Career

Alongside this Rigoletto, the excellent Guild of Lisette Oropesa. With a high school legacy and a beautiful lyric soprano timbre, the Oropesa indulges in high notes exposed as a nice merchandise (for example at the end of the duet with the Duke, who however does not follow her in the high notes, thus seeming almost an intimidated Duke ), but it is not limited to singing. The diction is, also for her, well-kept and almost perfectly understandable in every passage, even in the moments of coloring, the in-depth and communicative phrasing. He catches an applause on the open scene after a notable Caro name, supported by the work of orchestra and conductor, and together with Salsi brings home the ending to be framed. The acting is really convincing: the fall after the stabbing is very credible, and even more the singing and the slow movement of the last scene,

—  Michelangelo Pecoraro  •  Opera Click

The title role of Marie, the regimental “daughter”, proved a winsome vehicle for Louisiana lyric coloratura soprano Lisette Oropesa. The role of Marie encompasses both light-hearted coloratura fireworks and highly emotional legato passages. Oropesa navigated the challenging role brilliantly.

Oropesa’s second act aria Par le rang et par l’opulence was one of the many high points of her performance. That aria, whose descending melodies seem to foreshadow later masterpieces of Giuseppe Verdi, the younger composer whom Donizetti mentored, was performed with exquisite sensibility and style.

—  William Burnett  •  Opera Warhorses

Also making an auspicious debut was the Susanna of this FIGARO, sung with pointed grace and lyricism by Lisette Oropesa. As Countess Almaviva's strong-willed servant who must battle the advances of the Count while preparing to marry Figaro, Oropesa brings out the nuances of character with clarity, whether she is flirting with her intended or standing her ground against the Count. Her voice also rings true with clear tone and supple beauty, especially in her playful rendition of "Deh vieni, non tardar."

—  Jeffrey Walker  •  Broadway World

Lisette Oropesa, qu’on a vue dans Konstanze au Nationaltheater, et dans Sophie (de Werther) au MET, et dans Nanetta de Falstaff à Amsterdam. Comme d’habitude, elle est très attentive à la diction, au contrôle de la voix, à la fluidité, et en plus elle chante quelquefois en dansant. Encore une chanteuse qui montre la formation accomplie de l’école anglo-saxonne, ainsi qu’un engagement scénique notable qui se traduit par un plaisir visible à être sur scène, même si l’engagement scénique nuit quelquefois à la fluidité de la langue, pourtant si travaillée.

—  Wanderer  •  Wanderer

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.

—  David Patrick Stearns  •  The Inquirer