La traviata

Teatro di San Carlo Violetta Valery

Lisette returns to the Teatro di San Carlo in one of her most performed roles, Violetta in La Traviata. 

July 24, 27, 30 Teatro di San Carlo Napoli, NA

Concert

Cap Rocat Festival Soprano

Lisette debuts in Mallorca at the Cap Rocat Festival with the Symphony Orchestra of the Balearic Islands. 

August 04 Hotel Cap Rocat Illes Balears, ES

Hamlet

Salzburger Festspiele Ophélie

Lisette returns to the Salzburger Festspiele to perform one of her most iconic roles, Ophélie in Ambroise Thomas' Hamlet. This will be performed in Concert. 

August 16, 19 Felsenreitschule Salzburg, AT

La traviata

Wiener Staatsoper Violetta Valery

Lisette returns to the Wiener Staatsoper to perform as Violetta Valery in the Simon Stone production of La traivata.

September 06, 09, 13, 15 Wiener Staatsoper Wien, AT

Manon

Les Arts Valencia Manon Lescaut

Les Arts opens its subscription season with a dreamlike Manon from the Paris Opera. Set in the happy and crazy twenties of the last century by the emerging French director Vincent Huguet, it brings together two great opera stars, Lisette Oropesa and Charles Castronovo, under the baton of James Gaffigan.

October 03, 06, 09, 12, 15 Palau de les Arts Reina Sofia Valencia, ES

Metropolitan Opera - On the Run

Interview

Lisette is interviewed by the Metropolitan Opera during their Asian tour while running around Osaka, Japan

Lisette Oropesa, in her debut in the role, sings beautifully and interprets splendidly: high notes, ornamentations, trills, facial expressions, and "scenic speech." Nothing is missing. The icing on the cake is an "Ah, non credea mirarti" and "Ah non giunge uman pensiero" from the anthology. Despite a highly inconsistent direction, Oropesa still manages to be magnetic on stage and to captivate the audience's attention. It's just a pity that the staging of the great final aria was not enhanced: a different directorial approach could have led to an even more powerful cathartic effect. For her, there are open applause and resonant final ovations. In short, the love story between Lisette Oropesa and the Teatro dell'Opera di Roma continues, which began in 2016 with a magnificent Rigoletto.

—  Michelangelo Pecoraro  •  Opera Click

Bel canto is the pinnacle of classical singing styles, and Lisette Oropesa has been its reigning queen among sopranos for several years. The American soprano with Cuban roots masters everything a singer must be able to do here: sparkling runs, clean leaps, trills, rapid embellishments, in various articulations. Yet, none of it sounds technical or mechanical with her, because the fundamental tone of her soprano is warm, with a lyrical and soft core that, always veiled by a gentle shadow, has a high recognition value. Just as in ballet, in bel canto, the artificial must appear natural, the acrobatic must express the human—a balancing act that Oropesa masters so confidently that she is in demand for equally unusual and demanding roles even in the homeland of bel canto, in Italy.

—  Michael Stallknecht  •  Süddeutsche Zeitung

Individually, Oropesa played her best cards in the aria from Masnadieri (an opera with which she had made her successful debut in the Piermarini hall), as well as in the Jewel Song from Faust, where she showcased all her virtuosic suppleness and her rock-solid trills. She then earned the greatest acclaim in the poignant “Robert, toi que j’aime” from Meyerbeer’s Robert le Diable, masterfully rendered with a smoothness of emission, a creativity in half-voices and pianissimos, and a spectacular cadenza that was truly superlative for its instrumental daring and precision.

—  Davide Annachini  •  DelTeatro

For her part, Lisette Oropesa, not so well-known among the Liceu audience but who left a significant mark in her two previous performances with Händel and Verdi, demonstrated once again the quality and range of an instrument that projects with insulting ease, of exquisite technique, and the wide repertoire that she covers, with a very meritorious zarzuela romance "Madre de mis amores" by Monte Carmelo de Federico Moreno Torroba, an extraordinary "Je veux vivre" from Gounod's Roméo et Juliette, and a careful and fun scene from L'elisir d'amore alongside Camarena; it is to be hoped that the American soprano, whose great-grandmother was from Barcelona, can soon return to the Liceu.

—  Fernando Sans Rivière  •  Opera Actual

With her lively and radiant lyric coloratura and formidable acting skills, Oropesa responded deftly to both the character and situation, sensitively conveying Lucilla’s confusion as well as her tenderness.

Displaying extraordinary expressiveness, flexibility, and richness of color, Oropesa created a refined and deeply emotional interpretation of the scena. Singing with intensity and a rich, warm tone that perfectly supported the dramatic situation, she gracefully voiced the long legato lines and effortlessly negotiated the coloratura runs and trills. 

—  Susan Stempleski  •  Bachtrack