I masnadieri

Bayerische Staatsoper Amalia

Lisette reprises her much acclaimed performances of Amalia in "I masnadieri" in Munich.

July 17, 20 Bayerische Staatsoper München, DE

Maria Stuarda

Salzburger Festspiele Mary Stuart

Lisette returns to the Salzburger Festspeiele as Maria Stuarda in her first staged performances there. This will be a brand new production by Ulrich Rasche with a broadcast on August 1st.

August 01, 07, 11, 16, 19, 23, 30 Großes Festspielhaus Salzburg, AT

Manon

Opernhaus Zürich Manon Lescaut

Manon desires a life of luxury. Des Grieux, a student, tries to escape his father's influence; with Manon, he hopes for a freer life. The uncompromising nature of their desires proves to be the young couple's downfall. "Manon" overnight made Jules Massenet one of France's leading opera composers of the Belle Époque. Lisette Oropesa is one of the outstanding lyric coloratura sopranos of her generation. The international career of French tenor Benjamin Bernheim began as a member of the International Opera Studio in Zurich.

September 24, 27  and  October 03, 07, 10 Opernhaus Zürich Zürich, CH

Maria Stuarda from Salzburg to be broadcast on Mezzo.tv on August 1st

Announcement

Radio France - Lisette Oropesa, reine du bel canto

Interview

Thank you so much to Radio France for featuring me on their program, Stars du Classique. 

"Lisette Oropesa triomphe sur les plus grandes scènes grâce à son timbre tout en rondeur et des suraigus lumineux : la soprano est aujourd'hui l’interprète idéale du bel canto, et elle s'impose aussi dans Verdi ou dans le répertoire français."

Maria Stuarda from Madrid was broadcast on Arte.tv on May 5th 2025

Announcement

Arte.tv will be broadcasting Maria Stuarda from the December 20th. 2024 performance at the Teatro Real. This broadcast will be availalbe for a limited time, so be sure to watch!

Finding balance on the trail with Lisette Oropesa

Interview

Last year, Lisette spoke with Nolan Kehler of Winnepeg's Classic 107 about her time in Banff teaching the students at the Banff Centre. 

Oropesa is an artist who needs to live in the moment more than most people. Constantly dashing from one city to the next with hardly a moment of rest, her life is disciplined out of a necessity to always be in peak performance readiness.  

“Singers are probably the most controlling people on earth,” Oropesa admits, while also noting that the nature of operatic performance means that singers must be okay with being out of control as well. “They say acting is reacting. Singing is also reacting. You can’t control the allergens in your environment. You can’t control the humidity, the elevation,” she adds, gesturing at the air around her.  

The Cuban-American soprano Lisette Oropesa, as the supreme sorceress, delivered a breath-taking performance. Her "Ah! mio cor" was a moment of absolute grace: voice of silk and steel, floating pianissimos like veils, sparkling coloratura, and an expressiveness that shook the soul. Her embodiment of Alcina oscillated between tragic fury and heartbreaking vulnerability, especially in "Ombre pallide", where her hallucinated dialogue with the violins sent shivers through the audience. Her final aria, "Mi restano le lagrime", capable of moving stones to tears, was the most touching moment of the evening and earned her one last ovation. —  Emmanuel Andrieu  •  Scherzo Magazine

Lisette Oropesa‘s Gilda might shimmer, but there’s density beneath the sheen. She’s not some glittering victim. She’s a girl in freefall. Her big aria “Caro nome” was as delicate as it was driven. Her second act lament broke open like a wound. There’s a Callas-like depth to her lower register that gives Gilda weight and force, even as she makes devastatingly bad decisions. When she shares the stage with Kelsey, the production’s chill lifts. Their scenes together feel like a separate opera, one where human stakes still matter. —  Michael M. Landman-karny  •  Stage and Cinema

Soprano Lisette Oropesa (alternating with Kathryn Lewek) sings Gilda with angelic clarity, capturing the character’s naive devotion and ultimate tragic strength.  Her performance evolved from innocence to maturity in a manner that felt authentic and moving. The chemistry between Oropesa and Kelsey added a compelling emotional layer to the production, making Gilda’s fate all the more tragic. Her famous aria “Caro nome” was angelic and emotionally resonant, with a purity in tone that was haunting.  Her performance sparkled with innocence, making her sacrifice during the lightning and thunderstorm-lashed finale all the more devastating. —  Pauline Adamek  •  Arts Beat LA