2025
Bayerische Staatsoper - La traviata
Nov, 2025
Staatsoper Berlin - Roméo et Juliette
Oct, 2025 - Nov, 2025
Opernhaus Zürich - Manon
Sep, 2025 - Oct, 2025
Salzburger Festspiele - Maria Stuarda
Jun, 2025 - Aug, 2025
Bayerische Staatsoper - I Masnadieri
Jul, 2025Festspielhaus Baden Baden - Concert
Jun, 2025
Los Angeles Opera - Rigoletto
May, 2025 - Jun, 2025
Opéra 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, 2025Les Puritains à l’Opéra de Paris, après le disque, la version live !
Aux applaudissements, c’est Lisette Oropesa qui emporte tous les suffrages : dès les premières phrases (si difficiles), elle impose une voix brillante et colorée, au medium charnu, capable de vocaliser avec précision et de pousser jusqu’à des suraigus puissants (elle ose même la variation assassine sur “Vieni al tempio!”).Amidst the applause, it's Lisette Oropesa who receives all the votes: from the very first phrases (so difficult), she impresses with a bright and colorful voice, with a rich middle range, capable of vocalizing with precision and reaching powerful high notes (she even dares a killer variation on "Vieni al tempio!").— CJM • OlyrixOpéra 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
