Lucia in Lucia di Lammermoor
Lisette Oropesa's portrayal of Lucia in Donizetti's "Lucia di Lammermoor" has garnered widespread acclaim, with critics consistently highlighting her exceptional technical skill and interpretive depth. One of the most notable aspects of her performance is her ability to transcend mere vocal virtuosity, as she avoids the common pitfall of embellishments for their own sake. Instead, Oropesa focuses on the emotional and narrative aspects of her character, allowing her vocal interpretations to serve the story rather than overshadow it. This approach is particularly praised for the way it enables her to deliver a more cohesive and compelling portrayal of Lucia, emphasizing the character's psychological complexity and emotional fragility.
Critics also emphasize Oropesa's technical prowess, noting her "immaculate virtuosity" and the ease with which she navigates the demanding coloratura passages of the role. Her voice is described as both powerful and flexible, allowing her to execute challenging vocal lines with clarity and precision while maintaining expressive depth. This combination of technical excellence and interpretive intelligence is what sets her performance apart, making her rendition of Lucia not just technically impressive but also deeply affecting. Her ability to imbue the music with genuine emotion and her intelligent use of vocal coloring to reflect Lucia's tragic storyline are frequently mentioned as key elements of her standout performance.
Moreover, Oropesa's portrayal is often characterized as a definitive interpretation of the role, with many reviewers noting that she brings a fresh and insightful perspective to Lucia. Her performance is described as both a masterclass in bel canto singing and a deeply personal interpretation that resonates with contemporary audiences. By seamlessly integrating her virtuosic skills with a profound understanding of the character, Oropesa elevates the entire production, making her Lucia a highlight in the operatic landscape and reinforcing her status as one of the leading sopranos of her generation.
Lisette has been reviewed 82 times in this role.
Role Information
- Composer: G. Donizetti
- Opera: Lucia di Lammermoor
- Performances: 47
- Reviews: 82
- Venues: 12
- Organizations: 10
- Years: 2009 - 2023
From here, for the intelligent and immaculate virtuosity of Lisette Oropesa, the soprano who shines as the wonderful protagonist in the new Lucia di Lammermoor, directed by Riccardo Chailly. She is fascinating and magnetic in her eloquent virtuosity, challenging the hyperbole of the above-register, yet always expressive, with immense breath control and even more so in the phrasing of rare…
From here, for the intelligent and immaculate virtuosity of Lisette Oropesa, the soprano who shines as the wonderful protagonist in the new Lucia di Lammermoor, directed by Riccardo Chailly. She is fascinating and magnetic in her eloquent virtuosity, challenging the hyperbole of the above-register, yet always expressive, with immense breath control and even more so in the phrasing of rare musicality.
— Il Sole 24, April 2023
Finally, Lisette Oropesa. The Vienna audience, or what remained of it after fifteen minutes (timed!) of applause and standing ovations at the edge of the pit, had clamored for her to express their gratitude at the end of these four performances. As we know, she's currently one of the finest performers in this role. If she seems so credible in…
Finally, Lisette Oropesa. The Vienna audience, or what remained of it after fifteen minutes (timed!) of applause and standing ovations at the edge of the pit, had clamored for her to express their gratitude at the end of these four performances. As we know, she's currently one of the finest performers in this role. If she seems so credible in embodying Lucia, it's because she's both so strong yet so fragile. A beautiful idea from the staging was showing her vulnerability right from the beginning of Act I, depicting a young, almost adolescent woman, carefree and hopping in the snow, shaking off, playing with the falling flakes and not listening to what Alisa is reporting. What a contrast between this innocent naive girl and the young bride turned criminal, ravaged by madness, at the end of her journey! Oropesa plays her voice like the little girl plays with the snowflakes. She's able to lift it to the highest spheres of the range, and stay there, play with the notes, elongate them and revel in high altitude. The string is light, but it holds. In this regard, making her walk, during the madness scene, on a row of mysteriously aligned chairs in front of the choir, perfectly visualizes this tightrope act, perpetually precarious and always balancing.
— Forum Opera, May 2022
Matching him in all respects was the Lucia of Lisette Oropesa. She excelled in all aspects of the role (the rigours of which were made more severe in this production by the fact that she is onstage for practically the entire duration), acting affectingly throughout, dispatching the ornamentation fearlessly and with a security one very rarely experiences. Most affecting of…
Matching him in all respects was the Lucia of Lisette Oropesa. She excelled in all aspects of the role (the rigours of which were made more severe in this production by the fact that she is onstage for practically the entire duration), acting affectingly throughout, dispatching the ornamentation fearlessly and with a security one very rarely experiences. Most affecting of all was her pianissimo singing at the start of ‘Alfin son tua’: a feat of vocal daring that had the entire house in hushed awe.
— Opera Magazine, November 2017
The ideal protagonist for this kind of performance, Lisette Oropesa was a Lucia able to integrate into the impeccable virtuoso apparatus a portrayal of the character hard to remember in the past and difficult to forget in the future because of her very personal adherence, devoid of mannerism or forcedness, to an interpretation able to touch all the tones of…
The ideal protagonist for this kind of performance, Lisette Oropesa was a Lucia able to integrate into the impeccable virtuoso apparatus a portrayal of the character hard to remember in the past and difficult to forget in the future because of her very personal adherence, devoid of mannerism or forcedness, to an interpretation able to touch all the tones of passion, love, pain, and abstraction from reality. Her mad scene was magical - accompanied by the original glassharmonica (an instrument made of glasses filled with water, which emanate arcane and crystal-clear sounds with the touch of the fingers), much more suggestive than the traditional flute to portray the hallucinated and surreal mood of a lost mind - in which the American soprano led the emotional changes of the unfortunate Lucia with an intensity and tension capable of magnetizing the audience. At this point, the elimination of the long cadenza - an expected moment of pseudo-instrumental virtuosity of the most accredited virtuosos - in favor of the concise conclusion thought by Donizetti seemed the most logical and musically beautiful choice. The audience understood this and paid tribute to Oropesa with a triumph of applause.
— DelTeatro, April 2023
Lisette Oropesa’s technique is astonishing and she was in absolute command of her beautiful silvery voice and the title role’s demanding coloratura. All her high E flats were hit dead centre and with impressive ease and the mechanics of singing was never on show and Oropesa brought a real sense of character to her dramatically realistic and triumphant portrayal of…
Lisette Oropesa’s technique is astonishing and she was in absolute command of her beautiful silvery voice and the title role’s demanding coloratura. All her high E flats were hit dead centre and with impressive ease and the mechanics of singing was never on show and Oropesa brought a real sense of character to her dramatically realistic and triumphant portrayal of Lucia. There was a perfect arc from Lucia’s girlish glee and making of a snow angel in Act I to a nuanced, gripping, blood-spattered concluding ‘Mad Scene’ when Oropesa elicited tremendous sympathy for her plight. In short, Oropesa’s Lucia will not easily be surpassed.
— Seen and Heard International, April 2022
Oropesa reaped, both after the famous madness scene (when she spends 15 minutes singing after murdering her husband on their wedding night) and in the final greetings, a huge ovation, quite uncommon for premieres at the Teatro Real, often restrained in enthusiasm, if not directly cold. But the American soprano tested her splendid vocal instrument, her control of the dynamics…
Oropesa reaped, both after the famous madness scene (when she spends 15 minutes singing after murdering her husband on their wedding night) and in the final greetings, a huge ovation, quite uncommon for premieres at the Teatro Real, often restrained in enthusiasm, if not directly cold. But the American soprano tested her splendid vocal instrument, her control of the dynamics and her connection with her evident interpretative abilities, which in this production, especially dark and violent, make her appear with a completely blood-stained nightgown. Her success in the role precedes her thanks to theatres like the Royal Opera House in London, where she performed it last year. Oropesa was on the verge of a bis, something very rare in any theatre, also at the Real. And this seemed provoked by the enthusiastic music director, Daniel Oren, who applauded and encouraged from the chorus.
— El Español, June 2018
"Spectacular", "what a pleasure to hear such voices", "brava" or "perfect" are phrases that the audience at the Teatro Real gifted American soprano Lisette Oropesa tonight, who starred in "Lucia di Lammermoor", the opera by Donizetti, the unleashed passions of which drove an enthralled coliseum mad. An ovation that extended to the rest of the singers and the choir, and…
"Spectacular", "what a pleasure to hear such voices", "brava" or "perfect" are phrases that the audience at the Teatro Real gifted American soprano Lisette Oropesa tonight, who starred in "Lucia di Lammermoor", the opera by Donizetti, the unleashed passions of which drove an enthralled coliseum mad. An ovation that extended to the rest of the singers and the choir, and which was felt from the soprano's first intervention, who has already touched the audience with her high notes, her trills, her legato, and the limitless control of her breath. A voice with a coloratura that allowed her a mastery that has charmed the audience, some of whom also attributed it to the good moment and "the maturity" that this great soprano and great actress is experiencing.
— El Diario, June 2018
The American soprano of Cuban origin, Lisette Oropesa, is today one of the most outstanding interpreters of Lucia, a role in which she has been unanimously acclaimed in recent years in London, Madrid, Barcelona, and most recently in Vienna. She will also reprise this role at the Salzburg Festival this summer, as well as at La Scala in Milan in…
The American soprano of Cuban origin, Lisette Oropesa, is today one of the most outstanding interpreters of Lucia, a role in which she has been unanimously acclaimed in recent years in London, Madrid, Barcelona, and most recently in Vienna. She will also reprise this role at the Salzburg Festival this summer, as well as at La Scala in Milan in 2023. She masters all the difficulties of this formidable role with incredible ease, thanks to perfect technique serving an exemplary commitment to the character of a woman torn in her feelings, whose madness is the only escape from her contradictions. Her vocalizations are flawless, adorned with sumptuous half-tints and a luminous timbre even in the highest notes. Her interpretation of "Regnava nel silenzio" is marked by gravity, and a superb dramatic intensity in evoking the initial trauma. Her madness scene is also of great poetry despite the omnipresent blood, featuring the beautiful flute of Maurice Heugen, in the absence of a glass harmonica.
— Toute la culture, June 2022
From her we have Lisette Oropesa, the ideal interpreter of Lucia, for her flexible vocal range and extremely monitored acting participation. Now dreamy, now sorrowful, now lost, up to the final mother scene with the wedding dress stained with blood.
From her we have Lisette Oropesa, the ideal interpreter of Lucia, for her flexible vocal range and extremely monitored acting participation. Now dreamy, now sorrowful, now lost, up to the final mother scene with the wedding dress stained with blood.
— Giornale della Musica, April 2023
Her voice strengthened act by act, but Oropesa had no problem with the singing even from the start, showing an easy trill and confidence through the part's range.
Her voice strengthened act by act, but Oropesa had no problem with the singing even from the start, showing an easy trill and confidence through the part's range.
— An Unamplified Voice, July 2009
What better way to start than with the grand winner of the night, soprano Lisette Oropesa, a splendid singer and actress who shaped a role that is hardly exceeded nowadays. With a lyric-light voice that, at present, fits like a glove to the fiendish register of the role. She sang with exquisite taste, moving through the agility parts with hardly…
What better way to start than with the grand winner of the night, soprano Lisette Oropesa, a splendid singer and actress who shaped a role that is hardly exceeded nowadays. With a lyric-light voice that, at present, fits like a glove to the fiendish register of the role. She sang with exquisite taste, moving through the agility parts with hardly any difficulty and giving a real singing class when interpreting all the regulators, filados, trills... with astounding proficiency and not lacking in volume when projecting. Besides, her characterization of the character, constantly evolving, is absolutely believable and is thought out down to the last detail, in conclusion, magnificent.
— Opera World, June 2018
The American soprano once again proves herself to be a refined and comprehensive bel canto singer, just as she did recently in Milan as Juliet, showcasing a voice that is full and consistent throughout its range. Her musicality, guided by good taste, keeps her from indulging in frivolous gestures. The almost instrumental precision with which she approaches the role does…
The American soprano once again proves herself to be a refined and comprehensive bel canto singer, just as she did recently in Milan as Juliet, showcasing a voice that is full and consistent throughout its range. Her musicality, guided by good taste, keeps her from indulging in frivolous gestures. The almost instrumental precision with which she approaches the role does not prevent her from becoming emotionally engaged, allowing her to depict a lively, love-struck adolescent Lucia lost in the sortie aria and in the love duet.
— Wanderer, June 2022
This revival has a new Lucia, and how! Lisette Oropesa was making her debut in the House. Hers is not the ample agile voice of a Sutherland, not the bright glassy dazzle of Gruberová, but is an instrument full of interesting dark colours and technical mastery put at the service of communication and the drama. Her first appearance was notable…
This revival has a new Lucia, and how! Lisette Oropesa was making her debut in the House. Hers is not the ample agile voice of a Sutherland, not the bright glassy dazzle of Gruberová, but is an instrument full of interesting dark colours and technical mastery put at the service of communication and the drama. Her first appearance was notable for the inflection and colouring of the text, as was evident by the sudden quiet in the auditorium. The ‘mad scene’ – here more a post-miscarriage hallucinatory nightmare – had exactly the same effect, almost painful to listen to and observe. She is a truthful actress. ... Oropesa and Castronovo should be heard live: they can easily and honourably bear comparison to those performers of distant memory and legend.
— Classical Source, November 2017
After her brilliant performance as Konstanze in Hans Neuenfels ' Abduction and her solo concerto, Lisette Oropesa's role debut as Lucia was eagerly awaited. A complete success. Like the Cuban-American at the beginning of “ …Ed ecco! ecco su quel margine…' startled by the ghostly appearance of the dead woman, already indicates how sensitive, filigree and highly endangered the young…
After her brilliant performance as Konstanze in Hans Neuenfels ' Abduction and her solo concerto, Lisette Oropesa's role debut as Lucia was eagerly awaited. A complete success. Like the Cuban-American at the beginning of “ …Ed ecco! ecco su quel margine…' startled by the ghostly appearance of the dead woman, already indicates how sensitive, filigree and highly endangered the young woman she portrays is. Her oath of love is highly credible, and the mad scene is touchingly dramatic. 20 gripping, varied minutes that are incredibly touching. Oropesa has been the most sought-after Lucia since her role debut in 2017 at the Royal Opera House London. The acting is unsurpassed and the singing is almost perfect. The coloraturas are supple and clear, her silvery-bright, modulation-capable soprano voice is paired with a secure technique and strong charisma.
— Online Merker, April 2022
Lisette Oropesa achieves peak intensity in this conventional framework. When in duet with the mysteriously ringing glass harmonica, the notes hover at the edge of audibility. She welds the listeners together into a breathless, listening community that sympathizes with the tortured woman and expresses their enthusiasm in prolonged applause.
Lisette Oropesa achieves peak intensity in this conventional framework. When in duet with the mysteriously ringing glass harmonica, the notes hover at the edge of audibility. She welds the listeners together into a breathless, listening community that sympathizes with the tortured woman and expresses their enthusiasm in prolonged applause.
— Tagesspiegel, April 2023
It's hard to believe! But Gaetano Donizetti's Belcanto masterpiece "Lucia di Lammermoor" has never been performed at the Salzburg Festival. Memories were of course immediately awakened about the recently tragically deceased Edita Gruberova, when one hears Lisette Oropesa's Mad Scene aria "Il dolce suono" in the highest Belcanto mastery. And the nearly full Great Festival House anticipated this climax of…
It's hard to believe! But Gaetano Donizetti's Belcanto masterpiece "Lucia di Lammermoor" has never been performed at the Salzburg Festival. Memories were of course immediately awakened about the recently tragically deceased Edita Gruberova, when one hears Lisette Oropesa's Mad Scene aria "Il dolce suono" in the highest Belcanto mastery. And the nearly full Great Festival House anticipated this climax of the tragic drama in three acts, which premiered in 1835. And it became the expected highlight, but not only because Oropesa almost acrobatically vocalized all the nuances and subtleties of the Mad Scene aria with dazzling highs, making the audience believe that she could actually have just killed Arturo.
— Klassik Begeistert, September 2022
The Cuban-American soprano Lisette Oropesa took on the role in London in 2017 and has since established herself as one of the finest, if not the finest, performers of this role, formidable both for its difficulty and the vocal endurance it demands. Lisette Oropesa brilliantly details the complex emotional palette of this young woman struck by her mother’s death, which…
The Cuban-American soprano Lisette Oropesa took on the role in London in 2017 and has since established herself as one of the finest, if not the finest, performers of this role, formidable both for its difficulty and the vocal endurance it demands. Lisette Oropesa brilliantly details the complex emotional palette of this young woman struck by her mother’s death, which in fact was only the beginning of a long ordeal accompanied by a mental downfall that leads her to madness.
— Opera World, April 2022
Lisette Oropesa dominated the evening in the role of the protagonist. An engaging and moving actress, an expressive and exquisite performer, she vocally mastered every moment like a true virtuoso; highs, falsetto, coloratura, variations were delivered with the confidence and agility of a technique that fears no obstacle, sweet and tormented in lyrical passages, estranged and almost metaphysical in her…
Lisette Oropesa dominated the evening in the role of the protagonist. An engaging and moving actress, an expressive and exquisite performer, she vocally mastered every moment like a true virtuoso; highs, falsetto, coloratura, variations were delivered with the confidence and agility of a technique that fears no obstacle, sweet and tormented in lyrical passages, estranged and almost metaphysical in her delirium; the madness scene was a masterpiece of sublime vocal skill and breathtaking interpretation; so yes, it is regrettable, truly regrettable, that the triumph could have been double...
— I Teatri dell Est, April 2023
Lucia is embodied by Lisette Oropesa, showcasing from the initial Ancor non giunge the purity of vocal attacks of a flexible instrument capable of provoking, due to the character of a sorrowful timbre, an internal reverberation. Heart-wrenching colors of the voice, already foreboding of the tragedy that will unfold, overflow in a pulsating and ecstatic Regnava nel silenzio. Here, the…
Lucia is embodied by Lisette Oropesa, showcasing from the initial Ancor non giunge the purity of vocal attacks of a flexible instrument capable of provoking, due to the character of a sorrowful timbre, an internal reverberation. Heart-wrenching colors of the voice, already foreboding of the tragedy that will unfold, overflow in a pulsating and ecstatic Regnava nel silenzio. Here, the Cuban-American soprano softens and threads, confident in a refined legato, unbothered by any vocal transition (even with slight artifice during the rare moments her voice hits low notes). When stolen in ecstasy, the conclusion is swift and ecstatic, with agile "roulades" and precise in the sparse variations of the repetition. In the duet Verranno a te sull’aure the attacks are fluty, with accents filled with melancholy (Edgardo offers fewer colors and less phrasing creativity), eventually merging the voices in the ecstatic repetition, in bel canto contest with the tenor. She cries in the song Soffria nel pianto with the correct grief-stricken accents, sustained in precious sound arches; and again in "Tu che vedi il pianto mio" an interpretative lesson that culminates with the tragic "La mia condanna ho scritto", of heartrending intensity. The climax is reached in the madness scene, in an overwhelming lesson of singing and theatrical action: Ardon gli incensi, accompanied by the sound of the glass harmonica, is approached with a whisper of voice and Spargi d’amaro pianto is an agile succession of coloraturas and "roulades", in perfect legato, without however an exuberant trill. Her virtuosity is not pyrotechnic but always exhibited in a dramatic and expressive function, to characterize the character.
— Corriere Dello Spettacolo, April 2023
Lisette Oropesa gave a poignant, overwhelming interpretation of Lucia. Her detailed acting supported a soprano which seems created to sing bel canto: confident coloratura, silvery high notes, beautiful pianissimi, perfect trills. The cut of the traditional variations focused the attention on her vocal prowess, bringing to the surface even more the beauty and natural lyrical quality of her voice. Her…
Lisette Oropesa gave a poignant, overwhelming interpretation of Lucia. Her detailed acting supported a soprano which seems created to sing bel canto: confident coloratura, silvery high notes, beautiful pianissimi, perfect trills. The cut of the traditional variations focused the attention on her vocal prowess, bringing to the surface even more the beauty and natural lyrical quality of her voice. Her Mad Scene was moving and exciting, Oropesa’s voice and the glass harmonica perfectly matched, while the violins supported them with a metallic, sinister tremolo.
— Bachtrack, April 2023
Soprano Lisette Oropesa ascends the steep mountain of the protagonist's role with great theatrical class and a melancholic lightness of phrasing that overshadow the rare difficulties of high-pitched sound emission.
Soprano Lisette Oropesa ascends the steep mountain of the protagonist's role with great theatrical class and a melancholic lightness of phrasing that overshadow the rare difficulties of high-pitched sound emission.
— Il Manifesto, April 2023
In the cast, a great triumph for the protagonist, Lisette Oropesa, who in recent years has been collecting successes all around the world. The American soprano is technically very precise, with excellent phrasing, and not only holds the audience's breath during her astonishing coloratura, but she also manages to emotionally engage them thanks to an intense acting performance that reveals…
In the cast, a great triumph for the protagonist, Lisette Oropesa, who in recent years has been collecting successes all around the world. The American soprano is technically very precise, with excellent phrasing, and not only holds the audience's breath during her astonishing coloratura, but she also manages to emotionally engage them thanks to an intense acting performance that reveals a Lucia who is less naive than we might usually expect, showing us a woman confronted with the consequences of choices made by others for her.
— The.blogartpost, April 2023
"Likely, with protagonists of rare stylistic competence, musical culture, and singing technique, and well-considered expressiveness such as Lisette Oropesa, a Lucia who internalizes even in the key scene of madness."
"Likely, with protagonists of rare stylistic competence, musical culture, and singing technique, and well-considered expressiveness such as Lisette Oropesa, a Lucia who internalizes even in the key scene of madness."
— Republica, April 2023
Outstanding debut aside, it was Lisette Oropesa who brought the house down with her candidness on stage and her total match with the production’s concept. Her dramatic triumph wasn’t so unqualified at the vocal level. Her technique is canonic, allowing a total command of her beautiful voice, which possess a sober and warm colour at the centre.
Outstanding debut aside, it was Lisette Oropesa who brought the house down with her candidness on stage and her total match with the production’s concept. Her dramatic triumph wasn’t so unqualified at the vocal level. Her technique is canonic, allowing a total command of her beautiful voice, which possess a sober and warm colour at the centre.
— Bachtrack, June 2018
In Salzburg, Lisette Oropesa comes intriguingly close to the ideal image of the composer. The American knows how to expressively unfold her distinct soprano charm. Not just but especially in high and highest positions, where audiences always love hearing singers reach. Even in song texts where destructive feelings are overflowing, Lisette Oropesa never forcefully puts pressure on her instrument.
In Salzburg, Lisette Oropesa comes intriguingly close to the ideal image of the composer. The American knows how to expressively unfold her distinct soprano charm. Not just but especially in high and highest positions, where audiences always love hearing singers reach. Even in song texts where destructive feelings are overflowing, Lisette Oropesa never forcefully puts pressure on her instrument.
— BR Klassik, August 2022
Lisette Oropesa is one of those exceptional phenomena that come around, like Halley's Comet, every so often: she's revolutionizing the audience at the Teatro Real, who cheer her on, on their feet, night after night (and that's saying something, considering how tough the Teatro Real's audience can be). The combination of this woman's voice and such a special and ethereal…
Lisette Oropesa is one of those exceptional phenomena that come around, like Halley's Comet, every so often: she's revolutionizing the audience at the Teatro Real, who cheer her on, on their feet, night after night (and that's saying something, considering how tough the Teatro Real's audience can be). The combination of this woman's voice and such a special and ethereal instrument as the restored glass harmonica results in a moment in which time stands still.
— Notodo, July 2018
"You could exhaust the dictionary looking for the perfect words to describe coloratura soprano Lisette Oropesa’s performance at Tucson Music Hall Saturday night. “Arresting.” “Stunning.” “Magnificent.” “Sublime.” Extraordinary.” They come to mind alongside “brilliant,” “breath-taking,” ‘divine” and “fearless.”"
"You could exhaust the dictionary looking for the perfect words to describe coloratura soprano Lisette Oropesa’s performance at Tucson Music Hall Saturday night. “Arresting.” “Stunning.” “Magnificent.” “Sublime.” Extraordinary.” They come to mind alongside “brilliant,” “breath-taking,” ‘divine” and “fearless.”"
— Arizona Daily Star, October 2012
Lisette Oropesa is simply outstanding. Her performance transcends mere bel canto exhibition to sketch a true dramatic persona, founded on a psychological portrait with myriad facets, among which pain, alienation, and hallucinations stand out. And while the lengthy "madness" scene is entirely executed with soft dynamics and pianissimos, spun notes, flute-like attacks, hesitations, dimming, gliding between notes, and fluid, light…
Lisette Oropesa is simply outstanding. Her performance transcends mere bel canto exhibition to sketch a true dramatic persona, founded on a psychological portrait with myriad facets, among which pain, alienation, and hallucinations stand out. And while the lengthy "madness" scene is entirely executed with soft dynamics and pianissimos, spun notes, flute-like attacks, hesitations, dimming, gliding between notes, and fluid, light coloraturas, with high notes that fade away into the ether accompanied by even brighter overtones, the character reveals not just the youthful naiveté of an unfortunate young girl, but more importantly, showcases an idea of happiness, perhaps overly idealized, highly unstable in the assumption that love for Edgardo could defeat the hatred residing between their respective families. Such sensitivity immediately breeds some doubt about a potential mental imbalance. Thus, one appreciates hopes and dreams of love in the cavatina "Regnava nel silenzio" and in the cabaletta "Quando rapito in estasi"; concern and apprehension in the duet with Edgardo, where their love finds full harmony with the identical delicate and ethereal melody.
— Opera Click, April 2023
The thrilling new Cuban-American soprano Lisette Oropesa is a decided plus on last year. Her Lucia is young and fragile but defiant, while the famous mad scene is superlatively played. Her pure crystal voice soars to the heights.
The thrilling new Cuban-American soprano Lisette Oropesa is a decided plus on last year.
Her Lucia is young and fragile but defiant, while the famous mad scene is superlatively played.
Her pure crystal voice soars to the heights.— Sunday Express, November 2017
To match such a revelation in storytelling and character there is Lisette Oropesa who is a revelation by herself. Prior to, and after seeing this production I listened to Maria Callas and Joan Sutherland’s performances and I can genuinely tell you, as someone who has now seen Oropesa in the role three times, she sings it better. There is no…
To match such a revelation in storytelling and character there is Lisette Oropesa who is a revelation by herself. Prior to, and after seeing this production I listened to Maria Callas and Joan Sutherland’s performances and I can genuinely tell you, as someone who has now seen Oropesa in the role three times, she sings it better. There is no straining in her voice, she is relaxed and her range, her ability is staggering. The Mad Scene in particular has Oropesa singing in a way that I didn’t think possible. Oropesa can’t just sing though, her acting is just as important in this production, being on stage the entire time (with a few seconds break going from one side of the set to the other) and she can really act.
— The Stuart Review, November 2017
Lisette Oropesa once again proves herself to be one of the leading interpreters of Lucia. With her rounded, full soprano, capable of dramatic attacks, she does not necessarily conform to the sound image of "classic" Lucia interpreters, but she more than compensates for this with her enormous stage presence.
Lisette Oropesa once again proves herself to be one of the leading interpreters of Lucia. With her rounded, full soprano, capable of dramatic attacks, she does not necessarily conform to the sound image of "classic" Lucia interpreters, but she more than compensates for this with her enormous stage presence.
— Online Merker, May 2022
Oropesa is considered the leading interpreter of the famous Donizetti role at present. It quickly becomes clear why this is the case. She executes the coloraturas of the role superbly, her voice is incredibly flexible, slender in tone, and build upon a strong technical foundation. Moreover, her soprano is enormously powerful and easily fills the Vienna Opera House. It's almost…
Oropesa is considered the leading interpreter of the famous Donizetti role at present. It quickly becomes clear why this is the case. She executes the coloraturas of the role superbly, her voice is incredibly flexible, slender in tone, and build upon a strong technical foundation. Moreover, her soprano is enormously powerful and easily fills the Vienna Opera House. It's almost astonishing how lightly and confidently she sings through the role. The static staging certainly does not make it easy for her. Yet, she still manages to clearly bring out the entire spectrum of her role, from the infatuated young woman, through the disappointed lover to the confused soul. Her excellently sung and shaped madness scene is naturally the much-applauded highlight.
— Online Merker, April 2022
The madness of the protagonist, played by the American soprano of Cuban descent Lisette Oropesa, has spread to the audience of the Madrid coliseum, who have erupted in applause and shouts of "brava" at the climax of her derangement.
The madness of the protagonist, played by the American soprano of Cuban descent Lisette Oropesa, has spread to the audience of the Madrid coliseum, who have erupted in applause and shouts of "brava" at the climax of her derangement.
— Europa Press, June 2018
Lisette Oropesa is a highly valued soprano, unfortunately, she rarely performs in Italian theatres (she was Gilda at the Opera of Rome in December 2016; she will debut at the Rossini Opera Festival in Pesaro in Adina next month); she debuted at the Real in Madrid in Rigoletto in December 2015, offering a voice that was not that of an…
Lisette Oropesa is a highly valued soprano, unfortunately, she rarely performs in Italian theatres (she was Gilda at the Opera of Rome in December 2016; she will debut at the Rossini Opera Festival in Pesaro in Adina next month); she debuted at the Real in Madrid in Rigoletto in December 2015, offering a voice that was not that of an ordinary light soprano. This production of Lucia confirms further development of her qualities: the timbre is evocative, being stronger than angelic, delicate but with some areas of shadow that adapt well to the fundamental colors of the orchestra. The vibrato is very beautiful; her trills and high notes are particularly notable, and her phrasing is precise; there are moments in her emission that still need to refine the technique, especially in the attacks and low notes, which need more support. In the grand scene of Act III, Oropesa restrains excessive and emphatic inflections to focus on the expressiveness of individual phrases; the enunciation of the cadence is very correct thanks to good control of her breath, although the pattern of the Callasian training is clearly emerging.
— GB Opera Magazine, July 2018
Oropesa was not upstaged, the soprano streaming through acrobatic coloratura runs with a crystalline precision that never interrupted the shapely flow of her phrases. Her slender-toned interpretation radiated a tenderness and fragility that made Lucia’s demise at the hands of a brutal patriarchal society especially compelling. Accompanied by otherworldly glass harmonica rather than flute, Oropesa delivered a riveting mad scene,…
Oropesa was not upstaged, the soprano streaming through acrobatic coloratura runs with a crystalline precision that never interrupted the shapely flow of her phrases. Her slender-toned interpretation radiated a tenderness and fragility that made Lucia’s demise at the hands of a brutal patriarchal society especially compelling. Accompanied by otherworldly glass harmonica rather than flute, Oropesa delivered a riveting mad scene, her chemistry with Flórez electrifying from the opening duet.
— Financial Times, April 2023
Oropesa made a strong impression at Glyndebourne this year in a far more light-hearted Donizetti opera. Here, she was on fine vocal form, with those trills that you crave from the role generous and fluid. High notes felt a little worked for in the very early scenes, but they were always accurate and certainly by the climactic mad scene, she…
Oropesa made a strong impression at Glyndebourne this year in a far more light-hearted Donizetti opera. Here, she was
on fine vocal form, with those trills that you crave from the role generous and fluid. High notes felt a little worked for in the very early scenes, but they were always accurate and certainly by the climactic mad scene, she was in total control of the voice, floating the notes, spinning phrases and generally showing off a vocal technique that’s ripe for further bel canto exploration. She showed an engaging stage presence as well, embodying Mitchell’s feminist spin on the work in her scene with Enrico prior to the wedding when her sparky Lucia is sacrificed for the politics of men.— Bachtrack, November 2017
But all ears as well as eyes are on Lisette Oropesa. Lucia is her first Royal Opera role, and the Cuban-American soprano is sensationally good. She makes the stratospheric vocal fireworks of her mad scene – accompanied by flute this time, not glass harmonica – sound easy; indeed, her every note is part of a convincing portrayal of a complex…
But all
ears as well as eyes are on Lisette Oropesa. Lucia is her first Royal Opera role, and the Cuban-American soprano is sensationally good. She makes the stratospheric vocal fireworks of her mad scene – accompanied by flute this time, not glass harmonica – sound easy; indeed, her every note is part of a convincing portrayal of a complex character. It’s a rare Lucia – and a rare production – that manages that.— The Guardian, October 2017
Having rescued Glyndebourne's Don Pasquale from mediocrity this summer, the Cuban-American soprano now elevates another Donizetti opera to the heights. Oropesa's subtle vibrato, fast, light and allied to a silvery-bright timbre, was a constant delight, and her account of the mad scene (accompanied this time by a solo flute rather than glass harmonica obbligato) had a transcendent beauty.
Having rescued Glyndebourne's Don Pasquale from mediocrity this summer, the Cuban-American soprano now elevates another Donizetti opera to the heights. Oropesa's subtle vibrato, fast, light and allied to a silvery-bright timbre, was a constant delight, and her account of the mad scene (accompanied this time by a solo flute rather than glass harmonica obbligato) had a transcendent beauty.
— What's on Stage, October 2017
The Cuban-American soprano Lisette Oropesa, making her Royal Opera debut, starts strongly and just continues to get stronger, inhabiting the part both in her actions and in her voice. No surprise she has taken on Gilda (Dutch National Opera), Violetta (Opera Philadelphia) and Marie (Donizetti’s La fille du régiment in Washington); without hearing these, it would be completely believable if…
The Cuban-American soprano Lisette Oropesa, making her Royal Opera debut, starts strongly and just continues to get stronger, inhabiting the part both in her actions and in her voice. No surprise she has taken on Gilda (Dutch National Opera), Violetta (Opera Philadelphia) and Marie (Donizetti’s La fille du régiment in Washington); without hearing these, it would be completely believable if this Lucia were the climax of this particular handful of select roles. With Katie Mitchell taking a part that already goes through the emotional wringer and tightening the screw to almost unbearable heights, the challenges are clear. As clear as Oropesa’s virtuosity, nowhere more than in the moments in the Mad Scene where she interacts with the flutes, her pitching impeccable.
— Seen and Heard International, November 2017
In the role of the protagonist, the eagerly awaited Lisette Oropesa adhered to a strictly bel canto style, with great skill and perhaps some caution from an expressive standpoint (understandable, given that it was the premiere).
In the role of the protagonist, the eagerly awaited Lisette Oropesa adhered to a strictly bel canto style, with great skill and perhaps some caution from an expressive standpoint (understandable, given that it was the premiere).
— Scherzo Magazine, April 2023
Lisette Oropesa is a fascinating Lucia. She does not fall into the trap of virtuosity for its own sake, thanks also to the omission of traditional embellishments and da capo arias not written in the original score, thus crafting a character with a very strong vocal and stage presence. It's not that there's a lack of trills, diminuendos, scales, rock-solid…
Lisette Oropesa is a fascinating Lucia. She does not fall into the trap of virtuosity for its own sake, thanks also to the omission of traditional embellishments and da capo arias not written in the original score, thus crafting a character with a very strong vocal and stage presence. It's not that there's a lack of trills, diminuendos, scales, rock-solid high notes, and dazzlingly beautiful whistle register notes, but every note is dedicated to the text, to the construction of the character, who reveals himself to be in love, angry, offended, resigned, delusional, yet always engaging and convincing. Every page has its own, or rather, its own colors; every phrase seems to be carved out, tailored to the protagonist, who touches the heart in 'Soffriva nel pianto', stirs emotion in the second act's duet, in which one cannot help but be struck by the harmony of the two voices, and devastates in the magnificent madness scene, crowned by a very long applause from the entire theater.
— La platea, May 2023
For Lisette Oropesa's radiant soprano and her portrayal of Lucia, superlatives scarcely convey what she achieved vocally and in her acting with a virtuosity seldom heard, as she fully immersed herself in the role. Her solo part is filled with lengthy coloraturas in the highest registers, and she executed everything with ease and a commitment to her musical task.
For Lisette Oropesa's radiant soprano and her portrayal of Lucia, superlatives scarcely convey what she achieved vocally and in her acting with a virtuosity seldom heard, as she fully immersed herself in the role. Her solo part is filled with lengthy coloraturas in the highest registers, and she executed everything with ease and a commitment to her musical task.
— Traunsteiner Tagblatt, August 2022
Lisette Oropesa and Javier Camarena embody an absolutely credible leading couple physically and extraordinarily well-matched musically. She, who received a standing ovation from much of the audience at the end, is a superbly complete singer and, above all, not at all deceptive: her mad scene was, by comparison with what is usually seen and heard, a paragon of restraint. And,…
Lisette Oropesa and Javier Camarena embody an absolutely credible leading couple physically and extraordinarily well-matched musically. She, who received a standing ovation from much of the audience at the end, is a superbly complete singer and, above all, not at all deceptive: her mad scene was, by comparison with what is usually seen and heard, a paragon of restraint. And, without imitating any of the great historical Lucías (that of Maria Callas being the first, of course), she manages to sketch hers with very personal profiles, a very contained stage performance, and a thoroughly complete vocal characterization in each of her interventions.
— El Pais, June 2018
Lisette Oropesa whose performance is simply magnificent. The role is famously demanding. Forced into a marriage against her will to save the family fortune, for Lucia the second half of the opera runs through murder, miscarriage and madness. Oropesa is not only a thrilling singer, she is a thoroughly convincing actor caught in a finely judged physical and mental downward…
Lisette Oropesa whose performance is simply magnificent. The role is famously demanding. Forced into a marriage against her will to save the family fortune, for Lucia the second half of the opera runs through murder, miscarriage and madness. Oropesa is not only a thrilling singer, she is a thoroughly convincing actor caught in a finely judged physical and mental downward spiral.
— The Arbuturian, November 2017
On the occasion of this first performance, the title role was assigned to Lisette Oropesa (initially expected also last year but replaced by Irina Lungu shortly before the debut), who thus finally made her debut in Zurich with one of her signature roles. The American soprano (who, according to rumors, will probably return as Lucia at La Scala in the…
On the occasion of this first performance, the title role was assigned to Lisette Oropesa (initially expected also last year but replaced by Irina Lungu shortly before the debut), who thus finally made her debut in Zurich with one of her signature roles. The American soprano (who, according to rumors, will probably return as Lucia at La Scala in the 22/23 season) was convincing both vocally and in her interpretation. Vocally, she displayed a lyric voice, well-blended across all registers, crystalline in the high notes, and with very precise technique. Her coloratura is tightrope-walking and, above all, always reflects the protagonist’s state of mind. Lisette Oropesa indeed manages to fully embody the role and convey the contrasts of such a complex character. A performance that immediately won over the hearts of the Zurich audience.
— The.blogartpost, June 2022
In a deep and complex musical context that becomes fertile ground on which Lisette Oropesa - with her unmatched interpretive intelligence - is able to build an intensely comprehensive Lucia, driven by a climax of passion, hope, anger, pain, abandonment, alienation, and hallucination. It's impossible to single out individual arias worthy of specific mention: it’s the performance as a whole…
In a deep and complex musical context that becomes fertile ground on which Lisette Oropesa - with her unmatched interpretive intelligence - is able to build an intensely comprehensive Lucia, driven by a climax of passion, hope, anger, pain, abandonment, alienation, and hallucination. It's impossible to single out individual arias worthy of specific mention: it’s the performance as a whole that is stunning, her ability to embody the protagonist and mold her through a continuous emotional transfiguration with disturbing credibility, reaching a peak in the grand Madness Scene (here accompanied by the glass harmonica as originally indicated, with an even more alienating sound effect). The warm and enchanting lyric quality of the Cuban-American soprano's voice adds further substance to her performance, without lacking in solidity in the coloratura between trills and bright high notes, as well as in the frequent very soft passages sung in a whisper.
— Opera Teatro, April 2023
Lisette Oropesa is wonderful, she controls everything and her madness scene of the fascinating character Lucia was simply exemplary: there was theatrical tension and absolute technical mastery, particularly in the coloratura and ornamentation, captivating with the naturalness of her performance and the pearlescent enamel of her voice. She was given an ovation.
Lisette Oropesa is wonderful, she controls everything and her madness scene of the fascinating character Lucia was simply exemplary: there was theatrical tension and absolute technical mastery, particularly in the coloratura and ornamentation, captivating with the naturalness of her performance and the pearlescent enamel of her voice. She was given an ovation.
— El Periódico, April 2022
Lisette Oropesa makes an exciting house debut. It’s not the largest voice, but the Cuban-American makes every phrase felt and sings with piercing vulnerability, whether in fragile trills or heart-searing high notes. Her “mad scene” is so sincerely done that it feels wrong to applaud — that’s a tribute. At least one man is supporting her: Michele Mariotti’s conducting is…
Lisette Oropesa makes an exciting house debut. It’s not the largest voice, but the Cuban-American makes every phrase felt and sings with piercing vulnerability, whether in fragile trills or heart-searing high notes. Her “mad scene” is so sincerely done that it feels wrong to applaud — that’s a tribute. At least one man is supporting her: Michele Mariotti’s conducting is flexible and attentive, the epitome of good bel canto, and he draws wonderfully stirring playing from the orchestra.
— The Times, October 2017
It is a choice that one can legitimately discuss, but it is undeniable that in moving in this direction, it is hard to imagine a better interpreter than Lisette Oropesa. A "light" soprano, but her voice is not at all small, rather it is rich in sound and well projected, dominant even over the most compact orchestral masses. Oropesa is…
It is a choice that one can legitimately discuss, but it is undeniable that in moving in this direction, it is hard to imagine a better interpreter than Lisette Oropesa. A "light" soprano, but her voice is not at all small, rather it is rich in sound and well projected, dominant even over the most compact orchestral masses. Oropesa is a true bel canto singer who relies on a masterful control of her breath that allows her a homogeneous and flute-like emission, compact across all registers, easy high notes full of sound, incredibly clear half-voices, sharp and precise coloraturas, and impeccable breath control and portamenti. A refined and sensitive performer, she blends technical cleanliness and expressivity with absolute naturalness. Hers is a lilian-like Lucia, almost childlike in the innocent candor of the first act, unable to oppose the world that surrounds her and in which madness becomes the only escape route. Perhaps the tragic pathos is missing, but it is a legitimate interpretive choice. Oropesa is also a perfectly believable actress on stage. The restrained and precise gesture, the expressive and changing face, the innate ability to concentrate attention all contribute to the overall portrayal of the character.
— GB Opera Magazine, April 2023
Lisette Oropesa is astounding with ease and mastery in Lucia, leaving absolutely nothing to show through the difficulty of the role. Her peerless technique, her perfectly assured vocals, her luminous highs, her crystalline timbre and her evanescent halftones make her an incomparable Lucia today. She makes the public delirious with each of her interventions
Lisette Oropesa is astounding with ease and mastery in Lucia, leaving absolutely nothing to show through the difficulty of the role. Her peerless technique, her perfectly assured vocals, her luminous highs, her crystalline timbre and her evanescent halftones make her an incomparable Lucia today. She makes the public delirious with each of her interventions
— Concerto Net, May 2022
Staging Part III up to the end of the madness scene, we were able to enjoy the delicacy of Lisette Oropesa, who presented us with the complete psychology and vocalization of the famous madness scene. An in-crescendo scene that Oropesa knew how to handle with a mix of madness and sweetness that dazzled the audience. After the famous aria, the…
Staging Part III up to the end of the madness scene, we were able to enjoy the delicacy of Lisette Oropesa, who presented us with the complete psychology and vocalization of the famous madness scene. An in-crescendo scene that Oropesa knew how to handle with a mix of madness and sweetness that dazzled the audience. After the famous aria, the attending audience went wild with applause and other cheers to praise the great performance she had just accomplished on stage. She, visibly shaken by the audience's reaction, had to bow, which the audience applauded even more, leading Oropesa to fall to her knees in sincere gratitude for the reaction she was experiencing. Brava!
— En Platea, April 2022
The vocal cast was led by Cuban-American soprano Lisette Oropesa. Oropesa skillfully adapted to the staging proposal and her Lucia conveyed the feminist determination that the staging direction called for. Nevertheless, the most interesting aspects of her performance were found in her singing. Lisette Oropesa possesses a flexible and athletic instrument that produces a lean and fibrous sound, but tremendously…
The vocal cast was led by Cuban-American soprano Lisette Oropesa. Oropesa skillfully adapted to the staging proposal and her Lucia conveyed the feminist determination that the staging direction called for. Nevertheless, the most interesting aspects of her performance were found in her singing. Lisette Oropesa possesses a flexible and athletic instrument that produces a lean and fibrous sound, but tremendously versatile. In the first act, the soprano thickened the song with excessive vibrato. However, her breath control, the solidity in the support and the articulation of the voice make her singing a tool of exquisite precision, which allows her to navigate at will through the most turbulent waters of Donizetti's bel canto. Thus, Oropesa impressed with very long half-voice phrases, collected yet rich and well-projected high notes, meaty and expressive trills, and a good assortment of dynamic delicacies that thrilled the English audience. The mad scene, of high aesthetic quality, was interrupted with ovations, while her interventions in duets and concertante are beyond reproach.
— Opera World, November 2017
As Lucia in this handsome and intelligent production, the birdlike American-Cuban soprano Lisette Oropesa, bubbly and light-hearted in Glyndebourne Festival Opera's Don Pasquale this summer, now conveys both aching fragility and determination, powering up to those famous high notes with the accuracy of a swift. The whole performance is shot through with a passion that makes Lucia capable of a…
As Lucia in this handsome and intelligent production, the birdlike American-Cuban soprano Lisette Oropesa, bubbly and light-hearted in Glyndebourne Festival Opera's Don Pasquale this summer, now conveys both aching fragility and determination, powering up to those famous high notes with the accuracy of a swift. The whole performance is shot through with a passion that makes Lucia capable of a calculating and overwhelmingly violent attack on her new husband.
— Culture Whisper, October 2017
The premiere on Friday featured vocal performances, in the leading roles, by the Cuban-born soprano Lisette Oropesa and the Mexican tenor Javier Camarena. Both embody roles of extreme difficulty and range: a true vocal marathon that requires solid and refined technique. The vocal range demanded for both roles is that of a light-lyric voice, yet with enough dramatic quality, which…
The premiere on Friday featured vocal performances, in the leading roles, by the Cuban-born soprano Lisette Oropesa and the Mexican tenor Javier Camarena. Both embody roles of extreme difficulty and range: a true vocal marathon that requires solid and refined technique. The vocal range demanded for both roles is that of a light-lyric voice, yet with enough dramatic quality, which is not so common. Oropesa, in the role of Lucia di Lammermoor, fulfilled this task perfectly throughout the three-hour performance.
— El Imparcial, June 2018
To say that Oropesa rose to the demanding vocal and expressive requirements of the character is an understatement. She effortlessly traversed the demanding range without the slightest hint of fatigue, creating a Lucia who was fragile, feminine, and clearly defined, page by page, in a dramatic crescendo of immense effectiveness. Furthermore, she added to her solid performance an equivalent visual…
To say that Oropesa rose to the demanding vocal and expressive requirements of the character is an understatement. She effortlessly traversed the demanding range without the slightest hint of fatigue, creating a Lucia who was fragile, feminine, and clearly defined, page by page, in a dramatic crescendo of immense effectiveness. Furthermore, she added to her solid performance an equivalent visual beauty. This was all done in the best bel canto style for specificity and enjoyment. Oropesa knew how to take advantage of the parts for vocal brilliance and the dramatic moments the character allowed, in an infallible and intercommunicative blend of instrumental display and expressive ability, as expected, with no surprises, following her previous performance as Verdi's Gilda in 2015.
— Scherzo Magazine, July 2018
Lisette Oropesa, making her Royal Opera debut, is a revelation as Lucia. She acts with conviction, hits the notes dead centre and controls the dynamics. Her “mad scene” is 20 minutes of exquisite devastation.
Lisette Oropesa, making her Royal Opera debut, is a revelation as Lucia. She acts with conviction, hits the notes dead
centre and controls the dynamics. Her “mad scene” is 20 minutes of exquisite devastation.— Evening Standard, November 2017
The audience at the Teatro Real has fallen at the feet of American soprano Lisette Oropesa, who delivers an exciting Lucia, both musically and theatrically, to immeasurable extents.
The audience at the Teatro Real has fallen at the feet of American soprano Lisette Oropesa, who delivers an exciting Lucia, both musically and theatrically, to immeasurable extents.
— El Asombrario, June 2018
Lisette Oropesa, who bursts with positive energy and goes all out vocally in the first act, exhausting the range of her brightly timbred vocal potency, impresses equally in the 2nd and 3rd act with her sometimes tearful sounding, then again finely pearl-like bel canto-like soprano. With so much endurance, so much vocal power, paired only with a feminine stentorian force…
Lisette Oropesa, who bursts with positive energy and goes all out vocally in the first act, exhausting the range of her brightly timbred vocal potency, impresses equally in the 2nd and 3rd act with her sometimes tearful sounding, then again finely pearl-like bel canto-like soprano. With so much endurance, so much vocal power, paired only with a feminine stentorian force that is unrivaled, Oropesa not only accomplishes all coloraturas in her sleep, but also the murderous mad scene aria, which demands a full 20 minutes of vocal athletic peak performance.
— Operaversum, April 2022
The American soprano of Cuban origin, Lisette Oropesa, who was recently awarded the 42nd Franco Abbiati Music Critic Award, delivers to the La Scala audience a high-flying, top-tier Lucia. She is keen to emphasize all the expressive stylistic features required by a bel canto masterpiece, endowed with an exciting technical mastery, an electrifying timbre, expressive charm, and a very personal…
The American soprano of Cuban origin, Lisette Oropesa, who was recently awarded the 42nd Franco Abbiati Music Critic Award, delivers to the La Scala audience a high-flying, top-tier Lucia. She is keen to emphasize all the expressive stylistic features required by a bel canto masterpiece, endowed with an exciting technical mastery, an electrifying timbre, expressive charm, and a very personal acting style, securing a true triumph.
— Premiere Loge Opera, May 2023
In the title role, Lisette Oropesa shined, for whom there appear to be no technical difficulties whatsoever, and who imbued the bubbling cascades of her coloratura with the necessary expression, never exploiting them as a mere showcase of her vocal abilities. She was also fully immersed in her performance. Nevertheless, as an audience member, there remains for me always a…
In the title role, Lisette Oropesa shined, for whom there appear to be no technical difficulties whatsoever, and who imbued the bubbling cascades of her coloratura with the necessary expression, never exploiting them as a mere showcase of her vocal abilities. She was also fully immersed in her performance. Nevertheless, as an audience member, there remains for me always a tiny distance, perhaps brought about by this seemingly untouchable perfection.
— Der Opern Freund, April 2023
Soprano Lisette Oropesa constructs a flawless and intense Lucia in a performance. The chilling murderous delirium of the protagonist and the result of combining the marvelous performance of Oropesa - blood-stained white dress, gaze lost in the happiness that has been snatched from her - with such a surprising and delicate instrument is, without a doubt, another reason to stand…
Soprano Lisette Oropesa constructs a flawless and intense Lucia in a performance. The chilling murderous delirium of the protagonist and the result of combining the marvelous performance of Oropesa - blood-stained white dress, gaze lost in the happiness that has been snatched from her - with such a surprising and delicate instrument is, without a doubt, another reason to stand up and give an ovation to the one who embodies, squeezing our souls, infinite madness.
— Voz Libre, June 2018
Best of all, however, was the performance of Cuban-American soprano Lisette Oropesa in the title role which was simply sensational. In fact, it is one of the best performances I have ever seen at Covent Garden. Her crisp, clear voice added to true dramatic acting ability make her perfect for the role, with her high notes particularly piercing and effective…
Best of all, however, was the performance of Cuban-American soprano Lisette Oropesa in the title role which was simply sensational.
In fact, it is one of the best performances I have ever seen at Covent Garden. Her crisp, clear voice added to true dramatic acting ability make her perfect for the role, with her high notes particularly piercing and effective and her soft notes even more gripping.
Her performance in the mad scene was particularly riveting and even silenced the usual coughing from the audience.
— Sunday Express, November 2017
The American soprano, with Cuban and Catalan ancestry, shone with the mad scene aria from Lucia di Lammermoor and elicited two long minutes of applause from the visibly moved audience.
The American soprano, with Cuban and Catalan ancestry, shone with the mad scene aria from Lucia di Lammermoor and elicited two long minutes of applause from the visibly moved audience.
— La Vanguardia, April 2022
Lisette Oropesa's portrayal of Lucia remains in memory as a moment suspended in time, with her perfect cadences, sculpted high notes, and chirping staccatos.
Lisette Oropesa's portrayal of Lucia remains in memory as a moment suspended in time, with her perfect cadences, sculpted high notes, and chirping staccatos.
— Giornale della Musica, April 2022
Oropesa demonstrated the infallibility of her technique, her mastery of the instrument, and the stage presence with which she flawlessly executed a madness scene that earned the night's ovation, lasting a full three minutes!
Oropesa demonstrated the infallibility of her technique, her mastery of the instrument, and the stage presence with which she flawlessly executed a madness scene that earned the night's ovation, lasting a full three minutes!
— La Vanguardia, April 2022
Homogeneous, the vocal cast remains the key element of this new production at La Scala, dominated by the mesmerizing Lisette Oropesa, with vocal ease and stamina that are second to none. One is of course enchanted by the roundness of the tone, the delicacy, the legato, and the grace of a singing style that is impeccably ornamented, capable of endless…
Homogeneous, the vocal cast remains the key element of this new production at La Scala, dominated by the mesmerizing Lisette Oropesa, with vocal ease and stamina that are second to none. One is of course enchanted by the roundness of the tone, the delicacy, the legato, and the grace of a singing style that is impeccably ornamented, capable of endless nuances and colors, from the terror of "Regnava nel silencio" to the youthful and passionate dream of "Quando rapita in estasi," superbly accompanied by the languid clarinet; a vocal performance that reaches its climax in a hypnotic mad scene "Il dolce suono," accompanied by the crystalline and supernatural sounds of the glass harmonica.
— ResMusica, April 2023
Lucia is sung by Lisette Oropesa, here making her house debut. Her voice isn’t large, but she is a true coloratura soprano. She has excellent support for the long fioratura lines, and ideal agility for the runs and ornaments. Her Mad Scene (flutes here, no glass harmonica) is more about dramatic conviction than vocal acrobatics, but is no less impressive…
Lucia is sung by Lisette Oropesa, here making her house debut. Her voice isn’t large, but she is a true coloratura soprano. She has excellent support for the long fioratura lines, and ideal agility for the runs and ornaments. Her Mad Scene (flutes here, no glass harmonica) is more about dramatic conviction than vocal acrobatics, but is no less impressive for it.
— The Arts Desk, October 2017
Oropesa’s glinting soprano is fairly light but it grew warmly and expansively as Lucia’s distress deepened, and the crystalline precision and limpidness which I had admired at Glyndebourne this summer were again in notable evidence. As the sometimes cruel Norina in Mariame Clément’s Don Pasquale, Oropesa was a woman firmly in control of her own destiny but despite Mitchell’s avowal…
Oropesa’s glinting soprano is fairly light but it grew warmly and expansively as Lucia’s distress deepened, and the crystalline precision and limpidness which I had admired at Glyndebourne this summer were again in notable evidence. As the sometimes cruel Norina in Mariame Clément’s Don Pasquale, Oropesa was a woman firmly in control of her own destiny but despite Mitchell’s avowal to make Lucia more feisty than faint-hearted, however much she wishes to challenge Enrico’s callousness Lucia’s destiny is undeniably ordained. She can ‘escape’ only into madness. In the ‘mad scene’, Oropesa was utterly broken but, to the soprano’s and Mitchell’s credit, this Lucia’s melodic meltdown was not an abstraction of disembodied madness but the terrible disintegrated of a real woman for whom we, and the stage witnesses, feel terrible sadness. Oropesa’s vocal purity returned Lucia to childlike vulnerability and victimhood.
— Opera Today, November 2017
Lisette Oropesa truly saved the composition itself here. In the famous "Mad Scene" in the third act, Donizetti indeed usually provides the soprano with only a flute (and in rare instances, like here at the festival, a glass harmonica) as a partner in the duet. This allowed Oropesa to display her flexibility, her crystal-clear passages, and her powerful beauty with…
Lisette Oropesa truly saved the composition itself here. In the famous "Mad Scene" in the third act, Donizetti indeed usually provides the soprano with only a flute (and in rare instances, like here at the festival, a glass harmonica) as a partner in the duet. This allowed Oropesa to display her flexibility, her crystal-clear passages, and her powerful beauty with little to no hindrance. She made it clear why Lucia is currently one of her signature roles. Her personal experiences as a marathon runner likely gave her the stamina for the demanding ensemble sections, in which she seemed to be on the verge of running out of energy at times.
— News.AT, August 2022
As the title originally opened the annual season, it featured what can be called a dream cast. In the leading role, Lisette Oropesa offered an anthological Miss Lucia. Her coloraturas were clean and precise, her breath control long and dynamic; to crown the night, she offered a series of superb, powerful and brilliant high notes. The command of the character…
As the title originally opened the annual season, it featured what can be called a dream cast. In the leading role, Lisette Oropesa offered an anthological Miss Lucia. Her coloraturas were clean and precise, her breath control long and dynamic; to crown the night, she offered a series of superb, powerful and brilliant high notes. The command of the character by the American soprano is evident - she manages to convey both the happiness and agony of the mad bride. Her aria "Regnava nel silenzio" received great applause; but with the mythical mad scene, the theatre shook with applause and genuine shouts of "Brava!" from the fierce loggione. All thoroughly deserved.
— Opera World, April 2023
The real star, though, was the young Cuban-American soprano Lisette Oropesa, who is making her Royal Opera debut. Not just for her singing, which probably won’t be bettered in Britain this year, but for her acting. Even when she wasn’t singing, I found it impossible to take my eyes off her. I was not alone. Oropesa got a lengthy standing…
The real star, though, was the young Cuban-American soprano Lisette Oropesa, who is making her Royal Opera debut. Not just for her singing, which probably won’t be bettered in Britain this year, but for her acting. Even when she wasn’t singing, I found it impossible to take my eyes off her. I was not alone. Oropesa got a lengthy standing ovation from the entire audience. Even if you think you don’t like opera, try to get to one of the remaining performances if you can. It might be life-changing.
— The Guardian, November 2017
Her counterpart is a Lucia who is far more feminine and aware than usual; indeed, Lisette Oropesa liberates Lucia from the virginal childishness that has characterized this role for decades when entrusted to coloratura sopranos, just as Callas and Gencer once did (leaving Joan Sutherland in her exalted realm). This doesn't mean the Cuban-American singer abandons the entire array of…
Her counterpart is a Lucia who is far more feminine and aware than usual; indeed, Lisette Oropesa liberates Lucia from the virginal childishness that has characterized this role for decades when entrusted to coloratura sopranos, just as Callas and Gencer once did (leaving Joan Sutherland in her exalted realm). This doesn't mean the Cuban-American singer abandons the entire array of virtuoso techniques. Chromatic scales, clear trills, legatos, and diminuendos are all present. The mad scene (accompanied by the glass harmonica, as Donizetti intended, and not by the flute as is traditional) finds her an empathetic and engaging performer. But one must also mention her exceedingly poignant "Soffriva nel pianto," her tender "Deh! Ti placa, deh! ti frena," and the delirious execution of "Spargi d'amaro pianto."
— Conessi all'Opera, April 2023
For the American soprano Lisette Oropesa, superlatives scarcely do justice to describe her radiant voice and her portrayal of Lucia, which she has performed with a virtuosity rarely heard both vocally and in her acting.
For the American soprano Lisette Oropesa, superlatives scarcely do justice to describe her radiant voice and her portrayal of Lucia, which she has performed with a virtuosity rarely heard both vocally and in her acting.
— Passauer Neue Presse, August 2022
Lisette Oropesa dazzles in the title role as her soprano is powerful enough to pierce our very hearts, yet never feels extravagant or overblown. It is paradoxical that her lines in ‘Il dolce suono’(from the famous ‘mad scene’) seem almost as if they could evaporate into thin air, and yet, because of the underlying strength of technique and precision, feel…
Lisette Oropesa dazzles in the title role as her soprano is powerful enough to pierce our very hearts, yet never feels extravagant or overblown. It is paradoxical that her lines in ‘Il dolce suono’(from the famous ‘mad scene’) seem almost as if they could evaporate into thin air, and yet, because of the underlying strength of technique and precision, feel rock steady.
— Opera Online, November 2017
Donizetti, of the dramatic soprano agility, supplanted the trend of coloratura sopraninos that arose in droves in theatres, starting from the second half of the 19th century. Indeed, facing such a comparison, Oropesa's performance is daring. This forty-year-old American of Cuban origin, the daughter of a singing teacher, has risen to fame due to her massive diet that made her…
Donizetti, of the dramatic soprano agility, supplanted the trend of coloratura sopraninos that arose in droves in theatres, starting from the second half of the 19th century. Indeed, facing such a comparison, Oropesa's performance is daring. This forty-year-old American of Cuban origin, the daughter of a singing teacher, has risen to fame due to her massive diet that made her lose 40 kilos (in this, too, the myth of Callas is renewed). A change that, as well as impacting her outside appearance, has affected the physiology of the song, helping her maintain long breaths at the moment of expression, on the stage set. And also giving her the opportunity in the Donizetti evening to show her considerable vocal qualities: a beautiful lyric soprano tone enriched by excellent diction, with charming phrasing and being extremely careful in sprinkling high pitches, never exceeding the climax of good taste, which she had the opportunity to exhibit in the fateful madness scene where she reached, as Alberto Savinio hoped, the "model of authenticity". Lucia's madness is therefore guaranteed by the subtlest, lightest, airiest breath one can give. And the coldest. The trills, the arpeggios, the suspensions, the diminuendos of Lucia emerge from her mouth bursting into the air like small flowers, intertwined with the mysterious notes of the glass harmonica.
— L'Identità, April 2023
Amidst it all, Lisette Oropesa offered us a deluxe bel canto sorbet. Her mad scene as Lucia is one of those performances that remain etched in memory: coloratura executed to perfection, interpreted exquisitely, without too much salt nor too much pepper—crucially important!—and capped off with an undeniable E-flat. When she finished, the theater erupted.
Amidst it all, Lisette Oropesa offered us a deluxe bel canto sorbet. Her mad scene as Lucia is one of those performances that remain etched in memory: coloratura executed to perfection, interpreted exquisitely, without too much salt nor too much pepper—crucially important!—and capped off with an undeniable E-flat. When she finished, the theater erupted.
— El Temps de les Arts, April 2022
Lisette Oropesa sang her Royal Opera House debut as a was tender, sincere Lucia. Her voice was easiest in the top and she navigated the role with ease. ... There was nothing but bravery from Oropesa as she navigated the emotional turmoil of the second half of the opera.
Lisette Oropesa sang her Royal Opera House debut as a was tender, sincere Lucia. Her voice was easiest in the top and she navigated the role with ease. ... There was nothing but bravery from Oropesa as she navigated the emotional turmoil of the second half of the opera.
— Schmopera, November 2017
The cast is outstanding, especially the Lucia of Cuban-American soprano Lisette Oropesa. A consummate actor with a fresh, pearly sound and exquisite top notes, Oropesa creates a flesh-and-blood character out of Donizetti’s sketchy heroine. Her mad scene is beautifully judged, full of nuance and changes of pace – deeply disturbing rather than tragic – and her tender relationship with Alisa…
The cast is outstanding, especially the Lucia of Cuban-American soprano Lisette Oropesa. A consummate actor with a fresh, pearly sound and exquisite top notes, Oropesa creates a flesh-and-blood character out of Donizetti’s sketchy heroine. Her mad scene is beautifully judged, full of nuance and changes of pace – deeply disturbing rather than tragic – and her tender relationship with Alisa (superbly acted by Rachel Lloyd) is the most honest in this ghastly story.
— The Stage, October 2017
Fabulous from beginning to end. On the other hand, Lisette Oropesa as Lucia di Lammermoor in her mad scene aria, with the classic cadenza included. Weightless, magical, mesmerizing, and magnetic from start to finish. One of those rare moments when the world stops, and there's nothing but a voice on a stage. And stopping the world, nowadays, is a gift…
Fabulous from beginning to end. On the other hand, Lisette Oropesa as Lucia di Lammermoor in her mad scene aria, with the classic cadenza included. Weightless, magical, mesmerizing, and magnetic from start to finish. One of those rare moments when the world stops, and there's nothing but a voice on a stage. And stopping the world, nowadays, is a gift for which one can only be thankful.
— Platea Magazine, April 2022
Lisette Oropesa is Lucia, his sister. With a slender stature and southern appearance, she develops a noticeable stage presence from the very first moment and fascinates with her natural play. Her youthfully fresh soprano is absolutely confident in the high notes and skilled in coloratura, leaving nothing to be desired.
Lisette Oropesa is Lucia, his sister. With a slender stature and southern appearance, she develops a noticeable stage presence from the very first moment and fascinates with her natural play. Her youthfully fresh soprano is absolutely confident in the high notes and skilled in coloratura, leaving nothing to be desired.
— Online Merker, May 2022
The direction perfectly complements the characteristics of the protagonist, Lisette Oropesa, whose instrumental perfection in singing (those incredibly long trills of the cavatina, truly marvelous!) is paired with an interpreter always able to make the coloratura singing expressive. She is not a Lucia of profound tragedy like Callas or metaphysical like Sutherland, but a "normal" young woman who, overwhelmed by…
The direction perfectly complements the characteristics of the protagonist, Lisette Oropesa, whose instrumental perfection in singing (those incredibly long trills of the cavatina, truly marvelous!) is paired with an interpreter always able to make the coloratura singing expressive. She is not a Lucia of profound tragedy like Callas or metaphysical like Sutherland, but a "normal" young woman who, overwhelmed by circumstances beyond her control, retreats into a parallel world. She would need a different direction, or at least a real direction, but she still manages to define the character, and to do so in a personal way. Whether one likes it or not, Italian opera is made with the singers. And it is thanks to artists like this that the magic is renewed: two thousand people holding their breath and with their hearts in their throats in front of a girl from New Orleans in a white dress stained with blood, calling for a lover who is not there.
— Il Foglio, April 2023
Lisette Oropesa’s soprano, strong but silky, featured splendid silvery super-high notes, great coloratura and heart-melting filati, for an electrifying interpretation of Lucia. Her natural, spontaneous acting helped enliven a somewhat bratty teenager, overwhelmed by the emotional blackmail of her selfish brother Enrico, and the moral, religious obligations imposed by her mentor Raimondo. Her musical approach to Lucia had roots in…
Lisette Oropesa’s soprano, strong but silky, featured splendid silvery super-high notes, great coloratura and heart-melting filati, for an electrifying interpretation of Lucia. Her natural, spontaneous acting helped enliven a somewhat bratty teenager, overwhelmed by the emotional blackmail of her selfish brother Enrico, and the moral, religious obligations imposed by her mentor Raimondo. Her musical approach to Lucia had roots in the most solid tradition, with all the variations and “quirks” that opera lovers are accustomed to. This was a successful choice, as her vocal prowess is such to withstand the most blasphemous of comparisons.
— Bachtrack, June 2022
Famous Interpreters
The role of Lucia in Gaetano Donizetti's "Lucia di Lammermoor" was originally created by the soprano Fanny Tacchinardi-Persiani, who premiered the opera at the Teatro di San Carlo in Naples on September 26, 1835. Tacchinardi-Persiani, daughter of the famed tenor Nicola Tacchinardi, was renowned for her crystalline voice, technical prowess, and emotional expressivity, which made her an ideal choice for the demanding role of Lucia. Her creation of the role was definitive in establishing the vocal requirements and dramatic intensity necessary for the character. Known for her ability to convey the fragile mental state of Lucia, Tacchinardi-Persiani set a high standard with her nuanced portrayal, which was informed by her previous successes in bel canto roles such as Amina in Bellini's "La Sonnambula." Through her interpretation, she crafted a blueprint for the role's vocal agility and dramatic depth, focusing on the psychological unraveling of Lucia, which would influence subsequent generations of sopranos.
In the years following the premiere, several sopranos have left indelible marks on the role of Lucia, each bringing unique perspectives and interpretations. One of the most celebrated Lucias of the 20th century was Maria Callas, whose active period spanned the late 1940s to the mid-1960s. Callas's interpretation was revolutionary, marked by her dramatic intensity and vocal precision. Her 1955 recording with Tullio Serafin is often cited as a quintessential performance, capturing her ability to blend technical skill with profound emotional insight. Callas transformed Lucia into a complex character, emphasizing her vulnerability and madness with a dramatic flair that reshaped audience expectations.
Another noteworthy interpreter of Lucia was Joan Sutherland, who dominated the operatic scene from the 1950s to the 1980s. Sutherland's portrayal was celebrated for its vocal brilliance and purity of tone, earning her the nickname "La Stupenda." Her 1959 performance at the Royal Opera House, Covent Garden, catapulted her to international stardom, and her subsequent recording with Decca remains a benchmark for the role. Sutherland's approach maintained the bel canto traditions while elevating the role's vocal demands to new heights, focusing on the beauty of the line and the technical challenges, thus highlighting Lucia's ethereal and tragic nature.
About the Composer
Gaetano Donizetti, a prolific Italian composer of the bel canto era, is renowned for his ability to blend lyrical beauty with dramatic intensity, qualities that are vividly showcased in his opera "Lucia di Lammermoor." Born in 1797 in Bergamo, Donizetti rose to prominence in the fertile operatic landscape of early 19th-century Italy, following in the footsteps of Rossini and paving the way for Verdi. "Lucia di Lammermoor," premiered in 1835 at the Teatro San Carlo in Naples, was inspired by Sir Walter Scott's novel "The Bride of Lammermoor." Donizetti's choice of this romantic and tragic tale allowed him to explore themes of love, madness, and political intrigue, which resonated deeply with audiences. The opera is particularly significant for its dramatic cohesion and the famous "mad scene," where Donizetti's skillful vocal writing shines. His approach to vocal composition in "Lucia" is characterized by its demanding yet exquisite arias, which require singers to possess both technical virtuosity and emotional depth. The opera's enduring popularity is a testament to Donizetti's ability to create music that is both beautiful and profoundly expressive, cementing his legacy as a master of the bel canto tradition.
Performance Photos
April 16, 2022Michael Poehn (c) Wiener Staatsoper
April 16, 2022Michael Poehn (c) Wiener Staatsoper
Nov. 1, 2017Stephen Cummiskey (c) ROH
April 16, 2022Michael Poehn (c) Wiener Staatsoper
April 16, 2022Michael Poehn (c) Wiener Staatsoper
April 16, 2022Michael Poehn (c) Wiener Staatsoper
April 16, 2022Michael Poehn (c) Wiener Staatsoper
April 16, 2022Michael Poehn (c) Wiener Staatsoper
April 11, 2023Brescia/Amisano - Teatro alla Scala
May 26, 2022Toni Suter
May 26, 2022Toni Suter
April 11, 2023Brescia/Amisano - Teatro alla Scala
May 26, 2022Toni Suter
May 26, 2022Toni Suter
April 3, 2022Paco Amate
May 26, 2022Toni Suter
May 26, 2022Toni Suter
April 11, 2023Brescia/Amisano - Teatro alla Scala
May 26, 2022Toni Suter
May 26, 2022Toni Suter
April 11, 2023Brescia/Amisano - Teatro alla Scala
April 3, 2022Paco Amate
April 11, 2023Brescia/Amisano - Teatro alla Scala
May 26, 2022Toni Suter
June 24, 2018Javier del Real
April 11, 2023Brescia/Amisano - Teatro alla Scala
Nov. 1, 2017Stephen Cummiskey (c) ROH
April 11, 2023Brescia/Amisano - Teatro alla Scala
April 11, 2023Brescia/Amisano - Teatro alla Scala
April 11, 2023Brescia/Amisano - Teatro alla Scala
May 26, 2022Toni Suter
Nov. 1, 2017Stephen Cummiskey (c) ROH
April 11, 2023Brescia/Amisano - Teatro alla Scala
Aug. 25, 2022SF / Marco Borrelli
April 16, 2022Michael Poehn (c) Wiener Staatsoper
May 26, 2022Toni Suter
May 26, 2022Toni Suter
June 24, 2018Javier del Real
June 24, 2018Javier del Real
April 11, 2023Brescia/Amisano - Teatro alla Scala
Nov. 1, 2017Stephen Cummiskey (c) ROH
Nov. 1, 2017Stephen Cummiskey (c) ROH
April 3, 2022Paco Amate
Aug. 25, 2022SF / Marco Borrelli
Nov. 1, 2017Stephen Cummiskey (c) ROH
April 11, 2023Brescia/Amisano - Teatro alla Scala
June 24, 2018Javier del Real
April 11, 2023Brescia/Amisano - Teatro alla Scala
Aug. 25, 2022SF / Marco Borrelli
April 3, 2022Steven Harris
April 11, 2023Brescia/Amisano - Teatro alla Scala
Nov. 1, 2017Stephen Cummiskey (c) ROH
June 24, 2018Javier del Real
May 26, 2022Toni Suter
Aug. 25, 2022SF / Marco Borrelli
Nov. 1, 2017Stephen Cummiskey (c) ROH
April 11, 2023Brescia/Amisano - Teatro alla Scala
April 16, 2022Michael Poehn (c) Wiener Staatsoper
April 11, 2023Brescia/Amisano - Teatro alla Scala
April 16, 2022Michael Poehn (c) Wiener Staatsoper
Nov. 1, 2017Stephen Cummiskey (c) ROH
April 11, 2023Brescia/Amisano - Teatro alla Scala
Nov. 1, 2017Stephen Cummiskey (c) ROH
May 26, 2022Toni Suter
April 16, 2022Michael Poehn (c) Wiener Staatsoper
April 16, 2022Michael Poehn (c) Wiener Staatsoper
June 24, 2018Javier del Real
Nov. 1, 2017Stephen Cummiskey (c) ROH
April 11, 2023Brescia/Amisano - Teatro alla Scala
May 26, 2022Toni Suter
Nov. 1, 2017Stephen Cummiskey (c) ROH
April 11, 2023Brescia/Amisano - Teatro alla Scala
April 11, 2023Brescia/Amisano - Teatro alla Scala
June 24, 2018Javier del Real
Jan. 16, 2011
June 24, 2018Javier del Real
June 24, 2018Javier del Real
May 26, 2022Toni Suter
April 11, 2023Brescia/Amisano - Teatro alla Scala
April 16, 2022Michael Poehn (c) Wiener Staatsoper
June 24, 2018Javier del Real
May 26, 2022Toni Suter
Aug. 25, 2022SF / Marco Borrelli
April 16, 2022Michael Poehn (c) Wiener Staatsoper
May 26, 2022Toni Suter
April 16, 2022Michael Poehn (c) Wiener Staatsoper
June 24, 2018Javier del Real
June 24, 2018Javier del Real
May 26, 2022Toni Suter
Nov. 1, 2017Stephen Cummiskey (c) ROH
April 3, 2022Steven Harris
April 16, 2022Michael Poehn (c) Wiener Staatsoper
Performance History
Lisette has performed Lucia 47 times.