With Oropesa's commit meant to her career, the decision to go vegan seemed like an obvious next step. "I get paid to use my body, and I don't do well with not feeling well, like having my vocal chords swell because I'm eating dairy," Oropesa says. "I went vegan to get my diet to where it was the healthiest that it could be. Then I developed taste for real food in a way that I hadn't before. I had an awakening about food, and now my diet keeps me happy and level."
For someone with the slight build of a marathon runner (she is one, and apparently a very good one, too), Oropesa gives an impression of having limitless resources of vocal power, which, wisely, she managed to keep under wraps for this program while never sounding reined in. She’s a lyric soprano with the kind of seamless voice that can travel smoothly on a single vowel from the bottom of her huge range to the top, arriving pianissimo and in tune — and then sustaining it effortlessly (or so it sounded) for an apparent eternity. This, coupled with astonishingly accurate agility, made Haydn’s “Ragion Nell’alma Siede” something for the opera-lovers in the audience to revel in instead of having to hang on for dear life while hoping for a safe landing.
The evening opened with “Ragion nell’alma siede,” an aria from Haydn’s opera Il mondo della luna. It was a gutsy move, and Oropesa easily filled the smaller venue with sound. The accuracy during runs was striking, as were the highest notes, all produced with facility. Her tone turned especially limpid on the little cadenza. Pianist Vlad Iftinca, who was a consummate musical partner throughout the program, gave vitality to the long introduction to the piece.
Cast Hamlet - RÉGIS MENGUS Ophélie - LISETTE OROPESA Gertrude - STELLA GRIGORIAN Claudius - PHILIPPE ROUILLON Laërte - BENJAMIN BERNHEIM Marcellus - ALEXANDRE DIAKOFF Horatio - NICOLAS WILDI Polonius - MARCIN HABELA Ghost of the late King Hamlet - DANIEL GOLOSSOV
Conductor FABIEN GABEL
Set Designer VINCENT BOUSSARD Set Designer VINCENT LEMAIRE Costumes KATIA DUFLOT Lighting GUIDO LEVI
Chœurs de l'Opéra de Lausanne Orchestre de Chambre de Lausanne
Hi everyone! Thank you so much for all of the amazing feedback and response from my coaching yesterday. I wasn't able to answer every question during the actual facebook-live video, so I have decided to post a follow-up video for you all!
Here's the link to the previous video:
If you are looking for the answer to a specific question, here are the time-stamps are below to guide you through the video.
Alyssa Holley · 0:54 I'm a young soprano who is having issues with my breath. I collapse too quickly and I blow too much air out. Any exercises that might be helpful for me? Thank you!
Martha Meacham Dugas · 5:25 What role in Traviata did you rescue?
OC Rossini · 5:32 Can you perhaps trill in the long AH before the reprise? Your trill is so great and it would help show the ecstasy. Sills does that on her recording.
Callie Cooper · 5:54 When are you doing Violetta again?!
Paul Kentor · 6:30 What are your impressions (either of you) working with a coach/ singer of the opposite gender?
Natalia Trigo · 7:50 Is there a technical tip for the coloratura and the high F in the first Queen of the Night aria?
Leah Schweighofer · 9:42 What advice do you have for young singers who are undergraduate students?
Natalia Trigo · 11:50 Any tips for the soprano passaggio between E and G5?
Giacomo Nanni · 13:01 Did you ever study with Angela Gheorghiu? I heard your mozzafiato Gilda in Rome and I found some similarity ancora complimenti anyway
Tracie Rhesean Davis · 13:23 Healthiest/best ways to MARK?
Tamara Ivaniš · 14:48 do you vocalise every day? how do you deal with days when you are "not in a good voice"? you are amazing, thank you!
Patricia Westley · 18:18 What is the favourite role you've ever performed? And which role has been your most challenging?
Jeanne Mann · 19:46 I'm confused...I thought your teacher was Bill Schuman in NYC? DO you have two teachers? Is that common ?
Jim Politowski · 24:14 why do you seek more input now?? is it the same routine in preparing for every new performance??
Wong Jun Wen · 24:53 When is your plan to release an album? I'm really looking forward to it!
NEW YORK (AP) — The Lyric Opera of Chicago, LA Opera and Germany's Staatsoper Hamburg are collaborating with the Joffrey Ballet for the first time on a new production of Gluck's "Orphee et Eurydice" by choreographer John Neumeier.
The companies said Tuesday that Neumeier, a Milwaukee native who works mostly in Europe, will direct, design and choreograph the staging, which will open Chicago's 2017-18 season and run from Sept. 23-Oct. 15. It will be seen in Los Angeles from March 10-25, 2018, and in Hamburg from Feb. 3-19, 2019.
Harry Bicket will conduct tenor Dmitry Korchak and soprano Andriana Chuchman in Chicago, and music director James Conlon will lead tenor Maxim Mironov and soprano Lisette Oropesa in Los Angeles.
The 1774 Paris version will be used that includes the ballet music "Dance of the Furies" and "Dance of the Blessed Spirits."