2015
Teatro Real - Rigoletto
Nov, 2015 - Dec, 2015Crítica: 'Triunfo De Gilda'. 'Rigoletto' En El Teatro Real, Con Salsi, Oropesa Y Demuro
Notable la encarnación de Lisette Oropesa, una voz de lírico-ligera con cuerpo, impecablemente proyectada, bien colocada y correctamente apoyada sobre el aire. Buena la coloratura como pudo comprobarse en una brillante interpretación del “Caro nome” culminada por un trino largo y de buena factura. Estupendo también fue el mi bemol del final de la vendetta. Cierto es que el timbre no es especialmente bello ni singular y que a alguno de los filados que prodigó le faltó un punto de firmeza y posición, pero estamos, sin duda, ante una soprano con los papeles en regla, con control sobre su instrumento, sobre la intensidad del sonido, la respiración y los resortes del canto. Eso sí, en el aspecto interpretativo no es un prodigio de expresividad.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 • CodalarioBayerische Staatsoper - Rigoletto
Nov, 2015MÜNCHEN/ Bayerische Staatsoper: RIGOLETTO
Für die erkrankte Patricia Petibon übernahm dankenswerterweise kurzfristig Lisette Oropesa die Rolle der Gilda, die sie mit ihrem vollen, leuchtenden, farbenreichen Sopran sehr schön darbot.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
Bayerische Staatsoper - Die Entfuhrung aus dem Serail
Nov, 2015Opera Philadelphia - La traviata
Sep, 2015 - Oct, 2015La Traviata (Opera Philadelphia) Review
It is possible for a lyric singer to be a great Violetta – among recordings, one I treasure is Bidu Sayão from the Met, who imprinted the role with her distinctive prettiness and pathos. It was Sayão I thought of as I heard how easily Oropesa’s voice carried in the large space, and how elegantly she shaped every phrase, always making the words matter. Throughout, there was telling attention to detail, from the little internal trills in “Sempre libera” that hardly any sopranos today bother with, to the gorgeously tapered phrase endings in “Addio, del passato.” And of course, it helps that Oropesa, like Sayão, is ravishing looking – in her 1950s gowns here (see more on that below), she resembled Pier Angeli.None— David Fox • Reclining StandardsSkaneateles Festival
Aug, 2015
Houston Symphony - Carmina Burana
Jul, 2015
San Francisco Opera - Le Nozze di Figaro
Jun, 2015 - Jul, 2015‘Figaro’ in the shadows at S.F. Opera
Soprano Lisette Oropesa was a superb Susanna, singing with both delicacy and quick-witted allure. Her duet with the Count at the beginning of Act 3, in which Susanna pretends to be willing to accept his advances, was a particular high point.None— Joshua Kosman • SFGate
Pittsburgh Opera - The Daughter of the Regiment
May, 2015Review: Superb music, well-acted comedy make 'Daughter of the Regiment' a standout
Soprano Lisette Oropesa's Marie was a triumph at the Benedum Center, utterly winning in both the role's vocal challenges and the physical demands of Curran's staging. Her voice is wonderfully suited to the role, warm and rounded in tone but also pure, and sparkling in coloratura. “The Song of the Regiment” started with a lovely vocal flourish, then proceeded with irresistible elan. Oropesa proved a master of physical comedy throughout, especially in a dance lesson Curran interpolates during the orchestra entr'acte after intermission. In the first act, we meet Tonio, Marie's guy, who joins the regiment to be with her. But at the end of that act the Marquise of Berkenfeld claims Marie as her “niece.” The second act takes place at the castle of the Marquise, who is providing Marie with lessons to add refinement appropriate for an arranged aristocratic marriage. The choreography for the four dancers gives Marie klutzy moves right out of a routine by Les Ballets Trockadero de Monte Carlo. Oropesa offered a perfect lesson in comic gestures and timing.None— Mark Kanny • Pittsburgh Tribune-ReviewNew Orleans Opera - Le Nozze di Figaro
Mar, 2015 - Apr, 2015N.O. Opera closes season with appealing ‘Marriage of Figaro’
As Susanna, Figaro’s bride-to-be, Louisiana-born and -raised Lisette Oropesa was taking on one of the most demanding roles in the soprano repertoire. Being in nearly every scene of a long opera can pose a serious challenge to a singer, but Oropesa rose to it. In her arias as well as in duets and ensemble pieces, Oropesa offered a fine display of vocal versatility, from the lilting coloratura of a young woman in love to the confusion and anger of the object of the lascivious intentions of her overlord, Count Almaviva.None— Thomas Hammon • New Orleans Advocate
Chicago Bach Project - St John Passion
Mar, 2015'St. John Passion,' Rising Stars concert lifts voices and hearts
Lisette Oropesa brought her limpid, plaintively expressive voice to the two soprano arias.None— John von Rhein • Chicago Tribune
Concertgebouw - Rigoletto
Mar, 2015James Gaffigan conducts a full-blooded Rigoletto at the Concertgebouw
Lisette Oropesa was a ravishing Gilda, her silvery tones and beautiful high range perfectly suited for the role of the young innocent girl. “Gualtier Malté”, that one and only traditionally-constructed aria of the opera, had unfortunately to be interrupted at first, so as to whisk away a member of the audience who was apparently unwell. When the performance resumed, Ms Oropesa sang the aria with elegant phrasing, top notes ringing to the rafters and exquisitely executed trills with which she has deservedly brought down the house.None— Nicolas Nguyen • BachtrackOpéra National de Paris - Die Entführung aus dem Serail
Dec, 2014 - Feb, 2015Parigi - Opéra Garnier: Il ratto dal serraglio
Ben affiatato anche il duo protagonista, con Lisette Oropesa nel ruolo di Konstanze in luogo della prevista Albina Shagimuratova. Anche lei soprano ancora giovane, al suo debutto a Parigi ma già Konstanze alla Staatsoper di Monaco, la Oropesa è stata premiata dal pubblico grazie a una prova molto convincente. Elegante e misurata in scena come si conviene al personaggio, ha persuaso per la sua capacità di mettere in rilievo anche nel canto gli stati d’animo, ora malinconici, ora rapiti, ora sdegnati che la parte prevede. Da ciò l’ottimo effetto di Welcher Wechsel herrscht in meiner Seele, sospirosa e malinconica, da ragazza più che da donna infelice nella voce della Oropesa, seguita da Marten aller Arten, cantata con accenti incisivi e appassionata recitazione.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
