2024
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Teatro Real - Maria Stuarda
Nov, 2024 - Dec, 2024Lisette Oropesa se corona (de nuevo) como reina con 'Maria Stuarda' en el Teatro Real
Ya en el segundo acto fue Oropesa quien ya terminó de caldear el patio de butacas con su allenta il pie… Oh nube che lieve, el aria y cabaletta con las que sale a escena. Limpia, perfecta, delicada, ingenua, exquisita… Ahí puso las cartas boca arriba, en tercer acto, ya en el patíbulo, con un dominio del legato propio de la grandísima cantante que es. ¡Menudo tercer acto nos regaló!Already in the second act, it was Oropesa who finished warming up the auditorium with her "allenta il pie… Oh nube che lieve", the aria and cabaletta with which she makes her entrance. Clean, perfect, delicate, naive, exquisite... There, she laid all her cards on the table, in the third act, already on the scaffold, with a command of legato characteristic of the great singer she is. What a third act she gave us!— Nacho Fresno • Shangay -
ABAO 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
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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
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Carnegie Hall - Recital
Oct, 2024Castanet diva
One of the striking features of the program was how quickly and seamlessly Oropesa could turn on a dime from extroverted vocal display to quiet introspection or sensuous languor in the more serious song selections. The timbre would morph from diamantine brilliance to a darker silver tone with a cool luster depending on the music.— Eli Jacobson • Parterre
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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
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Les Arts - Manon
Sep, 2024 - Oct, 2024Lisette Oropesa, carne y alma de Manon
Manon en “los locos años veinte”. Art déco. Las Kardashian. “Una de las pocas óperas en la que el hombre es la víctima y el tenor no es celoso”. Más allá de la palabrería, elucubraciones, interpretaciones y reinterpretaciones escénicas, del regreso de la ópera Manon de Massenet al Palau de Les Arts -ya se escuchó en 2010, en tiempos de Helga Schmidt- queda la esencia de una de las grandes óperas del repertorio; es decir, el canto y su base sinfónica. Fueron precisamente la soprano cubano-estadounidense Lisette Oropesa y la Orquestra de la Comunitat Valenciana los genuinos triunfadores de una función de contrastes y nivel, convertida en inolvidable por el canto y la expresión excepcional de la diva y una orquesta que tocó, cantó y sonó maravillosamente toda la noche bajo el gobierno efectivo de su titular, James Gaffigan. Desde los primeros momentos, -“Je suis encore tout étourdie”-, la Oropesa dejó enunciados los perfiles expresivos y vocales de un personaje que le va como anillo al dedo. Musical y dramáticamente. A pesar de su poderosa personalidad, y de su condición de figura puntera de la lírica actual, en su interpretación fue solo Manon, la genuina y única. No hizo de Manon: fue la propia Manon la que el jueves, cantó y actuó en la escena inmensa del Palau de Les Arts. Tal fue su entrega, identificación con el personaje y médula vocal de un papel marcado por figuras legendarias de la ópera, con Victoria de los Ángeles a la cabeza. Oropesa, que debutó el rol en 2019, en el Metropolitan de Nueva York, incorpora su nombre a la nómina selecta de las mejores Manon que fueron y son. Cantó desde el alma, otorgando sentido y expresión a cada palabra, a cada sílaba, a la evolución de una casi niña de 16 años, caprichosa y Lolita, que tras cinco actos y seis escenas concluye convertida en una heroína del amor y la libertad. Y fue esa transición difícil, desde la ingenuidad y la frivolidad a la pasión que es capaz de aparcar todos los sueños y anhelos de antaño para dejar que el amor imponga su ley en tiempos difíciles y contra cualquier conveniencia, la guía que marcó una noche en la que ella fue absoluta protagonista. El abismo entre la jovencita caprichosa y la heroína que cierra la historia con esa frase intensa y sencilla que sale de sus labios agónicos: “Et c’est là l’histoire de Manon Lescaut”. Antes, momentos tan memorables como cuando en el segundo acto entona el aria más célebre “Adieu, notre petite table” con sutileza vocal transparente y cargada de efusión y nostalgias; o el contraste, en el frívolo tercer acto, con un “Je marche sur tous les chemins” redondeado con gracia y sabores dieciochescos en la gavota “Obéissons quand leur voix appelle”, donde retoma las jóvenes alegrías del amor y la juventud... Como Manon, el arte de Oropesa es voluble y versátil, fresco y joven. Atrevido y decidido. Impregnado de pasado y abierto a la incertidumbre del futuro. Y, como su hermana Charlotte (Werther), sin recovecos ni medias tintas.Manon in the “roaring twenties”. Art Deco. The Kardashians. “One of the few operas where man is the victim and the tenor is not jealous.” Beyond the chatter, musings, interpretations, and stage reinterpretations, what remains of Massenet's opera Manon’s return to the Palau de Les Arts - having last been heard in 2010, during the time of Helga Schmidt - is the essence of one of the great operas in the repertoire; that is, the singing and its symphonic foundation. It was precisely Cuban-American soprano Lisette Oropesa and the Orchestra of the Valencian Community who were the true winners of a performance filled with contrasts and quality, made unforgettable by the singing and the exceptional expression of the diva, and an orchestra that played, sang, and sounded wonderfully throughout the night under the effective leadership of its principal conductor, James Gaffigan. From the first moments, - “Je suis encore tout étourdie”-, Oropesa defined the expressive and vocal outlines of a character that fits her like a glove, both musically and dramatically. Despite her powerful personality and her status as a leading figure in contemporary opera, in her interpretation, she was solely Manon, the genuine and unique. She did not play Manon: it was as if Manon herself sang and acted on the immense stage of the Palau de Les Arts on that Thursday. Such was her commitment, identification with the character, and vocal core of a role marked by legendary opera figures, with Victoria de los Ángeles leading the way. Oropesa, who debuted the role in 2019, at the Metropolitan Opera in New York, adds her name to the select list of the best Manons that were and are. She sang from the soul, giving meaning and expression to every word, every syllable, to the evolution of a nearly 16-year-old girl, capricious and Lolita-like, who after five acts and six scenes ends up transformed into a heroine of love and freedom. And it was this difficult transition, from naivety and frivolity to a passion capable of setting aside all dreams and longings of yesteryears to let love impose its law in difficult times and against any convenience, that guided a night in which she was the absolute protagonist. The chasm between the whimsical young girl and the heroine who ends the story with that intense and simple phrase that escapes her dying lips: “Et c’est là l’histoire de Manon Lescaut.” Earlier, there were such memorable moments as when in the second act she sings the most famous aria “Adieu, notre petite table” with a transparent vocal subtlety full of effusion and nostalgia; or the contrast, in the frivolous third act, with a “Je marche sur tous les chemins” rounded off with grace and eighteenth-century flavors in the gavotte “Obéissons quand leur voix appelle,” where she revisits the youthful joys of love and youth... Like Manon, Oropesa's artistry is fickle and versatile, fresh and youthful. Bold and decisive. Infused with the past and open to the uncertainty of the future. And, like her sister Charlotte (Werther), without complications or ambiguities.— Justo Romero • Levante -
Wiener 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 Merker -
Salzburger Festspiele - Hamlet
Aug, 2024Shakespeare als große Oper: Umjubelter „Hamlet“ in Salzburg
So wie auch, und ganz besonders, Lisette Oropesa. Wenn sie die Ophélie gibt, dann bleibt die Figur nicht bloß eine gläsern-zerbrechliche Femme fragile: Stattdessen erfüllt die Koloratursopranistin ihre einmal schlichten, dann wieder reich verzierten Kantilenen mit der Fülle und der Wärme einer Liebenden, die auf für sie unbegreifliche Weise enttäuscht wird und daraufhin in den Tod geht. Ein Hauch Cotrubas klingt da im Timbre an, eine Prise Gheorghiu – und doch ist Oropesa eine Diva eigenen Ranges, die ihre leuchtenden Spitzentöne in zartes Piano zurücknehmen kann: Das provozierte Jubelstürme schon nach ihrer Wahnsinnszene. Just as, and especially, Lisette Oropesa. When she assumes the role of Ophélie, the character is not merely a fragile, glass-like femme fragile: Instead, the coloratura soprano infuses her sometimes simple, sometimes richly ornamented cantilenas with the fullness and warmth of a lover who is incomprehensibly betrayed and subsequently succumbs to death. In her timbre, there's a hint of Cotrubas, a dash of Gheorghiu - and yet Oropesa is a diva of her own class, capable of modulating her luminous high notes into delicate piano: This provoked storms of applause already after her mad scene.— Walter Weidringer • Die Presse:format(webp)/https://lisetteoropesa.com/media/logo/salzburger-festspiele.jpg "Salzburger Festspiele")
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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 Español -
Metropolitan Opera - Taiwan Concert
Jun, 2024
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Metropolitan Opera - Concert
Jun, 2024
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Metropolitan 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.— Gwangyeol Jeon • MBN (MSN.com)
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Carnegie Hall - Concert with the Metropolitan Opera
Jun, 2024Night of the Queen of the Night
In her early Mozart aria A Berenice, Ms. Oropesa changed colors, played with the words, ripped up and down the scale like a marathon sprinter, and offered a rainbow-colored gift to us all.(By the way the story that A Berenice was the 13‑year‑old Mozart’s thank‑you letter to Aunt Berenice for a bar mitzvah gift is almost certainly fallacious.)This was Queen of the Night stuff incarnate. Coloratura, yes, with scales darting past a high D. Yet also tender, with a sensuous legato. Trills worthy of any Classical diva, precise leaps over the octaves. But above all, a care for the words, a change of sounds, a miraculous merger of vocalism and verbal understanding.— Harry Rolnick • Concerto Net -
Musikverein Graz - Recital
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Teatro alla Scala - Recital
May, 2024
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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!” — Neil Fisher • The Times -
Hungarian State Opera - Recital
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Festspielhaus Baden Baden - Concert
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Gran Teatre del Liceu - Gala Concert
May, 2024El Liceu de las voces
Por último, la soprano Lisette Oropesa demostró ser la voz más en forma y fresca. Con una técnica cristalina, de dicción clara y coloraturas radiantes, fue una eléctrica Adina en su dúo con Camarena, grácil en su romanza de la zarzuela Monte Carmelo de Moreno Toronja y rutilante en su vals de Juliette. Dejó al público con ganas de un deseado regreso con un rol protagónico, ya que se encuentra en el mejor momento de su carrera.Finally, soprano Lisette Oropesa proved to be the most in-form and freshest voice. With crystal-clear technique, clear diction, and radiant coloraturas, she was an electric Adina in her duet with Camarena, graceful in her romanza from the zarzuela Monte Carmelo by Moreno Toronja, and dazzling in her Juliette waltz. She left the audience longing for her desired return in a leading role, as she is currently in the prime of her career.— Jordi Maddaleno • La Vanguardia
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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'Opera
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Théâtre 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 Opera
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Teatro dell'Opera di Roma - La Sonnambula
Mar, 2024 - Apr, 2024Una Sonnambula da sogno
La Oropesa è un’Amina deliziosa, ingenua e tenera ma non manierata, anzi resa molto autentica e viva dalla toccante alternanza di momenti intensi di malinconia, felicità, drammaticità ed esultanza. Il suo timbro è particolare, comunicativo e simpatico, il suo stile e la sua tecnica sono inappuntabili.Oropesa is a delightful, naive, and tender Amina, but not mannered, indeed made very authentic and alive by the touching alternation of intense moments of melancholy, happiness, drama and exultation. Her tone is unique, communicative and charming, her style and technique are impeccable.— Mauro Mariani • Giornale della Musica -
Wiener Staatsoper - Guillaume Tell
Feb, 2024 - Mar, 2024Ins Schwarze getroffen: Wiederaufnahme von Rossinis „Wilhelm Tell“ an der Staatsoper
Fulminant gerät sein Duett mit Lisette Oropesa als Mathilde. Diese Sopranistin betört mit wohldosierter Intensität, Noblesse und brillanter Stimmführung.His duet with Lisette Oropesa as Mathilde becomes electrifying. This soprano captivates with well-measured intensity, nobility, and brilliant vocal control.— Kurier • Kurier -
Opéra 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 • Olyrix -
Opéra 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.— Ossama el Naggar • Concerto Net -
Gstaad 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
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