2018
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Teatro dell'Opera di Roma - Rigoletto
Nov, 2018 - Dec, 2018Il «Rigoletto» di Gatti è un Verdi doc
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 -
Opera 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 • Olyrix -
Opéra national de Paris - Les Huguenots
Aug, 2018 - Oct, 2018Des Huguenots intemporels ressuscitent à l’Opéra Bastille
Au premier rang d’entre eux figure Lisette Oropesa (Marguerite en lieu et place de Diana Damrau), qui reçoit une véritable ovation lors des saluts finaux. « Je suis musicienne », nous confiait-elle dans l’interview qu’elle nous accordait il y a quelques jours. De fait, pour sa prise de rôle au pied levé, elle fascine le public par sa virtuosité. Sa voix pure et coquettement vibrée reste colorée. Accompagnée des vagues du violoncelle, les pieds dans l’eau, elle laisse écouler avec détachement les vocalises ciselées dans des flux et des reflux nuancés, jusqu’au sein d’un même souffle (les fameux messa di voce). Ses intenses pianissimi ou ses trilles projetés dans des envolées lyriques provoquent un feu d’artifice vocal brûlant tout sur son passage. Mutine et joueuse d’abord, il lui manque ensuite, lorsque le drame se noue sous ses yeux, l’autorité souveraine et la royale colère qui marqueraient plus nettement l’évolution du personnage.At the forefront among them stands Lisette Oropesa (Marguerite, replacing Diana Damrau), who receives a true ovation at the final bows. "I am a musician,” she shared with us in the interview granted a few days ago. Indeed, stepping into the role suddenly, she captivates the audience with her virtuosity. Her voice is pure and coquettishly vibrant, retaining its color. Accompanied by the waves of the cello, with her feet in water, she lets the intricately carved vocalises flow with detachment in nuanced ebbs and flows, all within a single breath (the famous messa di voce). Her intense pianissimi or her trills thrown into lyrical flights cause a vocal firework display, burning everything in its path. Initially mischievous and playful, she then lacks, when the drama unfolds before her eyes, the sovereign authority and royal anger that would more clearly mark the character's evolution.— Damien Dutilleul • Olyrix -
Arena 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
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Rossini Opera Festival - Adina
Jul, 2018 - Aug, 2018A box of mixed chocolates
Lisette Oropesa makes her Rossini Opera Festival debut fifteen years after another American – Joyce DiDonato – last brought Adina to the Pesaro stage. She is a vigorous and youthful performer who easily carries the part of the flirtatious and love-struck heroine. She moves athletically, having highly capable performance skills which see her “hamming it up” at several points in the opera. Her voice is a powerful instrument which easily fills the theatre and often has to be held back or risk swamping her fellow performers. Its upper range is silvery toned but the lower register is the real delight: rich and creamy, it has great agility and pin-point accuracy. This was a very convincing performance, particularly in the scene in which she weeps out her grief on the shoulder of one of the non-singing cast, amid gasps, tears and hysterics, earning roars of laughter from the audience.— Gregory Pritchard • Concerto Net -
Rossini 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 musicale -
Teatro Real - Lucia di Lammermoor
May, 2018 - Jul, 2018El Teatro Real enloquece con 'Lucia di Lammermoor'
La locura de la protagonista, interpretada por la soprano estadounidense de ascendencia cubana Lisette Oropesa, se ha trasladado al público del coliseo madrileño, que ha roto en aplausos y en gritos de \"brava\" en el culmen de su enajenación.The madness of the protagonist, played by the American soprano of Cuban descent Lisette Oropesa, has spread to the audience of the Madrid coliseum, who have erupted in applause and shouts of "brava" at the climax of her derangement.— Europa Press • Europa Press -
LA 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.— Maria Nockin • Broadway World -
LA 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.— Maria Nockin • Broadway World -
Tucson 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.— Maria Nockin • Opera Today
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Bayerische Staatsoper - Die Entführung aus dem Serail
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Metropolitan Opera - Hansel and Gretel
Nov, 2017 - Jan, 2018Review: The Met’s Holiday ‘Hansel’ Is Surreal (and Timely)
It was fun to watch the fidgety Hansel (the mezzo-soprano Tara Erraught) and fretful Gretel (the soprano Lisette Oropesa) trading nonsensical taunts, dancing together and skipping their chores while their parents are off working, like mischievous siblings everywhere.— Anthony Tommasini • New York Times
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