đ Fall Newsletter đTeatro alla Scala, Gran Theatre del Liceu  Welcome to my Fall 2020 Newsletter!  Once again, this is going to be a season of cancellations and I know that we are all trying our best to hold each other close.  I do have some positive things to share, anyway, and I do want to remember the important things always, like the gratitude that I have for my health, my family, and my supportive and loving friends.   Lucia di Lammermoor, which was to open the season at Teatro alla Scala, was sadly canceled...but the theatre has put together all their resources and determination to have a concert performance for the 7th of December.  So I am looking forward to joining my colleagues in a very special gala that will be broadcast around the world, even though the theatre will sadly be empty.  Then I have added some Traviata performances to my calendar this December at the Gran Teatre del Liceu in Barcelona.  Iâm delighted to be asked to return on short notice, as Barcelona is a city that I love dearly.  Finally, I hope to ring in the New Year with my first ever New Yearâs Eve concert (actually there are 3 planned performances!) with the Dresden Philharmonie.  Shortly after, in early January, I hope to sing a concert of HĂ€ndel and Mozart, for the Grandes Voix Concert series in Paris.   |
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Upcoming Performances La traviataGran Teatre del Liceu Violetta Valéry La traviata stands out for its realistic approach: the story of Violetta, on her deathbed, evoking a flashback to her life as a courtesan. An exaltation to life and human virtues such as generosity, compassion, and sacrifice for others, who are frustrated by the relentless judgment of a class society, where Alfredo is the stereotype of the ardent obsessive lover. December 10, 15, 19, 27 Gran Theatre del Liceu Barcelona, ES  New Years Eve GalaDresdner Philharmonie Soprano Lisette sings experts from La Traviata, Rigoletto, and La Bohéme in a concert with the Dresdner Philharmonie in a series of New Year's Eve concerts. December 30, 31, 01 Kulturpalast Dresden, GE  Les Grandes VoixTheatre des Champs-Elysees Role The Théùtre des Champs Elysées will be hosting a concert of Handel and Mozart aias and duo's with Lisette Oropesa and Aya Wakizono. Handel: Extracts from Guilio Cesare, Rodelinda and Serse Mozart: Extracts from Zaide Ergo interest...Quaere superna, K.143 Extracts from "Vesperae solennes de confessore" and "Mass in C Minor" January 11 Théùtre des Champs Elysées Paris, FR |
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FeaturesInterviewsInterview  This quarter, Lisette had the gracious opportunity to be interviewed by many magazines and publications. Check out the list here! Interview - El Diario (Spanish) Interview - NATS (English) Interview - El Mundo (Spanish) Interview - Roundtable with Marina Rebeka, Lisette Oropesa, Michael Fabiano, Matthew Polenzani (English) Feature - iO Donna Magazine (Italian) Interview - Corriere della Sera (Italian) Interview - Bachtrack (English) Interview - Irish Times (English) Interview - Online Merker (German) Interview - Corriere della Sera (Italian) âYou get a zone which youâre supposed to stay in,â Oropesa explains, âbut within that zone, you could do what you wanted. The whole stage was chequered, like a chessboard. I watched the production twice. I watched the stream with Marina Rebeka, then I saw Ruth Iniesta in the theatre. I wanted to see what it was like from an audience perspective. You're watching something of a tennis match, itâs hard to connect whoâs speaking to whom. At first glance, it looks like a concert performance â everyoneâs in a tuxedo or a gown â but then, as the evening progresses, you see more of a staging, more drama once youâre out of the party scenes. I saw there was more freedom than Iâd thought. Lisette performs a 'bis' of "Addio del passato" at the Teatro RealAnnouncement  Last night, at the Teatro Real, Lisette performed a bis of "addio del passato", the third act aria of La traviata. One of the very few people to perform a bis, Lisette is also the first woman to encore an aria at the Teatro Real. The last time that Lisette performed at the Teatro Real, she also performed a bis of the sextet of Lucia during their first live broadcast of the opera. Lisette Oropesa signs an exclusive 5 year contract with San Francisco Classical Recording CompanyAnnouncement After more than a decade of acclaimed performances on the worldâs leading operatic stages, soprano Lisette Oropesa signs a 5-year deal with the San Francisco Classical Recording Company (SFCRC.) Topping the list of projects to be released exclusively under the PENTATONE label, is her solo album debut: a recording of Mozart Concert Arias with the orchestral ensemble Il pomo dâoro, conducted by Antonello Manacorda. Opera October Live streamsAnnouncement  We have a plethora of live streams this month and three of them have never been broadcast before! Lisette Oropesa triumphs in her debut at the Wiener Staatsoper as Konstanze in EntfĂŒhrungReview Roundup  The reviews are in! Let them speak for Lisette's debut at the Wiener Staatsoper as Konstanze in Vienna, Austria! |
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But if this particular performance is memorable, it is because of the magnificent performance by Lisette Oropesa. The memories of her Lucia from last summer still alive in this very place, the American soprano (and now Spanish nationalized) offers a dramatically overwhelming and vocally very own portrait of the protagonist. If we look at the clichĂ© of Violeta's three voices - light, lyrical and dramatic - Oropesa is situated in the initial part of the triad, and there he remained throughout the performance. She solved with ease and comfort the agility of the first act while showing us a timbre that, without being very rich in harmonics, seduced us by brightness and homogeneity. A beautiful legato song and a very careful diction - every word was understood,each inflection in each syllable - demonstrated during the second act the technical quality of this artist. And in the final part, the lightness of her instrument managed to outline a delicate violet, fragile to the point of breaking at any moment. The masterful mastery of pianissimo and dynamics presided over the final part, shattering the myth that a more bodied voice is essential for the outcome, and leaving the unforgettable memory of an âOr tutto finĂŹâ issued as an exquisite and eternal floating row. . - Juan JosĂ© Freijo  âąÂ  Bachtrack
As we said, the vocal sector was extraordinary, starting with Lisette Oropesa. The soprano highlighted the grace of her voice, the technical cleanliness, the sparkle of a springy and bright song. He opened the evening with âBel radius flatteringâ by Semiramide, painted with elegant variations and continued with the cavatina by Rosina del Barbiere (âUna voce poco faâ), light and lively, in full correspondence with the artist's temperament. - Francesco Lodola  âąÂ  Ieri Oggi Domaini Opera
There was something deeply affecting in hearing the chorus singing once more in the theater as Oropesa caught the eye and ear during Amina's engrossing final scene from La sonnambula (The Sleepwalker) with more than just a little help from Felipe Manu's cameo as Elvino. (Manu is a promising New Zealand-Tongan tenor and currently on the Jette Parker program.) There are wondrous qualities in Oropesa's singing and her voice has such bloom and (if she will forgive me) you could see her diaphragm working overtime to provide secure support and allow her to send Bellini's phrases soaring. Oropesa clearly had a particularly sensitive understanding of nuance in the combination of notes and words she was singing. - Jim Pritchard  âąÂ  Seen and Heard International
And Konstanze the star that shone everything.Anyone who met Lisette Oropesa at the Met (in the cinema) as such emphatic Manon von Massenet as one would never have expected from someone who was largely unknown at the time, was not surprised - and yet: a constance with a dark glow Soprano and attacking, performing coloratura are sung and designed so passionately, you don't experience it every day. - Renate Wagner âąÂ Online marker
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Reflections Niebl Mirella, The Unexpected, 2013 (source) This period has taught me a lot, but there is so much I have yet to learn. Â I am trying to be more flexible, accepting, and not punishing myself for struggling. Â Itâs a struggle, whether you are singing or not during this pandemic, to find the motivation to pull yourself together and desperately try to bring much-needed music and joy, whether on a stage or virtually, to people all around the world who so very much want to enjoy it. Â I know that our calling as performers is sacred, and theatres may be shut down, but Iâm not. Â And I believe that the care and effort that goes into any craft comes from the heart, from a place of wanting to give, wanting to create, and wanting to make the world a better place. Â And we want our work to be appreciated. Â We are not just entertainers. Â We provide solace, comfort, escape, and so many other important things. Â I believe the arts now more than ever, are really pulling us through, and it makes me feel so much joy to know that there are so many people out there who are moved by the work we artists do. Thank you for your support during this time! Â It means everything. |
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