Lisette Oropesa tackles the role originally designed for Jenny Lind (whose bicentennial will undoubtedly be commemorated next year in Sweden). This single female character is the most caring of all. The Amalia of Oropesa has not only the heart on the hand, but also its breathing and palpitations, which become practically physical in a way that evokes the audible breath of a Violetta or Gilda. Oropesa knows how to make the most of vocal writing: the more his coloratura and his impeccable jumps between the registers rise to the stratospheric levels, the more his warm and melancholy tone becomes more beautiful and more secure. When she learns that Carlo is alive, she makes a sudden change of intention, touching the madness, which offers an irresistible moment. The delighted spectators unite to reward her, her colleagues and the whole orchestra (which comes on the set) with a standing ovation.

—  Andreas Wahlberg  •  Olyrix

Born to the romantic bell-cadet, the 36-year-old lyricist demonstrated her great class: her medium-sized, well-placed, luminous voice - obviously more suited to her more moving last two acts than to her crafty requirements - her huge Roman amphitheater, her aesthetic and the good taste of her song (trillions, ornamentations) constantly reminded the early Verdi's Bell-Candid debts, the stage presence was ethereal, emotional and emotional j with correct passion doses. Athens was lucky enough to enjoy - and rightly so! - a singer who has all the backgrounds (youth, beauty, voice, stage displacement) to shine worldwide in the role of tragic partner!

—  Eutychios D. Choriatakis  •  Athinorama

Lisette Oropesa’s performance in Massenet’s opera at the Met is alone worth the price of admission.

Ms. Oropesa slips into the title role as if it were custom couture. In her first aria, “Je suis encore tout étourdie,” sung with enunciation so clear it could be transcribed, she has an innocent lightness that gives way to intoxicating joy as it becomes apparent that Manon is already too grand for her humble packaging at the start: slight frame; childish hat and ponytail; plain outfit in muted blues.

As the opera continues — with Massenet’s effervescent and eclectic score, eager to please and utterly pleasing under the baton of Maurizio Benini — Ms. Oropesa’s musicality becomes even more layered.

It can be easy to play Manon as a ruthless femme fatale, for example, as she becomes the toast of Paris, and Ms. Oropesa was suddenly big-voiced, glamorously tossing off high notes with insouciant sprezzatura. But hear also how she shrinks her sound to a stark mournfulness in “Adieu, notre petite table,” pained yet chilly as she prepares to leave des Grieux for another man’s luxury.

—  Joshua Barone  •  New York Times