Aux filles du désert

Aux files du désert, an album by Lisette Oropesa and Michael Borowitz


⭐️⭐️⭐️ Here it is everyone! My new Album is now available!

Digital Only (Spotify, iTunes, Bandcamp, etc)

A woman’s love is like a desert. Aux filles du désert comes from one of the most moving lines in Bizet’s song “Adieux de l’hôtesse arabe.” This song is about an Arabic woman, who has spent a bit of time with a man who was a wandering traveler, and passed through her harem. I feel so much sadness, longing, and bitterness in the text of her goodbye to him; it feels as though she is trapped and her love for him was a temporary escape, and she very much wanted him to stay in this exotic place…a place where he could have been served, cared for, and loved. For him at least, this would have been a luxury, though for her it is more likely a place of sacrifice and servitude. She tells him to never forget the daughters of the desert, the sweet voiced sisters who dance barefoot on the dunes. The way this poem is set by Bizet is masterful, and I can picture the very place in my mind whenever I sing it.

This recital was performed first in Arizona, and the setting is the American version of what Bizet's specific place might have been. To me every desert is magical. There is a sense of isolation, of great power, of extremes…and often that’s what I feel in performance; a great energy, extreme emotions, and beautiful musical landscapes. The desert may call to mind a place of scarcity, but to me it is the total opposite…it is a place of wonder and richness. A woman’s love is like a desert. All of these songs are about the depth of a woman’s love, and they are all mini landscapes, rich and beautiful, and full of wonder.

Lisette Oropesa in Orfeo ed Euridice (Credit: Ken Howard)

Talking Euridice with LA Opera


I had a great chat with LA Opera about my upcoming performance of Orfeo ed Euridice

“These two roles couldn’t be more different,” Oropesa told LA Opera earlier this month. “Gilda pretty much sits an octave higher [than Eurydice] the whole time. And she has a very different journey than Eurydice. Gilda is a more rounded out character, and the story is more dramatic and intense. Orpheus is about an emotional process that is very intimate, and Rigoletto is more about a series of events that causes a tragedy, rather than beginning with one.”

Read the rest on LA Opera's blog!

Lisette Oropesa in Tucson Arizona

Q&A with Seen and Heard International


Seen and Heard International was very kind to ask me a few questions for their new series of interviews that they are starting. Of course, I was very happy to oblige!

Here's a snippet:

How do you expect you voice to change as years pass?

I hope that with careful planning and good technique and healthy habits, my voice can last many more years. But you never really know. Anything can have an effect on your voice and its colours. I hope to grow into my lyric sound but don’t think I’ll be singing Aida any time soon!

What roles are you hoping to be invited to sing in future that you do not sing now?

I do hope to stick to the lyric coloratura repertoire for as long as I’m able. I’d like to have the opportunity to sing Sonnambula and Puritani, as well as a few other Bellini roles before I can’t do them anymore! There are a few French roles as well, such as Juliette and Manon.

Adieux de l'hôtesse arabe - Georges Bizet

Adieux de l'hôtesse arabe - Georges Bizet


In addition to recording tracks for my Tucson Desert Song Festival recital, I also made a music video of Adieux de l'hôtesse arabe from Georges Bizet! Michael Borowitz accompanies on the piano.

Lisette Oropesa interviewed on Classic Talk TV Interview


Dennis Giaque and Bing Yang were very kind to interview me for their program, With the format of the interview, we were able to get into a very good, long discussion about opera, colleagues, my history as a singer, etc. 

Watch the full interview below!