beauté avec la grande scène de Saint Sulpice extraite de Manon. Bernheim propose un « Ah fuyez douce image » irréprochable vocalement et stylistiquement, mais dans le duo qui suit on aimerait percevoir davantage la fougue amoureuse qui anime le personnage. Oropesa est en revanche une Manon tout feu tout flamme, pleinement convaincante dans sa robe rouge fendue sur le devant.Lisette Oropesa, whom the Parisian audience discovered in "Les Huguenots" at Bastille in September 2018, then offered "Robert, toi que j’aime," an excerpt from another Meyerbeer opera, "Robert le Diable." Her poignant and nuanced performance, dotted with exquisite half-tones, captures attention enduringly despite two slightly shrill and somewhat low high notes in the last section of the aria, which did not prevent the audience from applauding her warmly. This part, ultimately more captivating than the first, concluded beautifully with the grand scene from Saint Sulpice extracted from "Manon." Bernheim delivers an "Ah fuyez douce image" that is impeccable both vocally and stylistically, but in the duo that follows, one would wish to feel more of the amorous ardor that animates the character. Oropesa, on the other hand, is a Manon full of fire and flame, utterly convincing in her front-slit red dress.— Christian Peter • Forum Opera
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.Oropesa is a delightful, naive, and tender Amina, but not mannered, indeed made very authentic and alive by the touching alternation of intense moments of melancholy, happiness, drama and exultation. Her tone is unique, communicative and charming, her style and technique are impeccable.— Mauro Mariani • Giornale della Musica
Oropesa ist auch die stärkste Stimme des Abends. Sie bringt Poesie und Farbe in die schwere Partie, meistert nicht nur die Höhen und Koloraturen bravourös, ihr gelingt ein echtes Porträt.Oropesa is also the strongest voice of the evening. She brings poetry and color to the challenging role, not only mastering the high notes and coloraturas effortlessly, but also succeeds in creating a genuine portrait.— Martin Gasser • Kleine Zeitung Steiermark
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.But Violetta Valéry, on this Sunday afternoon, is none other than Lisette Oropesa, triumphant in her melodious power while perfectly embodying the confident seductress. Her performance and dynamic voice broaden the stage and acoustic space, skillfully piercing the wall of orchestra and choirs with her accents, without neglecting the great moments of tenderness and the clear declamation of the text.— 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.None— 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.The entire range of emotions is present: rebellion, affliction, flashes of anger, resignation, tenderness. Lisette Oropesa is more than just a pretty coloratura soprano voice with a crystalline timbre. Her singing catches fire; the voice is surprisingly long, crowned with striking high notes, though in no way screechy, sometimes descending into the low range without any break in the registers. A radiant brilliance emanates from it.— 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.None— Kyle MacMillan • Chicago Sun Times
In der kühl-kuriosen Instagram-Inszenierung von Simon Stone siedelte Oropesa die Violetta Valéry stimmlich auf der kräftigen Seite an, selbst im Angesicht des nahenden Bühnentods. Wie zielsichere Pfeile die Spitzentöne der US-Amerikanerin, routiniert ihre Koloraturakrobatik.In the coolly curious Instagram staging by Simon Stone, Oropesa vocally positioned the Violetta Valéry on the robust side, even in the face of impending stage death. The top tones of the American were as unerringly targeted as arrows, her coloratura acrobatics practiced.— Stefan Ender • Der Standard
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.None— 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.By then, and even from the bolero "¡Ay poor Curro mio!" by Gounod, which opened the recital, Oropesa had won over the audience due to the communicative power of her voice and her way of phrasing. The voice is of a seductive timbre, with slightly dark nuances in origin that gain brightness through unblemished placement and projection techniques so that when it emerges, the voice has a tremor of emotion and a range of colours that make it unmistakable. With the sound perfectly covered across the range, transitions between registers are practically non-existent, the sound flows with disarming naturalness without jumps or changes, and is fully audible in the entire dynamic spectrum. With such technical tools at her service, Oropesa can confidently tackle the expressive terrain of phrasing that has elevated her to the global opera podium.— 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.The second performance of "La Traviata" at the Arena showcased an excellent cast led by the American soprano Lisette Oropesa, who had already made her triumphant debut in the Verdi opera, achieving dazzling success: there was no doubt she would confirm that. It would be trivial, if not tedious, to describe her singing and acting skills; Oropesa is born for the legendary role and "condemned" to bring the audience to euphoric rapture: and so it was last night. Her perfect physique for Violetta, disarmingly natural acting, a voice with distinctive vibrato yet well-timbred and with a particular shine, impeccable technique all garnered great success; numerous curtain calls and endless expressions of admiration for the astonishing American soprano.— Irina Sorokina • L'ape musicale
Lisette Oropesa appare più a suo agio rispetto alla recente produzione scaligera in versione italiana. Chailly le chiedeva un’intensità drammatica che forse non è la sua tazza di tè; e il soprano rispondeva da grande artista mettendo a disposizione tutte le sue risorse di tecnica e temperamento. Però in altre occasioni avevo sentito la voce più libera e il canto più alato. Con Daniele Rustioni Lisette Oropesa torna ad essere la vocalista che ricordavo senza nulla perdere quanto a intensità espressiva. Si potrebbe pensare che Lucie la favorisca rispetto alla consorella, ma non è così avendola ascoltata anche in altre produzioni della versione italiana. Certo in “Que n’avons-nous des ailes” ha modo di sfoggiare tutta la grazia, l’eleganza che le sono proprie, con una vocalizzazione nitida, trilli perfetti; per non parlare delle messe di voce, del legato, dei picchettati, degli acuti e sopracuti in pianissimo o sul forte; insomma tutto l’armamentario della grande virtuosa è ben presente. L’aria e la cabaletta della pazzia sono nella tonalità originale, quindi un tono sopra rispetto alle esecuzioni correnti, connotazione che restituisce al personaggio un'ulteriore siderale lontananza, perso in una dimensione già ultraterrena. Niente sopracuti conclusivi e cadenza alla fine della prima parte molto elaborata e d’effetto. Ma se la vocalista entusiasma l’interprete non è da meno e dà vita a una Lucie fragile ma non esangue, liricissima, dolce, però capace di momenti di rivolta, unica donna in questa versione a fronte di un universo maschile dominatore e soverchiante. Insomma una prova maiuscola a cui il pubblico risponde con vere e proprie ovazioni.Lisette Oropesa appears more comfortable compared to the recent Scala production in the Italian version. Chailly was asking her for a dramatic intensity that perhaps is not her cup of tea; and the soprano responded as a great artist by bringing all her technical and temperamental resources to the disposal. However, on other occasions I had heard her voice freer and her singing more winged. With Daniele Rustioni, Lisette Oropesa returns to being the vocalist I remembered without losing any expressive intensity. One might think that Lucie favors her over her sister, but it's not so, as I've also heard her in other productions of the Italian version. Sure enough in "Que n’avons-nous des ailes" she gets to show off all the grace and elegance that are hers, with clear vocalization, perfect trills; not to mention the voice mass, the legato, the staccato, the high and extreme high notes in pianissimo or on the forte; in other words, all the weaponry of the great virtuoso is well present. The aria and the insanity cabaletta are in the original key, therefore a tone above compared to current performances, a connotation that gives the character an additional astral distance, lost in an already otherworldly dimension. No final high notes and a very elaborate and effective cadenza at the end of the first part. But if the vocalist thrills, the interpreter is no less and gives life to a fragile but not bloodless Lucie, very lyrical, sweet, but capable of moments of rebellion, the only woman in this version to face a male-dominated and overwhelming universe. In short, a major test to which the audience responds with genuine ovations.— Silvano Capecchi • Opera Click
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.None— Samuli Tiikkaja HS • 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.None— 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.Oropesa's "Ihr habt nun Traurigkeit"... she sang with a touch of rubato, her lines expanding and soaring above the orchestra. There was a sense of joy in her performance.— 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.The apotheotic - I wouldn't know how to define it any other way - Fiorilla by Lisette Oropesa, who vocally did everything right and wrong. She did not shine as much in the opening piece Non si dà follia maggiore, perhaps at the mercy of a critical edition over interpretive traditions... but her voice unfolded with freshness, brightness, and with that effervescent character of the role in the duet with her husband Per piacere alla signora, as well as in the tercet - which turns into duet - of the second act, Scusate... Trovarvi sola... Credete allefemmine. And, of course, in her final aria, where she again played with measured variations, subtle, outstanding high notes, not so much the closing ones, with a sparkling timbre, beautiful vibrato and overflowing with comedy, sprinkled with just the right pathos to try to understand the reason for her regret.— 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"Likely, with protagonists of rare stylistic competence, musical culture, and singing technique, and well-considered expressiveness such as Lisette Oropesa, a Lucia who internalizes even in the key scene of madness."— Angelo Foletto • Republica
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).With all these unfortunate misunderstandings, the voice that Lisette Oropesa presents as Ophelia seems all the more pure in terms of articulation and timbre. Yet her singing line is rich with a nourished medium range, and her French pronunciation is diligent, as are her coloraturas. Her immense breath control allows her to link together several phrases of vocalizations (even if the high notes are not the most opulent). Her singing therefore appears all the more clear and crystalline at the fateful moment when Hamlet drives her towards a cloister (towards death, in fact). But even the resounding timbre, like glass, knows how to dive back into the bass, as if falling "to its knees" (the way by which Hamlet had sworn his love to her).— Charles Arden • Olyrix
Lisette Oropesa bescherte etwas fülligere Belcanto-BrillanzLisette Oropesa provided a somewhat fuller bel canto brilliance.— 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.Lisette Oropesa surprisingly embodies many characteristics of Verdi's later female roles: She seamlessly incorporates the high notes, played perfectly pianissimo, into the line of the cavatinas and cabalettas. However, her legato is braided with flexile support underneath its gently vibrant surface, she firmly holds onto the melodies and structures them into enormously supportive arcs at the Staatsoper. And Lisette Oropesa's somber depth is reminiscent of the drama of Lady Macbeth, who had been brought into the world a few months before "Masnadieri".— 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.None— Oberon • Oberon's Grove
But the real value in this Alcina lies in the performances. Cuban-American soprano Lisette Oropesa is brilliant as Alcina, using her narcissism to her bewitch and manipulate. Oropesa has a luminescent tone, control and technique that allows her to pivot between seductiveness and the anger of in Ah! Ruggeiro crudelNone— Adrian York • London Unattached
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.The most applauded of all is Lisette Oropesa, debuting in the role of Elvira: the agility she displays in the bravura passages is remarkable, the sparkle of her voice does not sacrifice the elegance of the phrase; it's on this exclusive territory that the American soprano builds her performance, leaving to future endeavours the possibility to deeply characterize a character who, over the course of three acts, changes skin several times.— Stefano Valanzuolo • Il Mattino Napoli
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.For the American soprano Lisette Oropesa, superlatives scarcely do justice to describe her radiant voice and her portrayal of Lucia, which she has performed with a virtuosity rarely heard both vocally and in her acting.— 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.Lisette Oropesa stands out among the soloists. Possessing full control of her instrument, the soprano showcases excellent technical skills, never verging on excess.— 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.Lisette Oropesa, in the role of the protagonist, showcases an incredible artistic and interpretive growth. When we first heard the soprano in this role, we predicted further development, and now have proof: her Violetta is now complete, from the virtuosity of Act I to the lyricism of Act II, concluding with the dramatic singing of Act III. The artist has also grown in her acting abilities, superbly handling the stage development of this iconic character.— Francesco Lodola • Ieri Oggi Domaini 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.Lisette Oropesa, one of the best Violettas of the moment, had the audience on their feet this evening, with her performance supported by exceptional technique that allowed her to flawlessly express all facets of the character: carefree joy and passionate impulse, physical and emotional fragility, illness and poverty, renunciation and moral grandeur, despair and agony. The complex emotional palette of La Traviata is masterfully depicted. Lisette Oropesa was the undisputed queen of the night.— 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.None— 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.None— Manfred A. Schmid • Online Merker
La Lucia di Lisette Oropesa resta nella memoria come un momento sospeso nel tempo, con le sue cadenze perfette, acuti torniti, puntature cinguettate.Lisette Oropesa's portrayal of Lucia remains in memory as a moment suspended in time, with her perfect cadences, sculpted high notes, and chirping staccatos.— Valentina Anzani • Giornale della Musica
Habiendo debutado en 2007, todavía conserva completamente las características de soprano ligera, si bien goza de un apreciable volumen y proyección -la voz «corre» sin problemas- y es muy homogénea de arriba abajo, utilizando también adecuadamente el canto de pecho -con las limitaciones propias de su extensión natural-, pudiendo así abordar sin problemas los registros más «graves». También contribuyen determinantemente a su atractivo su capacidad de matización, la inteligente utilización de las medias voces -posee un centro bien resuelto-, y una muy buena dicción y administración del fiato, que le permiten frasear y moldear a conciencia su canto legato. Además creemos que su canto en idioma francés es muy correcto.Having debuted in 2007, she still fully retains the characteristics of a light soprano, albeit enjoying an appreciable volume and projection - her voice "carries" without any issues - and is very homogeneous from top to bottom, also properly using chest voice - with the limitations inherent in its natural range - and thus being able to tackle the more "bass" records without problems. Her ability to add nuances, the intelligent use of middle voices - she possesses a well-resolved center - and a very good diction and management of breath, which allow her to phrase and shape her legato singing consciously, also significantly contribute to her appeal. In addition, we believe her singing in French is very correct.— Oscar del Saz • Codalario
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 JugendlichkeitOropesas's soprano did not bestow upon Gilda a cold virtuosity, but wore her heart on her sleeve. Her voice hinted at a gentle melancholy in the softly cushioned middle register, reminiscent of long past opera times. The singer portrayed the character without exaggeration, imbuing her with heartwarming naivety and youthfulness.— Dominik Troger • Online Merker
Virtuos, wie Lisette Oropesa in der Bravourarie Martern aller Arten mit den Stimmen des Orchesters um die Wette singtVirtuosic, as Lisette Oropesa competes with the voices of the orchestra in the bravura aria "Martern aller Arten"— Der Standard • Der Standard
Oropesa gelingt es, mit ihrem schlanken, flexiblen Sopran die in den von ihr ausgewählten Liedern beschworenen Stimmungen und Bilder einfühlsam auszuloten.Oropesa succeeds in sensitively exploring the moods and images evoked in the songs she has selected with her slim, flexible soprano.— 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.The program, extensive in its variety, was additionally extraordinarily generous, as much as the singer's approachability. Oropesa can't help it. She is friendly and outgoing and needs constant contact with the audience. It doesn't matter if she sings or not. She is pure continuous communication. And generous and grand is also her interpretative level, since the soprano possesses an instrument and knowledge characteristic of the best. And that's why listening to her is a privilege; because whatever she sings, she does it with wisdom, and imprinting a style that reminds one of eras where greats like De los Ángeles or Callas dazzled.— Jacobo Ríos-Capapé Carpi • Valencia Plaza
Lisette Oropesa, svettante ma non manierata, capace d’un canto deciso, che ha reso una Giulietta-donna matura e volitivaLisette Oropesa, radiant yet unpretentious, capable of resolute singing, brought forth a Juliet - a mature and determined woman.— Angelo Foletto • https://www.repubblica.it/
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.It was the debut of Lisette Oropesa that closed the long season of programming at the Ravello Foundation. Three encores and many applause for one of the most important sopranos of today, acclaimed on the stages of the world's most famous theatres. Oropesa, accompanied at the Oscar Niemeyer Auditorium by the New Scarlatti Orchestra, particularly inspired, conducted by Fabrizio Maria Carminati has shown her full talent by interpreting seven gems of her repertoire: Fiorilla, Giulietta, Hélène, Isabelle, Musetta and 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').A lively fluttering opened the recital with Oropesa's Dove, who, from the very beginning, was already promising the astonishing vocalization of everything she sang, and if something was not understood, it was because it was practically impossible (the highest areas of the sopranos usually struggle with this hurdle). Let's also say that the fact of reaching stratospheric high notes does not make her voice thin or without body, a quality that makes it more versatile and her color more varied. It is true that she also has a nervous vibrato, which must be more of a certain technique or a habit rather than a defect in her singing, since in the 'Seven popular Spanish songs' that followed, said vibrato slowed down in the slower pieces ('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.And of course, as we have said, the grand finale arrived: I am Cecilia Valdés. And indeed, she ‘is’ the protagonist of this Cuban zarzuela! She enjoyed it on the stage of the Zarzuela Theater but, above all, she made us enjoy it in the orchestra stalls. Sensual, coquettish, fun, rascal, timid..., all this because she, indeed, she is Cecilia Valdés! Then, the generous tips, the apotheosis, and the fans' frenzy.— Nacho Fresno • Shangay
In the title role, Lisette Oropesa offered a straightforward sincerity and innocence. Oropesa’s voice is a perfect fit for the character, pure and unforced but with enough fullness to bloom in Handel’s long legato lines. As always, her vocal technique was a marvel, with perfectly integrated registers and fluent command of Handelian ornamentation. Her Act 2 prison scene was the highlight of the evening, marrying endless lines of pearly sound with disarming sincerity. As her lover Didymus, the young French countertenor Paul-Antoine Bénos-Djian sang with a beautiful, rich tone and excellent coloratura, particularly in his opening aria. His plummy sound, though, wasn’t ideally matched with Oropesa’s silvery purity in the final duet, and his English suffered in comparison to his Anglophone cast-mates.None— Kevin W Ng • Bachtrack
Il soprano Lisette Oropesa ha dato vita ad una Teodora — la nobile cristiana prima sottratta al martirio dall’amante, il soldato Didimo, e poi pronta a morire insieme a lui quando scopre che a sua volta l’uomo è stato condannato — piena di sofferenza e di incanti vocali. Lo si è apprezzato già nella prima aria e lo si è apprezzato nel corso dell’intero oratorio, in particolare nella celebre aria «in catene» con traversiere obbligato all’inizio della seconda parte, un vero e proprio colpo di genio della fantasia händeliana, con il traversiere che in alcune battute quasi sembra perdersi nel silenzio di tutti gli altri strumenti.Soprano Lisette Oropesa brought to life a Theodora — the Christian noblewoman first saved from martyrdom by her lover, the soldier Didymus, and then ready to die with him when she finds out he has been condemned in turn — full of suffering and vocal enchantments. This was appreciated from her very first aria and was enjoyed throughout the entire oratorio, particularly in the famous "in chains" aria with obligatory flute at the beginning of the second part, a true stroke of genius from Handel's imagination, where in some measures, the flute seems to almost get lost in the silence of all the other instruments.— Luca Segalla • Revista Musica
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.Lisette Oropesa, with her black curls and grey-silver evening dress, sang the title role. She captured the hearts of the audience with her beaming Soprano as Konstanze in the Vienna State Opera. Here she must make the “Tugendboldin” (as Handel's heroine has been described) interesting. She does it as much as possible with her voice, technique, and lively facial expressions, which all the other singers also use: If you are not allowed to play the whole thing (however, the programme does announce a staged performance with this cast at some point somewhere), you must at least show how you feel and suffer. Suffer above all, because Theodora is being persecuted, is to be forced into prostitution, does not want to accept the sacrifice of Didymus, who wants to save her... in short, even if you don't read along with the English text, you still know from the synopsis what it's all about. Tragic.— Renate Wagner • Online Merker
last night, we were to hear Lisette Oropesa, a soprano at the top of her game whose Violetta blew away audiences in Madrid last year as well as at The Met. She did not disappoint. The keystone of her performance was a truly formidable level of technique. Whatever technical aspect you talk about – breathing, placement of vowel sounds, details of Italian diction, legato, timbre, emphasis of bel canto phrasing or many more – Oropesa had them all under control, with supreme confidence in her ability to make her voice do anything she wanted it to. Technique brings freedom: the freedom to choose the exact interpretation of every phrase and to know that it’s going to come out exactly the way she wants it to. Opera singers are constantly making difficult decisions and Oropesa seemed to make every one in a way that was musically and dramatically felicitous. I’ll give just one example: in “Addio, del passato”, when Violetta bids goodbye to the past from her deathbed, she gasps for breath between phrases. How loud to make the gasp? Too loud and you break the musical flow, maybe sounding contrived. Too soft and you sound too healthy. Oropesa nailed the balance exactly right – as she did in hundreds of other places. With that musical freedom came an ability to make every word of the role count, whether it’s the glitter of Act 1, the cheerfulness turning to despair of Act 2 scene 1, the impossibility of an exit from her grief at the card playing scene or the inevitability of her terminal illness of Act 3. Her performance convinced at every point even as we enjoyed the music.None— David Karlin • Bachtrack
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.The great success of the evening is undoubtedly due to the two main figures: Maestro Francesco Izzo at the piano and Lisette Oropesa, a star who has now established herself in the global operatic scene. The soprano, originally from Louisiana, wearing a beautiful and elegant black evening gown that highlights her slender figure, positions herself at the forefront and sings the opening verses of the concert pieces (arias by Saverio Mercadante); the audience is immediately enchanted by the purity and softness of an immaculate voice, bright and that easily fills the room.— Marco Faverzani • Opera Libera
Charismatic, though, he isn’t. Lisette Oropesa doesn’t have a huge amount to go on as the silly girl who loves her rapist to the end, but her lyric soprano – fuller than usual in this role – is engaged in a fascinatingly different “Caro nome” from the coloratura.None— David Nice • The Arts Desk
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.Oropesa exhibited beautiful incisiveness in the recitative, then performing the aria with perfect musicality and a sweet, vibrant sound, before the acrobatic cabaletta where the precision of the trills was supported by exceptional breath control and always accompanied by an expressive reasoning. Her articulation of the phrase was also remarkable, clear, and devoid of any artifice, in the intense pathos of "Adieu, notre petite table" from Massenet's Manon.— 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.The complexity of the protagonist is highlighted by the sung recitation of Lisette Oropesa Lisette Oropesa, an American of Cuban descent, is a textbook Violetta: she acts through singing. The facets of a complex character come to life moment by moment.— 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.Let's say it right away: the recital has been an unequivocal success. Even someone who is not a fan of this format does not remember in recent years a singer with the vocal quality of Oropesa in any recital. The voice has a beautiful tone, uniformity in all registers - although slightly nuanced in the lower range, which seems natural - quality phrasing, and an engagement with the text worthy of applause. Moreover, technically Oropesa offered us high-quality details, those that are intended to be enjoyed almost in intimacy. Just to give two examples, the final trill in the second piece by Mercadante, La primavera, is within reach of few; and in the second part, in the operatic section, the entire final scene of Bellini's La sonnambula was an example of good delivery, engagement with the character, and generosity towards the audience since the soprano included the very heartfelt recitative, the aria, and the final cabaletta.— 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!Place and date: Gran Teatre del Liceu (December 15, 2020) Seductive and charismatic, this was the Violetta Valéry of American Lisette Oropesa, a personal triumph and ovation at the Liceu. With the revival of La Traviata performances after the audience limit was extended from 500 to 1,000, it was time to enjoy the third of the four Violettas at odds, having already seen Kristina Mkhitaryan and Pretty Yende, and with only Ermonela Jaho left for the final performance. Lisette, the lightest of them, was a surprise, as beyond a brilliant first act, where she displayed her instrument at pleasure, E-flat at the end of the "Sempre libera!", easy, bright, and well-timbred high notes, she grew with the unfolding of the score. In her duet with Germont senior, she added color, sought expression and nuances, always sul A (on the A string), with detailed phrasing, articulating each phrase with top bel canto technique. In her final aria "Addio del passato", the most applauded, she controlled the vibrato, delivered drama, and finished with a memorable volatile pianissimo. Brava Oropesa!— Jordi Maddaleno • La Vanguardia
La migliore: Lisette Oropesa (voto 9)Il soprano Lisette Oropesa ha fatto capire cosa sarebbe potuta essere la prevista ‘Lucia di Lemmermoor’. Toccante il suo “Regnava nel silenzio”, fatto di splendide colorature e tanto altroThe best: Lisette Oropesa (rating: 9) Soprano Lisette Oropesa has shown what the anticipated 'Lucia di Lammermoor' could have been. Her "Regnava nel silenzio" was touching, made up of splendid coloraturas and much more.— Enrico Girardi • Corriere Della Sera
Lisette Oropesa ist eine wahre Entdeckung. Ihre Konstanze ist ein Ereignis. Der amerikanischen Sopranistin fehlt nichts: ihr Sopran erstrahlt in den hohen Tönen, die sie mühelos erreicht, besticht durch Sinnlichkeit und Ausdruck. Fulminant ihre "Martern"-Arie.Lisette Oropesa is a true discovery. Her Konstanze is an event. The American soprano lacks nothing: her soprano shines in the high notes, which she effortlessly reaches, captivates with sensuality and expression. Her "Martern" aria is stunning.— Susanne Zobl • News.AT
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.None— Jim Pritchard • Seen and Heard International
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).None— 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.None— Nacho Fresno • Shangay
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.None— Francisco Salazar • Opera Wire
The soprano Lisette Oropesa, in Baton Rouge, La., sounded radiant in an aria from Meyerbeer’s “Robert le Diable.”None— Anthony Tommasini • New York Times
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.None— Anthony Tommasini • New York Times
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.Lisette Oropesa has been admired by the Parisian audience since her performance as Marguerite de Valois in Les Huguenots in the fall of 2018, she delivers an utterly captivating Rosina. The young soprano lacks neither spiciness nor charm. Her voice is brilliant, the high notes are easy, the vocalizations are perfectly executed and the singing line is subtly ornamented. An accomplished actress, she moves like a fish in water in the universe imagined by 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.None— 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.None— 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.None— David Salazar • Opera Wire
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.None— David Salazar • Opera Wire
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.The best of the evening was yet to come, and the sequence that closed the official program, with the aria *Qui la voce* and the cabaletta *Vien diletto*, from the second act of Bellini's opera *I Puritani*, received from Oropesa a thrilling interpretation: if the aria was extremely musical, the cabaletta was hair-raising, with an exuberant demonstration of agility and technical mastery. It was evident that we were all in the presence of a great singer.— 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).Lisette Oropesa was Violetta, a role she sang a few years ago and performed again in Athens a few days prior, as a way to get back into vocal shape. What always astonishes and delights about Oropesa is firstly her nearly perfect Italian phrasing, her sense of color, the impeccable control of her voice, and the management of her breath. She has sometimes been criticized for a sort of superiority of technique over emotion; however, here there was a union of impeccable technique and the meaning given to each word, the weight of the expression (what a second act! What intensity in "amami Alfredo"!) and a sense of introspection, an odd word in a performance before 15,000 people, where she is but a small white spot on the vastness of the stage. Lisette Oropesa, of Cuban heritage, has an evident ease with Latin phrasing, and a true sensitivity, in addition to a solid technique acquired through American training. She instantly becomes a Violetta to be reckoned with, as I believe she is going to take on this role more frequently. Her "Addio del passato" is exemplary, and even her reading of the letter, so clear. And she has the necessary notes, in agility (her "gioir" in the first act) as well as in the more lyrical moments of the second ("dite alla giovine" is moving and undoubtedly also intensified by the emotion distilled by her partner 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!None— 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.Lisette Oropesa takes on the role originally created for Jenny Lind (whose bicentenary will undoubtedly be commemorated next year in Sweden). This sole female character proves to be the most attentive of all. Oropesa's Amalia not only wears her heart on her sleeve, but also her breath and palpitations, which become almost physical in a way that evokes the audible gasping of a Violetta or a Gilda. Oropesa knows how to make the most out of the vocal writing: the more her coloraturas and flawless jumps between registers ascend to stratospheric levels, the more her warm and melancholic tone gains in beauty and confidence. When she learns that Carlo is alive, she undergoes a sudden shift in intention, akin to madness, that creates an irresistible moment. The delighted audience unite to reward her, her colleagues and the entire orchestra (who come on stage), with a standing ovation.— Andreas Wahlberg • Olyrix
As so often under Pereira, casting was the strongest element here. Lisette Oropesa made a rapturous house debut, investing Amalia with depth, authenticity and allure, and streaming through this fluttering Jenny Lind role with disarming ease. As a result, this usually drab heroine became the production’s unlikely pillar.None— James Imam • Financial Times
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.None— 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.Everything this Cuban-American soprano touches turns to gold. In Amsterdam, we've previously heard her as a phenomenal Nannetta in Falstaff (The National Opera) and Gilda in Rigoletto (The National Opera and the NTR Saturday Matinee). Her powerful lyrical soprano sounded like a warm bath. Oropesa's first aria was greeted with prolonged applause. Her second aria, 'Robert, toi que j'aime' in the fourth act, was a showstopper par excellence. What a gorgeous aria, and what a magnificent soprano. Trills, coloraturas, legato lines, diction: everything is perfect with Oropesa. Hopefully, she keeps her cool and knows to avoid roles she should wisely refrain from. This is a voice that is not common nowadays.— 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.A luxury, as much as the one provided by the impressive and promising debut of Lisette Oropesa in the leading role, who displayed a voice of great beauty and polish, stylistic mastery and theatrical sense, captivating with the arias in her charge and powerful in ornamentation.— Pablo Meléndez-Haddad • El Periódico
Purissima l’emissione di Lisette Oropesa, una Gilda che ha letteralmente incantato il pubblico.The purity of Lisette Oropesa's performance as Gilda literally enchanted the audience.— Giuseppe Pennisi • Il Sussidiario
La soprano Lisette Oropesa est en passe de devenir « la petite fiancée d’Amérique » pour le public de l’Opéra de Paris. Expression affectueuse suscitée par son charme juvénile, son jeu pétillant et le bonheur manifeste avec lequel elle exerce son art. Mais qui ne doit pas masquer une exceptionnelle technique vocale, une homogénéité remarquable de la tessiture – aigu cascadant, médium gouleyant et graves qui ne s’en laisse pas compter – et une endurance de marathonienne (ce qu’elle est, au sens propre du terme, par ailleurs) puisqu’elle a enchaîné Les Huguenots et L’Élixir sans faiblir…Soprano Lisette Oropesa is on her way to becoming "America's sweetheart" for the Paris Opera audience. This endearing term is inspired by her youthful charm, sparkling performance, and the evident joy with which she practices her art. Yet, this should not overshadow her exceptional vocal technique, the remarkable homogeneity of her range – with cascading highs, smooth mids, and resilient lows – and her marathon runner's endurance (which she is, in the literal sense, as well) since she has seamlessly performed in Les Huguenots and L'Élixir without showing any signs of faltering...— Emmanuelle Giuliani • La Croix
Au premier rang d’entre eux figure Lisette Oropesa (Marguerite en lieu et place de Diana Damrau), qui reçoit une véritable ovation lors des saluts finaux. « Je suis musicienne », nous confiait-elle dans l’interview qu’elle nous accordait il y a quelques jours. De fait, pour sa prise de rôle au pied levé, elle fascine le public par sa virtuosité. Sa voix pure et coquettement vibrée reste colorée. Accompagnée des vagues du violoncelle, les pieds dans l’eau, elle laisse écouler avec détachement les vocalises ciselées dans des flux et des reflux nuancés, jusqu’au sein d’un même souffle (les fameux messa di voce). Ses intenses pianissimi ou ses trilles projetés dans des envolées lyriques provoquent un feu d’artifice vocal brûlant tout sur son passage. Mutine et joueuse d’abord, il lui manque ensuite, lorsque le drame se noue sous ses yeux, l’autorité souveraine et la royale colère qui marqueraient plus nettement l’évolution du personnage.At the forefront among them stands Lisette Oropesa (Marguerite, replacing Diana Damrau), who receives a true ovation at the final bows. "I am a musician,” she shared with us in the interview granted a few days ago. Indeed, stepping into the role suddenly, she captivates the audience with her virtuosity. Her voice is pure and coquettishly vibrant, retaining its color. Accompanied by the waves of the cello, with her feet in water, she lets the intricately carved vocalises flow with detachment in nuanced ebbs and flows, all within a single breath (the famous messa di voce). Her intense pianissimi or her trills thrown into lyrical flights cause a vocal firework display, burning everything in its path. Initially mischievous and playful, she then lacks, when the drama unfolds before her eyes, the sovereign authority and royal anger that would more clearly mark the character's evolution.— Damien Dutilleul • Olyrix
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.Gilda is the American soprano Lisetta Oropesa, coming off a recent success as Adina at the Rossini Opera Festival, who amazes with her flexibility in modulation and the cleanliness of her phrasing.— Matteo Pozzato • Le Salon Musicale
Festeggiatissimi dal pubblico tutti gli interpreti alle prese con parti vocali di grande virtuosismo a partire da Lisette Oropesa, da molti considerata la rivelazione di questa edizione del RofAll the performers, grappling with highly virtuosic vocal parts, were warmly celebrated by the audience, starting with Lisette Oropesa, who many consider to be the revelation of this edition of the Rof.— Alessandra Massi • Ansa.it
PESARO – Meditativa prima, poi appassionata, frizzante, esuberante, scatenata, travolgente, incontenibile. Lisette Oropesa, soprano statunitense nata a New Orleans, in Luisiana, dove si respira cultura europea, soprattutto francese, è stata protagonista di uno dei concerti più memorabili nella storia del Rossini Opera Festival, che pure nei suoi 39 anni di momenti indimenticabili ne ha vissuti un’infinità. Mancava un concerto come quello della protagonista di Adina che non ha tradito le grandi attese.PESARO – Meditative at first, then passionate, lively, exuberant, unleashed, overwhelming, irrepressible. Lisette Oropesa, an American soprano born in New Orleans, Louisiana, where there's a strong European culture, especially French, was the star of one of the most memorable concerts in the history of the Rossini Opera Festival, which, in its 39 years of unforgettable moments, has experienced a multitude. There hadn’t been a concert like that of the protagonist of Adina, which did not betray the great expectations.— Luciano Murgia • pu24.it
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.The madness of the protagonist, played by the American soprano of Cuban descent Lisette Oropesa, has spread to the audience of the Madrid coliseum, who have erupted in applause and shouts of "brava" at the climax of her derangement.— Europa Press • Europa Press
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.None— 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.None— 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.None— Maria Nockin • Opera Today
Soprano Lisette Oropesa as Gretel sang with slimmed-down, girlish tone in the early scenes, limiting her projection of words and emotions, but found her dramatic mojo (and piercing high notes) in the climactic final act.None— David Wright • New York Classical Review
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.None— 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.Nanetta, portrayed by Lisette Oropesa (who was a surprising Gilda last season at Bastille). She too is a soprano, and her lighter voice and tight vibrato infuse the character with a certain innocence, innocently chirping while the other characters concoct schemes to trap each other. Her crystal-clear high notes and her impressive breath control captivate the audience, particularly in Act III, where, dressed as the Fairy Queen, she produces wonderful operatic flights.— 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.None— 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.Her exceptional and charming sense of nuance guarantees her a standing ovation at the end of the night: able to strike the audience with a flaming high note, she elsewhere lightens her singing on a few syllables, whispering an intense and long high note. She completes her first aria (and the audience) with a pure, super high note, the vibrato of which gradually widens to change into a trill.— 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.Oropesa was a fantastic Gilda. With a voice as fragile as glass, transparent and strong at the same time, she is an ideal interpreter for this role.— 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.None— 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.None— 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!The transparency of the song, the iridescent vocalises, and its disarming simplicity triggered a well-deserved round of applause!— Julian Sykes • Le Temps
The Cuban-American soprano Lisette Oropesa, was a classy Guild, with a very beautiful, balanced and tuned voice.None— LucaDella 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.None— Hilary Stroh • Bachtrack
All of the things I love about her singing were in abounding evidence tonight: the distinctive colour, the mastery of dynamics, the magical turns of phrase, the imaginative way with words. In three Mendelssohn songs - "Wanderlied", "On the Wings of Song" and "Suleika" - Lisette cast a spell over the hall, and Mr. Kalish was a most valuable fellow sorcerer.None— Oberon • Oberon's Grove
Soprano soloist Lisette Oropesa has a rich, complexly timbred voice that works well for this music.None— J. Robin Coffelt • Theater Jones
Regarding Ms. Oropesa, congratulations are in order for one of the brighter, better-informed renditions of Susanna we’ve had the privilege to hear. In many respects, “Figaro” is more Susanna’s opera than it is a starring vehicle for the title character, given the amount of beautiful and challenging music Mozart gives her to sing. Ms. Oropesa made this notable role her very own, deftly and intelligently adapting to every negative plot twist with a fine sense of theater and with a bright, sunny soprano that matched the positive attitude of Mr. McKinny’s Figaro.None— Terry Ponick • Communities Digital News
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.Among the excellent soloists, who were almost all experienced in dual roles, Anna Prohaska as Phani/Fatime and Lisette Oropesa as Hébé/Zima stood out with their radiant sopranos and coloraturas that never seemed sterile.— 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.Lisette Oropesa has also finally made her way from the Allerheiligen-Hofkirche. She and her two American colleagues, Matthew Grills and John Moore, perform arias and duets by Donizetti, Leoncavallo, Puccini, and Rossini. Especially Lisette Oropesa, with her crystal-clear soprano voice, sings herself into the hearts of the audience.— 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.”None— 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.None— 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.None— 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 OropesaAll the performers were excellent and extraordinary, from the unparalleled Pappano and the two soloists, baritone Vito Priante and, above all, 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.None— 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.The embodiment of Lisette Oropesa stands out, a voice that is light-lyric yet full-bodied, impeccably projected, well-placed, and correctly supported by breath control. Her coloratura skills were evident in a brilliant performance of "Caro nome," culminating in a long, well-executed trill. The high E-flat at the end of the vengeance aria was also superb. It's true that her timbre is not particularly beautiful or unique, and some of the sustained notes she produced lacked a bit of firmness and placement, but we are unquestionably facing a soprano who has her act together, with control over her instrument, sound intensity, breathing, and the mechanics of singing. That said, in terms of interpretive aspect, she is not a wonder of expressiveness.— 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.Due to Patricia Petibon's illness, Lisette Oropesa graciously stepped in at short notice to take on the role of Gilda, which she portrayed beautifully with her full, luminous, richly-coloured soprano.— Martina Bogner • Online Merker
...and the outstanding Oropesa brings psychological depth and emotional expressiveness to her sympathetic character, ranging from–and equally masterful at–the ebullient bel canto and decorative coloratura of Act I to the scaled-down drama and poignancy of Act III.None— Debra Miller • phindie
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.None— 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.None— 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.None— Michael Martin • NOLA Defender
Lisette Oropesa brought her limpid, plaintively expressive voice to the two soprano arias.None— 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.However, the show was stolen by Rigoletto's daughter Gilda, portrayed by American soprano Lisette Oropesa (last season's Nanetta in Falstaff at The National Opera). Her voice contained both a warm depth and a shining height, and her vocal acrobatics were impressive. Particularly striking was her 'Caro Nome', which initially had to be cut short because someone in the audience fell ill. She ended the aria with a beautiful trill that seemed to go on forever.— 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.The lead duo was also well-groomed, with Lisette Oropesa in the role of Konstanze, replacing the scheduled Albina Shagimuratova. She is also a young soprano, making her debut in Paris, but already Konstanze at the Staatsoper in Munich, Oropesa was rewarded by the audience for a very convincing performance. Elegant and measured on stage as suits the character, she won over with her ability to highlight, even in the song, the different states of emotion - sometimes melancholic, sometimes enraptured, sometimes indignant - that the part requires. From this sprang the excellent effect of Welcher Wechsel herrscht in meiner Seele (What change rules in my soul), sighing and melancholic, more a young girl than an unhappy woman in Oropesa's voice, followed by Marten aller Arten (Of all types of marten), sung with incisive accents and passionate acting.— Lorenzo De Vecchi • Opera Click
With svelte phrases and gleaming high notes, the American soprano Lisette Oropesa introduced a primly earnest Rosalba, a writer looking to pen a book on the diva.None— Timothy Mangan • Orange County Register
Now for the human stars: Entführung is Konstanze’s show, and Lisette Oropresa doesn’t disappoint. “Ach, ich liebte” is not an easy first aria, and she falters on a few high notes and trills. But by the time she reaches Konstanze’s showpiece “Martern aller Arten”, she’s tossing off coloratura and high Ds with ease and looking fiercely defiant, to boot.None— Ilana Walder-Biesanz • Bachtrack
Mais le moment de grâce absolue se niche sous les étoiles d’un ciel de rêve. Lorsque Gilda apparaît en trapéziste lunaire au-dessus de la roulotte paternelle. Lisette Oropesa offre là un exemple de chant aérien, dans une magnifique longueur de voix, aux nuances souples, à la musicalité fine et à l’humanité frissonnante. Un sommet du genre.But the moment of absolute grace is nestled under the stars of a dream sky. When Gilda appears as a lunar trapeze artist above her father's caravan. Lisette Oropesa offers here an example of airy singing, in a magnificent vocal register, with flexible nuances, fine musicality, and thrilling humanity. A pinnacle of the genre.— Sylvie Bonier • Le Temps
The combination of his (John Relyea) big but expressive bass-baritone and her (Lisette Oropesa) lithe, silvery soprano was enchanting. Moving with the elegance of a ballerina, Oropesa flitted easily between outraged innocence and wily cynicism.None— Wynne Delacoma • Chicago Classical Review
Oropesa’s light and dulcet tone was ideal for both the roles of Eve and the angel GabrielNone— Daniel Hautzinger • ClevelandClassical.com
Lisette Oropesa est l'exemple même de chanteuse américaine très préparée, techniquement sans failles, mais qui a aussi une vraie personnalité scénique, lumineuse, engagée.Lisette Oropesa is the quintessential example of an American singer who is not only highly prepared and technically flawless but also possesses a genuine stage presence that is both radiant and engaging.— Wanderer • Blog du Wanderer
soprano Lisette Oropesa, whose lovely, plaintive vocal colorings made one anticipate her Susanna in the upcoming Ravinia performances of Mozart's "Marriage of Figaro"None— John von Rhein • Chicago Tribune
Lisette Oropesa brings a bright, pealing soprano to the role of SophieNone— Heidi Waleson • Wall Street Journal
...the wonderfully silky, bell-like soprano of Lisette Oropesa, whose Nanetta charmed without cloying. Her sustained high notes during “Sul fil d’un soffio” were as magical as one could hope for.None— Eric Myers • New York Classical Review
She, for her part used her light, clear sound effectively, with no signs of strain up to high D in the climactic passage.None— Robert Croan • Pittsburgh Post Gazette
Soprano Lisette Oropesa made a pleasing debut as the suffering AmaliaNone— Charles T. Downey • Washington Post
Lisette Oropesa, who made everyone fall in love with her right from the outset in her company debut. Nothing in the evening surpassed her rendition of “Deh vieni, non tardar” in Act IV, in which she spun strands of magic in the evening air.None— James M. Keller • Santa Fe New Mexican
Soprano Lisette Oropesa was brilliant in Handel's lively “Da tempeste,” hitting the best high notes of the night and showing signs of being an opera star on the riseNone— David Hendricks • My San Antonio
...beautifully sung from offstage by Lisette Oropesa.None— Vivien Schweitzer • New York Times
Oropesa also has, perhaps more noticably for some, a pure light lyric soprano that is as balanced and classically expressive as recent decades have seen.None— JSU • An Unamplified Voice
The soprano Lisette Oropesa made a fresh-faced and innocent Pamina. Her aria Ach, ich fühl’s, sung as she believes Tamino no longer loves her, was genuinely moving, with quietly intense high notes and assured, unforced articulation of quick passages.None— David Fleshler • South Florida Classical Review
Oropesa’s soprano simply dazzled in the seductive “V’adoro pupille,” and she convincingly made the key dramatic arc from sexy schemer to a heroine of profound feelingNone— Mark Stryker • Detroit Free Press
"You could exhaust the dictionary looking for the perfect words to describe coloratura soprano Lisette Oropesa’s performance at Tucson Music Hall Saturday night. “Arresting.” “Stunning.” “Magnificent.” “Sublime.” Extraordinary.” They come to mind alongside “brilliant,” “breath-taking,” ‘divine” and “fearless.”"None— Cathalena E. Burch • Arizona Daily Star
Lisette Oropesa as Isemene sang with the most beautiful sound in the castNone— Zerbinetta • Bachtrack
...and the best singer of the bunch, the petit flapper that was Ms. Oropesa, had the best music. The light soprano consistently tossed off high notes and coloratura with ease, and then cleared out emotional space in the touching aria "Endless Grief."None— Andrew Druckenbrod • Pittsburgh Post Gazette
"She has a real feeling for the French language and style" and "A light lyric soprano with a full arsenal of bel canto effects at her disposal, she wields a distinctive, bell-like timbre that is instantly appealing"None— Eric Myers • Opera News
The lyric soprano Lisette Oropesa brought a gleaming voice and beguiling grace to Miranda.None— Anthony Tommasini • New York Times
"Making her San Francisco Opera debut, 2005 Metropolitan Opera National Council Auditions winner Lisette Oropesa as Romilda displayed a most engaging light soprano with an especially lovely top. The highest notes may not boom out, but their sweetness and fragility cuts right to the heart."None— Jason Victor Serinus • San Francisco Classical Voice
Ismene, the (eventual) bride of Farnace, was the American soprano Lisette Oropesa, whose performance was remarkable: A very attractive voice and an excellent singer.None— José MªIrurzun • Seen and Heard International
And Lisette Oropesa, also a soprano, was charming as the chirpy Amor, meeting the production’s demand that she sing dangling from wires high above the stage with aplomb.None— James R. Oestreich • New York Times
New Orleans-born soprano Lisette Oropesa sang the role of Leila, the priestess at the apex of the love triangle. Audiences will recall her debut with the company a couple of seasons ago as Gilda in “Rigoletto.” Here she has truly found her voice, which has developed beautifully. She has the lightness and flexibility for Bizet’s lines, while also showing an impressive depth and richness, adding layers of color. She also is a charming singing actress, drawing out all she can from the sketchily defined role.None— Theodore P. Mahne • The Times-Picayune
Ms. Oropesa was exquisite in “Caro nome” from Verdi’s “Rigoletto.”None— Anthony Tommasini • New York Times
I was even more taken with Oropesa, the bright-voiced, very musical singer who played the chambermaid Susanna. Her sharpwitted and beautifully sung portrayal was a smooth fit with John Relyea's amused and amusing manservant, Figaro.None— John von Rhein • Chicago Tribune
Musically, things were more successful, starting with soprano Lisette Oropesa as Konstanze. Mozart put some of his most taxing vocal writing in “Seraglio,’’ including two arias for Konstanze — the mournful “Traurigkeit ward mir zum Lose’’ and the defiant “Martern aller Arten’’ — one after the other in Act II. Oropesa handled both with blistering power and assurance, as well as a range of vocal colors and emotional shadings. She is one to watch.None— David Weininger • Boston.com
Lisette Oropesa tiene una voz pequeña pero bella. Su Nannetta, junto al Fenton de Sola, formó un dúo de enamorados, juveniles y tiernos, y destacaría, entre las características de su técnica, su excelente fiato.Lisette Oropesa has a small but beautiful voice. Her Nannetta, alongside Sola's Fenton, made up a pair of youthful and tender lovers, and among the features of her technique, her excellent breath control would stand out.— Javier del Olivo • Mundo Classico
...while Oropesa's ardent, dewy soprano makes "Traurigkeit ward mir zum Lose" the high point of the work and delivers "Marten aller Arten" with ease while being showered with furs, silks, jewels and shoes (shoes!)...None— Anna Picard • The Independant
As his fiancée, Susanna, Lisette Oropesa was a dynamo: her singing had a bell-like purity and enviable agility; her stage presence was magnetic.None— Steve Smith • New York Times
Her voice strengthened act by act, but Oropesa had no problem with the singing even from the start, showing an easy trill and confidence through the part's range.None— JSU • An Unamplified Voice
Yet the hottest number of the evening was Oropesa. Resplendent in a cornflower-blue dress, she defied the mikes by tossing off impeccable trills in “Caro nome” from Rigoletto and coquettishly charming the audience with “Quando m’en vo” from La bohème (a last-minute change to the program that proved to be a brilliant move). Her agile, silky soprano earned the most bravos of the night.None— Olivia Giovetti • Time Out New York
...and the coloratura soprano Lisette Oropesa as, appropriately, Lisette offer sweet, lively and well-sung portrayals.None— Anthony Tommasini • New York Times
Her bright lyric soprano resulted in a rendition of "Caro nome" that literally stopped the show.None— Maria C. Montoya • The Times-Picayune
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.None— Allan Kozinn • New York Times