La traviata

Physically and psychologically, Oropesa’s brittle, frivolous courtesan evolves into a woman of enormous compassion, secure in her profound love for Alfredo. The specter of death is a constant presence as Violetta gradually grew wanner and weaker. Vocally, she traversed that same emotional trajectory with equal depths of feeling and artistry. The richness of Oropesa’s sound and legato made for a poignant “Ah, fors’è lui,” unfortunately severed by applause from “Sempre libera.” She captured Violetta’s firm defiance of fate and convention in the emotionally charged runs and effortless high notes, but her deployment of color and dynamics was equally important. The voice gained in substance and gravitas as Violetta’s grasp on love and life loosened, culminating in a heart-wrenching “Addio, del passato,” and one final grasp for life and love in her duet with Alfredo.

—  Rick Perdian  •  New York Classical Review

In Oropesa’s final ensemble “Prendi quest e l’imagine,” the soprano sang each moment with the utmost delicacy and sweetness in her voice, all while lying her bed. At the end in “È strano! Gli spasmi del dolore,” Oropesa emphasized each line of text, emoting it with a lightness and the vibrant voice from Act one while slowly standing up with a revived energy. The final “Oh gioia!” was delivered with renewed power. In all the soprano conveyed the devastation of Verdi’s heroine and once again showed the Met audience why she is one of the best sopranos today.

—  Francisco Salazar  •  Opera Wire

Oropesa lleva en volandas a la orquesta, mantiene siempre vivo el interés del público y construye un personaje de gran verdad escénica, delicado y creíble. Su línea de canto, exquisita, parece invocar el espíritu de las grandes Violettas que han pasado por este teatro. Estamos, sin duda, ante una de las intérpretes de referencia del papel en la actualidad, un auténtico lujo para las audiencias de Nueva York.

—  Carlos J. López Rayward  •  Opera World