Aux applaudissements, c’est Lisette Oropesa qui emporte tous les suffrages : dès les premières phrases (si difficiles), elle impose une voix brillante et colorée, au medium charnu, capable de vocaliser avec précision et de pousser jusqu’à des suraigus puissants (elle ose même la variation assassine sur “Vieni al tempio!”).Amidst the applause, it's Lisette Oropesa who receives all the votes: from the very first phrases (so difficult), she impresses with a bright and colorful voice, with a rich middle range, capable of vocalizing with precision and reaching powerful high notes (she even dares a killer variation on "Vieni al tempio!").— CJM • Olyrix
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
Oropesa, muy querida por el público en Madrid, es una grandísima soprano lírica que ha ido madurando y ensanchando su voz a lo largo de su carrera, manteniendo la limpieza y transparencia de su canto, un fiato apabullante y un característico vibrato tan personal.Oropesa, greatly beloved by the public in Madrid, is a magnificent lyric soprano who has matured and broadened her voice throughout her career, maintaining the cleanliness and transparency of her singing, an overwhelming breath control, and a characteristic vibrato so personal.— Jean Valjean • El Español
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
La soprano estadounidense de origen cubano no defraudó en su debut europeo con este complejo personaje de Massenet, el pasado jueves 3 de octubre, en Valencia. Fue una inauguración de lujo de la temporada 24/25 en el Palau de Les Arts que coincidió, el día anterior, con el reconocimiento de Oropesa como mejor cantante femenina en la gala de los International Opera Awards celebrada en Múnich. La cantante cautivó al público desde su primera intervención, en el aria Je suis encore tout étourdie, con exquisitas coloraturas añadidas a sus carcajadas, después de fascinar con su fraseo de la inicial resignación a entrar en un convento. Una caracterización de la inocencia y la sensualidad tan corpórea como flexible y natural. La prosiguió en Voyons, Manon o, ya en el segundo acto, en la bella Adieu, notre petite table. Cosechó la mayor ovación de la noche tras cantar una refinada y virtuosa gavotte del cuadro de Cours-la-Reine, en el tercer acto, que salpicó de brillantes sobreagudos. Pero lo mejor de la noche lo escuchamos poco después, en el irresistible N’est-ce plus ma main del cuadro de Saint-Sulpice, donde convence a Des Grieux de que renuncie a los hábitos con un excepcional legato y maravillosos filados.The American soprano of Cuban origin did not disappoint in her European debut with this complex Massenet character on Thursday, October 3rd, in Valencia. It was a luxury inauguration of the 24/25 season at the Palau de Les Arts, which coincided, the day before, with Oropesa being recognized as the best female singer at the International Opera Awards gala held in Munich. The singer captivated the audience from her first intervention, in the aria Je suis encore tout étourdie, with exquisite coloratura added to her laughter, after fascinating with her phrasing from the initial resignation to enter a convent. A characterization of innocence and sensuality as corporeal as it is flexible and natural. She continued in Voyons, Manon or, already in the second act, in the beautiful Adieu, notre petite table. She received the biggest ovation of the night after singing a refined and virtuoso gavotte from the Cours-la-Reine scene in the third act, sprinkled with brilliant high notes. But the best of the night was heard shortly after, in the irresistible N'est-ce plus ma main from the Saint-Sulpice scene, where she convinces Des Grieux to give up the priesthood with exceptional legato and wonderful sustained notes.— Pablo L. Rodríguez • El Pais
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
Die anspruchsvolle Rolle der Ophélie, die als Hamlets Braut unschuldig in dessen Rachepläne verwickelt wird und als "Verstoßene" im emotionalen Chaos Suizid begeht, liegt Lisette Oropesa gut. Von ihrer einsamen Wahnsinns-Szene mit Wechseln von Liebe zu Zweifeln und Verzweiflung, "À vos jeux, mes amis" als Höhepunkt der Oper konnte man nicht unberührt bleiben. Da hat man sich doch eine szenische Fassung herbeigewünscht, welche der hervorragenden Koloratursopranistin mehr Spielraum geboten hätte. Dennoch: das Publikum tobte.The demanding role of Ophelia, who, as Hamlet's bride, is innocently entangled in his plans for revenge and, as an "outcast," commits suicide in emotional chaos, suits Lisette Oropesa well. From her solitary madness scene with shifts from love to doubts and despair, "À vos jeux, mes amis" as the climax of the opera, one could not remain unaffected. There was indeed a desire for a scenic version that would have offered more space for the exceptional coloratura soprano. Nevertheless, the audience was ecstatic.— Ernst P. Strobl • Salzburger Nachrichten
Fue el preludio antes de acompañar, juntos, a la protagonista, una de las sopranos más solicitadas del mundo y que demostró el motivo de su apretada agenda. Hablamos de Lisette Oropesa, quien deslumbró a propios y extraños con un repertorio variado en el que obras maestras de grandes como Donizetti, Verdi, Bellini o Rossini desfilaban por su garganta moldeadas por una voz que une la suavidad del terciopelo y la agradable frescura de una brisa veraniega.It was the prelude before accompanying, together, the protagonist, one of the most sought-after sopranos in the world who demonstrated the reason for her busy schedule. We're talking about Lisette Oropesa, who dazzled both the familiar and the strange with a varied repertoire in which masterpieces by greats like Donizetti, Verdi, Bellini, or Rossini paraded through her throat, molded by a voice that combines the velvet softness and the pleasant freshness of a summer breeze.— P. Pellicer • Ultima Hora
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)
In her early Mozart aria A Berenice, Ms. Oropesa changed colors, played with the words, ripped up and down the scale like a marathon sprinter, and offered a rainbow-colored gift to us all.(By the way the story that A Berenice was the 13‑year‑old Mozart’s thank‑you letter to Aunt Berenice for a bar mitzvah gift is almost certainly fallacious.)This was Queen of the Night stuff incarnate. Coloratura, yes, with scales darting past a high D. Yet also tender, with a sensuous legato. Trills worthy of any Classical diva, precise leaps over the octaves. But above all, a care for the words, a change of sounds, a miraculous merger of vocalism and verbal understanding.None— Harry Rolnick • Concerto Net
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
Por último, la soprano Lisette Oropesa demostró ser la voz más en forma y fresca. Con una técnica cristalina, de dicción clara y coloraturas radiantes, fue una eléctrica Adina en su dúo con Camarena, grácil en su romanza de la zarzuela Monte Carmelo de Moreno Toronja y rutilante en su vals de Juliette. Dejó al público con ganas de un deseado regreso con un rol protagónico, ya que se encuentra en el mejor momento de su carrera.Finally, soprano Lisette Oropesa proved to be the most in-form and freshest voice. With crystal-clear technique, clear diction, and radiant coloraturas, she was an electric Adina in her duet with Camarena, graceful in her romanza from the zarzuela Monte Carmelo by Moreno Toronja, and dazzling in her Juliette waltz. She left the audience longing for her desired return in a leading role, as she is currently in the prime of her career.— Jordi Maddaleno • La Vanguardia
Singolarmente la Oropesa ha giocato le sue carte migliori nell’aria dai Masnadieri (opera con cui aveva fatto il suo fortunato debutto nella sala del Piermarini), come nell’aria dei gioielli del Faust, in cui ha fatto valere tutta la sua souplesse virtuosistica come i trilli granitissimi, per guadagnarsi poi il massimo successo nella struggente “Robert, toi que j’aime” dal Robert le Diable di Meyerbeer, magistralmente risolta con una levigatezza d’emissione, una fantasia nelle mezzevoci e nei pianissimi, una cadenza spettacolare per arditezza strumentale e precisione davvero superlative.Singularly, Oropesa played her best cards in the aria from I Masnadieri (an opera with which she had made her successful debut at the Piermarini theater), as well as in the Jewel Song from Faust, where she showcased her virtuosic suppleness like her incredibly solid trills, earning her the highest success in the poignant "Robert, toi que j’aime" from Meyerbeer's Robert le Diable. She masterfully delivered this with a smoothness of voice, a creative use of half voice and whispers, and a spectacular cadenza known for its daring instrumental boldness and truly superior precision.— Davide Annachini • DelTeatro
Lisette Oropesa démontre sa maîtrise, avec subtilité, du répertoire italien, notamment dans la virtuosité et l'ornementation, parée en sus de trilles enivrants. Le répertoire français (Marguerite, Isabelle) reprend et épanouit ces couleurs, dans une gradation des sentiments et des demi-teintes rayonnantes de transparence.Lisette Oropesa demonstrates her mastery, with subtlety, of the Italian repertoire, especially in virtuosity and ornamentation, further adorned with intoxicating trills. The French repertoire (Marguerite, Isabelle) takes up and blooms with these colors, in a gradation of emotions and half-tones that radiate with transparency.— José Pons • Olyrix
La Oropesa è un’Amina deliziosa, ingenua e tenera ma non manierata, anzi resa molto autentica e viva dalla toccante alternanza di momenti intensi di malinconia, felicità, drammaticità ed esultanza. Il suo timbro è particolare, comunicativo e simpatico, il suo stile e la sua tecnica sono inappuntabili.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
Fulminant gerät sein Duett mit Lisette Oropesa als Mathilde. Diese Sopranistin betört mit wohldosierter Intensität, Noblesse und brillanter Stimmführung.His duet with Lisette Oropesa as Mathilde becomes electrifying. This soprano captivates with well-measured intensity, nobility, and brilliant vocal control.— Kurier • Kurier
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
Bei Lisette Oropesa, Wiens gefeierter neuer Traviata, besitzt die Kantilene zwar auch einen dramatischen Unterton, ist aber noch nobler, geschmeidiger eingebunden in den Gesamtverlauf der wehmütigen Arie, die sie in makellos geflutetem Pianissimo abschließt.Man muss ein gehöriges Stück zurückblättern in den Annalen der Staatsoper, bis man auf eine Traviata von ähnlicher Souveränität stößt. Gewöhnlich teilen sich die Sopranistinnen bei dieser Partie ja in zwei Felder: Die einen können die Brillanz für den ersten Akt aufbringen, die anderen besitzen eher die Lyrismen und die jugendlich-dramatische Spannkraft für den Rest. Oropesa, hierzulande bereits als Konstanze, Gilda und Lucia bestens eingeführt, beeindruckt dagegen in allen drei Sparten, weiß aber alle technischen Fähigkeiten in Ausdruck zu verwandeln. Und das mit einem Timbre, in dem immer wieder Ähnlichkeiten mit Angela Gheorghiu und Ileana Cotrubas aufblitzen.In Lisette Oropesa, Vienna's celebrated new Traviata, the cantilena not only carries a dramatic undertone but is also more nobly and smoothly integrated into the overall progression of the poignant aria, which she concludes in a flawlessly flowing pianissimo. One has to leaf back quite a ways through the annals of the State Opera to encounter a Traviata of similar sovereignty. Typically, sopranos in this role are divided into two camps: those who can bring the brilliance required for the first act, and those who possess the lyrical qualities and youthful-dramatic vigor for the remainder. Oropesa, already well-established here as Konstanze, Gilda, and Lucia, impresses in all three aspects, yet knows how to transform all technical abilities into expression. And she does so with a timbre in which similarities with Angela Gheorghiu and Ileana Cotrubas flash again and again.— Walter Weidringer • Die Presse
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
Le public, enfin, a fait un triomphe mémorable aux artistes incarnant les deux rôles principaux : Lisette Oropesa, voix tout à la fois agile et corsée (très éloignée des sopranos légérissimes que l’on entend habituellement dans le rôle) impressionne par son impeccable maîtrise technique mais surtout l’émotion qui émane de son chant, culminant dans une scène de folie justement acclamée.The audience finally gave a memorable triumph to the artists embodying the two main roles: Lisette Oropesa, with a voice that is both agile and hearty (far from the very light sopranos that one usually hears in the role), impresses with her impeccable technical mastery but especially with the emotion that emanates from her singing, culminating in a mad scene that was rightly acclaimed.— Stéphane Lelièvre • Premiere Loge Opera
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
When an opera has a plot as convoluted and comprehensively daft as Handel’s Alcina, one’s enjoyment depends principally on one thing: how well can the singers sell me their text? Can they take me out of the general state of battiness and transport me to a place where I truly believe the love, the rage or the fear? In the case of Lisette Oropesa, the answer is a resounding “yes”: if I were an Eskimo and Oropesa was selling fridges, I’d be at the front of the queue! Leaving aside Oropesa’s technical excellence, it’s the emotional investment that got me every time. Her opening aria “Di', cor mio, quanto t'amai” lifted me far away to a happy land of romance. “Ombre pallide”, the Act 2 closer, had me melting with sympathy – despite this being an evil sorceress complaining to the dark spirits about the loss of her powers. Oropesa sets the bar so high that you have to feel a level of sympathy for anyone sharing a stage with herNone— David Karlin • Bachtrack
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
Lisette Oropesa rettete hier die Komposition selbst. In der berühmten "Wahnsinnsarie" im dritten Akt hat Donizetti der Sopranistin nämlich meist nur eine Flöte (in seltenen Fällen wie hier bei den Festspielen eine Glasorgel) als Spielpartnerin an die Seite geschrieben. So konnte Oropesa ihre Flexibilität, ihre glasklaren Passagen und ihre kraftvolle Schönheit weitgehend unbeschwert ausstellen. Sie machte klar, warum die Lucia aktuell zur ihren Paraderollen gehört. Ihre privaten Erfahrungen als Marathonläuferin brachten ihr vermutlich das Durchhaltevermögen für die großen Ensemblepassagen, in denen ihr dann teilweise die Kraft auszugehen drohte.Lisette Oropesa truly saved the composition itself here. In the famous "Mad Scene" in the third act, Donizetti indeed usually provides the soprano with only a flute (and in rare instances, like here at the festival, a glass harmonica) as a partner in the duet. This allowed Oropesa to display her flexibility, her crystal-clear passages, and her powerful beauty with little to no hindrance. She made it clear why Lucia is currently one of her signature roles. Her personal experiences as a marathon runner likely gave her the stamina for the demanding ensemble sections, in which she seemed to be on the verge of running out of energy at times.— News.at • News.AT
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, born in New Orleans in 1983, is an absolutely wonderful singer, as you can see at the Munich Opera Festival. There she sings Violetta in Verdi's "La Traviata" in Günter Krämer's production, which is now almost 30 years old. One of the bizarre things about opera is that dying on stage is often the most enchanting moment, and the way Oropesa sings and plays Violetta's dying here is extraordinarily moving. Because she is extraordinarily precise, never does too much, never too little, gives her voice that crucial fragility that makes a truly authentic impression. Ah, that voice. In the first act she glistens and shines. She is light as a feather, but Oropesa has, firstly, a brilliant technique and, secondly, a wonderful little vibrato that carries her voice over everything, always letting it shine out, while always having a warm, incredibly likeable basic sound. Oropesa is here, at the festival in the first act, highly elegant, dainty, enchanting, charming center of the hustle and bustle that has become somewhat worn out over the years of the production.None— Egbert Tholl • Süddeutsche Zeitung
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
Oropesa mostró la infabilidad de su técnica, su dominio del instrumento y la seguridad escénica con la que bordó una escena de la locura que se llevó la ovación de la noche, tres minutos de reloj!Oropesa demonstrated the infallibility of her technique, her mastery of the instrument, and the stage presence with which she flawlessly executed a madness scene that earned the night's ovation, lasting a full three minutes!— Jordi Maddaleno • La Vanguardia
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
Den meisten Applaus erntete Lisette Oropesa für ihre alle Herausforderungen meisternde KonstanzeLisette Oropesa garnered the most applause for her Konstanze, mastering all challenges.— Marion Eigl • Wiener Zeitung
Oropesa gelingt es, mit ihrem schlanken, flexiblen Sopran die in den von ihr ausgewählten Liedern beschworenen Stimmungen und Bilder einfühlsam auszuloten.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
Quizás la estupenda sintonía y colaboración que existe entre estos dos teatros propició la cita, que quedará siempre en nuestro recuerdo como un acontecimiento extraordinario de belleza vocal, expresividad y entusiasmo melódico. Su voz antes ligera ahora ya con un toque lírico considerable, se ha curtido en los mejores escenarios del mundo con especial facilidad para la coloratura y afrontando papeles de enorme envergadura y dificultad. Pero aquí vino defendiendo un programa todo en español, a fuerza de canciones y romanzas de zarzuela de uno y otro lado del Atlántico, llevando sus orígenes cubanos y su pasión española al límite en un recital sin precedentes.Perhaps the wonderful harmony and collaboration between these two theaters facilitated the engagement, which will forever remain in our memory as an extraordinary event of vocal beauty, expressiveness, and melodic enthusiasm. Her voice, previously light, now with a considerable lyrical touch, has been honed on the world's leading stages with a special ease for coloratura, taking on roles of immense stature and difficulty. But here, she came defending a program entirely in Spanish, through songs and zarzuela romanzas from both sides of the Atlantic, pushing her Cuban origins and Spanish passion to the limit in an unprecedented recital.— Juan José Roldán • El Correo
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
Theodora – qui trouve dans le timbre lumineux aux aigus délicats de Lisette Oropesa l’image idéale de la vierge martyreTheodora – who finds in Lisette Oropesa’s luminous timbre with its delicate high notes the ideal depiction of the virgin martyr.— Loïc Chahine • Díapason Magazine
Theodora era Lisette Oropesa, voce con un vibrato stretto, sfrutta le caratteristiche del suo timbro posando a una Santa perennemente sul malinconico fisso, in estasi, dai pochi colori vocali, agìta sul volto la stilizzata recitazione. Nell’aria Fond flatt’ring world, gioca la carta del patetico, con suoni filati, in Angels, ever bright si fa astratta preghiera, mentre trova accenti accorati e “plaintive” nella più bella tra le arie della Theodora, quel With darkness deep che Handel addirittura riscrisse…Coro omogeneo e scattante, capace di smorzare e rendere percepibile la sublimazione della preghiera finale.Theodora was Lisette Oropesa, a voice with a tight vibrato, she leverages the characteristics of her timbre portraying a perpetual saint steeped in a fixed melancholy, in ecstasy, with few vocal colors, her face giving way to stylized recitation. In the air, 'Fond flattring world', she plays the card of pathos, with spun tones. In 'Angels, ever bright', she turns into an abstract prayer, while finding heartfelt and "plaintive" accents in the most beautiful of Theodora's arias, the 'With darkness deep' that Handel even rewrote... A homogeneous and brisk chorus, capable of dampening and making perceptible the sublimation of the final prayer.— Brescia e Armisano • Corriere Dello Spettacolo
Lisette Oropesa, schwarze Locken, grau-silbriges Abendkleid, sang die Titelrolle. Sie hat mit ihrem Strahle-Sorpan als Konstanze in der Wiener Staatoper die Herzen des Publikums im Sturm erobert. Hier muss sie die „Tugendboldin“ (wie man Händels Heldin bezeichnet hat) interessant machen. Sie tut es so weit wie möglich mit Stimme, Technik und lebhaftem Minenspiel, dessen sich auch alle anderen Sänger bedienen: Wenn man das Ganze schon nicht spielen darf (das Programmheft kündigt allerdings eine szenische Aufführung mit dieser Besetzung irgendwann irgendwo an), dann muss man doch wenigstens zeigen, wie man fühlt und leidet. Leidet vor allem, denn Theodora wird verfolgt, soll zur Prostitution gezwungen werden, will das Opfer des Didymus, der sie retten möchte, nicht annehmen… kurz, selbst wenn man den englischen Text nicht mitliest, weiß man doch nach der Inhaltsangabe worum es geht. Tragisch.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
Oropesa shows total command of her vocal instrument, thrilling with her expansive dynamic and expressive range. Dramatically, she is at her best in the heart-rending final act, as Violetta in the final stages of consumption, clinging to the hope of a final meeting with her beloved Alfredo (Liparit Avetisyan).None— Inge Kjemtrup • The Stage
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
Both Álvarez and Oropesa are great actors. Oropesa also happens to be the finest lyric coloratura in the world today. Her soprano is quite dark lower down – hers is no tweetie-pie Gilda – and “Caro nome” revealed rock solid technique including an excellent trill. She narrowed her voice daringly fine at the top, but just within the bounds of control.None— Mark Pullinger • Bachtrack
È comunque l’altra Giulietta, alla quale Bellini fa cantare quell’”O quante volte o quante” che insieme al recitativo da cui è preceduta è sistematicamente straziata da quasi tutte le partecipanti a qualsiasi concorso lirico e svilita a nenia melensa, alla quale il soprano statunitense rende tutta la sua profondità lavorando di cesello su ogni singola parola e su ciascuna nota. La Oropesa sale poi definitivamente in cattedra dando voce ad un’Amalia – solitamente vittima di un insopportabile overacting vocale – animata da una meravigliosa fragilità piena di forza.It is, however, the other Juliet to whom Bellini entrusts the aria "O quante volte, o quante" which, along with the recitative it follows, is systematically butchered by nearly all participants in any opera competition, turning it into a cloying dirge. It is this piece that the American soprano imbues with all its depth, delicately working on every single word and note. Oropesa then truly excels, giving voice to an Amalia – usually marred by unbearable vocal overacting – animated by a wonderful fragility full of strength.— Alessandro Cammarano • Le Salon Musicale
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
Con fines benéficos e intención de redimirse, claro. La más brillante, de largo fue la soprano cubano-estadounidense Lisette Oropesa, que interpretó el aria «Regnava nel silenzio» de «Lucia di Lammermoor». La ópera de Donizetti, a la que habían consagrado en este 2020 la «prima» de La Scala antes de que llegara la pandemia, se vio relegada a una actuación más.For charitable purposes and with the intention of redemption, of course. The most brilliant, by far, was the Cuban-American soprano Lisette Oropesa, who performed the aria "Regnava nel silenzio" from "Lucia di Lammermoor." The opera by Donizetti, which had been dedicated at La Scala's "prima" in 2020 before the pandemic hit, was relegated to one more performance.— Ismael Monzón • La Razón
Die beste Leistung bot ohne Zweifel Lisette Oropesa als Konstanze. Sie sang mit großer Dynamik, gutem Ausdruck und schön geführter Stimme.Without a doubt, the best performance was offered by Lisette Oropesa as Konstanze. She sang with great dynamics, good expression, and a beautifully controlled voice.— Heinrich Schramm-Schiessl • Online Merker
Vocally, these two delivered outstanding contributions. Oropesa’s technique is superb. She is the reigning bel canto queen in my book and the finale from La sonnambula was perfectly pitched, crowned by a sparkling “Ah! non giunge”.None— Mark Pullinger • Bachtrack
Oropesa (also debut in Pesaro two years ago, alongside Sekgapane nell'Adina), opened the journey on the notes of "Beautiful flattering ray" (Semiramide, act I), the triumph of belcanto as the elegance of the line, in a coloratura of supreme abstraction and captivating precision; and he continued it on the ironic and very concrete brilliance of Rosina's Cavatina (Barbiere di Siviglia, act I), this time bending agility to the needs of an expressiveness entirely of comedy.None— Le Salon Musicale • Le Salon Musicale
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
Mais il faut dire que le moment le plus admirable nous est venu de Lisette Oropesa qui, depuis son domicile de Baton-Rouge aux Etats-Unis, a choisi d’interpréter a capella une chanson du saule. Pas du tout celle de Verdi ni celle de Rossini, mais celle de la Ballad of Baby Doe de Douglas Moore. Un moment d’enchantement, aidé par l’une des meilleures captations de la soirée, pré-enregistrée.But it must be said that the most admirable moment came from Lisette Oropesa who, from her home in Baton Rouge, United States, chose to perform a cappella a Willow Song. Not at all that of Verdi or Rossini, but that of the Ballad of Baby Doe by Douglas Moore. A moment of enchantment, aided by one of the best recordings of the evening, pre-recorded.— Cédric Manuel • Forum Opera
The Met technical folks went to Baton Rouge, Louisiana, to catch Lisette Oropesa who, accompanied by Michael Borowitz, sang a perfectly executed "En vain espère" from Meyerbeer's Le Prophète.Her rendition contained some of the best singing I've heard in years.None— Maria Nockin • Broadway World
There’s a melancholy feeling that very occasionally accompanies the greatest performances. Tangled up in the thrill of witnessing a historic interpretation of an iconic work comes the sad realization that you may never encounter its equal. The Metropolitan Opera has seen a number of superb sopranos appear as Violetta Valéry in the past decade: Diana Damrau, Natalie Dessay, Sonya Yoncheva, and Angelina Gheorghiu are just a handful of the most recent leading artists to make a mark in La Traviata’s touchstone role. The sensational performance that Lisette Oropesa gave on Wednesday night in her role debut at the Met deserves to be counted in the very first rank. Oropesa brings a voice ideally suited to the role: direct and lively, bright yet round, so focused you can almost see it as it pierces through the air of the auditorium and slams into the back wall. Yet even with its power and laser clarity, her soprano never feels aggressive, as she wields her instrument with musical sensitivity and classic elegance.None— Eric C. Simpson • New York Classical Review
Appréciée du public parisien depuis sa Marguerite de Valois dans Les Huguenots à l’automne 2018, Lisette Oropesa compose une Rosine en tout point captivante. La jeune soprano ne manque ni de piquant ni de charme. La voix est brillante, l’aigu aisé, les vocalises sont parfaitement exécutées et la ligne de chant ornementée avec subtilité. Actrice accomplie, elle évolue comme un poisson dans l’eau dans l’univers imaginé par Michieletto.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
Lisette Oropesa gave a performance as Manon that confirmed she is fully ready for leading roles at the Met. Her voice has grown in size and color since the days when she primarily appeared in soubrette parts: she has developed into a formidable lyric soprano, her voice filling out into a luscious instrument without losing any of its flexibility or tartness. Moreover, Oropesa proved to be the rare soprano who can be entirely convincing in both sides of a complex role. In the first two acts she approached the role with a lovely, bright innocence, charming with a rendition of “Je suis encore tout étourdie” that combined spacious phrasing and breathless excitement, then channeling quiet but intense sadness in “Adieu, notre petite table.”None— Eric C. Simpson • New York Classical Review
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
Chi ha invece messo tutti d’accordo è stata la prestazione di Lisette Oropesa, una straordinaria Amalia, salutata da scroscianti applausi già alla fine della cabaletta “Carlo vive?...O caro accento” e da un’ovazione finale. Soprano dal timbro delicato, dall’emissione controllata, tutta sul fiato, che le consente di legare i registri con una musicalità rara. Colorature leggere, con picchiettati, scale, volatine e trilli di alta scuola. Ed interprete che mette in luce i lati più nascosti di una fanciulla innamorata e soggetta alla rabbiosa e ottusa mascolinità dei Moor. La cavatina “Lo sguardo avea degli angeli” è intrisa di tenerezza, di rimpianti per la felicità perduta, di estasi soave e rarefatta. L’innocenza trasfusa in un canto trasfigurato e consolatorio la vede protagonista nel duettino e nel quartetto del finale primo. Commovente e patetica, morbida ed espressiva nell’aria “Tu del mio Carlo” ma altrettanto brava nel mostrare entusiasmo e brio nella difficile cabaletta citata sopra, dove un prolungato trillo sul Sol acuto è stato poi suggellato da una scalata al Do di pregnante efficacia. Ma efficace è stata anche in tutti i concertati, in cui è svettata per penetranza e luminosità. Nel duetto con Francesco ha sottolineato la ripugnanza, il disprezzo e il furore verso il demoniaco fratello di Carlo, mentre con l’innamorato si è lasciata andare ad un’entusiastica esplosione di gioia, ma anche ad una delicatissima, brillante e saltellante stretta conclusiva. L’attrice è stata poi in grado di tener testa agli aggressivi masnadieri, nonché stoica nel consegnare la sciabola a Carlo perché l’uccidesse nel grandioso finale d’opera.The one who unanimously impressed was Lisette Oropesa's extraordinary performance as Amalia, greeted by thunderous applause already at the end of the cabaletta "Carlo vive?...O caro accento" and by a final ovation. A soprano with a delicate timbre and controlled emission, all based on breath control, which allows her to connect the registers with rare musicality. Her coloratura is light, featuring precise staccatos, scales, runs, and trills of a high caliber. And as an actress, she highlights the most hidden aspects of a girl in love, subjected to the furious and obtuse masculinity of the Moors. The cavatina "Lo sguardo avea degli angeli" is infused with tenderness, regrets for lost happiness, and a sweet, ethereal ecstasy. The innocence poured into a transcendent and consolatory song makes her the protagonist in the duettino and in the quartet of the first finale. Moving and poignant, tender and expressive in the aria "Tu del mio Carlo," but equally brilliant in displaying enthusiasm and verve in the difficult cabaletta mentioned above, where a prolonged trill on the high G was then capped by an ascent to a strikingly effective high C. But she was also effective in all the ensemble pieces, where she stood out for her penetration and brightness. In the duet with Francesco, she emphasized the repugnance, contempt, and fury towards Carlo's demonic brother, while with her lover, she let herself go to an enthusiastic burst of joy, but also to a very delicate, bright, and bouncing closing stretta. The actress was then able to stand up to the aggressive bandits, as well as being stoic in handing the saber to Carlo to kill her in the grand finale of the opera.— Ugo Malasoma • Opera Click
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
De ontegensprekelijke ster van de avond was de Isabelle van Lisette Oropesa. Ik heb haar al een paar keer in cinemavoorstellingen gehoord, meest recent als Marguerite vanuit Parijs, maar dit was mijn eerste live ervaring. De cinema-versie van Oropesa is maar een schaduw van hoe ze in het echt klinkt. Meteen met haar openingsaria "En vain j'espère" zit haar stem juist. Ze zingt met een pakkende frasering, haar hoge noten klinken fantastisch met daarenboven mogelijkheid tot dynamiek van piano tot forte, coloraturen hebben diepgang en met dat alles kan ze nog eens ontroeren ook. Haar paradestuk komt in het vierde bedrijf met de cavatina "Robert, toi que j'aime". Dat zou een saaie aria kunnen worden met een paar honderd herhalingen van "grâce pour toi", maar bij Oropesa blijf je luisteren naar alle smekende nuances die ze weet op te roepen, maar telkens met een ondertoon van het hartzeer dat ze voelt. Het einde van de aria geeft ze een voorwaartse stuwing mee die onvermijdelijk leidt tot een minutenlange ovatie.The undisputed star of the evening was Isabelle by Lisette Oropesa. I've heard her a few times in cinema performances, most recently as Marguerite from Paris, but this was my first live experience. The cinema-version of Oropesa is but a shadow of how she sounds in real life. Immediately with her opening aria "En vain j'espère" her voice is on point. She sings with a captivating phrasing, her high notes sound fantastic with the added possibility of dynamics from piano to forte, her coloraturas have depth, and on top of all this, she can also move the audience. Her showpiece comes in the fourth act with the cavatina "Robert, toi que j'aime". This could become a boring aria with a few hundred repetitions of "grâce pour toi", but with Oropesa you keep listening to all the pleading nuances she knows how to evoke, but always with an undertone of the heartache she feels. The end of the aria she propels forward leading inevitably to a minutes-long ovation.— Inquisitor • Il Grand' Inquisitor
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
A questo punto, se Rigoletto smette di essere una palestra dove misurare atletismi e «canne» vocali, i cantanti devono essere valutati per quanto e come contribuiscano a un progetto interpretativo così rivoluzionario. In questo senso è perfetta la Gilda di Lisette Oropesa, che non solo canta benissimo sempre, ma riesce a trasformare «Caro nome» da grande aria della diva in un bellissimo, toccante soliloquio di una ragazzina innamorata.At this point, if Rigoletto ceases to be a gym where athletic prowess and vocal "pipes" are measured, singers must be evaluated for how much and how they contribute to such a revolutionary interpretative project. In this sense, Lisette Oropesa's Gilda is perfect, who not only always sings superbly, but manages to transform "Caro nome" from a great diva’s aria into a beautiful, touching soliloquy of a girl in love.— Alberto Mattioli • La Stampa
Le personnage d’Adina, riche et belle fermière, campé par Lisette Oropesa est pétillant à souhait. La soprano virevolte comme une elfe sur le plateau pleine de charme, de malice et fait des étincelles vocales dans le registre du belcanto.The character of Adina, a rich and beautiful farmer, portrayed by Lisette Oropesa, is delightfully vivacious. The soprano whirls around the stage like an elf, full of charm and cunning, and creates vocal sparks in the bel canto register.— Jean-Christophe Mary • Putsch Media
Diese werden angeführt durch Lisette Oropesa (statt der ursprünglich angesagten Diana Damrau) als exzellente Marguerite de Valois. Ihre berüchtigt schwierige Arie „O beau pays de la Touraine“, mit wunderbaren aber sehr sehr langen Koloraturen, war der Höhepunkt des Abends.These are led by Lisette Oropesa (instead of the originally announced Diana Damrau) as the excellent Marguerite de Valois. Her notoriously difficult aria "O beau pays de la Touraine", with wonderful but very, very long coloraturas, was the highlight of the evening.— Waldemar Kamer • Beckmesser
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
Il cast vocale si presta compatto a una visione un po' stralunata, ad affetti di carta che si susseguono disinvolti, a partire dall'Adina fra lo svampito e l'infantile di Lisette Oropesa, ancora di limitate esperienze operistiche in Italia e già in possesso di un'ammirevole familiarità con la nostra lingua. Voce leggera, caratterizzata da un sottile vibrato, canta con eleganza e intenzione sempre coerente alla scena.The vocal cast uniformly commits to a somewhat whimsical vision, to paper-thin emotions that flow with casual ease, starting with Lisette Oropesa's Adina, who teeters between scatterbrained and childlike, still of limited operatic experience in Italy and yet already possessing an admirable familiarity with our language. With a light voice, marked by a subtle vibrato, she sings with elegance and an intention that always aligns with the scene.— Roberta Pedrotti • L'ape musicale
Sottile con il fisico da cui proviene sembra la voce di Lisette Oropesa, ma questo con questo filo l'artista sa tessere trine preziose, ricami e trasparenze, giocare in un'ampia gamma dinamica; scala caparbia le vette del pentagramma, e quando sembra che il suono possa essere un po' dritto e rischiare d'indurirsi, stupisce modulandolo con decisione. Così, ancora una volta non è un qualche arcano incanto timbrico o coloristico a colpire nell'astrazione del vocalizzo Le rossignol et la rose di Saint-Saëns, bensì, si direbbe, il suo contrario, un suono quasi prosciugato all'essenza e di lì condotto nelle volute della coloratura estetizzante del secondo Ottocento. Non trascendentale, affabile, piuttosto, fine, sciolta, duttile e sicura. Quando, poi, in chiusura di programma, torna al belcanto italiano con un omaggio a Rossini, la leggerezza fanciullesca si riarrotonda per offrire una piacevole, sognante Amenaide (“Come dolce all'alma mia”) e una Fiorilla (“Squallida veste e bruna”) debitamente ardita nei virtuosismi. Fra applausi calorosissimi, Juliette tornerà a dimostrare l'affinità del soprano con il repertorio francese e Violetta la sicurezza della preparazione anche in un cimento dei più insidiosi.Subtle and emanating from a lean physique, Lisette Oropesa's voice might seem, yet with this thread the artist knows how to weave precious laces, embroideries, and transparencies, playing within a wide dynamic range; she stubbornly climbs the peaks of the stave, and when it seems that the sound might be a bit stiff and risk hardening, she surprises by modulating it decisively. Thus, once again, it is not some arcane enchantment of timbre or coloration that strikes in the abstract vocalism of Saint-Saëns's Le rossignol et la rose, but rather, one might say, its opposite, a sound almost drained to the essence and from there conducted into the scrolls of the aestheticizing coloratura of the late nineteenth century. Not transcendental, but affable, rather, refined, fluid, flexible, and secure. Then, when closing the program, she returns to Italian bel canto with a tribute to Rossini, the youthful lightness gets rounded off to offer a pleasant, dreamy Amenaide ("Come dolce all'alma mia") and a Fiorilla ("Squallida veste e bruna") properly daring in virtuosity. Amid very warm applause, Juliette will return to demonstrate the soprano's affinity with the French repertoire and Violetta the security of her preparation even in one of the most treacherous challenges.— Roberta Pedrotti • L'ape musicale
Lisette Oropesa y Javier Camarena encarnan a una pareja protagonista absolutamente creíble en lo físico y extraordinariamente bien avenida en lo musical. Ella, ovacionada en pie al final por buena parte del público, es una cantante completísima y, sobre todo, nada tramposa: su escena de la locura fue, por comparación con lo que suele verse y oírse, un dechado de contención. Y, sin imitar a ninguna de las grandes Lucías históricas (la de Maria Callas la primera, por supuesto), consigue dibujar la suya con perfiles muy personales, una actuación escénica muy contenida y una caracterización vocal completísima en cada una de sus intervenciones.Lisette Oropesa and Javier Camarena embody an absolutely credible leading couple physically and extraordinarily well-matched musically. She, who received a standing ovation from much of the audience at the end, is a superbly complete singer and, above all, not at all deceptive: her mad scene was, by comparison with what is usually seen and heard, a paragon of restraint. And, without imitating any of the great historical Lucías (that of Maria Callas being the first, of course), she manages to sketch hers with very personal profiles, a very contained stage performance, and a thoroughly complete vocal characterization in each of her interventions.— Luis Gago • El Pais
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
Oropesa runs marathons and no doubt needed that stamina for the non-stop rigorous work-out Gretel gets in the third act. Her high sweet voice always struck just the right note of girlish delight and awe.None— Christopher Corwin • Parterre
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
Zo’n dreamteam staat er ook op het podium met bariton Luca Salsi als Rigoletto en Lisette Oropesa als Gilda. Oropesa bracht op de premiere haar aria ‘Caro nome’ met een zoetgevooisd en zilverzacht timbre: het werd een muzikaal hoogtepunt waarin tekstuitdrukking en muzikale virtuositeit op geheel natuurlijke wijze samenvloeiden.Such a dream team also graces the stage, with baritone Luca Salsi as Rigoletto and Lisette Oropesa as Gilda. Oropesa delivered her aria 'Caro nome' with a sweet-voiced and silvery soft timbre at the premiere: it became a musical highlight where textual expression and musical virtuosity naturally merged.— Oswin Schneeweisz • TheaterKrant
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
Berlin was represented by select Mendelssohn songs, which the soprano Lisette Oropesa, accompanied by the pianist Gilbert Kalish, rendered with pellucid tone and unfussy stylingNone— Corinna Da Fonseca-Wollheim • New York Times
Soprano soloist Lisette Oropesa has a rich, complexly timbred voice that works well for this music.None— J. Robin Coffelt • Theater Jones
Oropesa is immediately engaging and she demonstrates impressive control of her voice, most notable in Susanna’s playful aria “Deh vieni, non tardar.”None— Jennifer Minich • MD Theatre Guide
Unter den vorzüglichen Solisten, die fast alle in Doppelrollen zu erleben waren, stachen Anna Prohaska als Phani/Fatime und Lisette Oropesa als Hébé/Zima mit leuchtendem Sopran und nie steril wirkenden Koloraturen hervor.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 returned to Pittsburgh Opera for her first performances of the title role. She made for a humorous, charming Marie, and, while not the most nimble, her dulcet voice showed shimmers of brilliance in high notes and trills. Her unceasing energy in the role’s dramatic and vocal acrobatics explained her impressive plans to run the Pittsburgh Marathon mere hours after the curtain dropped.None— Elizabeth Bloom • Pittsburgh Post Gazette
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
The bright-voiced, impressive soprano Lisette Oropesa is a sunny, winning SophieNone— Anthony Tommassini • New York Times
Nanetta’s music is a gift to any light soprano, and the Met has fortunately cast Lisette Oropesa, possibly the best singer they have in this Fach. She sang “Sul fil d'un soffio etesio” with beautifully light, clear, crystalline tone, and her high notes hang in the air forever.None— Micaela • Likely Impossibilities
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