Career

Oropesa has made one of the greatest efforts of her career to fulfill the part and the result has been a total success. Her beautiful and sweet voice, added to her impressive high notes, and her devoted portrayal of the ill-fated, courageous character, helped especially in the low notes. As a result, it was a  memorable rendition. When she was on stage, one could not take one’s eyes off her. As the final act transcurred, Oropesa raised the bar, and in fact the finale was moving, both in the prayer aria, and in the following scene, where she received spontaneous applause, and in the final cabaletta “Ah, se un giorno”, in which she sang splendidly, closing with a spectacular high note. Once again, she delighted the Madrid audience, which eagerly awaits for her return.

—  Angel Parsifal  •  Opera On Video

La producción del Palau valenciano ha encontrado en Lisette Oropesa a la intérprete ideal, dominante y arrebatadora como la compleja heroína, que padece y goza a la vez de las dolorosas delicias de la pasión amorosa y de los deleites del lujo, delicias y deleites perfumados, envenenados por el áspero sabor de la traición. 

—  Álvaro del Amo  •  El Mundo

W roli Traviaty wystąpiła Lisette Oropesa. Śpiewaczka robi ogromne wrażenie w scenach kameralnych, takich jak rozmowa z ojcem Alfreda czy finałowa scena śmierci, gdzie słychać delikatną, melancholijną barwę głosu i bajeczne piana. W pierwszym akcie słynna „E strano!…Ah, fors’è lui…Sempre libera” była popisem technicznej biegłości i koloraturowej sprawności, szkoda jednak że przerwana została w środku przez owacje publiczności, co zakłóciło stopniowe budowanie przez artystkę napięcia.

—  Magdalena Grzybowska  •  Opera Lovers

Lisette Oropesa, undeniably a coloratura soprano, offered an interpretation that was poignant, evocative, and introspective. Her shimmering, luminous soprano voice, ideally suited for bel canto, effortlessly navigated the demands of the score. She delivered sparkling, flawless coloratura passages, breathtaking chromatic scales, and a vibrant, thrilling trill. However, these vocal feats were not mere showcases of her technical prowess; rather, they were wielded in service of the music and character portrayal.

Oropesa’s rendition of “Sovra il sen la man mi posa” in Act one was electrifying, brimming with cascading coloratura fireworks, yet imbued with the innocence and exuberance of a young woman on the cusp of marital bliss. The love duet with John Osborn (Elvino), “Son geloso del zeffiro errante,” emerged as a highlight, with both singers infusing their performances with heartfelt emotion; Osborn conveying loving jealousy, while Oropesa responded with reassuring tenderness. A superb performance.

—  Laura Servidei  •  Opera Wire

Mit Lisette Oropesa gelingt das an diesem Abend vorzüglich. Biegsam, flexibel bis zum äußersten Anschlag. Na, was sage ich:

Grenzenlos und ohne doppelten Boden fliegen die Töne der zierlichen Sopranistin in duftige Höhen und gleiten leicht und mühelos dahin.

Wendig ist Lisette Oropesas Stimme nur einmal. Wie sie die Läufe angeht und die Koloraturen sauber miteinander verblendet, ohne auch nur einen einzigen Registerbruch zu erleiden. Es fließt und fließt und strömt ihr Vokalinstrument so geschmeidig wie herabperlend goldener Honig.

Dabei klingt ihre Stimme immerzu warm, vollmundig und saturiert, sodass man sich an dem klanglichen Farbenreichtum kaum mehr satt hören kann.

Schauspielerisch eine Wucht, genießt man diese außerordentlich brillante Darstellung der Mathilde.

—  Nicole Hacke  •  Operaversum

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.

—  Juan Barrios  •  Olyrix

Handel’s world was vibrantly alive with excellent performances by Lisette Oropesa’s Cleopatra and Gaële Arquez’s Giulio Cesare. Louisiana (USA) born Mlle. Oropesa is quite shapely, easily embodying the arrogant and calculating sirene of myth. As Handel’s heroine she is also a sincere lover, ready to die as her brother’s prisoner. As defeated as she was in her heartbreaking “Piangero la sorte mia,” we were smitten by its sincerity. An estimable technician of beautiful voice she wove the florid lines of her multiple arias into a convincing whole.

—  Michael Milenski  •  Opera Today