La traviata

Teatro Real Violetta Valéry

After Lisette's smashing success in Lucia di Lammermoor at the Teatro Real in Madrid, she returns to star as Violetta Valéry in Verdi's, La Traviata along with Ivan Magri and Artur Rucinski.

May 10, 13, 16, 21, 24 Teatro Real Madrid, ES

Carmina Burana

Philharmonie de Paris Soprano

A tribute to gambling, drink and the pleasures of the flesh, the Carmina Burana, Carl Orff’s most famous work, was based on pagan texts written in Latin, French and German, inspired by the fleeting nature of life and the fickleness of fate.

June 10, 11 Paris Philharmonic Paris, Fr

Die Entführung aus dem Serail

Glyndebourne Konstanze

Abducted by pirates, Konstanze and her maid Blonde have been sold into pasha selim’s harem. With the help of their lovers the two women plot their escape. But when their plans are betrayed and punishment looms, help comes from an unlikely quarter.

July 16, 21, 24, 31 Glyndebourne Lewes, UK

Interview - RFI en Español

Interview

Thank you to RFI en Español for interviewing me today about our Barber of Seville in Paris!

Lisette is interviewed in Toute la Culture

Interview

Thank you to Denis Peyrat for interviewing me in Toute la Culture for my performances as Rosina in Il Barbiere di Siviglia!

C’est une nouvelle prise de rôle pour vous : comment abordez-vous ce personnage? Comme je vous l’ai dit, c’est une teenager des années 90 ; mais elle est très forte. Elle n’est pas fleur bleue ou soumise, elle est plutôt punk ou rock ‘n’ roll. Ce n’est pas une femme fragile. Vocalement, le rôle est un petit peu bas pour moi. C’est écrit pour une mezzo-soprano et dans les duos c’est toujours le Comte qui fait les aigus. Je vais chanter le premier air UNA VOCE POCO FA dans la tonalité originale en mi. Le deuxième air, celui de la leçon de chant, en revanche je vais le chanter dans une autre version pour soprano. Il est écrit à l’origine en ré et je vais le chanter en fa. Il y a aussi dans les ensembles finaux quelques échanges de notes avec le rôle de Berta. Avec ces quelques aménagements, cela va aller très bien. J’ai travaillé beaucoup sur la recherche des couleurs de voix que je vais utiliser.

Opéra Magazine - Cover Story

Interview

The February issue of Opéra Magazine is now out! I am so grateful to be this month's cover! In the magazine, I talk a little bit about Rosina at the Opéra national de Paris, future roles and my love for French music. 🥰

Votre biographie mentionne que vous avez couru six marathons… Une représentation d’opéra demande-t-elle autant d’endurance ? À tous égards ! Et, plus particulièrement, la production d’Il barbiere di Siviglia à l’Opéra Bastille. S’il n’est pas indispensable d’être une marathonienne, il faut certainement être en bonne forme physique pour pouvoir monter et descendre tous ces escaliers… Le décor tourne constamment sur lui-même, et nous devons tous bouger autour, comme des mouches dans un bocal ! Je n’ai pas repris Rosina depuis mes années d’études, mais j’en garde beaucoup de souvenirs. Cette mise en scène de Damiano Michieletto ne compte assurément pas parmi les plus faciles dans lesquelles j’ai chanté, mais elle est très amusante, et je l’apprécie.

Lisette Oropesa on the cover of InRegister Magazine

Interview

Thank you so much to InRegister Magazine for having me as your cover story this month! I am very grateful for the support and the love!⁣ ⁣⁣ ⁣InRegister is a lifestyle magazine based out of my hometown of Baton Rouge, Louisiana and I am so happy they reached out to me to talk about my journey as an opera singer. You can read the full article on their website!⁣

https://www.inregister.com/features/what-a-diva-lisette-oropesa

FINALIST - International Opera Awards

Announcement

I am so thrilled and honored to be among the short list of nominees for Female Singer at this year's The International Opera Awards! This is the first time I've ever been nominated for anything this distinguished and I'm extremely grateful for anyone and everyone who put my name in the running. All of this year's nominees are amazing artists as well and I'm proud to be amongst them.

Winners will be announced at the 2020 International Opera Awards on September 21st at Sadler's Wells Theatre in London!

http://www.operaawards.org/archive/2020/

Interview - Broadway World

Interview

Thank you so much to Richard Sasanow for this lovely interview in Broadway World! I really appreaciate having the chance to talk about both of my title roles at the Metropolitan Opera this year!

Iask her, "What does it like doing these two roles here this season--roles that have a lot in common but are also quite different?" "They are sister roles, sister kinds of stories," Oropesa tells me. "I think there are lots of similarities, in the things that happen to them," she continues. "They both become courtesans, both have love affairs with characters that they can't have for societal reasons. The main difference--beside the fact that Violetta is so ill from the start--is that she is a much more experienced, pessimistic person, whereas Manon is more innocent and hopeful.

Lisette Oropesa donates $25,000 to the Metropolitan Opera National Council

Announcement

The Grand Finals of the Metropolitan Opera National Council Auditions, also known as the Met Competition, took place last night at the Metropolitan Opera House in New York. The Competition is the most important Opera Competition in North America. The event was hosted by American soprano Lisette Oropesa, who was a winner herself of the Competition in 2005, and who is right now singing the lead role of Giuseppe Verdi's La Traviata at the Met. Motivated by a feeling of deep gratitude towards the competition that launched her singing career, Oropesa decided to donate 25,000 dollars to increase the prize money that represents another bonus for the young winners.

Interview - Living the Classical Life

Interview

Click here for the video Thank you so much to Zsolt Bognár of Living the Classical Life for chatting with me last October about my (then) upcoming performances of Manon and La traviata at The Metropolitan Opera! I would definitely say this isn't your typical interview and is much more of a long format version. 👏

One of the highlights of the 2019-2020 edition of the Gstaad New Year Music Festival was the recital of the American soprano Lisette Oropesa.In rehearsal in Paris for Le Barbier de Seville, the singer did not hesitate to make a quick return trip to Gstaad, despite the strikes in France and their batch of trains canceled, to offer a memorable evening.The program was particularly varied and eclectic, alternating opera arias and lieder, in four different languages.Unmistakable charisma, clear and luminous voice, ample and majestic, healthy and homogeneous over the whole range, with brilliant treble and perfectly assured vocalizations, Lisette Oropesa has everything to make a good career, and besides the biggest scenes are l 'tear.In Gstaad, she was especially able to highlight her musicality, her impeccable diction,whatever the language sung, and its sense of expressiveness, playing on each word, each sentence, each inflection of the score, whether in melancholy and sad compositions or in flamboyant and brilliant pages.She was accompanied on the piano with finesse and tact by Natalia Morozova, a follower of Gstaad since she has been performing there for ten years.

—  Claudio Poloni  •  Concerto Net

The Star of the Show American lirico-leggera soprano Lisette Oropesa took on the role of Rosina. She is well-loved by the Parisian audience, as she has stepped into the role of Marguerite di Valois in “les Hugenots” on very short notice last season and then stepped in as well into “L’Elisir d’amore,” combining rehearsals for the Donizetti work while performing the Meyerbeer opera at the Bastille.

All the admiration she received on this particular night was well-deserved. Her timbre is dark, round, and completely even throughout her register. She tops off this combination with amazing, ringing high notes.

She surprisingly sang the famed aria “Una voce poco Fa” in the mezzo-soprano key ( the aria is published in two different keys, with the soprano version one semi-tone higher) delivering sonorous low B naturals and C sharps. Her coloratura technique is depurated and immaculate, as well as her staccato notes and all the high interpolated high notes; it must be said that she was very cautious with variations, maintaining most of the original written lines.

Oropesa was the true success of the evening, and she received a well-deserved long ovation at the curtain call.

—  Mauricio Villa  •  Opera Wire

There’s a melancholy feeling that very occasionally accompanies the greatest performances. Tangled up in the thrill of witnessing a historic interpretation of an iconic work comes the sad realization that you may never encounter its equal.

The Metropolitan Opera has seen a number of superb sopranos appear as Violetta Valéry in the past decade: Diana Damrau, Natalie Dessay, Sonya Yoncheva, and Angelina Gheorghiu are just a handful of the most recent leading artists to make a mark in La Traviata’s touchstone role.

The sensational performance that Lisette Oropesa gave on Wednesday night in her role debut at the Met deserves to be counted in the very first rank.

Oropesa brings a voice ideally suited to the role: direct and lively, bright yet round, so focused you can almost see it as it pierces through the air of the auditorium and slams into the back wall. Yet even with its power and laser clarity, her soprano never feels aggressive, as she wields her instrument with musical sensitivity and classic elegance.

—  Eric C. Simpson  •  New York Classical Review