2025
Opera Louisiane - Concert
Nov, 2025
Bayerische Staatsoper - La traviata
Nov, 2025
Staatsoper Berlin - Roméo et Juliette
Oct, 2025 - Nov, 2025
Staatsoper Unter den Linden - La traviata
Oct, 2025Opernhaus Zürich - Manon
Sep, 2025 - Oct, 2025
Arena di Verona - Rigoletto
Sep, 2025Arena di Verona Festival 2025. G. Verdi “Rigoletto” 6 settembre 2025.
Lisette Oropesa si conferma come uno dei soprani di punta dei nostri tempi. Ottima tecnica, fiati lunghissimi, trilli che sono veri trilli. Una paletta di colori tale da permetterle di tratteggiare tutti gli aspetti di questo personaggio apparentemente semplice e scontato e che spesso, in passato, era visto come una bambolina stupidella. Gilda non è così e ne è la prova il fatto che, nonostante il padre le avesse fornito le prove circa la bieca personalità del Duca ed il suo cinismo, decide comunque di sacrificare la sua vita per l’uomo che ama. “Caro nome” eseguito senza le puntature di tradizione proprio per sottolineare l’aspetto più lirico che Verdi ha riservato a questo personaggio ma un Mib sopracuto al termine della “Vendetta” che “non ce n’era per nessuno”. Scenicamente adorabile. Il personaggio è assolutamente credibile. La riascolterò se tutto andrà bene a Napoli in ottobre 2026 come Alcina. Alla fine mi ha chiesto “Ma si sentiva?” perché lei non aveva la giusta percezione. L’ho tranquillizzata. Ha una proiezione vocale pazzesca che, in un’acustica non proprio facile come quella dell’Arena, ha fatto la differenza!Lisette Oropesa confirms herself as one of the leading sopranos of our time. Excellent technique, very long breaths, trills that are true trills. A palette of colors that allows her to outline all aspects of this seemingly simple and trivial character, which in the past was often seen as a silly little doll. Gilda is not like that, and the proof of this is that, despite her father providing her with evidence of the Duke's wicked personality and his cynicism, she still decides to sacrifice her life for the man she loves. "Caro nome" performed without the traditional embellishments to underline the more lyrical aspect that Verdi has reserved for this character, but an extremely high B-flat at the end of "Vendetta" where "there was no mercy for anyone." Adorably staged. The character is absolutely credible. I will listen to her again if all goes well in Naples in October 2026 as Alcina. In the end, she asked me, "Could you hear me?" because she did not have the right perception. I reassured her. She has an incredible vocal projection that made a difference in an acoustically challenging venue like the Arena!— Riccardo Ristori • Lirica Oggi
Salzburger Festspiele - Maria Stuarda
Jun, 2025 - Aug, 2025Rasche kreist, Oropesa triumphiert
In gleißendem Weiß steht ihr Lisette Oropesa gegenüber, stimmlich aber klingt das wunderbar warm und körperhaft. Die Spitzentöne und die Koloraturen hat sie sicher. Aber noch stärker als in der Akrobatik ist sie im Ausdruck: Wenn sie liebt und leidet, ist sie bei sich und wir sind bei ihr. Eine fantastische Sängerin!In gleaming white stands Lisette Oropesa, but vocally she sounds wonderfully warm and full-bodied. She handles the high notes and coloratura with certainty. However, her strength lies even more in expression than in acrobatics: when she loves and suffers, she is true to herself and we are with her. A fantastic singer!— Bernhard Neuhoff • BR KlassikBayerische Staatsoper - I Masnadieri
Jul, 2025When Poe met Schiller
Amalia is Cuban‑American soprano Lisette Oropesa. She debuted in this role at La Scala in David McVicar’s aforementioned production. Her interpretation of the aria was spot on, initially sad and then brilliantly joyous in the cabaletta, with clean coloratura and brilliant high notes. Despite the poor staging and the confusing younger versions of Carlo, Francesco and Amalia that appear intermittently throughout, Oropesa managed to convey Amalia’s nobility and strength of character.— Ossama el Naggar • Concerto NetFestspielhaus Baden Baden - Concert
Los Angeles Opera - Rigoletto
May, 2025 - Jun, 2025An extraordinary night of music and drama: Quinn Kelsey in LA Opera’s Rigoletto
Oropesa navigated the transition from innocence to maturity both in her stage presence and voice, moving from lyric coloratura to dramatic soprano which distinguishes her altered state.— Jane Rosenberg • Seen and Heard InternationalOpéra Royal du Château de Versailles - Alcina
Apr, 2025Alcina, Furieuse magicienne à Versailles
L'américano-cubaine Lisette Oropesa, est magnétique dans le rôle principal d'Alcina, sœur de Morgana. La grande voix de la soprano léger, parée d'une robe bleu azur scintillante, donne toute sa complexité au rôle de la magicienne maudite. Toutes ses interventions sont riches d'un jeu d'actrice subtil et mesuré, engagé jusque dans sa posture. Sa voix puissante au reconnaissable vibrato rapide reçoit des acclamations. Elle convainc en amoureuse souriante, tout comme en magicienne, reine, femme, dévastée et plaintive, sa technicité lui permettant de mettre un effet « éraillé » sur sa voix. Des intervalles vertigineux au souffle dramatique, les frissons gagnent la salle à maintes reprises : la voix, solidement ancrée dans la poitrine, s'élève sans effort apparent et c'est ainsi qu'elle enchaîne les vocalises avec une virtuosité ensorcelante.The Cuban-American soprano Lisette Oropesa is magnetic in the main role of Alcina, sister of Morgana. The great light soprano voice, adorned in a sparkling azure blue dress, brings all the complexity to the role of the cursed sorceress. All her interventions are rich in subtle and measured acting, engaged even in her posture. Her powerful voice with a recognizable fast vibrato receives acclaim. She convinces as a smiling lover, as well as a sorceress, queen, woman, devastated and plaintive, her technique allowing her to put a "gritty" effect on her voice. From dizzying intervals to dramatic breaths, shivers sweep through the audience repeatedly: the voice, firmly rooted in the chest, effortlessly soars, enchanting with its virtuosic vocal acrobatics.— Olga Szymczyk • Olyrix
NBS - Concert
Apr, 2025
Opéra National de Paris - I Puritani
Jan, 2025 - Mar, 2025Lisette Oropesa, grande Elvira dans la reprise des « Puritains » à l’Opéra de Paris
Son retour à l’acte II avec le « O rendetemi la speme » confirme son extraordinaire appropriation du rôle et la sensibilité avec laquelle elle livre ces airs magnifiques, s’appuyant sur son médium moelleux, dispensant de somptueux aigus piani filés. Elle assure ensuite crânement le « Vien, diletto, è in ciel la luna ! », en lien avec le chef qui joue des rythmes pour faire de l’air toute autre chose qu’un passage purement virtuose. Ses interventions finales parachèvent enfin le parcours de cette héroïne qu’elle a menée à bon port malgré les écueils, et a finalement transcendé, en alliant virtuosité et sensibilité, et en rendant hommage à la difficile, mais si belle, écriture bellinienne.Her return in Act II with the aria "O rendetemi la speme" confirms her extraordinary embodiment of the role and the sensitivity with which she delivers these magnificent arias, relying on her velvety middle range, providing sumptuous high piani filés. She then boldly performs "Vien, diletto, è in ciel la luna!" in connection with the conductor who plays with rhythms to make the aria something other than simply a virtuosic passage. Her final interventions finally crown the journey of this heroine whom she has brought safely home despite the obstacles, and has ultimately transcended, by combining virtuosity and sensitivity, and paying tribute to the challenging, yet beautiful, bel canto style of Bellini.— Paul Fourier • Cult.newsOpéra National de Paris - Gala anniversaire
Jan, 2025Gala anniversaire. 150 ans du Palais Garnier, 24 janvier 2025
Lisette Oropesa Mathilde souveraine, affichant un sens du phrasé unique, une élocution parfaite, un legato glorieux, bref une maîtrise sans faille du style rossinien.Lisette Oropesa, a sovereign Mathilde, displays a unique sense of phrasing, perfect elocution, glorious legato, in short, an impeccable mastery of the Rossini style.— Camillo Faverzani • Premiere Loge Opera
Staatsoper Hamburg - Recital
Jan, 2025Staatsoper Hamburg: Ein kleines Lied sagte mehr als tausend Töne
„Im wunderschönen Monat Mai“, aus dem „Dichterliebe“-Zyklus. „Als alle Knospen sprangen/da ist in meinem Herz/die Liebe aufgegangen.“ Hier hing es um was, jenseits und vor allem: weit unterhalb der Koloraturen. Womöglich das Schwerste an diesem Abend für diese Sängerin, weil es so einfach zu klingen hat."In the beautiful month of May," from the "Dichterliebe" cycle. "When all the buds were bursting/ then in my heart/ love sprung up." Here staked something, beyond and above all: far beneath the coloraturas. Possibly the hardest thing on this evening for this singer, because it has to sound so simple.— Joachim Mischke • Hamburger Abendblatt
Teatro di San Carlo - Recital
Jan, 2025Naples, Oropesa/Praticò concert, 01/09/2025
Si apprezzano nell’interpretazione di Lisette Oropesa la cavata e l’afflato lirico, l’abbandono alla elegante cantabilità delle melodie di Mercadante, l’irrobustimento del peso specifico della sua vocalità, che in queste pagine anticipa, in un recital dalla coerente e ben ponderata scelta dei brani, quella appropriata alle quattro successive romanze da camera di Giuseppe Verdi, È la vita un mar d’affanni, Stornello, Chi i bei dì m’adduce ancora, Perduta ho la pace. La lettura di queste quattro pagine è un microcosmo di stati d’animo, di fraseggio ricercato, un esempio di versatilità. Qui Lisette Oropesa riesce a trovare la “tinta” più appropriata per ciascuna romanza, la giusta accentazione, la migliore prosodia per ogni parola.One appreciates in Lisette Oropesa's interpretation the flourish and lyrical inspiration, the surrender to the elegant singability of Mercadante's melodies, the strengthening of the specific weight of her vocals, which in these pages anticipates, in a recital from the coherent and well-considered selection of pieces, that appropriate for the four subsequent chamber romances by Giuseppe Verdi, Life is a sea of troubles, Stornello, Who brings me the good days again, I lost my peace. The reading of these four pages is a microcosm of emotional states, of sought-after phrasing, an example of versatility. Here Lisette Oropesa manages to find the most suitable "shade" for each romance, the right accentuation, the best prosody for each word.— Luigi Raso • L'ape musicaleTiroler Festspiele Erl - I Puritani
Jan, 2025Erl, Tiroler Festspiele – I puritani (con Lisette Oropesa e Mattia Olivieri)
Sugli scudi, due degli interpreti principali. Lisette Oropesa, che canterà prossimamente il ruolo a Parigi, ha fatto sensazione con un canto che, senza insistere troppo su sopracuti, messe di voce e ornamentazioni aggiunte, mirava soprattutto a restituire un vero personaggio. In una prestazione di simile livello, le va riconosciuta una scena della pazzia del secondo atto memorabile anche per la gestualità, non condizionata per una volta dallo spartito sul leggio. Peccato che non si eseguisse il finale scritto per la Malibran, ma la polacca, i duetti con basso e tenore, e il suo “Ah vieni al tempio” (uno di quei momenti dove la musica di Bellini tocca il cielo e i cuori) verranno ricordati e giustamente.On the shields, two of the main performers. Lisette Oropesa, who will soon perform the role in Paris, made a sensation with her singing, which, without dwelling too much on high notes, messa di voce, and added ornamentations, aimed primarily at embodying a real character. In such a high-level performance, she deserves recognition for a scene of madness in the second act, memorable even for its gestures, not conditioned for once by the score on the music stand. It's a pity that the finale written for Malibran was not performed, but the polonaise, the duets with the bass and tenor, and her "Ah vieni al tempio" (one of those moments where Bellini's music touches the sky and hearts) will be remembered and rightfully so.— Jorge Binaghi • Conessi all'Opera
