2017
Royal Opera House - Lucia di Lammermoor
Sep, 2017 - Nov, 2017Lucia di Lammermoor review – bloody and convincing
But all ears as well as eyes are on Lisette Oropesa. Lucia is her first Royal Opera role, and the Cuban-American soprano is sensationally good. She makes the stratospheric vocal fireworks of her mad scene – accompanied by flute this time, not glass harmonica – sound easy; indeed, her every note is part of a convincing portrayal of a complex character. It’s a rare Lucia – and a rare production – that manages that.None— Erica Jeal • The GuardianDeutsche Oper Berlin - The AIDS Foundation benefit concert
Nov, 2017
Philharmonie de Paris - Falstaff
Sep, 2017 - Oct, 2017Les facéties de Falstaff à la Philharmonie
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
Glyndebourne - Don Pasquale
Jun, 2017 - Aug, 2017Buffa as blood sport: Mariame Clément's Don Pasquale at Glyndebourne
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 • BachtrackOpéra national de Paris - Rigoletto
Jun, 2017Lisette Oropesa, Gilda surprise dans Rigoletto à Bastille
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
Musique et Vin - Concert
Jun, 2017
De Nationale Opera - Rigoletto
Apr, 2017 - Jun, 2017Rigoletto In Steriel Krankzinnigengesticht
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 • TheaterKrantBayerische Staatsoper - Die Entführung aus dem Serail
Mar, 2017Colourful, Amusing and Uplifting Die Entführung aus dem Serail
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
Vocal Arts DC - Recital
Mar, 2017Soprano delivers a seemingly effortless performance at UDC theater
For someone with the slight build of a marathon runner (she is one, and apparently a very good one, too), Oropesa gives an impression of having limitless resources of vocal power, which, wisely, she managed to keep under wraps for this program while never sounding reined in. She’s a lyric soprano with the kind of seamless voice that can travel smoothly on a single vowel from the bottom of her huge range to the top, arriving pianissimo and in tune — and then sustaining it effortlessly (or so it sounded) for an apparent eternity. This, coupled with astonishingly accurate agility, made Haydn’s “Ragion Nell’alma Siede” something for the opera-lovers in the audience to revel in instead of having to hang on for dear life while hoping for a safe landing.None— Joan Reinthaler • Washington Post
Opéra de Lausanne - Hamlet
Jan, 2017 - Feb, 2017A Lausanne, «Hamlet» et ses beautés ténébreuses
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
