I Puritani

The Metropolitan Opera Elvira

For gorgeous melody, spellbinding coloratura, and virtuoso vocal fireworks, I Puritani has few equals. On New Year’s Eve, the curtain goes up on the first new Met production of Bellini’s final masterpiece in nearly 50 years—a striking staging by Charles Edwards, who makes his company directorial debut after many successes as a set designer. The Met has assembled a world-beating quartet of stars, conducted by Marco Armiliato, for the demanding principal roles. Soprano Lisette Oropesa and tenor Lawrence Brownlee are Elvira and Arturo, brought together by love and torn apart by the political rifts of the English Civil War, with baritone Artur Ruciński as Riccardo, betrothed to Elvira against her will, and bass-baritone Christian Van Horn as Elvira’s sympathetic uncle, Giorgio.

December 31  and  January 03, 06, 10, 15, 18 Metropolitan Opera New York, NY

Masterclass

Carnegie Hall Teacher

Lisette teaches art song at Carnegie hall in a live masterclass.

January 12 Carnegie Hall New York, NY

I masnadieri

Teatro Real Amalia

Lisette returns to the Teatro Real in Madrid to perform one of her iconic Verdi roles, Amalia in I masnadieri. 

February 10, 14 Teatro Real Madrid, ES

Recital

Swiss Made Culture Soprano

Lisette joins her longtime collaborator, Alessandro Practicò in a night of bel canto favorites in Crans Montana Switzerland.  Her program for the evening consists of arias by Rossini, Bellini, Donizetti, Meyerbeer, Mercadante and Verdi.

February 23 Chapelle St-Christophe Crans Montana, CH

La traviata

The Metropolitan Opera Violetta Valery

Lisette returns to the Metropolitan Opera as Violetta Valery. She last sang this role at the Met in 2020.

March 20, 24, 28, 31  and  April 04, 07, 10 Metropolitan Opera New York, NY

Lucia di Lammermoor selected as Gramophone Editor’s Choice album for December 2025.

Award

hank you so much to Gramophone for selecting Lucia di Lammermoor as the Editor's Choice album for December 2025. It has truly been an honor to be a part of a great recording with great colleagues! If you want a signed copy, head to my bandcamp page, there are still a few CDs remaining.  "Oropesa’s soprano has all the distinctive darkness of Callas but with the pinpoint agility of Sutherland at her peak. I’ve long thought her the most technically accomplished singer on the bel canto block, so her dazzling coloratura is entirely anticipated, but this is more than a vocal acrobatic display; it’s a complete characterisation." Read the Gramophone review here!

Lisette wins "Best Soprano" with the Amics de l’Òpera in Valencia for Manon

Award

Huge thank you to the Amics de l’opera y de les Arts de la Comunitat Valenciana and the Opera de les Arts in Valencia for awarding me Best Soprano of the 2024-25 season. It was a pleasure to sing Manon for this incredible audience!

Fauteuils d’orchestre

Media

On November 7th, 2025, Lisette was on a special episode of Fauteuils d'orchestre where she sang Quando m'en vo' from Puccini's La Bohème and talked a little bit with the cast on the stage of the Théâtre des Champs-Elysées. 

Lisette hosts the Andrea Chénier broadcast at the Metropolitan Opera

Interviews

Interview Here are a few of Lisette's interviews in the past few months: The Advocate (English) BBC3 "In Tune" (English)

In the final performance of the series, Lisette Oropesa celebrated her long-awaited house debut. The singer with Cuban roots already enjoys international star status. The justification for this was clear within minutes. Oropesa's well-guided lyric soprano, in addition to a very appealing timbre, possesses remarkable phrasing artistry. Not a syllable, nor a phrase is left to chance. The singer passionately shapes and gives Violetta a very personal, individual profile. Even if the high notes in the big aria of the first act sound a bit forced – no matter! By the time she is in her death throes, Oropesa joins the great interpreters of this role. The three main performers were celebrated ecstatically, with applause for Oropesa reaching hurricane force. —  Peter Sommeregger  •  Klassik Begeistert

Externally, Lisette Oropesa perfectly embodies the idea of the fourteen-year-old Juliette in Charles Gounod's Shakespeare adaptation "Roméo et Juliette." Lisette Oropesa wholeheartedly embraces the director's concept. Even in silent performance, she embodies a completely believable Juliette. And then she begins to sing the famous waltz: "Je veux vivre" – "I want to live." Immediately, one is captivated by this voice, the jubilant sound, the brilliance of coloratura, the brightness, and the charming timbre. Lisette Oropesa is Juliette, note by note. No wonder she captivates Roméo with her acting and vocal dedication. The evening ends in triumph for Lisette Oropesa, who hopefully will soon perform in Berlin again. —  Karin Coper  •  Klassik Magazin

It is precisely for the music and for the singing that the audience gathered, and above all to hear once again the incomparable Lisette Oropesa, a stellar singer whose Violetta is one of her signature roles. The coloratura soprano sparked enthusiasm from the audience throughout the evening, her performance is supported by a remarkable technique that allows her to flawlessly express all facets of the role: carefree joy and passionate fervor, the fragility of body and heart, illness and poverty, renunciation and moral greatness, despair and agony. The complex emotional palette of the traviata (the wayward woman) is rendered with impeccable mastery. Fully immersed in the role, the singer merges with her character whom she endows with a radiant incandescent aura that illuminates the whole dramatic lyricism. Love consumes her as much as the illness that eats away at her. Lisette Oropesa brings the radiant beauty of her voice to an interpretation of poignant emotional authenticity. The top honors go to Lisette Oropesa, who dominates the entire production and transports us to other spheres, bright and distant, whose sublime beauties transcend the abyssal world of sacrifice to which her character is exposed. —  Luc-henri Roger  •  Résonances Lyriques

Oropesa’s has an outward state that swerves from ecstasy to insanity, but with a firmly held core. Even at her most desperate, she manages to retain control, especially over her voice. This holds true regardless of whether she was primly composed in her Puritan garb or refusing for months to take off her wedding dress, a Miss Havisham in the making. Oropesa needed no time to warm up on Wednesday, entering with confidence, precision and agility. Her passaggio, the sometimes perilous transition between vocal registers, was smoothly imperceptible. In one phrase that ended with a chromatic descent, she so clearly articulated each pitch down the scale, it was like listening to someone run their fingers across the keys of a piano. —  Joshua Barone  •  New York Times