2023
New Orleans Opera - Concert
Nov, 2023 - Dec, 2023
Lyric Opera of Chicago - La fille du régiment
Oct, 2023 - Nov, 2023Lyric Opera’s ‘Daughter of the Regiment’ a romp rich with laughs and some of Donizetti’s best music
The ultimate star of the show, though, is Oropesa, an American soprano who is making her Lyric debut. An innate physical comedian with a comfortable, compelling stage presence, she is a complete natural as Marie. Oropesa has a supple, agile soprano voice, with a winningly honest and direct style. Seemingly unfazed by the vocal or physical demands of this role, this indefatigable singer handles its legendary coloratura with eye-opening ease and aplomb. Expect to see Oropesa back as soon as Lyric can re-sign her.None— Kyle MacMillan • Chicago Sun TimesClarksville Community Concert Association - Recital
Nov, 2023
Lyric Opera of Chicago - Recital
Oct, 2023
Wiener Staatsoper - La traviata
Sep, 2023 - Oct, 2023Eine umjubelte "La Traviata" an der Staatsoper
In der kühl-kuriosen Instagram-Inszenierung von Simon Stone siedelte Oropesa die Violetta Valéry stimmlich auf der kräftigen Seite an, selbst im Angesicht des nahenden Bühnentods. Wie zielsichere Pfeile die Spitzentöne der US-Amerikanerin, routiniert ihre Koloraturakrobatik.In the coolly curious Instagram staging by Simon Stone, Oropesa vocally positioned the Violetta Valéry on the robust side, even in the face of impending stage death. The top tones of the American were as unerringly targeted as arrows, her coloratura acrobatics practiced.— Stefan Ender • Der StandardTeatro dell'Opera di Roma - La traviata
Sep, 2023[Report] Rome Opera House 2023 Japan performance “La Traviata” first day report
On the opening day of La Traviata at the Roman Opera House, Lisette Oropesa, who played the heroine, showed the Japanese audience that she is the goddess of opera and the ultimate Violetta. She has a pretty appearance and looks great in Valentino's costumes, and even in the long aria of the first act, she did not lose her composure, and she did not hesitate to use her ultra-high notes to resonate bravely. Her emotional expression is rich, but the reason it never becomes tedious is probably because there is a mysterious mystique in her voice. There are singers who play this role in a verismo style and end up with a dull voice, but Oropesa's emotional expression is musical and elegant, and the high level that she aims for in her opera. No matter how much you listen to her, she has a voice that makes you want to hear more, and some of her sounds reminded me of golden-era Maria Callas recordings (even though her physique was completely different!) ). There is a faint classical elegance to it, and above all, the tragic nature of the story is conveyed in a very true manner.None— Hisae Odajima • NBSGuild Hall - Recital
Pro Música Águilas - Recital
Aug, 2023ÁGUILAS / Lisette Oropesa y la maldición de la Princesa de Bouillon
Para entonces y ya desde el bolero “¡Ay pobre Curro mío!” de Gounod con el que se abrió el recital, Oropesa se había metido en el bolsillo al respetable gracias a la capacidad comunicativa de su voz y de su manera de frasear. La voz es de un timbre seductor, con matices levemente oscuros en origen que adquieren brillo mediante una técnica de colocación y de proyección intachables, de manera que cuando sale, la voz tiene un temblor de emoción y una gama de colores que la hacen inconfundible. Con el sonido perfectamente cubierto en toda la gama, las transiciones entre registros prácticamente no existen, el sonido fluye con una naturalidad desarmante sin saltos ni cambios, plenamente audible en todo el espectro dinámico. Con tales herramientas técnicas a su servicio, Oropesa puede abordar con seguridad el terreno expresivo del fraseo que la ha encumbrado al podio mundial de la ópera.By then, and even from the bolero "¡Ay poor Curro mio!" by Gounod, which opened the recital, Oropesa had won over the audience due to the communicative power of her voice and her way of phrasing. The voice is of a seductive timbre, with slightly dark nuances in origin that gain brightness through unblemished placement and projection techniques so that when it emerges, the voice has a tremor of emotion and a range of colours that make it unmistakable. With the sound perfectly covered across the range, transitions between registers are practically non-existent, the sound flows with disarming naturalness without jumps or changes, and is fully audible in the entire dynamic spectrum. With such technical tools at her service, Oropesa can confidently tackle the expressive terrain of phrasing that has elevated her to the global opera podium.— Andrés Moreno Mengíbar • Scherzo MagazineArena di Verona - La traviata
Jul, 2023Sempre libera... e bella
La seconda recita della Traviata areniana ha presentato un ottimo cast capitanato dal soprano americano Lisette Oropesa che aveva già fatto il suo debutto trionfale nell’opera verdiana riscuotendo un successo folgorante: non c’era alcun dubbio che lo avrebbe confermato. Sarebbe banale se non noioso descrivere le sue doti di cantante e attrice; Oropesa è nata per interpretare il mitico ruolo e “condannata” a portare il pubblico ad un felice delirio: e così è stato ieri sera. Il fisico perfetto per Violetta, la naturalezza disarmante d’attrice, la voce dal vibrato caratteristico ma ben timbrata e dotata di una lucentezza particolare, la tecnica impeccabile hanno riscosso un grande successo; numerose chiamate a scena aperta e espressioni infinite d’ammirazione per lo stupefacente soprano statunitense.The second performance of "La Traviata" at the Arena showcased an excellent cast led by the American soprano Lisette Oropesa, who had already made her triumphant debut in the Verdi opera, achieving dazzling success: there was no doubt she would confirm that. It would be trivial, if not tedious, to describe her singing and acting skills; Oropesa is born for the legendary role and "condemned" to bring the audience to euphoric rapture: and so it was last night. Her perfect physique for Violetta, disarmingly natural acting, a voice with distinctive vibrato yet well-timbred and with a particular shine, impeccable technique all garnered great success; numerous curtain calls and endless expressions of admiration for the astonishing American soprano.— Irina Sorokina • L'ape musicale
Festival d'Aix-en-Provence - Lucie de Lammermoor
Jul, 2023Aix-en-Provence - Grand Théâtre de Provence: Lucie de Lammermoor
Lisette Oropesa appare più a suo agio rispetto alla recente produzione scaligera in versione italiana. Chailly le chiedeva un’intensità drammatica che forse non è la sua tazza di tè; e il soprano rispondeva da grande artista mettendo a disposizione tutte le sue risorse di tecnica e temperamento. Però in altre occasioni avevo sentito la voce più libera e il canto più alato. Con Daniele Rustioni Lisette Oropesa torna ad essere la vocalista che ricordavo senza nulla perdere quanto a intensità espressiva. Si potrebbe pensare che Lucie la favorisca rispetto alla consorella, ma non è così avendola ascoltata anche in altre produzioni della versione italiana. Certo in “Que n’avons-nous des ailes” ha modo di sfoggiare tutta la grazia, l’eleganza che le sono proprie, con una vocalizzazione nitida, trilli perfetti; per non parlare delle messe di voce, del legato, dei picchettati, degli acuti e sopracuti in pianissimo o sul forte; insomma tutto l’armamentario della grande virtuosa è ben presente. L’aria e la cabaletta della pazzia sono nella tonalità originale, quindi un tono sopra rispetto alle esecuzioni correnti, connotazione che restituisce al personaggio un'ulteriore siderale lontananza, perso in una dimensione già ultraterrena. Niente sopracuti conclusivi e cadenza alla fine della prima parte molto elaborata e d’effetto. Ma se la vocalista entusiasma l’interprete non è da meno e dà vita a una Lucie fragile ma non esangue, liricissima, dolce, però capace di momenti di rivolta, unica donna in questa versione a fronte di un universo maschile dominatore e soverchiante. Insomma una prova maiuscola a cui il pubblico risponde con vere e proprie ovazioni.Lisette Oropesa appears more comfortable compared to the recent Scala production in the Italian version. Chailly was asking her for a dramatic intensity that perhaps is not her cup of tea; and the soprano responded as a great artist by bringing all her technical and temperamental resources to the disposal. However, on other occasions I had heard her voice freer and her singing more winged. With Daniele Rustioni, Lisette Oropesa returns to being the vocalist I remembered without losing any expressive intensity. One might think that Lucie favors her over her sister, but it's not so, as I've also heard her in other productions of the Italian version. Sure enough in "Que n’avons-nous des ailes" she gets to show off all the grace and elegance that are hers, with clear vocalization, perfect trills; not to mention the voice mass, the legato, the staccato, the high and extreme high notes in pianissimo or on the forte; in other words, all the weaponry of the great virtuoso is well present. The aria and the insanity cabaletta are in the original key, therefore a tone above compared to current performances, a connotation that gives the character an additional astral distance, lost in an already otherworldly dimension. No final high notes and a very elaborate and effective cadenza at the end of the first part. But if the vocalist thrills, the interpreter is no less and gives life to a fragile but not bloodless Lucie, very lyrical, sweet, but capable of moments of rebellion, the only woman in this version to face a male-dominated and overwhelming universe. In short, a major test to which the audience responds with genuine ovations.— Silvano Capecchi • Opera Click
Savonlinna Opera Festival - Roméo et Juliette
Jun, 2023 - Jul, 2023Soprano Lisette Oropesa and tenor Amitai Pati shine as the lovers of Savonlinna's Romeo and Juliet
The biggest star of the production is the soprano Lisette Oropesa , whose interpretation of the young Julia is not only amazing vocal art, but also fresh stage work, which depicts a young person in love first brightly, then in darker tones when things in love start to go seriously wrong.None— Samuli Tiikkaja HS • Helsingin SanomatSavonlinna Opera Festival - Recital
Jul, 2023Lisette Oropesa toi hurmaavan tunnelatauksen Espanjasta
This deep dive to songs influenced by Spain fits very well to the image of Lisette Oropesa’s artistry. Spanish is her native language and French is her preferred singing language. The quickly changing, dramatic, moods of the music also fit to Oropesa’s quickly reacting personality and expression. Her voice transforms from dark, colorful low register to very high notes. A lot can happen during one long voice. Oropesa plays with the shades of the music, she stretches time and highlights the text so that it touches your soul. Dark emotions, pure joy and playfulness, heart-wrenching pain, and longing – Oropesa’s singing gave room for all of the emotions and they came across easily, naturally and masterfully. Everything seems to be easy and natural for this soprano.None— Riitta-Leena Lempinen-Vesa • Itä-SavoCarnegie Hall - Brahms Requiem
Jun, 2023The Met Chorus shines radiantly in music of loss at Carnegie Hall
Oropesa’s “Ihr habt nun Traurigkeit.” ... she sang with a touch of rubato, her lines opening up and gliding above the orchestra. There was a feeling of joy in her singing.Oropesa's "Ihr habt nun Traurigkeit"... she sang with a touch of rubato, her lines expanding and soaring above the orchestra. There was a sense of joy in her performance.— George Grella • New York Classical ReviewTeatro Real - Il turco in Italia
May, 2023 - Jun, 2023Lisette Oropesa protagoniza "Il turco in Italia" de Rossini en el Teatro Real
la apoteósica - no sabría definirla de otra manera - Fiorilla de Lisette Oropesa, quien hizo y deshizo en lo vocal. No brilló tanto en la página de salida Non si dà follia maggiore, quiza a merced de la edición crítica por encima de tradiciones interpretativas... pero, su voz se desplegó en frescura, luminosidad y con ese carácter efervescente del personaje en el dúo con su marido Per piacere alla signora, así como en el terceto - que deriva en dúo - del segundo acto, Scusate... Trovarvi sola... Credete allefemmine. Y, por su puesto, en su aria final, donde volvió a poner en juego variaciones medidas, sutiles, agudo descollante, no tanto el de cierre, con un timbre centelleante, de bello vibrato y derrochando comedia, salpicada del justo patetismo para intentar entender el por qué de su arrepentimiento.The apotheotic - I wouldn't know how to define it any other way - Fiorilla by Lisette Oropesa, who vocally did everything right and wrong. She did not shine as much in the opening piece Non si dà follia maggiore, perhaps at the mercy of a critical edition over interpretive traditions... but her voice unfolded with freshness, brightness, and with that effervescent character of the role in the duet with her husband Per piacere alla signora, as well as in the tercet - which turns into duet - of the second act, Scusate... Trovarvi sola... Credete allefemmine. And, of course, in her final aria, where she again played with measured variations, subtle, outstanding high notes, not so much the closing ones, with a sparkling timbre, beautiful vibrato and overflowing with comedy, sprinkled with just the right pathos to try to understand the reason for her regret.— Gonzalo Lahoz • Platea MagazineTeatro alla Scala - Lucia di Lammermoor
Mar, 2023 - May, 2023'Lucia di Lammermoor', la magia di Chailly esalta la ballata romantica di Donizetti
Verosimilmente, con protagonisti di rara competenza stilistica, civiltà e tecnica di canto, e ben meditata espressività come Lisette Oropesa, una Lucia interiorizzata anche nel quadro clou della pazzia"Likely, with protagonists of rare stylistic competence, musical culture, and singing technique, and well-considered expressiveness such as Lisette Oropesa, a Lucia who internalizes even in the key scene of madness."— Angelo Foletto • RepublicaOpera National de Paris - Hamlet
Feb, 2023 - Mar, 2023Hamlet à Bastille : être ou avoir été, telle est la question
Avec toutes ces funestes méprises, la voix que Lisette Oropesa offre à Ophélie semble d'autant plus pure, d'articulation, de timbre. Pourtant sa ligne de chant est riche d'un médium nourri et sa prononciation du français appliquée, comme ses coloratures. Son immense longueur de souffle lui permet d'enchaîner plusieurs phrases de vocalises (même si l'aigu n'est pas des plus opulents). Son chant paraît de ce fait d'autant plus clair et cristallin au moment fatidique où Hamlet la chasse vers un cloître (vers la mort en fait). Mais même le timbre éclatant, comme du verre, sait replonger dans le grave, comme tombant "à genoux" (la manière par laquelle Hamlet lui avait juré son amour).With all these unfortunate misunderstandings, the voice that Lisette Oropesa presents as Ophelia seems all the more pure in terms of articulation and timbre. Yet her singing line is rich with a nourished medium range, and her French pronunciation is diligent, as are her coloraturas. Her immense breath control allows her to link together several phrases of vocalizations (even if the high notes are not the most opulent). Her singing therefore appears all the more clear and crystalline at the fateful moment when Hamlet drives her towards a cloister (towards death, in fact). But even the resounding timbre, like glass, knows how to dive back into the bass, as if falling "to its knees" (the way by which Hamlet had sworn his love to her).— Charles Arden • OlyrixStiftung Mozarteum Salzburg - Mozart Requiem
Feb, 2023Mozart füllt Säle und die Riesenbühne
Lisette Oropesa bescherte etwas fülligere Belcanto-BrillanzLisette Oropesa provided a somewhat fuller bel canto brilliance.— Florian Oberhummer • Salzburger Nachrichten
Bayerische Staatsoper - I Masnadieri
Jan, 2023"I Masnadieri" im Nationaltheater: Weiblich neu
Lisette Oropesa überraschend viele Wesenszüge von Verdis späteren Frauenrollen: Sie bindet in den Cavatinen und Cabalettas die Spitzentöne zwar makellos pianissimo in die Linie ein. Doch ihr Legato ist unter der zart lebendigen Oberfläche sehnig gestützt, die Melodien hält sie entschlossen fest und spannt sie in der Staatsoper zu enorm tragfähigen Bögen auf. Und Lisette Oropesas düstere Tiefe lässt an die Dramatik der Lady Macbeth denken, die wenige Monate vor den "Masnadieri" das Licht der Welt erblickt hatte.Lisette Oropesa surprisingly embodies many characteristics of Verdi's later female roles: She seamlessly incorporates the high notes, played perfectly pianissimo, into the line of the cavatinas and cabalettas. However, her legato is braided with flexile support underneath its gently vibrant surface, she firmly holds onto the melodies and structures them into enormously supportive arcs at the Staatsoper. And Lisette Oropesa's somber depth is reminiscent of the drama of Lady Macbeth, who had been brought into the world a few months before "Masnadieri".— Michael Bastian Weiß • Abendzeitung München
