Konstanze in Die Entführung aus dem Serail

Lisette Oropesa's portrayal of Konstanze has captivated audiences and critics alike, with her performances consistently earning high praise for their technical mastery and emotional depth. Across multiple reviews, a common theme emerges: Oropesa's ability to conquer the formidable challenges of the role with extraordinary skill. Her execution of the demanding coloratura passages, particularly in the bravura aria "Martern aller Arten," is highlighted as a standout feature. Critics from Der Standard and Kronen Zeitung specifically note her virtuosic precision and warm, supple soprano that resonates beautifully with her audience.

Another notable aspect of Oropesa's interpretation is her ability to infuse the role with sincerity and a sense of dramatic intensity. The reviews collectively emphasize her capacity to blend technical prowess with emotional expression, resulting in performances that are both technically impeccable and deeply moving. Oropesa's debut at the Vienna State Opera is described as a radiant event, with her portrayal of Konstanze characterized by heartwarming sincerity and effortless vocal control. This combination of technical excellence and emotional resonance makes her interpretation particularly compelling, leaving a lasting impression on both audiences and critics.

Furthermore, Oropesa's presence on stage is often compared to legendary sopranos, with her delicate vibrato drawing comparisons to Erika Köth in the Tiroler Tageszeitung. Her ability to take ownership of the role, demonstrated through confident and expressive performances, has led to her being described as the star that outshines everything else in the production. Collectively, these reviews paint a picture of an artist who not only masters the technical demands of the repertoire but also brings a fresh, heartfelt energy to her roles, making her interpretation of Konstanze a significant highlight in contemporary opera.

Lisette has been reviewed 24 times in this role.

  • Lisette Oropesa at Konstanze at the Opera National de Paris in Abduction from the Seraglio at
  • Lisette Oropesa, Regula Mühlemann, and Tobias Kehrer at
  • Lisette Oropesa at
  • Lisette Oropesa and Robin Tritschler at
  • Lisette Oropesa at
  • Lisette Oropesa and Christian Nickel at
  • Lisette Oropesa at
  • Lisette Oropesa at
  • Lisette Oropesa at
  • Lisette Oropesa, Claire Ormshaw, Robin Tritschler, Wynne Evans and Petros Magulas at

    Role Information

    • Composer: W. A. Mozart
    • Opera: Die Entführung aus dem Serail
    • Performances: 43
    • Reviews: 24
    • Venues: 7
    • Organizations: 7
    • Years: 2010 - 2022

    • Lisette Oropesa once again ventures into regions of special immediacy. Despite a slightly fluttery characteristic of her voice, the house debutant (as Konstanze) achieves moments of immense vocal presence.

      Lisette Oropesa once again ventures into regions of special immediacy. Despite a slightly fluttery characteristic of her voice, the house debutant (as Konstanze) achieves moments of immense vocal presence.

      Wiener Staatsoper

      Der Standard, October 2020

    • Lisette Oropesa is a true discovery. Her Konstanze is an event. The American soprano lacks nothing: her soprano shines in the high notes, which she effortlessly reaches, captivates with sensuality and expression. Her "Martern" aria is stunning.

      Lisette Oropesa is a true discovery. Her Konstanze is an event. The American soprano lacks nothing: her soprano shines in the high notes, which she effortlessly reaches, captivates with sensuality and expression. Her "Martern" aria is stunning.

      Wiener Staatsoper

      News.AT, October 2020

    • The tragic sufferer, Konstanze, carries the evening. Lisette Oropesa sings for the first time at the State Opera and takes the house by storm. Her soprano exudes heart-warming sincerity and effortlessly masters the extreme cliffs of the role. When she appears, the piece returns to that simplicity which constitutes its magic. "Sing, Konstanza, sing!", implores her doppelgänger in distress. Music…

      The tragic sufferer, Konstanze, carries the evening. Lisette Oropesa sings for the first time at the State Opera and takes the house by storm. Her soprano exudes heart-warming sincerity and effortlessly masters the extreme cliffs of the role. When she appears, the piece returns to that simplicity which constitutes its magic. "Sing, Konstanza, sing!", implores her doppelgänger in distress. Music as a remedy.

      Wiener Staatsoper

      Kleine Zeitung Steiermark, October 2020

    • Making the most of her role was the raven haired Spanish lady Konstanze sung by Lisette Oropesa notable for her creamy tone. Extremely well focused she projected her voice strongly through the house right from her first aria ‘Ach ich liebte’ and I especially admired her heavenly aria ‘Martern aller Arten’ from Act II.

      Making the most of her role was the raven haired Spanish lady Konstanze sung by Lisette Oropesa notable for her creamy tone. Extremely well focused she projected her voice strongly through the house right from her first aria ‘Ach ich liebte’ and I especially admired her heavenly aria ‘Martern aller Arten’ from Act II.

      Bayerische Staatsoper

      Seen and Heard International, March 2017

    • And Constanze, the star that outshone everything. Those who have already been acquainted with Lisette Oropesa at the Met (in cinemas), as the emphatically expressive Manon by Massenet, in a way one would never expect from someone who at the time was still largely unknown, would not be surprised - and yet: a Constanze, sung and performed with a passionately…

      And Constanze, the star that outshone everything. Those who have already been acquainted with Lisette Oropesa at the Met (in cinemas), as the emphatically expressive Manon by Massenet, in a way one would never expect from someone who at the time was still largely unknown, would not be surprised - and yet: a Constanze, sung and performed with a passionately dark and luminous soprano and attacking, expressive coloratura, is not an experience one encounters every day.

      Wiener Staatsoper

      Online Merker, October 2020

    • Lisette Oropesa shone both in voice and action as Konstanze in her Staatsoper debut. Demonstrating ownership of the role from the start, she moved through the contrasting lyric and coloratura sections of “Ach ich liebte” with aplomb, soaring to the repeated top Ds with ease.

      Lisette Oropesa shone both in voice and action as Konstanze in her Staatsoper debut. Demonstrating ownership of the role from the start, she moved through the contrasting lyric and coloratura sections of “Ach ich liebte” with aplomb, soaring to the repeated top Ds with ease.

      Wiener Staatsoper

      Bachtrack, October 2020

    • This leads to grand moments when Lisette Oropesa, as Konstanze, makes her fervently acclaimed debut at the State Opera: a soprano radiant with a wonderfully delicate vibrato, reminiscent of Erika Köth. A "fluent larynx" that not only masterfully navigates all pitfalls, but also knows how to sing with full expression.

      This leads to grand moments when Lisette Oropesa, as Konstanze, makes her fervently acclaimed debut at the State Opera: a soprano radiant with a wonderfully delicate vibrato, reminiscent of Erika Köth. A "fluent larynx" that not only masterfully navigates all pitfalls, but also knows how to sing with full expression.

      Wiener Staatsoper

      Tiroler Tageszeitung, October 2020

    • It is also worth praising the fine work of Lisette Oropesa with the demanding role of Konstanze, a part with seemingly impossible notation which the young American soprano handled with true naturalness, without straining her instrument in the slightest. Her instrument, as well as her accents, lack a bit of genuine charisma and personality, but we are undoubtedly in the…

      It is also worth praising the fine work of Lisette Oropesa with the demanding role of Konstanze, a part with seemingly impossible notation which the young American soprano handled with true naturalness, without straining her instrument in the slightest. Her instrument, as well as her accents, lack a bit of genuine charisma and personality, but we are undoubtedly in the presence of a meticulous performer.

      Bayerische Staatsoper

      Codalario, October 2014

    • Lisette Oropesa possesses all the qualities required by Konstanze: an enviable freshness and youth, a solid technique, which is evident from her very first, very Pamina-like aria, "Ach ich liebte," already challenging in its restraint, demanding high notes and trills.

      Lisette Oropesa possesses all the qualities required by Konstanze: an enviable freshness and youth, a solid technique, which is evident from her very first, very Pamina-like aria, "Ach ich liebte," already challenging in its restraint, demanding high notes and trills.

      Bayerische Staatsoper

      Blog du Wanderer, September 2014

    • In the cast, Lisette Oropesa shines: a wonderfully supple, warmly radiant Sorpan with high coloratura accuracy. Her arias "Traurigkeit ward mir zum Lose" and the "Marternarie" are enchantingly beautiful.

      In the cast, Lisette Oropesa shines: a wonderfully supple, warmly radiant Sorpan with high coloratura accuracy. Her arias "Traurigkeit ward mir zum Lose" and the "Marternarie" are enchantingly beautiful.

      Wiener Staatsoper

      Kronen Zeitung, October 2020

    • Virtuosic, as Lisette Oropesa competes with the voices of the orchestra in the bravura aria "Martern aller Arten"

      Virtuosic, as Lisette Oropesa competes with the voices of the orchestra in the bravura aria "Martern aller Arten"

      Wiener Staatsoper

      Der Standard, March 2022

    • Musically, things were more successful, starting with soprano Lisette Oropesa as Konstanze. Mozart put some of his most taxing vocal writing in “Seraglio,’’ including two arias for Konstanze — the mournful “Traurigkeit ward mir zum Lose’’ and the defiant “Martern aller Arten’’ — one after the other in Act II. Oropesa handled both with blistering power and assurance, as well as a…

      Musically, things were more successful, starting with soprano Lisette Oropesa as Konstanze. Mozart put some of his most taxing vocal writing in “Seraglio,’’ including two arias for Konstanze — the mournful “Traurigkeit ward mir zum Lose’’ and the defiant “Martern aller Arten’’ — one after the other in Act II. Oropesa handled both with blistering power and assurance, as well as a range of vocal colors and emotional shadings. She is one to watch.
       

      Tanglewood Music Festival

      Boston.com, July 2010

    • With her light voice, Lisette Oropesa has nothing to fear from Konstanze, whom she envelops in youthful freshness, more fragile but more refined... the registers balance, the coloraturas swiftly unfold, the lines shape elegantly, the high notes can be delivered pianissimo.

      With her light voice, Lisette Oropesa has nothing to fear from Konstanze, whom she envelops in youthful freshness, more fragile but more refined... the registers balance, the coloraturas swiftly unfold, the lines shape elegantly, the high notes can be delivered pianissimo.

      Opéra National de Paris

      Concerto Net, January 2015

    • Without a doubt, the best performance was offered by Lisette Oropesa as Konstanze. She sang with great dynamics, good expression, and a beautifully controlled voice.

      Without a doubt, the best performance was offered by Lisette Oropesa as Konstanze. She sang with great dynamics, good expression, and a beautifully controlled voice.

      Wiener Staatsoper

      Online Merker, October 2020

    • The dramatic intensity of the Martyr's Aria, on the other hand, was accentuated by Lisette Oropesa. The American soprano impressed as Konstanze, mastering crazy coloratura as well as fine nuances, and she celebrated her acting versatility.

      The dramatic intensity of the Martyr's Aria, on the other hand, was accentuated by Lisette Oropesa. The American soprano impressed as Konstanze, mastering crazy coloratura as well as fine nuances, and she celebrated her acting versatility.

      Wiener Staatsoper

      OÖNachrichten, October 2020

    • ...while Oropesa's ardent, dewy soprano makes "Traurigkeit ward mir zum Lose" the high point of the work and delivers "Marten aller Arten" with ease while being showered with furs, silks, jewels and shoes (shoes!)...

      ...while Oropesa's ardent, dewy soprano makes "Traurigkeit ward mir zum Lose" the high point of the work and delivers "Marten aller Arten" with ease while being showered with furs, silks, jewels and shoes (shoes!)...

      Welsh National Opera

      The Independant, February 2010

    • And especially the constancy of Lisette Oropesa, who was previously known only from the Met broadcasts and who gave a radiant debut, a wonderful voice with a dark timbre and a coloratura attack that left one speechless.

      And especially the constancy of Lisette Oropesa, who was previously known only from the Met broadcasts and who gave a radiant debut, a wonderful voice with a dark timbre and a coloratura attack that left one speechless.

      Wiener Staatsoper

      Volksblatt, October 2020

    • Lisette Oropesa garnered the most applause for her Konstanze, mastering all challenges.

      Lisette Oropesa garnered the most applause for her Konstanze, mastering all challenges.

      Wiener Staatsoper

      Wiener Zeitung, March 2022

    • The lead duo was also well-groomed, with Lisette Oropesa in the role of Konstanze, replacing the scheduled Albina Shagimuratova. She is also a young soprano, making her debut in Paris, but already Konstanze at the Staatsoper in Munich, Oropesa was rewarded by the audience for a very convincing performance. Elegant and measured on stage as suits the character, she won…

      The lead duo was also well-groomed, with Lisette Oropesa in the role of Konstanze, replacing the scheduled Albina Shagimuratova. She is also a young soprano, making her debut in Paris, but already Konstanze at the Staatsoper in Munich, Oropesa was rewarded by the audience for a very convincing performance. Elegant and measured on stage as suits the character, she won over with her ability to highlight, even in the song, the different states of emotion - sometimes melancholic, sometimes enraptured, sometimes indignant - that the part requires. From this sprang the excellent effect of Welcher Wechsel herrscht in meiner Seele (What change rules in my soul), sighing and melancholic, more a young girl than an unhappy woman in Oropesa's voice, followed by Marten aller Arten (Of all types of marten), sung with incisive accents and passionate acting.

      Opéra National de Paris

      Opera Click, January 2015

    • ...and the best singer of the bunch, the petit flapper that was Ms. Oropesa, had the best music. The light soprano consistently tossed off high notes and coloratura with ease, and then cleared out emotional space in the touching aria "Endless Grief."

      ...and the best singer of the bunch, the petit flapper that was Ms. Oropesa, had the best music. The light soprano consistently tossed off high notes and coloratura with ease, and then cleared out emotional space in the touching aria "Endless Grief."

      Pittsburgh Opera

      Pittsburgh Post Gazette, April 2012

    • With the radiant debut of Lisette Oropesa as Konstanze, Hans Neuenfels' interpretation of Mozart's "The Abduction from the Seraglio" arrived at the Vienna State Opera on Monday.

      With the radiant debut of Lisette Oropesa as Konstanze, Hans Neuenfels' interpretation of Mozart's "The Abduction from the Seraglio" arrived at the Vienna State Opera on Monday.

      Wiener Staatsoper

      Salzburger Nachrichten, October 2020

    • Wolfgang Amadeus Mozart's singspiel "The Abduction from the Seraglio" in the legendary direction of Hans Neuenfels with a grandiose Lisette Oropesa "Abduction" The American soprano is a world-class Constanze, possessing all the necessary coloraturas, lyricisms, and register transitions, and not only shapes the famous "torture aria" with an incredible vocal intensity.

      Wolfgang Amadeus Mozart's singspiel "The Abduction from the Seraglio" in the legendary direction of Hans Neuenfels with a grandiose Lisette Oropesa "Abduction" The American soprano is a world-class Constanze, possessing all the necessary coloraturas, lyricisms, and register transitions, and not only shapes the famous "torture aria" with an incredible vocal intensity.

      Wiener Staatsoper

      Kurier, October 2020

    • Radiant star of the evening: the US soprano Lisette Oropesa, who, in her debut at the State Opera as Konstanze, convinced everyone in the audience without exception.

      Radiant star of the evening: the US soprano Lisette Oropesa, who, in her debut at the State Opera as Konstanze, convinced everyone in the audience without exception.

      Wiener Staatsoper

      ORF.AT, October 2020

    • Now for the human stars: Entführung is Konstanze’s show, and Lisette Oropresa doesn’t disappoint. “Ach, ich liebte” is not an easy first aria, and she falters on a few high notes and trills. But by the time she reaches Konstanze’s showpiece “Martern aller Arten”, she’s tossing off coloratura and high Ds with ease and looking fiercely defiant, to boot.

      Now for the human stars: Entführung is Konstanze’s show, and Lisette Oropresa doesn’t disappoint. “Ach, ich liebte” is not an easy first aria, and she falters on a few high notes and trills. But by the time she reaches Konstanze’s showpiece “Martern aller Arten”, she’s tossing off coloratura and high Ds with ease and looking fiercely defiant, to boot.

      Bayerische Staatsoper

      Bachtrack, September 2014

    Famous Interpreters

    The role of Konstanze in Mozart's "Die Entführung aus dem Serail" was first created by the German soprano Caterina Cavalieri at the opera's premiere on July 16, 1782, at the Burgtheater in Vienna. Cavalieri's portrayal of Konstanze was particularly noteworthy for her ability to navigate the demanding coloratura passages and expansive vocal range required by the role. A pupil of Antonio Salieri, Cavalieri was renowned for her technical precision and expressive delivery, which were perfectly suited to Mozart's challenging score. In addition to creating the role of Konstanze, she was also notable for her performances in other operas of the time, such as Salieri's "Axur, re d'Ormus." Cavalieri's interpretation set a high standard for both the vocal and dramatic elements of the role, with her ability to convey both the strength and vulnerability of Konstanze becoming a benchmark for subsequent performers.

    Following Cavalieri, several sopranos have left an indelible mark on the role of Konstanze, each bringing their unique artistry to the part. In the mid-20th century, Elisabeth Schwarzkopf (active 1938-1979) became one of the iconic interpreters of Konstanze. Known for her exceptional vocal technique and nuanced phrasing, Schwarzkopf brought a refined elegance and emotional depth to the role, as evidenced in her famous 1965 recording under the baton of Otto Klemperer. Her portrayal was characterized by a blend of regal dignity and emotional vulnerability, offering a more psychologically complex interpretation than earlier renditions. Another pivotal interpreter was Edita Gruberová, active from the 1970s through the early 21st century. Gruberová's performances were celebrated for her crystalline coloratura and dramatic intensity. Her interpretation infused Konstanze with a modern sensibility, emphasizing the character's resolve and independence. Gruberová's live performances, particularly those at the Vienna State Opera, became legendary, showcasing her ability to navigate the technical demands with apparent ease. Both Schwarzkopf and Gruberová redefined the role for their respective eras, each building upon the foundation laid by Cavalieri while introducing new dimensions of emotional and vocal expression to this iconic Mozartian heroine.

    About the Composer

    Wolfgang Amadeus Mozart, born in 1756 in Salzburg, was a prodigious talent whose operas are celebrated for their melodic beauty and dramatic insight. His style blends the elegance of the Classical era with a deep emotional expressiveness, setting new standards for operatic composition. "Die Entführung aus dem Serail," composed in 1782, was Mozart’s first major success in Vienna and marked his exploration of the Singspiel, a form combining spoken dialogue with music. Written at the request of Emperor Joseph II, who sought a German-language opera to showcase Austrian culture, this work stands out for its vibrant orchestration and innovative use of Turkish-inspired music. Its significance lies in Mozart’s deft character development and his ability to infuse the score with both humor and pathos. His vocal writing in this opera is particularly notable for its demanding arias, showcasing the virtuosity of the performers and the emotional depth of the characters, thereby setting a precedent for future operatic compositions.