Norina in Don Pasquale

Lisette Oropesa's portrayal of Norina in Donizetti's opera has been universally acclaimed across multiple reviews, highlighting her exceptional talent and unique interpretative skills. Common themes in the reviews emphasize her superb vocal ability, particularly her command over the coloratura passages, which she executes with precision and expressive dynamism. Her voice, described as having a sweet, fast vibrato, is noted for its clarity and ability to convey a wide range of emotions, making her performances stand out significantly. Critics have praised her technical prowess, especially her ability to accelerate into runs and shape dynamics seamlessly, leading to an exhilarating crescendo at high notes, which has left a lasting impression on audiences.

Beyond her vocal mastery, Oropesa's dramatic interpretation of Norina adds layers to her performance, making her portrayal notable. Reviewers have commended her acting skills, describing her as hilarious and endearing, with impeccable comedic timing that elevates the character's wit and charm. Her ability to embody Norina's cunning and playful nature is evident, as she skillfully balances the character's flirtatiousness with a deeper, more calculated ambition, using her looks and intellect to navigate social and financial landscapes. This multi-dimensional portrayal enriches the narrative and engages the audience, highlighting Oropesa's versatility as both a singer and an actress.

In summary, Lisette Oropesa's interpretation of Norina is celebrated for its vocal excellence and dramatic depth, combining technical precision with an engaging stage presence. Her performances have been described as revelations, setting a high standard for the role and leaving a memorable impact on both audiences and critics alike. Through her artistry, Oropesa not only meets the demanding bel canto requirements but also reinvents the character with a fresh, compelling perspective.

Lisette has been reviewed 9 times in this role.

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  • Lisette Oropesa and Joshua Hopkins at
  • Lisette Oropesa, Joshua Hopkins, Kevin Glavin and Javier Abreu at
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  • Lisette Oropesa, Joshua Hopkins and Kevin Glavin at
  • Lisette Oropesa and Javier Abreu at
  • Lisette Oropesa, Andrey Zhilikhovsky at
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    Role Information

    • Composer: G. Donizetti
    • Opera: Don Pasquale
    • Performances: 18
    • Reviews: 9
    • Venues: 2
    • Organizations: 2
    • Years: 2017 - 2019

    • There are some voices in opera that are so sublimely expressive that they stand out like a Michelangelo fresco in a black and white film. Pittsburgh Opera’s season finale production of Donizetti’s “Don Pasquale” features such a voice. Soprano Lisette Oropesa, no stranger to the Benedum Center stage, was recently granted the prestigious Richard Tucker Award, granted annually to an…

      There are some voices in opera that are so sublimely expressive that they stand out like a Michelangelo fresco in a black and white film. Pittsburgh Opera’s season finale production of Donizetti’s “Don Pasquale” features such a voice.

      Soprano Lisette Oropesa, no stranger to the Benedum Center stage, was recently granted the prestigious Richard Tucker Award, granted annually to an American singer on the precipice of a dazzling career. Her performance on Saturday showcased impeccable clarity of tone and articulation coupled with exquisite lyricism.

      Ms. Oropesa, for her part, was enchanting, moving swiftly from coquettish to incendiary as the plot to humble Pasquale coalesces. With her rising prestige confirmed by the Richard Tucker Award (other winners include Renee Fleming and Joyce DiDonato), Ms. Oropesa’s career is likely poised to blossom in the coming seasons.

      Pittsburgh Opera

      Pittsburgh Post Gazette, April 2019

    • Whilst every singer was good in their part, Lisette Oropesa who played Norina was nothing short of a revelation. It wasn’t just her singing that stole the show but her acting abilities, her last laugh instead of being sung, coming out as a snort, her actions, every movement that Oropesa made on that stage was exactly the right one to…

      Whilst every singer was good in their part, Lisette Oropesa who played Norina was nothing short of a revelation. It wasn’t just her singing that stole the show but her acting abilities, her last laugh instead of being sung, coming out as a snort, her actions, every movement that Oropesa made on that stage was exactly the right one to make and I am not surprised that at the curtain call it was her who made the building cheer, stomp and clap louder than for anyone else.

      Glyndebourne

      The Stuart Review, August 2017

    • Vocally, Oropesa was well ahead of the pack. Her command of phrasing of the coloratura is exceptional: she can accelerate into a run and shape the dynamic as she leads up to a high note which she duly nails in the middle, with no vibrato needed to mask any possible inaccuracy. The timbre is always perfectly smooth and controlled –…

      Vocally, Oropesa was well ahead of the pack. Her command of phrasing of the coloratura is exceptional: she can accelerate into a run and shape the dynamic as she leads up to a high note which she duly nails in the middle, with no vibrato needed to mask any possible inaccuracy. The timbre is always perfectly smooth and controlled – even when executing complex runs and complex acting moves – and there’s plenty of power to ensure that she’s being heard above the orchestra. Oropesa’s voice had something of a hard edge, but that may well have been a deliberate point of characterisation: in the one scene in which Norina genuinely softens, her love scene with Ernesto, her voice acquired a sweetness that was notably absent for much of the evening. It was a properly starry prima donna performance.

      Glyndebourne

      Bachtrack, July 2017

    • Oropesa doesn’t have a huge voice but it’s a carefully placed one that sits absolutely securely but lightly on the roulades. This was a prima donna performance in every sense, and the foot-stamping accolades Oropesa received were totally deserved. At first there was a slightly hard edge to the tone - perhaps it was intended to reflect Norina’s flintiness -…

      Oropesa doesn’t have a huge voice but it’s a carefully placed one that sits absolutely securely but lightly on the roulades. This was a prima donna performance in every sense, and the foot-stamping accolades Oropesa received were totally deserved. At first there was a slightly hard edge to the tone - perhaps it was intended to reflect Norina’s flintiness - but in her Act 1 duet with Malatesta, and during her raging assault on Pasquale in the final act, Oropesa’s accuracy and ease were notable.

      Glyndebourne

      Opera Today, July 2017

    • Norina (Lisette Oropesa) dozes at her writing desk. Did her husband die of natural causes? It seems unlikely. All greed, wit and wide, sexy eyes, with a sweet, fast vibrato, trills as neat as pinking shears and a prodigious appetite for the texture and flavour of the Italian language, Oropesa holds the performance.

      Norina (Lisette Oropesa) dozes at her writing desk. Did her husband die of natural causes? It seems unlikely. All greed, wit and wide, sexy eyes, with a sweet, fast vibrato, trills as neat as pinking shears and a prodigious appetite for the texture and flavour of the Italian language, Oropesa holds the performance.

      Glyndebourne

      The Times, July 2017

    • Lisette Oropesa is the production’s Norina. She delivered exactly what was expected; perhaps the finest performance of a soprano heard in the Benedum since the last time she was here. She knows how to modulate her large, brilliant voice to the requirements of the part without slighting the role in any way, and acts with a comic flair equal to…

      Lisette Oropesa is the production’s Norina. She delivered exactly what was expected; perhaps the finest performance of a soprano heard in the Benedum since the last time she was here. She knows how to modulate her large, brilliant voice to the requirements of the part without slighting the role in any way, and acts with a comic flair equal to the dramatic intensity which has been winning her increasingly glowing acclaim in heavier roles. She has astonishing control of a pitch-perfect trill which she can sustain almost to the length of the train on one of the gowns she wore last night – and that flounce stretched half the width of the stage, turned a corner in the wings and came back on again. Her every tone, every gesture, were operatic magic at its best.

      Pittsburgh Opera

      PGH in the Round, April 2019

    • How do you brew a great opera experience?  Mixing Donizetti and Oropesa is a great start.  Operas are not a one-person show, ever.  They are the result of many talented, dedicated contributors.  So, I feel guilty raving about one team member in particular, but I am going to rave about Lisette Oropesa, right now, right up front for everybody to…

      How do you brew a great opera experience?  Mixing Donizetti and Oropesa is a great start.  Operas are not a one-person show, ever.  They are the result of many talented, dedicated contributors.  So, I feel guilty raving about one team member in particular, but I am going to rave about Lisette Oropesa, right now, right up front for everybody to see.  She is already a veteran of the Metropolitan Opera and has spent the last couple of years perfecting her craft working in Europe. I previously saw her perform live in 2016 at the Kennedy Center and was impressed.  She recently won the Richard Tucker Award, the top opera award.  When she appeared for the first time Saturday night in Pittsburgh Opera’s Don Pasquale, the impact was even greater than the change from black/white scenery to color suggested; like a light bulb, the life in the performance came on, Donizetti meets star power.  There were other excellent performances and other important good stuff to talk about, but let’s get the ‘why you must not miss this performance’ out of the way up front.  Pittsburgh, go see and hear Lisette Oropesa while you can.

      Pittsburgh Opera

      OperaGene, April 2019

    • ...Lisette Oropesa's show-stealing Norina. The Cuban-American soprano was equal to all her character's skittish bel canto demands. Hilarious, endearing and blest with immaculate timing, she made the cruel challenges of her Act 1 cavatina seem like throwaway lines and single-handedly gave the evening its class.

      ...Lisette Oropesa's show-stealing Norina.

      The Cuban-American soprano was equal to all her character's skittish bel canto demands. Hilarious, endearing and blest with immaculate timing, she made the cruel challenges of her Act 1 cavatina seem like throwaway lines and single-handedly gave the evening its class.

      Glyndebourne

      What's on Stage, July 2017

    • The stand out performance of the evening was Lisette Oropesa in the role of Norina. Her Norina was a cool customer, ready to use her looks in order to secure financial stability and social respectability and with a contemptuous attitude towards the elderly Pasquale. Her handling of Donizetti’s vocal fireworks and coloratura was absolutely outstanding. The decorative vocal lines flowed…

      The stand out performance of the evening was Lisette Oropesa in the role of Norina. Her Norina was a cool customer, ready to use her looks in order to secure financial stability and social respectability and with a contemptuous attitude towards the elderly Pasquale. Her handling of Donizetti’s vocal fireworks and coloratura was absolutely outstanding. The decorative vocal lines flowed with a mellifluous ease and she brought wonderful tone colouring to the vocal line and thrilling top notes.

      Glyndebourne

      Seen and Heard International, July 2017

    Famous Interpreters

    The role of Norina in Gaetano Donizetti's "Don Pasquale" was first brought to life by the Italian soprano Giulia Grisi at the opera's premiere on January 3, 1843, at the Théâtre-Italien in Paris. Grisi was renowned for her charismatic stage presence and vocal agility, which made her interpretation of Norina both definitive and enduring. Born in Milan in 1811, Grisi came from a family of musicians and quickly rose to prominence in the operatic world. Her collaboration with Donizetti was significant, as she also created the role of Adelia in his opera "Adelia." Grisi's portrayal of Norina was marked by her ability to seamlessly blend the comedic and romantic elements of the character, establishing a standard for both vocal dexterity and dramatic wit. Her interpretation set a high bar for future sopranos, with her clear articulation and expressive phrasing forming the blueprint for the role's performance tradition.

    In the years following Grisi's premiere performance, several sopranos have left an indelible mark on the role of Norina. One such interpreter was Dame Joan Sutherland, who was active from the 1950s to the 1980s. Known for her extraordinary vocal range and technical precision, Sutherland brought a sense of vocal opulence to Norina, emphasizing the bel canto purity of Donizetti's writing. Her 1963 recording of "Don Pasquale" with the Royal Opera House, conducted by Richard Bonynge, remains a benchmark for the role, with her dazzling coloratura passages and warm timbre offering a new dimension to Norina's character. Another notable interpreter was Beverly Sills, whose career peaked in the 1960s and 1970s. Sills infused Norina with a vivacious charm and a keen sense of comedic timing, bringing a modern sensibility to the role. Her 1979 performance at the New York City Opera showcased her ability to blend humor with heartfelt emotion, evolving the role into a more relatable and multi-dimensional character. These legendary sopranos each contributed uniquely to the legacy of Norina, illustrating the role's evolution from Grisi's initial portrayal, with each generation adding its own interpretive nuances to this quintessential operatic character.

    About the Composer

    Gaetano Donizetti, a prolific composer of the bel canto era, is celebrated for his extraordinary ability to blend lyrical beauty with dramatic depth. Born in Bergamo, Italy, in 1797, Donizetti's style is characterized by expressive melodies, intricate vocal lines, and a keen sense of theatricality. He composed "Don Pasquale" in 1842, during a period of personal and professional turbulence. Despite his struggles, Donizetti crafted this comic opera as a sparkling testament to his mastery of the opera buffa genre. The opera's significance lies in its brilliant fusion of humor and heart, with a sharp libretto that satirizes the follies of old age and love. Donizetti's vocal writing in "Don Pasquale" is both virtuosic and sensitive, allowing singers to showcase their technical prowess while conveying nuanced emotions. This opera remains a staple in the repertoire, adored for its effervescent charm and the composer's ingenious ability to bring characters vividly to life through music.

    Performance History

    Lisette has performed Norina 18 times.