2018
Teatro dell'Opera di Roma - Rigoletto
Nov, 2018 - Dec, 2018OPERA/ “Rigoletto” e le camicie nere
Purissima l’emissione di Lisette Oropesa, una Gilda che ha letteralmente incantato il pubblico.The purity of Lisette Oropesa's performance as Gilda literally enchanted the audience.— Giuseppe Pennisi • Il SussidiarioOpera national de Paris - L'elisir d'amore
Oct, 2018 - Nov, 2018L’Elixir d’amour de Pelly, réjouissance théâtrale à Bastille
24 heures après avoir chanté la dernière des neuf représentations des Huguenots (auxquels elle glisse une référence en proposant la « Reine Margot » lorsque Dulcamara cherche le nom d’Isolde), qui l’ont vu triompher (lire notre compte-rendu) en remplacement de Diana Damrau, la piquante Lisette Oropesa enchaîne avec la Première de l’Elixir d’amour, qu’elle a répété en parallèle (comme elle nous l’indiquait en interview). Pour autant, sa voix garde sa fraîcheur délicate dans le médium et sa finesse acidulée dans l’aigu. Son vibrato rapide et fin se module selon les intentions du personnage, accompagnant ainsi les nuances du chant. Elle garde une grande énergie sur scène, ne ménageant pas ses efforts, en femme volage et capricieuse, mais touchante dans le dénouement.24 hours after singing the last of nine performances of The Huguenots (to which she slips a reference by suggesting "Queen Margot" when Dulcamara is looking for the name of Isolde), which have seen her triumphant (read our review) in replacement of Diana Damrau, the spicy Lisette Oropesa continues with the premiere of the Elixir of Love, which she has rehearsed in parallel (as she told us in an interview). Despite this, her voice retains its delicate freshness in the medium and its tart fineness in the high register. Her rapid and fine vibrato is modulated according to the intentions of the character, thus accompanying the nuances of the song. She retains a great energy on stage, sparing no effort, as a fickle and capricious woman, but touching in the resolution.— Damien Dutilleul • OlyrixOpéra national de Paris - Les Huguenots
Aug, 2018 - Oct, 2018onp 2018/2019: les huguenots (kang-jaho-oropesa-testé-deshayes-sempey-gay; kriegenburg-mariotti)
Oropesa no és una dramàtica coloratura i més aviat s’alinia en els líriques coloratura, però la seva extraordinària qualitat vocal i tècnica va fer que el temps s’aturés i en la immensa sala de La Bastille es produís el silenci de les grans ocasions i ella dominés a plaer de manera encisadora totes les virtuoses coloratures de “Ô beau pays de la Touraine” i la corresponent cabaletta. El domini de la veu, el registre ampli, l’emissió nítida, les notes flotants, les agilitats, trinats i salts van ser prodigiosos i per primera i única vegada durant la representació i de manera espontània el públic va irrompre en acabar l’escena en una calurosa, llarguíssima i alliberadora ovació. Només es pot dir una cosa BRAVISSIMA!Oropesa is not a dramatic coloratura but rather aligns more with the lyric coloraturas. However, her extraordinary vocal quality and technique made time stand still, and in the immense hall of La Bastille, there was the silence that accompanies grand occasions. She enchantingly dominated all the virtuosic coloraturas of "Ô beau pays de la Touraine" and the corresponding cabaletta. The control of her voice, her wide range, clear delivery, floating notes, agility, trills, and leaps were prodigious. For the first and only time during the performance, in a spontaneous reaction, the audience burst into a warm, very long, and liberating ovation. Only one thing can be said: BRAVISSIMA!— Joaquim • In Fernem LandArena di Verona - Concert
Aug, 2018Verona: una “Trilogia popolare” ammantata di stelle
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
Rossini Opera Festival - Adina
Jul, 2018 - Aug, 2018Pesaro, Rossini Opera Festival 2018 – Adina
Autentica trionfatrice della serata è la deliziosa Adina di Lisette Oropesa, che coinvolge, commuove, seduce. È perfetta per l’irresistibile physique du rôle, valorizzato dagli adorabili costumi di Claudia Pernigotti, ma soprattutto per una vocalità che, perfettamente centrata per i passaggi più leggeri, valorizza le screziature di una pasta omogenea, malleabile, sontuosamente governata. Non è certo la sortita delle “Fragolette fortunate” a porle problemi, semmai permettendole di delineare un personaggio civettuolo e bamboleggiante ma con grazia; ma dove sorprende è nel finale, perché – già a partire dal Quartetto – perfettamente comprende l’improvviso viraggio verso un patetismo più pronunciato e poi – dopo l’agnizione – verso l’inattesa felicità finale. La Oropesa è perfettamente consapevole di questo scarto di registri e, con ironia ma senza calcare la mano, fa del suo risveglio dopo lo svenimento quasi una pagina preparatoria della Sonnambula. Tanto più le si attagliano le agilità di forza e la grammatica del Rossini serio quanto più risulta vittoriosa negli autentici fuochi d’artificio della rutilante, spettacolare cabaletta finale, in cui sormonta acrobazie d’ogni sorta – anche fisiche, mentre s’inerpica sulla torta – per esprimere una gioia ritrovata e condivisa.The true star of the evening is the delightful Adina of Lisette Oropesa, who engages, touches, and seduces. She is perfect for the irresistible physicality of the role, enhanced by the adorable costumes of Claudia Pernigotti, but above all for a vocal quality that, perfectly centered for the lighter passages, highlights the nuances of a homogeneous, malleable, sumptuously controlled voice. Certainly, the entrance of the "Fortunate Strawberries" poses no problem for her, instead allowing her to outline a flirtatious and playful character with grace; but she astonishes in the finale because – starting from the Quartet – she perfectly understands the sudden shift towards a more pronounced pathos and then – after the recognition scene – towards the unexpected final happiness. Oropesa is perfectly aware of this shift in registers and, with irony but without overdoing it, makes her awakening after fainting almost a preparatory page for La Sonnambula. The agility of strength and the grammar of serious Rossini suit her all the more as she triumphs in the authentic fireworks of the dazzling, spectacular final cabaletta, in which she overcomes all sorts of acrobatics – even physical ones, as she climbs onto the cake – to express a joy rediscovered and shared.— Giuseppe Montemagno • Conessi all'OperaRossini Opera Festival - Concert
Aug, 2018Il trillo di Lisette
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 musicaleTeatro Real - Lucia di Lammermoor
May, 2018 - Jul, 2018Amores violentos
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 PaisLA Opera - Rigoletto
Apr, 2018 - May, 2018BWW Review: RIGOLETTO at Dorothy Chandler Pavilion
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 WorldLA Opera - Orfeo ed Eurydice
Mar, 2018BWW Review: ORPHEUS AND EURYDICE at Dorothy Chandler Pavilion
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 WorldTucson Desert Song Festival - Recital and Masterclass
Jan, 2018Lisette Oropesa sings at Tucson Desert Song Festival
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
Bayerische Staatsoper - Die Entführung aus dem Serail
Metropolitan Opera - Hansel and Gretel
Nov, 2017 - Jan, 2018hell’s kitchen
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
