2021
Ravello Festival - Concert
Dec, 2021Standing ovation per Lisette Oropesa a Ravello.
È stato il debutto di Lisette Oropesa a chiudere la lunga stagione di programmazione della Fondazione Ravello. Tre bis e tanti applausi per uno dei più importanti soprani di oggi, acclamata sui palcoscenici dei più grandi teatri del mondo. La Oropesa, accompagnata all’Auditorium Oscar Niemeyer dalla Nuova Orchestra Scarlatti, particolarmente ispirata, diretta da Fabrizio Maria Carminati ha dato sfoggia di tutto il suo talento interpretando sette gemme del suo repertorio: Fiorilla, Giulietta, Hélene, Isabelle, Musetta e Manon.It was the debut of Lisette Oropesa that closed the long season of programming at the Ravello Foundation. Three encores and many applause for one of the most important sopranos of today, acclaimed on the stages of the world's most famous theatres. Oropesa, accompanied at the Oscar Niemeyer Auditorium by the New Scarlatti Orchestra, particularly inspired, conducted by Fabrizio Maria Carminati has shown her full talent by interpreting seven gems of her repertoire: Fiorilla, Giulietta, Hélène, Isabelle, Musetta and Manon.— Gazzetta di Salerno • Gazzetta di SalernoTeatro de la Maestranza - Recital
Dec, 2021Crítica: Lisette Oropesa en Sevilla. Músicas de las dos orillas
Todas estas cuestiones técnicas, con ser de por sí ya sobresalientes, de nada servirían sino estuvieran al servicio del fraseo y de la expresión. Y ahí es donde Oropesa desarma desde los primeros compases gracias a la seducción y delicadeza de su manera de decir, con la complicidad de ese ligero temblor de emoción en su voz. No se puede cantar de una manera más delicada, sotto voce y a flor de labios, la Asturiana o la Nana de Falla. En las canciones de Rodrigo supo amoldar el sonido a una dicción siempre clara y una fraseo muy cuidado, delicado y sutil. Maravillosos por último los tres bises, sobre todo ese vals de El húsar de la guardia tan elegantemente cantado.All these technical issues, outstanding as they are in themselves, would be worthless if they were not at the service of phrasing and expression. And that is where Oropesa disarms from the first chords, thanks to the seduction and delicacy of her interpretation, with the complicity of that slight tremor of emotion in her voice. One cannot sing in a more delicate way, sotto voce and softly spoken, the Asturiana or Falla’s Nana. In Rodrigo's songs, she knew how to mold the sound to a consistently clear pronunciation and a very careful, delicate and subtle phrasing. Lastly, the three encores were wonderful, particularly the elegant waltz from The Guard's Hussar.— Beckmesser • BeckmesserTeatro de la Zarzuela - Recital
Dec, 2021Lisette Oropesa, el cóctel (de zarzuela) perfecto: sí, ella es Cecilia Valdés
Y claro, como hemos dicho, llegó la traca final: Yo soy Cecilia Valdés. ¡Y tanto que ella ‘es’ la protagonista de esta zarzuela cubana! Lo disfrutó en el escenario del Teatro de La Zarzuela pero, sobre todo, nos lo hizo disfrutar a nosotros en el patio de butacas. Sensual, coqueta, divertida, canalla, tímida…, todo esto porque ella, efectivamente, ¡ella es Cecila Valdés! Luego, las generosas propinas, el apoteosis y el delirio de los fans.And of course, as we have said, the grand finale arrived: I am Cecilia Valdés. And indeed, she ‘is’ the protagonist of this Cuban zarzuela! She enjoyed it on the stage of the Zarzuela Theater but, above all, she made us enjoy it in the orchestra stalls. Sensual, coquettish, fun, rascal, timid..., all this because she, indeed, she is Cecilia Valdés! Then, the generous tips, the apotheosis, and the fans' frenzy.— Nacho Fresno • ShangayPhilharmonie Essen - Theodora
Nov, 2021
Philharmonie Luxembourg - Theodora
Nov, 2021
Théâtre des Champs-Élysées - Theodora
Nov, 2021“Theodora” transporte le public du Théâtre des Champs-Élysées
Theodora – qui trouve dans le timbre lumineux aux aigus délicats de Lisette Oropesa l’image idéale de la vierge martyreTheodora – who finds in Lisette Oropesa’s luminous timbre with its delicate high notes the ideal depiction of the virgin martyr.— Loïc Chahine • Díapason Magazine
Teatro alla Scala - Theodora
Nov, 2021Handel con Theodora infiamma la Scala
Theodora era Lisette Oropesa, voce con un vibrato stretto, sfrutta le caratteristiche del suo timbro posando a una Santa perennemente sul malinconico fisso, in estasi, dai pochi colori vocali, agìta sul volto la stilizzata recitazione. Nell’aria Fond flatt’ring world, gioca la carta del patetico, con suoni filati, in Angels, ever bright si fa astratta preghiera, mentre trova accenti accorati e “plaintive” nella più bella tra le arie della Theodora, quel With darkness deep che Handel addirittura riscrisse…Coro omogeneo e scattante, capace di smorzare e rendere percepibile la sublimazione della preghiera finale.Theodora was Lisette Oropesa, a voice with a tight vibrato, she leverages the characteristics of her timbre portraying a perpetual saint steeped in a fixed melancholy, in ecstasy, with few vocal colors, her face giving way to stylized recitation. In the air, 'Fond flattring world', she plays the card of pathos, with spun tones. In 'Angels, ever bright', she turns into an abstract prayer, while finding heartfelt and "plaintive" accents in the most beautiful of Theodora's arias, the 'With darkness deep' that Handel even rewrote... A homogeneous and brisk chorus, capable of dampening and making perceptible the sublimation of the final prayer.— Brescia e Armisano • Corriere Dello SpettacoloTheater an der Wien - Theodora
Nov, 2021WIEN / Theater an der Wien: THEODORA
Lisette Oropesa, schwarze Locken, grau-silbriges Abendkleid, sang die Titelrolle. Sie hat mit ihrem Strahle-Sorpan als Konstanze in der Wiener Staatoper die Herzen des Publikums im Sturm erobert. Hier muss sie die „Tugendboldin“ (wie man Händels Heldin bezeichnet hat) interessant machen. Sie tut es so weit wie möglich mit Stimme, Technik und lebhaftem Minenspiel, dessen sich auch alle anderen Sänger bedienen: Wenn man das Ganze schon nicht spielen darf (das Programmheft kündigt allerdings eine szenische Aufführung mit dieser Besetzung irgendwann irgendwo an), dann muss man doch wenigstens zeigen, wie man fühlt und leidet. Leidet vor allem, denn Theodora wird verfolgt, soll zur Prostitution gezwungen werden, will das Opfer des Didymus, der sie retten möchte, nicht annehmen… kurz, selbst wenn man den englischen Text nicht mitliest, weiß man doch nach der Inhaltsangabe worum es geht. Tragisch.Lisette Oropesa, with her black curls and grey-silver evening dress, sang the title role. She captured the hearts of the audience with her beaming Soprano as Konstanze in the Vienna State Opera. Here she must make the “Tugendboldin” (as Handel's heroine has been described) interesting. She does it as much as possible with her voice, technique, and lively facial expressions, which all the other singers also use: If you are not allowed to play the whole thing (however, the programme does announce a staged performance with this cast at some point somewhere), you must at least show how you feel and suffer. Suffer above all, because Theodora is being persecuted, is to be forced into prostitution, does not want to accept the sacrifice of Didymus, who wants to save her... in short, even if you don't read along with the English text, you still know from the synopsis what it's all about. Tragic.— Renate Wagner • Online Merker
Royal Opera House - La traviata
Oct, 2021 - Nov, 2021La traviata review — a star shines in the Royal Opera’s Verdi revival
Bob Crowley’s sets, famously marked by heavily architectural semi-circular structures choked with objects that get in the way (banquettes, a gambling table, hoop skirts), never seemed to pin Oropesa to the spot as it did with other performers. In Act I she vibrated with life and young innocence, hitting the coloratura heights in the climactic Sempre libera without the brilliance ever seeming forced. The open warmth of her tone, lack of affectation and gentle half-voice allowed her to easily display unfettered hurt and vulnerability, much needed as the libretto carved from the Alexandre Dumas play La Dame aux camélias presses on.None— Geoff Brown • The TimesTeatro Regio di Parma - Recital
Oct, 2021In salotto con Verdi (Festival Verdi 2021)
Il grande successo della serata è merito senza dubbio dei due protagonisti: il Maestro Francesco Izzo al pianoforte e Lisette Oropesa, stella ormai affermatasi nel panorama lirico mondiale.Il soprano, originario della Louisiana, in un bellissimo ed elegante abito da sera nero, che ne valorizza la figura longilinea, si posiziona al proscenio e intona i primi versi dei brani di apertura del concerto (arie di Saverio Mercadante); il pubblico rimane da subito affascinato dalla purezza e dalla morbidezza di una voce immacolata, luminosa e che si espande facilmente in sala.The great success of the evening is undoubtedly due to the two main figures: Maestro Francesco Izzo at the piano and Lisette Oropesa, a star who has now established herself in the global operatic scene. The soprano, originally from Louisiana, wearing a beautiful and elegant black evening gown that highlights her slender figure, positions herself at the forefront and sings the opening verses of the concert pieces (arias by Saverio Mercadante); the audience is immediately enchanted by the purity and softness of an immaculate voice, bright and that easily fills the room.— Marco Faverzani • Opera LiberaNachtigall Artists - Recital
Royal Opera House - Rigoletto
Aug, 2021 - Sep, 2021Rigoletto review – Oropesa is a matchless Gilda in powerful new take on Verdi’s tragedy
Oropesa makes a matchless Gilda, singing with an extraordinary beauty of tone and understated depth of feeling: this really is one of the truly great performances.None— Tim Ashley • The GuardianBellininFest - Concert
Festival Della Valle D'itria - Concert
Jul, 2021 - Aug, 2021Martina Franca: Lisette Oropesa vestale del Belcanto
È comunque l’altra Giulietta, alla quale Bellini fa cantare quell’”O quante volte o quante” che insieme al recitativo da cui è preceduta è sistematicamente straziata da quasi tutte le partecipanti a qualsiasi concorso lirico e svilita a nenia melensa, alla quale il soprano statunitense rende tutta la sua profondità lavorando di cesello su ogni singola parola e su ciascuna nota. La Oropesa sale poi definitivamente in cattedra dando voce ad un’Amalia – solitamente vittima di un insopportabile overacting vocale – animata da una meravigliosa fragilità piena di forza.It is, however, the other Juliet to whom Bellini entrusts the aria "O quante volte, o quante" which, along with the recitative it follows, is systematically butchered by nearly all participants in any opera competition, turning it into a cloying dirge. It is this piece that the American soprano imbues with all its depth, delicately working on every single word and note. Oropesa then truly excels, giving voice to an Amalia – usually marred by unbearable vocal overacting – animated by a wonderful fragility full of strength.— Alessandro Cammarano • Le Salon Musicale
Napa Valley Festival - Opening Night Concert
Jul, 2021
Accademia Nationale di Santa Cecilia - Concert
Apr, 2021
Teatro dell'Opera di Roma - La Traviata
Feb, 2021 - Apr, 2021Un/altra Traviata nel vuoto del teatro
La complessita della protagonista viene esaltata dal canto recitato di Lisette Oropesa Lisette Oropesa, statunitense di origini cubane, é una Violetta da manuale: recita con il canto. Le sfaccettature di un personaggio complesso prendono vita momento per momento.The complexity of the protagonist is highlighted by the sung recitation of Lisette Oropesa Lisette Oropesa, an American of Cuban descent, is a textbook Violetta: she acts through singing. The facets of a complex character come to life moment by moment.— Dino Villatico • Il Manifesto
Bilbao Opera - Recital
Feb, 2021RECITAL DE LISETTE OROPESA Y RUBÉN FERNÁNDEZ AGUIRRE EN BILBAO
Digámoslo cuanto antes: el recital ha sido un éxito sin paliativos. Uno, que no es amigo de este formato, no recuerda en los últimos años una cantante con la calidad vocal de Oropesa en recital alguno. La voz es de bello color, uniformidad en todos los registros –aunque algo matizado en la zona más grave, lo que parece natural- un fraseo de calidad y una implicación con el texto digna de aplauso. Además, técnicamente Oropesa nos ofreció detalles de alta calidad, de esos que están destinados para disfrutar casi en la intimidad. Por poner solo dos ejemplos, el trino final de la segunda pieza de Mercadante, La primavera, está alcance de pocas; y en la segunda parte, en la operística, toda la escena final de La sonnambula de Bellini fue un ejemplo de buen decir, de implicación con el personaje y de generosidad con el público pues la soprano incluyó el recitativo, muy sentido, el aria y la cabaletta final.Let's say it right away: the recital has been an unequivocal success. Even someone who is not a fan of this format does not remember in recent years a singer with the vocal quality of Oropesa in any recital. The voice has a beautiful tone, uniformity in all registers - although slightly nuanced in the lower range, which seems natural - quality phrasing, and an engagement with the text worthy of applause. Moreover, technically Oropesa offered us high-quality details, those that are intended to be enjoyed almost in intimacy. Just to give two examples, the final trill in the second piece by Mercadante, La primavera, is within reach of few; and in the second part, in the operatic section, the entire final scene of Bellini's La sonnambula was an example of good delivery, engagement with the character, and generosity towards the audience since the soprano included the very heartfelt recitative, the aria, and the final cabaletta.— Enrique Bert • Platea Magazine
