La fille du régiment

Lyric Opera of Chicago Marie

Lisette makes her debut at the Lyric Opera of Chicago in one of her favorite roles, Marie in La fille du régiment. This Laurent Pelly production is beloved and together with Larry Brownlee, this will be an unmissable night at the theater!

November 04, 10, 14, 16, 19, 22, 25 Civic Opera House Chicago, IL

Recital

Clarksville Community Concert Association Soprano

Lisette will bring some of her best recital arias in a vast mix of genres and styles in this half-recital with the Clarksville Community Concert Association! A rare chance to listen to Lisette in an intimate setting in the United States! Don't miss this event which will be a fun and exciting night!

November 07 George and Sharon Mabry Concert Hall, APSU Clarksville, TN

Concert

New Orleans Opera Soprano

Lisette returns to her hometown of New Orleans to perform a concert of duets and operatic hits. In planning this concert, Lisette is continuing her commitment to the next generation of opera stars who are discovered through the Metropolitan Opera’s Laffont National Council Auditions, which was the competition that was instrumental in jumpstarting her career and “changing her life forever.”

December 01 Mahalia Jackson Theater New Orleans, LA

I Puritani

Dresdner Philharmonie Elvira

As part of a recording project, the Dresdner Philharmonie will give one live performance of this masterpiece of opera. With Larry Brownlee and Anthony Clark Evans singing the tenor and baritone parts. 

December 10 Kulturpalast Dresden, DE

2023 Gramophone Shortlist

Announcement

I am so excited to announce that our album of French Bel Canto Arias has been shortlisted by Gramophone in their 2023 Awards!

Read more about it on Gramophone's website!

The 2023 International Opera Awards Shortlist

Announcement

Very humbled and thrilled to be amongst the Opera Awards short list of those nominated for a Reader’s Choice Award, a Solo Album Award for French Bel Canto with Pentatone, and especially proud that our New Production of Il Turco in Italia at the Teatro Real was nominated as one of the best new productions of the year!

What splendid work all of our inspiring colleagues are doing this year. I’m honored of course to be amongst the nominees in these categories, and sincerely congratulate all of the incredible artists on these lists for their brilliant work. Thank you for all you bring to the world.

UNESCO

I am so honored to have performed the USA National Anthem at the ceremony for the rejoining of the USA to UNESCO. It was a great privilege and one that I will never forget. 

Forum Opera - Interview

Interview

I had a great chat with Charles Sigel at Forum Opera about bel-canto and some of my upcoming roles that I am looking forward to. It's a long interview, but one that I think you all might enjoy!

FO: What are the roles that you would like and that no one is offering you at the moment?

Lisette Oropesa: So, I already talked about Donizetti's queens for example. I think I have to stay in the world of belcanto, but I should, I would also like to do roles like Marguerite from FAUST too, maybe Thaïs in the future. There is a serious Rossini that I would like to do. This is the Siege of Corinth. It's rare, but I would love to sing it because I think the music is fantastic. But stay with the roles that are good for me, Violetta always, still do Juliette which I adore! I think Juliette was really written for me. Manon always. Lots of French roles. I love them. It may be my favorite repertoire, but I can't say that in Italy! [laughs] In Italy I have to say that belcanto is my favorite, but really, I think it's half and half, half and half. And then Handel of course Handel of course, I'm going to sing Cleopatra in Paris.

Finesse, fragility, sensitivity: three adjectives that come to mind when describing Lisette Oropesa's Lucie. The Cuban-American soprano, who took on the role in French for the first time in her career, more than seduced her audience with a taut, powerful singing line, armed with an ideal vibrato and a totally mastered coloratura art that enables her to express the feelings of a woman suffering a cruel fate at the hands of a brother greedy for vengeance and power.

—  Michel Egea  •  Concert Classic

The second performance of the Arena's TRAVIATA presented an excellent cast headed by American soprano Lisette Oropesa, who had already made her triumphant debut in Verdi's opera to dazzling success: there was no doubt that she would confirm this. It would be trite if not boring to describe her talents as a singer and actress; Oropesa was born to play the legendary role and "doomed" to bring the audience to a happy frenzy: and so it was last night. Violetta's perfect physique, disarming naturalness as an actress, voice with characteristic vibrato but well timed and endowed with a special luster, and impeccable technique were a great success; numerous open calls and endless expressions of admiration for the amazing American soprano.

—  Irina Sorokina  •  L'ape musicale

Oropesa had the audience in his pocket thanks to the communicative capacity of his voice and his phrasing. The voice has a seductive timbre, with slightly dark shades in origin that acquire brightness through an impeccable technique of placement and projection, so that when it comes out, the voice has a tremor of emotion and a range of colors that make it unmistakable. With the sound perfectly covered throughout the range, transitions between registers are virtually non-existent, the sound flows with a disarming naturalness without jumping or shifting, fully audible throughout the dynamic spectrum. With such technical tools at her service, Oropesa can confidently tackle the expressive terrain of phrasing that has elevated her to the world opera podium.

—  Andrés Moreno Mengíbar  •  Scherzo Magazine

On the opening day of La Traviata at the Roman Opera House, Lisette Oropesa, who played the heroine, showed the Japanese audience that she is the goddess of opera and the ultimate Violetta. She has a pretty appearance and looks great in Valentino's costumes, and even in the long aria of the first act, she did not lose her composure, and she did not hesitate to use her ultra-high notes to resonate bravely. Her emotional expression is rich, but the reason it never becomes tedious is probably because there is a mysterious mystique in her voice. There are singers who play this role in a verismo style and end up with a dull voice, but Oropesa's emotional expression is musical and elegant, and the high level that she aims for in her opera. No matter how much you listen to her, she has a voice that makes you want to hear more, and some of her sounds reminded me of golden-era Maria Callas recordings (even though her physique was completely different!) ). There is a faint classical elegance to it, and above all, the tragic nature of the story is conveyed in a very true manner.

—  Hisae Odajima  •  NBS