Career

2019

  •   

    Arena di Verona - La traviata


    Jul, 2019 - Aug, 2019

    Violetta Valery

    La Traviata des mythes

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

    —  Guy Cherqui  •  Le blog du Wanderer
  • Violetta Valery

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

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

    —  Eutychios D. Choriatakis  •  Athinorama
  • Amalia

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

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

    —  Andreas Wahlberg  •  Olyrix
  •   

    Teatro alla Scala - I Masnadieri


    May, 2019 - Jul, 2019

    Amalia

    I masnadieri at La Scala — channelling the vitality of Verdi’s opera

    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.

    —  James Imam  •  Financial Times
  •   

    Pittsburgh Opera - Don Pasquale


    Apr, 2019 - May, 2019

    Norina

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

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

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

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

    —  Jeremy Reynolds  •  Pittsburgh Post Gazette
  •   

    La Monnaie - Robert le Diable


    Mar, 2019 - Apr, 2019

    Isabelle

    Oropesa steelt de show in Robert le Diable

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

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

    —  Lennaert van Anken  •  Place de l'Opera
  •   

    Rodelinda

    Una 'Rodelinda' de lujo en el Liceu

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

    —  Pablo Meléndez-Haddad  •  El Periódico
  •   

2018

2017

2016

2015

  •   

    Teatro Real - Rigoletto


    Nov, 2015 - Dec, 2015

    Gilda

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

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

    —  Raúl Chamorro Mena  •  Codalario
  • Gilda

    MÜNCHEN/ Bayerische Staatsoper: RIGOLETTO

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

    —  Martina Bogner  •  Online Merker
  •   

    Opera Philadelphia - La traviata


    Sep, 2015 - Oct, 2015

    Violetta Valery

    La Traviata (Opera Philadelphia) Review

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

    —  David Fox  •  Reclining Standards
  •   
  • Susanna

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

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

    —  Joshua Kosman  •  SFGate
  • Marie

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

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

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

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

    —  Mark Kanny  •  Pittsburgh Tribune-Review
  •   

    Susanna

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

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

    —  Thomas Hammon  •  New Orleans Advocate
  • Soprano

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

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

    —  John von Rhein  •  Chicago Tribune
  • Gilda

    Oropesa’s Gilda steelt show in Rigoletto

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

    —  Laura Roling  •  Place de l'Opera
  • Konstanze

    Parigi - Opéra Garnier: Il ratto dal serraglio

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

    —  Lorenzo De Vecchi  •  Opera Click

2014

2013

2012

2011

2010

2009

2008

2007

  •   

    Susanna

    , Susanna

    A ‘Figaro’ With Youth, Agility and Eros

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

    —  Allan Kozinn  •  New York Times