2024
Teatro Real - Maria Stuarda
Nov, 2024 - Dec, 2024Nueva producción de 'Maria Stuarda' en el Teatro Real, con Lisette Oropesa, Aigul Akhmetshina e Isma
Frente a este torrente vocal, Lisette Oropesa, que debutaba en el papel, terminó por convertirse en una secundaria de lujo. Las cualidades que la han llevado a la fama brillaron también en su Maria Stuarda: el exquisito control de las dinámicas, el legato impecable que lució en la “Preghiera”, sus sobreagudos cómodos y un alegato final cargado de sensibilidad y encanto. Su interpretación enamora, y su canto conmueve profundamente.In the face of this vocal torrent, Lisette Oropesa, making her debut in the role, ultimately turned into a deluxe supporting actress. The qualities that have led her to stardom also shone in her Maria Stuarda: exquisite control of dynamics, impeccable legato that shone in the "Prayer", her comfortable overtones and a final plea full of sensitivity and charm. Her interpretation is captivating, and her singing deeply moves.— Juan José Freijo • Platea MagazineABAO Opera Bilbao - Recital
Nov, 2024Lisette Oropesa, virtuosismo vocal
Nos gustó mucho el melismático bolero de Delibes en el que exhibió todo tipo de escalas, picados y sostenidos gorgoritos y una inmaculada afinación. En la segunda mitad, como belcantista de depurada técnica, la jovial soprano atrajo la atención con el aria de la ópera L´Elisir D´Amore de Donizetti y sobre todo, en la difícil canzonetta «La Primavera» de Mercadante. Sin duda, Lisette Oropesa se movió a sus anchas en las piezas más ligeras, en las que su voz se adentraba con absoluta seguridad en los filados etéreos y en el dominio del registro agudo.We greatly enjoyed the melismatic bolero by Delibes in which he displayed all sorts of scales, staccato and sustained trills, and immaculate tuning. In the second half, the jovial soprano, with her refined bel canto technique, captivated attention with the aria from Donizetti's opera L'Elisir d'Amore and most notably, within the challenging canzonetta "La Primavera" by Mercadante. Undoubtedly, Lisette Oropesa comfortably excelled in the lighter pieces, in which her voice confidently ventured into ethereal sustains and the mastery of the high register.— Nino Dentici • El Correo
Grand Théâtre de Genève - Recital
Nov, 2024Lisette Oropesa, de Genève à Cadix et Cuba
Un menu conséquent en somme, que la soprano vedette dévore avec un appétit qui semble plus que jamais venir en chantant. L’interprète confère à chaque mot tout son sens, à chaque émotion tout son poids, qu’il s’agisse d’évoquer l’amour, la peine, le rêve ou le regret. De cette Andalousie dont il est d’abord question, l’artiste restitue la chaleur et l’âme, dansante et enivrante, d’une voix aussi large que les jardins de l’Alcazar, avec un timbre aussi chaud et fleuri qu’une rue du vieux Cadix. Il y a aussi ce soleil, éclatant, qui émane d’aigus hardis mais tout en maîtrise, ici triomphaux, là presque susurrés, mais toujours d’une implacable tenue sonore. Le public s’en délecte, applaudissant après chaque mélodie cette artiste n’hésitant pas, à l’occasion, à esquisser quelques pas de danse chaloupés.A substantial menu, indeed, that the star soprano devours with an appetite that seems to grow even stronger as she sings. The performer brings to each word its full meaning, to each emotion its full weight, whether evoking love, sorrow, dreams, or regret. From Andalusia, the subject at hand, the artist captures the warmth and soul, danceable and intoxicating, with a voice as expansive as the gardens of the Alcazar, with a timbre as warm and blooming as a street in Old Cadiz. Then there’s the sun, brilliant, radiating from bold but perfectly controlled high notes, here triumphant, there almost whispered, but always with an implacable sonic presence. The audience revels in it, applauding after each melody this artist who, on occasion, does not hesitate to break into a few swaying dance steps.— Pierre Géraudie • Olyrix
Carnegie Hall - Recital
Oct, 2024A Rare Recital by a Rare Voice
The opening song, Rossini’s “L’invito” from Les soirées musicales, embodies a plea to a distant lover to come and join the singer, but here it functioned as a compelling invitation to an evening of vocalism by demonstrating the gorgeous state of Oropesa’s soprano. The lovely purity and resonance one remembers from performances here are coupled with greater fullness and depth of tone, which enhance her interpretations of the lyrical operatic repertoire and may one day lead to more dramatic fare. In any case, the flowing middle section of “L’invito” sounded especially luscious.None— George Loomis • Musical America
Théâtre des Champs-Elysées - Mozart Requiem
Oct, 2024Requiem de Mozart recueilli au Théâtre des Champs-Elysées
Enfin, Lisette Oropesa déclame avec un solide legato, une prononciation impeccable et une égalité dans les registres, de longues phrases incarnées et défendues avec une émotion palpable, notamment son entrée et sa partie conclusive où la salle frémit avec elle de l’intensité du moment et de la gravité d’un texte musical aussi impérissable.Lastly, Lisette Oropesa declares with a solid legato, impeccable pronunciation, and evenness in her registers, long embodied phrases defended with palpable emotion, notably her entrance and her concluding part where the room quivers with her during the intensity of the moment and the gravity of such an imperishable musical text.— Philippe Scagni • Olyrix
Les Arts - Manon
Sep, 2024 - Oct, 2024Lisette Oropesa deslumbra con una Manon de referencia
Lisette Oropesa, y la soprano estadounidense no defraudó; pocas cantantes cuentan con una voz tan idónea para el papel como la suya. Posee las agilidades y sobreagudos que exige el personaje y que buena parte del público espera; pero Manon no es un papel para una soprano ligera, ya que necesita de una cantante con un centro carnoso para poder desplegar todos los colores que un rol tan amplio y complejo necesita; Oropesa no solo lo tiene, sino que lo sabe explotar. De esa forma logró plasmar cada situación dramática, utilizando para ello solo el canto y sin tener que recurrir a ningún efecto de tipo verista fuera de estilo. El mejor ejemplo fue el patetismo que consiguió en el último acto. A eso hay que unir en despliegue escénico insuperable, porque la soprano se entregó a la producción de Vincent Huguet encarnando el personaje en todas sus dimensiones.Lisette Oropesa did not disappoint, and the American soprano has a voice that is ideally suited for the role like few other singers. She possesses the agility and high notes that the character demands and that much of the audience expects; however, Manon is not a role for a light soprano, as it requires a singer with a meaty middle register in order to unfold all the colors that such a broad and complex role needs; Oropesa not only has this, but she knows how to exploit it. In this way, she managed to convey every dramatic situation using only her singing without having to resort to any verismo effects out of style. The best example was the pathos she achieved in the final act. To this must be added an unbeatable stage deployment, because the soprano fully committed to Vincent Huguet's production, embodying the character in all its dimensions.— César Rus • Opera ActualWiener Staatsoper - La traviata
Sep, 2024WIEN / Staatsoper: LA TRAVIATA mit Oropesa, Floréz & Dupuis
Allen voran die mitreißend singende wie auch darstellerisch berührende Lisette Oropesa in der Titelrolle. Die kubanisch-amerikanische Sopranistin bringt alles mit, was für diese Rolle essenziell ist: Eine wunderschöne Stimme, gerade groß genug, hell und fein timbriert, ausdrucksstark und technisch so versiert, dass sie mit eleganter Leichtigkeit anmutig und geradezu schwerelos durch die Kadenzen schweben kann. Sie ist zu zartestem Pianissimo fähig, aber auch in kraftvolle Sequenzen wie in „Sempre lbera“ sattelfest. Bewundernswert, wie sich Oropesa in den sich ändernden Gefühlswelten verwandeln kann, von verliebter Glückseligkeit im ersten Akt bis zur erschütternden Verzweiflung in „Addio del passato“ und dem letzten Aufflackern des Lebens- und Liebenswillen angesichts des Todes. Darstellerisch überzeugt sie mit ehrlicher, liebenswerter Aufrichtigkeit, nicht mit großen Gesten.Foremost among them is the captivatingly singing and emotionally engaging Lisette Oropesa in the title role. The Cuban-American soprano possesses everything essential for this role: a beautiful voice, just large enough, bright and finely timbred, expressive and technically skilled enough to gracefully and almost weightlessly float through the cadenzas with elegant ease. She is capable of the most delicate pianissimo, but also solid in powerful sequences like in "Sempre libera." Admirable is how Oropesa can transform herself in the changing emotional worlds, from the blissful joy of being in love in the first act to the heartbreaking despair in "Addio del passato" and the final flicker of life and will to love in the face of death. In her portrayal, she convinces with honest, lovable sincerity, not with grand gestures.— Manfred A. Schmid • Online MerkerSalzburger Festspiele - Hamlet
Aug, 2024Triumph der Grand Opéra
Königin des Abends: Lisette Oropesa Und eine überragt sie alle: die amerikanische Sopranistin Lisette Oropesa überflutet als Ophelia Orchester wie Ensembles mit ihrem glitzernden, berückend schönen Sopran, den sie mit atemverschlagender Perfektion in die höchsten Höhen führt. Beim ohrenbetäubenden Jubel nach ihrer Wahnsinnsarie fürchtet man kurz um die Statik des Hauses und um den Fortgang der Oper.Queen of the Evening: Lisette Oropesa And one outshines them all: the American soprano Lisette Oropesa, as Ophelia, floods the orchestra and ensembles with her sparkling, enchantingly beautiful soprano, which she carries with breathtaking perfection to the highest heights. During the deafening cheers following her mad scene aria, one briefly fears for the building's structural integrity and the continuation of the opera.— Michael Atzinger • BR Klassik
Festival Cap Rocat - Concert
Aug, 2024Salvas de virtuosismo en el Festival Cap Rocat: Lisette Oropesa reina en la fortaleza mallorquina
Entre todas estas piezas, todas interpretadas a un nivel sinigual que dejó fascinado a un publico totalmente entregado, destacó Oh, nube! Che lieve per l'aria, de la obra de Donizetti Maria Estuarda, que la soprano interpretará por primera vez en su carrera en el Teatro Real la próxima temporada. Valga subrayar los bises con los que Oropesa concluyó una velada redonda. Después de volver sobre sus pasos, la soprano tomó la palabra para compartir una información de la que había sido conocedora días antes. Su bisabuela, nacida en la isla de Mallorca, era el último eslabón en unirse a un largo linaje de mujeres ligadas a tierras hispanoparlantes en la familia de la artista. Con motivo de ese lazo, que continúan la cantante, de origen cubano, y su madre, española de nacimiento, interpreto como colofón final la Romanza de María la O, de la zarzuela del compositor cubano Ernesto Lacuona, Maria la O y, por último, Las carceleras de la zarzuela cómica española Las hijas de Zebedeo.Among all these pieces, all performed at an unrivaled level that fascinated an utterly devoted audience, one stood out: "Oh, nube! Che lieve per l'aria," from Donizetti's Maria Stuarda, which the soprano will perform for the first time in her career at the Teatro Real next season. It is worth highlighting the encores with which Oropesa concluded a perfect evening. After retracing her steps, the soprano took the floor to share information she had learned days earlier. Her great-grandmother, born on the island of Mallorca, was the latest link in a long lineage of women connected to Spanish-speaking lands in the artist's family. To commemorate this bond, both the singer, of Cuban origin, and her mother, born in Spain, performed as a final flourish the Romanza from Ernesto Lecuona's Cuban zarzuela "Maria la O," and lastly, "Las carceleras" from the Spanish comic zarzuela "Las hijas de Zebedeo."— Ángel Mora • El EspañolMetropolitan Opera - Taiwan Concert
Jun, 2024
Metropolitan Opera - Concert
Jun, 2024Metropolitan Opera - Korea Concert
Jun, 2024A singing orchestra that presents a feast of sound
The second songs were two Mozart concert arias by American soprano Lisette Oropesa. It was a superb performance combining Oropesa's flawless technique, rich tone, and wonderful accompaniment worthy of an opera orchestra. I thought it would have been great if yesterday's program consisted of only Mozart opera overtures and arias.None— Gwangyeol Jeon • MBN (MSN.com)Carnegie Hall - Concert
Jun, 2024Oropesa’s charm balances Brahms’ dark drama with Met Orchestra at Carnegie
Lisette Oropesa, who will join the Met forces on their Asian tour, last appeared at the Met as Gilda in Verdi’s Rigoletto in December 2022. Judging from the reception she received, the soprano has been greatly missed. Although this brief appearance singing two Mozart arias hardly sated her fans’ desire to hear more of her. The first of the two arias was “Vado, ma dové,” K. 583, which Mozart composed in 1789 for soprano Louise Villeneuve. Little is known of the soprano, except that she was the first Dorabella in Così fan tutte; Mozart write this insertion aria for Villeneuve to sing int Martín y Soler’s Il Burbero di Buon Cuore. Unsurprisingly, with the passage of time, Oropesa’s lyric coloratura soprano has grown in size and complexity. “Vado, ma dové” was less of a coloratura showpiece for Oropesa than an opportunity for her to display the beauty of her middle range. Her voice was especially creamy and rich in the second section of the aria in which she sang imploring for love to be her guide. Mozart composed “A Berenice – Sol nascente” K. 70 when he was only 13 as a birthday present to Prince-Archbishop Sigismund von Schrattenbach. The young genius found a congenial patron in the archbishop, as opposed to his successor Hieronymus Colleredo, who famously dismissed him from his service. “A Berenice – Sol nascente” is a licenza, as opposed to either a stand-alone aria or an insertion. Intended as an epilogue for Giuseppi Sarti’s opera-seria Vologeso, it opens with an extended recitative in praise of Prince Sigismund, which provided another opportunity for Oropesa to display the warmth of her middle register, as well as her flair for bringing words to life.None— Rick Perdian • New York Classical ReviewMusikverein Graz - Recital
Teatro alla Scala - Recital
May, 2024
Royal Opera House - Celebrating 22 Years Of Antonio Pappano
May, 2024Antonio Pappano Celebration — the Royal Opera maestro’s regal sendoff
The soprano Lisette Oropesa showed brilliant vocal acting in her Don Pasquale nugget and later soared assuredly over the trio from Der Rosenkavalier. the ecstatic conclusion to Rossini’s William Tell, with Finley as the Swiss freedom fighter, Oropesa’s soprano glinting again and the chorus movingly imploring: “Reign over us once more!”None— Neil Fisher • The TimesHungarian State Opera - Recital
Festspielhaus Baden Baden - Concert
Gran Theatre del Liceu - Gala Concert
May, 2024Pour ses 177 ans, le Liceu fait briller quatre étoiles
En deuxième partie, Oropesa nous offrira une valse de Juliette miroitante à souhait : sa voix possède ce brillant orné de velours qui laisse jaillir une artiste élégante et noble. Ensuite Camarena attaquera « Ah, lève-toi, soleil » du même ouvrage. Magistral aussi, car l’éclat de son instrument est mis au service d’un interprète engagé, intelligent et sensible.In the second part, Oropesa will offer us a shimmering waltz from Juliette as desired: her voice possesses that brilliant, velvet ornamentation that reveals an elegant and noble artist. Next, Camarena will tackle "Ah, rise, sun" from the same work. Also masterful, as the brightness of his instrument is at the service of a committed, intelligent, and sensitive performer.— Xavier Rivera • Crescendo Magazine
Teatro alla Scala - Concert
Apr, 2024Milano, Teatro alla Scala – Concerto di Lisette Oropesa e Benjamin Bernheim
Il succitato duetto ha consentito alla brava Lisette Oropesa di scaldare la voce prima di affrontare la difficile aria dei verdiani Masnadieri, durante la cabaletta della quale abbiamo potuto apprezzare il bellissimo trillo della cantante statunitense e i suoi affascinante acuti, se presi in pianissimo. Dopo l’esecuzione della Sinfonia tratta dalla stessa opera (che ha guadagnato calorose ovazioni al violoncello solista) si è passati all’impegnativo duetto del Rigoletto fra Gilda e il Duca durante il quale la voce del soprano, così ricca di armonici, si fondeva un poco a fatica con quella tendenzialmente frigida del tenore. Seconda parte del concerto tutta dedicata alla Francia, dove una Oropesa tecnicamente pregevole, ma stranamente priva di coquetterie, ha eseguito l’aria “des bijoux” dal Faust di Gounod e il perigliosissimo “Robert, toi que j’aime” da Robert le Diable di Meyerbeer.The aforementioned duet allowed the talented Lisette Oropesa to warm up her voice before tackling the challenging aria from Verdi's Masnadieri, during the cabaletta of which we were able to appreciate the beautiful trill of the American singer and her fascinating high notes, if taken in pianissimo. Following the performance of the Symphony from the same opera (which garnered warm ovations for the solo cellist), they moved on to the demanding duet from Rigoletto between Gilda and the Duke, during which the soprano's voice, so rich in harmonics, somewhat struggled to blend with the inherently cold tenor. The second part of the concert was entirely dedicated to France, where a technically excellent Oropesa, oddly lacking in coquettishness, performed "des bijoux" aria from Gounod's Faust and the extremely risky "Robert, toi que j'aime" from Meyerbeer's Robert le Diable.— Giancarlo Arnaboldi • Conessi all'OperaThéâtre des Champs-Elysées - Les Grandes Voix
Apr, 2024Concert Lisette Oropesa, Benjamin Bernheim – Paris (TCE)
Lisette Oropesa que le public parisien a découverte dans Les Huguenots à Bastille en septembre 2018 propose ensuite « Robert, toi que j’aime », un extrait d’un autre opéra de Meyerbeer, Robert le diable. Son interprétation émouvante et nuancée, parsemée de demi-teintes exquises capte durablement l’attention en dépit de deux aigus légèrement stridents et un peu bas dans la dernière section de l’air qui n’ont pas empêché le public de l’applaudir chaleureusement. Cette partie, finalement plus captivante que la première, s’achève en beauté avec la grande scène de Saint Sulpice extraite de Manon. Bernheim propose un « Ah fuyez douce image » irréprochable vocalement et stylistiquement, mais dans le duo qui suit on aimerait percevoir davantage la fougue amoureuse qui anime le personnage. Oropesa est en revanche une Manon tout feu tout flamme, pleinement convaincante dans sa robe rouge fendue sur le devant.Lisette Oropesa, whom the Parisian audience discovered in "Les Huguenots" at Bastille in September 2018, then offered "Robert, toi que j’aime," an excerpt from another Meyerbeer opera, "Robert le Diable." Her poignant and nuanced performance, dotted with exquisite half-tones, captures attention enduringly despite two slightly shrill and somewhat low high notes in the last section of the aria, which did not prevent the audience from applauding her warmly. This part, ultimately more captivating than the first, concluded beautifully with the grand scene from Saint Sulpice extracted from "Manon." Bernheim delivers an "Ah fuyez douce image" that is impeccable both vocally and stylistically, but in the duo that follows, one would wish to feel more of the amorous ardor that animates the character. Oropesa, on the other hand, is a Manon full of fire and flame, utterly convincing in her front-slit red dress.— Christian Peter • Forum OperaTeatro dell'Opera di Roma - La Sonnambula
Mar, 2024 - Apr, 2024Incanta la Sonnambula di Lisette Oropesa,
Lisette Oropesa, al debutto nel ruolo di Amina dopo essere stata protagonista con il lirico capitolino dell'opera-film La traviata per la regia di Mario Martone, ha dato sfoggio delle sue straordinarie capacità belcantistiche strappando applausi e 'brava' nei duetti come da sola nelle melodie più struggenti.Lisette Oropesa, making her debut in the role of Amina, after being the protagonist with the lyric Capitolino in the opera-film La traviata directed by Mario Martone, showcased her extraordinary bel canto abilities, garnering applause and 'bravos' in duets as well as in the most poignant melodies on her own.— ANSA • Ansa.itWiener Staatsoper - Guillaume Tell
Feb, 2024 - Mar, 2024WIEN / Staatsoper: GUILLAUME TELL – Wiederaufnahme
Einen starken, wohl der einnehmendste Eindruck des Abends, hinterlässt das mit Spannung erwartete Rollendebüt von Lisette Oropesa als Mathilde. Die von Arnold geliebte Habsburger-Prinzessin, die einzige positive Person in den Reihen der österreichischen Besatzer, tritt erst im zweiten Akt, dem Herzstück der Oper, in Erscheinung. Rossinis Kollege Donizetti meinte einst, dass der erste und der dritte Akt der Oper vom besten Rossini stamme, der zweite aber wohl von Gott selbst. Wie um das zu bekräftigen, singt die Sopranistin mit göttlicher Stimme in himmlischen Höhen, bewältigt die aberwitzigen Koloraturen mit sanften, höchst sinnlichen Tönen und ist auch darstellerisch eine wahre Freude.Lisette Oropesa, expected with much anticipation, leaves a strong, likely the most captivating impression of the evening with her role debut as Mathilde. The Habsburg princess, loved by Arnold and the only positive figure among the Austrian occupiers, makes her appearance only in the second act, the heart of the opera. Rossini's colleague Donizetti once said that the first and the third act of the opera come from the best of Rossini, but the second must surely be from God himself. As if to confirm this, the soprano sings with a divine voice in heavenly heights, manages the dizzying coloraturas with gentle, highly sensual tones, and is also a true joy to watch in her performance.— Manfred A. Schmid • Online MerkerOpéra National de Paris - La traviata
Feb, 2024La Traviata à Bastille, ou la "grâce" des réseaux sociaux
Mais Violetta Valéry, en ce dimanche après-midi, n'est nulle autre que Lisette Oropesa, triomphale de puissance mélodieuse tout en incarnant parfaitement la séductrice assumée. Son jeu et sa voix dynamique élargissent l'espace scénique et acoustique, sachant percer le mur d'orchestre et des c(h)œurs par ses accents, sans négliger les grands moments de douceurs et la claire déclamation du texte.But Violetta Valéry, on this Sunday afternoon, is none other than Lisette Oropesa, triumphant in her melodious power while perfectly embodying the confident seductress. Her performance and dynamic voice broaden the stage and acoustic space, skillfully piercing the wall of orchestra and choirs with her accents, without neglecting the great moments of tenderness and the clear declamation of the text.— Juan Barrios • OlyrixOpéra National de Paris - Giulio Cesare
Dec, 2023 - Feb, 2024Night at the Museum
It’s hard to imagine a more appropriate choice for the role of Cleopatra than the incandescent Lisette Oropesa. A coquette par excellence, she has the vocal and dramatic prowess to embody Ptolemaic Egypt’s last queen. Her glorious lyric coloratura had just the right timbre, feminine and fruity. Vocally, she excelled in all her arias, but her Act II aria “V’adoro pupille” was the most sensual. Technically, her Act III aria “Da tempeste il legno infranto” was the most dazzling.None— Ossama el Naggar • Concerto NetGstaad New Year Music Festival - Recital
Jan, 2024Deux grandes voix en fusion lyrique à Rougemont
Toute la gamme des émotions y est: la révolte, l’affliction, les coups de colère, la résignation, la tendresse. Lisette Oropesa n’est pas qu’une jolie voix de soprano colorature au timbre cristallin. Son chant s’enflamme; la voix est surprenamment longue, couronnée d’aigus percutants, quoique aucunement criards, descendant parfois dans le grave sans effet de rupture dans les registres. Un éclat radieux en émane.The entire range of emotions is present: rebellion, affliction, flashes of anger, resignation, tenderness. Lisette Oropesa is more than just a pretty coloratura soprano voice with a crystalline timbre. Her singing catches fire; the voice is surprisingly long, crowned with striking high notes, though in no way screechy, sometimes descending into the low range without any break in the registers. A radiant brilliance emanates from it.— Julian Sykes • Le Temps
