Finally, Lisette Oropesa delivers with a solid legato, impeccable pronunciation, and uniformity across registers, presenting long, expressive phrases imbued with palpable emotion. Notably, her entrance and concluding part resonated with the audience, who shuddered alongside her at the intensity of the moment and the gravity of such an immortal musical text.

—  Philippe Scagni  •  Olyrix

The conclusion of the first half with “Merci, jeunes amies” from *Les vêpres siciliennes* by Verdi was perhaps one of the most accomplished moments of the evening’s first half. The aria demands excellence both vocally and interpretively, and many aficionados hold the versions by legendary singers of the past as benchmarks almost unreachable for today's artists. However, Oropesa demonstrated that she is one of the best singers of our time. She skillfully conveyed the emotional ambiguity of Hélène’s character and flawlessly delivered her famous high notes, trills, and embellishments. The result completely captivated the New York audience.

—  Carlos J. López Rayward  •  Opera World

A substantial program overall, which the star soprano devours with an appetite that seems more than ever to come naturally through singing. The performer imbues every word with its full meaning and every emotion with its weight, whether evoking love, sorrow, dreams, or regret. From Andalusia, the primary theme of the recital, the artist conveys the warmth and soul—dancing and intoxicating—with a voice as expansive as the gardens of the Alcazar, and a timbre as warm and vibrant as a street in old Cádiz. There is also a radiant sun in her daring yet controlled high notes: triumphant here, almost whispered there, but always impeccably resonant. The audience revels in it, applauding after each melody this artist who, on occasion, does not hesitate to sketch a few swaying dance steps.

—  Pierre Géraudie  •  Olyrix

We greatly enjoyed the melismatic bolero by Delibes in which she showcased all kinds of scales, trills, and sustained bird-like embellishments, along with immaculate intonation. In the second half, as a bel canto artist of refined technique, the youthful soprano captured attention with the aria from Donizetti's *L'Elisir D'Amore* and especially with the challenging canzonetta "La Primavera" by Mercadante. Without a doubt, Lisette Oropesa moved with great ease in the lighter pieces, where her voice ventured with complete confidence into ethereal runs and mastery of the high register.

—  Nino Dentici  •  El Correo

In the face of this vocal torrent, Lisette Oropesa, making her debut in the role, ultimately became a luxury supporting performer. The qualities that have brought her fame also shone through in her *Maria Stuarda*: exquisite control of dynamics, flawless legato that she displayed in the "Preghiera," her comfortable high notes, and a final aria filled with sensitivity and charm. Her performance captivates, and her singing moves deeply.

—  Juan José Freijo  •  Platea Magazine

Oropesa excels in her opening page “Oh nube! che lieve per l'aria t'aggiri” and knows how to bring emotion to “Di un cor che more,” already within what Donizetti called “the aria of torment” at the end of the opera, finishing grandly with the cabaletta “Ah!, se un giorno de queste ritorte.” Security in the high register—a descending note does not detract—clarity in the emission, and emotional drive, singing yes, but also acting. I return to the beginning, in that final scene I felt an emotion I hadn't experienced in a long time, even bringing tears to my eyes. For a moment, closing my eyes, I could hear the intentions and weapons of Caballé, and when I opened them again, I could even see her on stage. Believe me, this is a great merit of Oropesa, who, by the way, now resides in Madrid with a flat in La Latina.

—  Gonzalo Aonso  •  La Razón

Finally, Lisette Oropesa triumphs in the title role. The American soprano’s timbre carries a surprising freshness, usually attributed to lighter sopranos, though the singer is not one of them: her ease of vocal projection, along with her well-grounded, beautiful low notes, makes her entirely legitimate for this role, allowing for a commanding rendition of "Nella pace del mesto riposo" and a confrontation with Elisabetta full of authority. But it is undoubtedly in the long final scene that she moves the most, notably with a prayer ("Deh! Tu di un’umile preghiera il suono") of great beauty, magnified by long high notes sung piano and pianissimo. The success Oropesa achieved with the audience showed that she walked proudly in the footsteps of Montserrat Caballé and Edita Gruberova, to name just two of her illustrious predecessors who performed on this very stage at the Teatro Real, in 1978 and 2003, respectively.

—  Stéphane Lelièvre  •  Premiere Loge Opera