Royal Opera House - Alcina

    Sep, 2022 - Nov, 2022

    OPERA + CLASSICAL MUSIC REVIEWS The Royal Opera’s new staging of Alcina beguiles, delights and is fa

    As the sorceress herself, Cuban-American soprano Lisette Oropesa made a welcome return to the House, having wowed audiences last season as a sensational Violetta in La Traviata. Here, she moulded Handel’s vocal lines with care, and invested each of her arias with a rare sense of emotion – ‘Di’, cor mio, quanto t’amai’ was infused with Mediterranean warmth, while ‘Ombre pallide’ tugged at the heartstrings. As expected, her coloratura was technically faultless throughout and she embodied Jones’ vision of the character, bold and sassy at the start, yet tinged with sadness by the close, to perfection. 

    —  Keith McDonnell  •  Music OMH

    Superb musical performances and theatrical dazzle do not quite add up to a satisfying staging of Han

    Lisetta Oropesa was a magnetic Alcina, relishing the challenges of the role. When the going got tough at the end of Act Two, she responded superbly, giving us a profoundly moving 'Ah, mio cor' and providing vivid theatrical drama in her failed invocation to the spirits. Any production of Alcina requires a title role who can cope with the technical demands and give us theatrical bravura; Oropesa did this brilliantly, whilst rocking a pair of ridiculous heels. Who was this Alcina? We never quite worked that out. She was dressed glamorously, perhaps as some sort of lounge-singer. But as a person, Oropesa made us care for her as her world fell apart.

    —  Robert Hugill  •  Planet Hugill

    A Fun Staging and Superb Performances in Alcina at the Royal Opera House, Covent Garden

    Lisette Oropesa is stunning in the title role as her gorgeous soprano proves particularly adept at capturing the fear and sorrow Alcina feels as her power wanes and forces move against her.

    —  Sam Smith  •  Opera Online

    A 'Wild, Wacky, and Frequently Witty' Alcina at Covent Garden

    Leading the cast is Lisette Oropesa as a refreshingly youthful Alcina. Her bright, supple soprano has a touch of Callas about it, and she’s especially ravishing in the upper register. The transformation from ditzy playgirl to abandoned lover is beautifully charted and she’s viscerally engaging in the ferocious “Ah! mio cor schernito sei!” and the anguished strains of “Ombre pallide.”

    —  Clive Paget  •  Musical America

    Londra, Royal Opera House – Alcina (con Lisette Oropesa)

    La compagnia di canto si dimostra complessivamente all’altezza. Su tutti domina lei, la star Lisette Oropesa che ha illuminato la serata con una prova di valore per controllo della vocalità e qualità dell’esecuzione. Nessun segno di insicurezza, nessun nervosismo legato al debutto in un ruolo chiave del repertorio barocco, un repertorio che Oropesa sta esplorando con successo e che ci auguriamo possa mantenere ed espandere con sempre più consapevolezza stilistica. Certo Alcina è storicamente associato a soprani con un certo spessore vocale (Sutherland in primis), ma non sono mancate interpreti più leggere in tempi più recenti. Oropesa ha tutta l’estensione per il ruolo, acuti e sovracuti che ci regala nelle variazioni (chissà cosa farebbe con “Tornami a vagheggiar” se l’aria venisse riaffidata al personaggio di Alcina) oltre a bei centri su cui fa leva nei recitativi o nei salti. Lega con gusto, trilla in modo fenomenale e si muove attraverso le zone del pentagramma con facilità e su fiati ben controllati. Coglie poi l’evoluzione del personaggio da maga-seduttrice a donna ferita. Le sue due arie del secondo atto rubano la scena. È dolente in “Ah, mio cor!” e spiritata ma senza effetti nevrastenici in “Ah! Ruggiero crudel…Ombre pallide”, dove tra l’altro sfoggia agilità sciorinate con grande fluidità. Scatena poi tutto il suo furore e i suoi toni vendicativi con una resa di “Ma quando tornerai” musicalmente travolgente. In “Mi restano le lagrime” Oropesa rende poi bene in musica la vulnerabilità di una donna che sa di aver perso i suoi poteri.

    —  Pietro Dall'Aglio  •  Conessi all'Opera

    Alcina, Royal Opera review - sharp stage magic, mist over the pit

    Lisette Oropesa voice has that infallible ping and reach from the start, as she wields her brand perfume...The emotional highlights – “Ah! mio cor” and “Ombre pallide” in Act Two – hit surprisingly hard.

    —  David Nice  •  The Arts Desk

    Lisette Oropesa brings star power to Alcina at the Royal Opera House — review

    American soprano Lisette Oropesa delivers the star quality here as Alcina, conjuring an insouciant sense of superiority for the glittering enchantress, and singing with a high-class, diamantine soprano that never loses its quality. The intensity of her later arias comes across at white heat.

    —  Richard Fairman  •  Financial Times

    Alcina review – witty and vibrant staging full of beastly style

    In a mostly international cast, Lisette Oropesa inhabited the title role with enormous style, her creamy tone absolutely suits the part.

    —  Martin Kettle  •  The Guardian

    Alcina at The Royal Opera House

    But the real value in this Alcina lies in the performances. Cuban-American soprano Lisette Oropesa is brilliant as Alcina, using her narcissism to her bewitch and manipulate. Oropesa has a luminescent tone, control and technique that allows her to pivot between seductiveness and the anger of in Ah! Ruggeiro crudel

    —  Adrian York  •  London Unattached

    Alcina at the Royal Opera House review: spellbinding and unmissable

    The role of Alcina is taken by the Cuban–American soprano Lisette Oropesa, whose starring roles at Covent Garden have included a highly acclaimed Violetta in La Traviata. She here embodies both the sexual allure and the emotional fragility of the character –Handel’s psychological acuity seems so modern – and her singing is no less dazzlingly brilliant, with some stratospheric decoration.

    —  Barry Millington  •  Evening Standard

    Big-hearted, quirky, fun: Richard Jones' Alcina for The Royal Opera

    When an opera has a plot as convoluted and comprehensively daft as Handel’s Alcina, one’s enjoyment depends principally on one thing: how well can the singers sell me their text? Can they take me out of the general state of battiness and transport me to a place where I truly believe the love, the rage or the fear? In the case of Lisette Oropesa, the answer is a resounding “yes”: if I were an Eskimo and Oropesa was selling fridges, I’d be at the front of the queue!

    Leaving aside Oropesa’s technical excellence, it’s the emotional investment that got me every time. Her opening aria “Di', cor mio, quanto t'amai” lifted me far away to a happy land of romance. “Ombre pallide”, the Act 2 closer, had me melting with sympathy – despite this being an evil sorceress complaining to the dark spirits about the loss of her powers.

    Oropesa sets the bar so high that you have to feel a level of sympathy for anyone sharing a stage with her

    —  David Karlin  •  Bachtrack

    Alcina review – Royal Opera’s witty and vibrant staging full of beastly style

    In a largely worldwide solid, Lisette Oropesa inhabited the title position with monumental style, her creamy tone completely fits the half. 

    —  Pehal News Team  •  Pehal News

    Alcina, Royal Opera House review

    For the cast is itself a dream. As slinky Alcina, in a desirable range of LBDs, is the superstar Cuban-American soprano Lisette Oropesa, strutting in her Laboutins as confidently as she soars and swoops through aria after aria with breathtaking ease, every note shot through with colour and personality from the big belter to the faltering whisper.Oropesa was heard last season in two Verdi roles, as innocent Gilda in Rigoletto and worldly Violetta in La Traviata. There seems to be no end to her talents.

    —  Claudia Pritchard  •  Culture Whisper

    Teatro di San Carlo - I Puritani

    Aug, 2022 - Sep, 2022

    Bellini's last monument to bel canto: I puritani in concert in Naples

    As Elvira, Oropesa was able to overcome the challenges posed by the role from the very beginning, duetting with Gianluca Buratto's Giorgio in “Sai come arde in petto mio”, thanks to a gleaming, supple soprano, crystal-clear timbre, an effortless high register and a good command of thrills. She proved – contrary to many of her colleagues – that coloratura in operatic singing is not just an exhibition of vocal agility: it is the perceptible, theatrical evidence either of the anguish of the protagonist or of their outbursts of joy. And Oropesa moved masterfully through the score’s many demanding passages without losing dramatic focus.

    “Qui la voce sua soave” was delivered with delicacy and an emotional charge of dramatic sense. In “Son vergin vezzosa”, Oropesa appeared in a stunning vocal form, with a sparkling sound and a precise staccato, with a charming tone across her whole range. She seemed at ease and confirmed herself as one of the best sopranos currently on the circuit.

    —  Lorenzo Fiorito  •  Bachtrack

    Napoli - Teatro di San Carlo: I puritani

    Dunque nessuna bizzarria scenica, ma tanta attesa specialmente per la stella della serata, Lisette Oropesa, in un doppio debutto, sia davanti al pubblico del San Carlo (sul cui palcoscenico era già salita per un recital a più voci diffuso in streaming a fine 2020) che nel ruolo di Elvira. Il soprano non ha deluso, la sua è stata un'Elvira fragile, espressa con voce delicata ma sicura e solida tecnicamente, impreziosita da un timbro vellutato appena screziato. In più si è rivelata ben “in stile” con l'estetica belcantistica, usando anche i virtuosismi a scopo espressivo e una dizione nitidissima che le permetteva i giusti accenti. È stata anche quella che più di tutti, in questa esibizione concertante, ha cercato con gesti, sguardi, qualche movenza, di dare l’idea drammatica del personaggio. Ottima prova quindi che ha avuto il clou nella grande scena di pazzia, condotta con accenti patetici e ottimo controllo delle agilità, con le variazioni ben condotte ma misurate nella ripresa della cabaletta.

    —  Bruno Tredicine  •  Opera Click

    Napoli, Teatro San Carlo – I puritani

    In primo piano, come è giusto che sia, svetta l’Elvira cantata per la prima volta dal soprano di coloratura nata nel delta del Jazz, Lisette Oropesa. Forte di un’emissione infallibile quanto a intensità e intonazione, velocità e precisione lungo l’intera estensione, l’Oropesa fa del vibrato l’essenza stessa del suo canto, letteralmente metabolizzando melodia e tecnica per trasformare in luminosissimi fili dai suoni di perla ogni sorta di asperità in zona acuta e sovracuta. La sua Elvira, con ben quattro cambi d’abito da concerto e una credibilità gestuale prossima alla versione scenica, vola facile e ad altissima quota solcando trilli, scale, salti, arpeggi e quant’altro con una naturalezza e una bellezza di pasta rari. Ma non è solo bravura in pentagramma. Sin dalla sortita in scena accanto al paterno zio Giorgio Valton, ben si comprende quanto il personaggio creato per la Grisi e ricucito sulla Malibran per una non più realizzata première partenopea, sia perfettamente nelle corde e tra le sfide già vinte del suo repertorio per verità di accenti, per l’estrema fluidità dei passaggi, la luminosità densa e levigatissima delle puntature stellari.
    E se la sua polacca “Son vergin vezzosa” intonata in abito bianco al Finale I si rivela presto una vera delizia per connotazione ritmica, trillature in ogni dove e salti all’apice dell’estensione mai aspri o lanciati al caso, non meno folgorante risulta la sua scena e aria della demenza o pazzia per amore (“Qui la voce sua soave”) fitta di esposizioni espressive fra slanci, estasi, mutamenti e pause. Fino a brillare in un sublime Si bemolle al platino e nell’Allegro, dopo il fuoco delle ripide discese cromatiche, in un poderoso Mi bemolle sovracuto.

    —  Paola De Simone  •  Conessi all'Opera

    Qui la voce sua soave

    Lisette Oropesa al suo debutto assoluto nell’Elvira belliniana ripaga pienamente l’attesa di ascoltarla - aggiungiamo, finalmente! - al Teatro San Carlo. Sin dal duetto fra Elvira e Giorgio "Sai come arde in petto mio" la Oropesa si impone per precisione, perizia tecnica, bel colore, perfetta proiezione vocale e intensità drammatica.

    Il bagaglio tecnico, il dominio perfetto delle colorature, dei trilli dei re e mi bemolle di tradizione, il perfetto appoggio della voce sul fiato, il legato nobile forgiano un’Elvira elegante e composta pur nella tormentata psicologia. Lisette Oropesa ci fa ascoltare l’evoluzione degli stati d’animo della protagonista, quel percorso lungo percorso costellato di gioia, delusione, disperazione, follia e, infine, felicità riconquistata. La grande scena della follia "Qui la voce sua soave" è ammantata di aristocratica compostezza: siamo davanti ad un’Elvira lunare piuttosto che stralunata.È affidato quindi al gioco forsennato delle colorature della successiva cabaletta - tutte calibratissime, di precisione strabiliante - a rendere poi ancor più plastico lo stato di alterazione mentale della protagonista.

    Già, le colorature: nel canto di Lisette Oropesa appaiono perfettamente integrate con le melodie di Bellini, mai orpelli sovrapposti al disegno melodico; del melos, invece, diventano parte inscindibile, tanta è la perfetta commistione, la spontaneità dell’esecuzione e l’aderenza drammatica. Una interpretazione dell’Elvira di Bellini, quella dell’Oropesa, che al suo primo incontro è un compendio di tecnica vocale, un saggio di estetica belcantistica e un’interpretazione accurata ed elegante della complesso personaggio belliniano.

    —  Luigi Raso  •  L'ape musicale

    I Puritani

    La squadra dei cantanti è fortemente bilanciata da voci veterane del teatro e dal debutto di Lisette Oropesa. Qualità ne sfoggia la Oropesa, forza e vulnerabilità espressa in un timbro favoloso, pastoso, pieno di ombre e malinconie su di un tappeto di archi e ottoni, mai una sbavatura, mai un'intenzione espressiva o dinamica non riuscita – splendido “morrò d’amor” - canta il ruolo magistralmente.

    —  Salvatore Morra  •  Giornale della Musica


    Applaudita più di tutti è Lisette Oropesa, al debutto nel ruolo di Elvira: 'agilità sfoderata nei passaggi di bravura è ragguardevole, lo scintillio della voce non sacrifica l'eleganza della frase; è su que. sto terreno esclusivo che il soprano americano costruisce la performance, lasciando a cimenti futuri la possibilità di caratterizzare a fondo un personaggio che pure, nei tre atti, cambia pelle più volte.

    —  Stefano Valanzuolo  •  Il Mattino Napoli
  • Ein wahres Fest des Belcanto

    Man kann es kaum glauben! Aber Gaetano Donizettis Belcanto-Meisterwerk „Lucia di Lammermoor“ wurde noch nie bei den Salzburger Festspielen gegeben. Erinnerungen wurden natürlich sofort wach an die erst vor kurzem so tragisch verstorbene Edita Gruberova, wenn man die Wahnsinnsarie „Il dolce suono“ von Lisette Oropesa in höchster Belcanto-Meisterschaft hört. Und das nahezu bis auf den letzten Platz besetzte Große Festspielhaus wartete auf diesen Höhepunkt des Dramma tragico in drei Akten, welches 1835 seine Uraufführung erlebte. Und es wurde der erwartete Höhepunkt, aber nicht nur, weil die Oropesa nahezu vokalakrobatisch mit blendenden Höhen alle Nuancen und Feinheiten der Wahnsinnsarie interpretierte, sodass man glauben konnte, sie hätte Arturo tatsächlich gerade umgebracht.

    —  Dr. Klaus Billand  •  Klassik Begeistert

    Wahnsinnskonzert mit der »Wahnsinnsarie«

    Für Lisette Oropesas strahlenden Sopran und ihre Verkörperung der Lucia drücken Superlative kaum aus, was sie gesanglich und mimisch mit selten gehörter Virtuosität geleistet hat, denn sie schlüpfte voll und ganz in diese Rolle.

    Ihr Solopart ist gespickt mit langen Koloraturen in den höchsten Lagen, und ihr gelang alles mit Leichtigkeit und Hingabe an ihre musikalische Aufgabe.

    —  Brigitte Janoschka  •  Traunsteiner Tagblatt

    Jubel für letzte konzertante Oper bei Salzburger Festspielen

    Lisette Oropesa rettete hier die Komposition selbst. In der berühmten "Wahnsinnsarie" im dritten Akt hat Donizetti der Sopranistin nämlich meist nur eine Flöte (in seltenen Fällen wie hier bei den Festspielen eine Glasorgel) als Spielpartnerin an die Seite geschrieben. So konnte Oropesa ihre Flexibilität, ihre glasklaren Passagen und ihre kraftvolle Schönheit weitgehend unbeschwert ausstellen. Sie machte klar, warum die Lucia aktuell zur ihren Paraderollen gehört. Ihre privaten Erfahrungen als Marathonläuferin brachten ihr vermutlich das Durchhaltevermögen für die großen Ensemblepassagen, in denen ihr dann teilweise die Kraft auszugehen drohte.

    —  •  News.AT

    Grandioser Start ins Salzburger Festspielfinale

    Für die US-amerikanische Sopranistin Lisette Oropesa, ihre strahlende Stimme und ihre Verkörperung der Lucia drücken Superlative kaum aus, was sie gesanglich und mimisch mit selten gehörter Virtuosität geleistet hat.

    —  Brigitte Janoschka  •  Passauer Neue Presse


    In Salzburg kommt Lisette Oropesa den Idealvorstellungen des Komponisten irritierend nahe. Ihren aparten Sopran-Charme weiß die Amerikanerin expressiv zu entfalten. Auch, aber nicht nur in hoher und höchster Lage, wo das Publikum Sängerinnen immer so gerne abheben hört. Selbst dort, wo im Gesangstext destruktive Gefühle überborden, setzt Lisette Oropesa ihr Instrument nie forciert unter Druck.

    —  Volkmar Fischer  •  BR Klassik
  • Arena bagnata e fortunata

    All’altezza è stato il trio dei solisti ingaggiati per questa serata speciale. Lisette Oropesa è apparsa in un abito svolazzante azzurro pastello, perfetto per mettere in risalto la sua bellezza e la femminilità e soprattutto il suo atteggiamento sempre elegante, e ha sfoggiato la voce che conosciamo già e non ci stancheremo mai di ascoltare: un soprano cristallino e pulitissimo, ma pur sempre morbido. Fresca del grande successo nella Traviata, si è dimostrata una musicista raffinata e versatile capace di passare in modo naturale da uno stile all’altro, dalla musica lirica italiana della metà dell’Ottocento a quella tedesca di novant’anni dopo, dalla scrittura completamente diversa e a tratti impervia.

    —  Irina Sorokina  •  L'ape musicale

    Verona: pioggia di emozioni nei Carmina Burana

    Spicca tra le voci soliste Lisette Oropesa. Dotata del pieno controllo del suo strumento il Soprano dimostra eccellenti doti tecniche mai tendenti all’eccesso.

    —  Matteo Pozzato  •  Le Salon Musicale

    Chi rivela una crescita artistica e interpretativa formidabile è Lisette Oropesa nei panni della protagonista. Quando sentimmo per la prima volta il soprano in questo ruolo avevamo previsto un ulteriore sviluppo e ne abbiamo la prova: la sua Violetta ora è completa, dal virtuosismo del I atto al liricismo del II, fino al canto drammatico del III. L’interprete è anche cresciuta sotto il punto di vista attoriale, gestendo benissimo anche la maturazione scenica di questo iconico personaggio.

    —  Francesco Lodola  •  Ieri Oggi Domaini Opera

    La ópera es más que ópera. Oropesa y Domingo en La Traviata

    No es nada fácil describir con palabras su voz y su arte. Cuando se alcanzan tales alturas interpretativas toda reseña resulta torpe. Lisette Oropesa posee un instrumento verdaderamente excepcional. Belleza tímbrica, riqueza armónica, aterciopelada redondez, generoso fiato, gran extensión y volumen, una impostación impecable y una estupenda proyección son algunos de los factores que contribuyen a la altísima calidad de su voz. Pero estos aspectos no bastan para explicar el efecto que produce en el oyente. Hay algo más, algo indefinible que otorga a ciertas voces una irresistible fuerza de seducción.

    —  J.G. Messerschmidt  •  Mundo Classico

    MÜNCHEN/ Bayerische Staatsoper/ Operfestspiele: LA TRAVIATA als Ersatz für die „Teufel“

    Lisette Oropesa sang die Violetta einerseits virtuos, andererseits auch mit tiefer Emotion. Ihre dunkel gefärbte, klangvolle, metallische, aber dennoch runde und weiche Stimme ist etwas Besonderes, und man hörte ihr den ganzen Abend gebannt zu. Auch schauspielerisch konnte sie überzeugen, am meisten im dritten Akt, in dem sie die Zuschauer mit ihrem innigen Rollenporträt tief berührte.

    —  Gisela Schmöger  •  Online Merker

    LA TRAVIATA – Giuseppe Verdi

    Im Mittelpunkt des Bühnengeschehens (Bühnengestaltung Andreas Reinhardt) stand fraglos die Gesangsleistung der von Lisette Oropesa verkörperten Violetta. Die enorm schwierige Partie wurde von ihr bis in die Höhen und das Letzte an Ausdruck und künstlerischer Kraft Fordernde hinein auf zuweilen geradezu ergreifende Weise bewältigt. Der emphatische Beifall am Schluss galt vor allem ihr und war vollauf verdient. 

    —  Hans-Günter Melchior  •  Ioco

    Lisette Oropesa triunfa en Múnich con ‘La traviata’

    Lisette Oropesa, una de las mejores Violetta del momento, puso al público en pie en esta velada, con su interpretación que apoyada en una notable técnica le permitió expresar sin fisuras todas las facetas del personaje: alegría despreocupada e impulso apasionado, fragilidad del cuerpo y del corazón, enfermedad y miseria, renuncia y grandeza moral, desesperación y agonía. La compleja paleta emocional de la Traviata está magistralmente representada. Lisette Oropesa fue la reina indiscutible de la noche.

    —  Luc Roger  •  Opera World

    Lisette Oropesa inspires as Violetta at the Munich Opera Festival in Verdi's "La Traviata".

    Lisette Oropesa, born in New Orleans in 1983, is an absolutely wonderful singer, as you can see at the Munich Opera Festival. There she sings Violetta in Verdi's "La Traviata" in Günter Krämer's production, which is now almost 30 years old. One of the bizarre things about opera is that dying on stage is often the most enchanting moment, and the way Oropesa sings and plays Violetta's dying here is extraordinarily moving. Because she is extraordinarily precise, never does too much, never too little, gives her voice that crucial fragility that makes a truly authentic impression.

    Ah, that voice. In the first act she glistens and shines. She is light as a feather, but Oropesa has, firstly, a brilliant technique and, secondly, a wonderful little vibrato that carries her voice over everything, always letting it shine out, while always having a warm, incredibly likeable basic sound. Oropesa is here, at the festival in the first act, highly elegant, dainty, enchanting, charming center of the hustle and bustle that has become somewhat worn out over the years of the production.

    —  Egbert Tholl  •  Süddeutsche Zeitung

    Vorrei pianger, ma non posso… Storia di una Lucia di oggi

    Il soprano americano si conferma belcantista raffinata e completa, come già nella recente Giulietta milanese, sfoggiando una voce piena ed omogenea lungo tutta l’estensione, musicalità controllata dal buon gusto che le impedisce di perdersi in bamboleggiamenti. La precisione quasi strumentale con cui affronta il ruolo non le impedisce un coinvolgimento che le consente di disegnare un’adolescente Lucia piena di vita e innamorata persa nell’aria di sortita e nel duetto amoroso.

    —  Paolo Malaspina  •  Wanderer

    Une Lucia di Lammermoor sanglante et mémorable à Zürich

    La soprano américaine d’origine cubaine Lisette Oropesa est aujourd’hui l’une des plus remarquables interprètes de Lucia, rôle dans lequel elle a été unanimement acclamée ces dernières années à Londres, Madrid, Barcelone, et tout récemment à Vienne. Elle reprendra d’ailleurs ce rôle à nouveau au Festival de Salzbourg cet été, ainsi qu’à la Scala de Milan en 2023.  Elle maîtrise avec une incroyable aisance toutes les difficultés de ce rôle redoutable, grâce à une technique parfaite au service d’une implication exemplaire dans ce rôle de femme tiraillée dans ses sentiments, et dont la folie est le seul exutoire pour échapper à ses contradictions. Ses vocalises sont sans faille, et parées de demi-teintes somptueuses et d’un timbre lumineux jusque dans le suraigu.  Son interprétation du « Regnava nel silenzio » est empreint d’une gravité, et d’une superbe intensité dramatique dans l’évocation du traumatisme initial. Sa scène de la folie est également d’une grande poésie malgré le sang omniprésent, avec la belle flûte de Maurice Heugen, faute d’harmonica de verre..

    —  Denis Peyrat  •  Toute la culture

    Oropesa and Bernheim triumph in Lucia di Lammermoor in Zurich

    Lisette Oropesa’s soprano, strong but silky, featured splendid silvery super-high notes, great coloratura and heart-melting filati, for an electrifying interpretation of Lucia. Her natural, spontaneous acting helped enliven a somewhat bratty teenager, overwhelmed by the emotional blackmail of her selfish brother Enrico, and the moral, religious obligations imposed by her mentor Raimondo. Her musical approach to Lucia had roots in the most solid tradition, with all the variations and “quirks” that opera lovers are accustomed to. This was a successful choice, as her vocal prowess is such to withstand the most blasphemous of comparisons.

    —  Laura Servidei  •  Bachtrack

    La Lucia di Lammermoor di Donizetti in scena a Zurigo

    In occasione di questa prima ripresa il ruolo del titolo è stato affidato a Lisette Oropesa (inizialmente prevista anche lo scorso anno ma sostituita da Irina Lungu poco prima del debutto) che così ha potuto finalmente debuttare a Zurigo e farlo con uno dei suoi cavalli di battaglia. Il soprano americano (che secondo indiscrezioni probabilmente riprenderà Lucia alla Scala nella stagione 22/23) ha saputo convincere sia vocalmente che interpretativamente. Vocalmente ha saputo sfoggiare voce lirica, ben omogenea in tutti i registri, cristallina in quello acuto e con tecnica precisissima. La coloratura è funambolica e, soprattutto, riflette sempre uno stato d’animo della protagonista. Lisette Oropesa riesce infatti ad essere calata perfettamente nella parte e a trasmettere i contrasti di questo personaggio così complesso. Una prova che l’ha fatta entrare subito nei cuori degli spettatori zurighesi.

    —  Blogartpost  •  The.blogartpost

    Two singers in a state of grace

    Lisette Oropesa is astounding with ease and mastery in Lucia, leaving absolutely nothing to show through the difficulty of the role. Her peerless technique, her perfectly assured vocals, her luminous highs, her crystalline timbre and her evanescent halftones make her an incomparable Lucia today. She makes the public delirious with each of her interventions

    —  Claudio Poloni  •  Concerto Net

    OPER ZÜRICH: LUCIA DI LAMMERMOOR – Ein Fest der schönen Stimmen

    Lisette Oropesa erweist sich einmal mehr als eine der führenden Interpretinnen der Lucia. Mit ihrem runden, vollen, auch zu dramatischer Attacke fähigen Sopran entspricht sie nicht unbedingt dem Klangbild «klassischer» Lucia-Interpretinnen, was sie mit ihrer enormen Bühnenpräsenz aber mehr als wett macht.

    —  Jan Krobot  •  Online Merker

    ZURICH/ Opera House: LUCIA DI LAMMERMOOR. resumption. A strong plea for concert performances

    Lisette Oropesa is Lucia, his sister. With a slender stature and southern appearance, she develops a noticeable stage presence from the very first moment and fascinates with her natural play. Her youthfully fresh soprano is absolutely confident in the high notes and skilled in coloratura, leaving nothing to be desired.

    —  Jan Krobot  •  Online Merker
  • Lucia, si forte et si fragile

    Lisette Oropesa enfin. Le public viennois, ou ce qui en restait après quinze minutes (chronométrées !) d’applaudissements puis de standing ovations au bord de la fosse, l'a réclamée à cor et à cri pour lui dire toute sa gratitude à l’issue de ces quatre représentations. On le sait, elle est aujourd’hui l’une des plus belles titulaires de ce rôle. Si elle semble aussi crédible dans l’incarnation de Lucia, c’est qu’elle y est à la fois si forte et si fragile. Une belle idée de la mise en scène consiste à nous montrer dès le début du I sa fragilité, en figurant une jeune femme, presque adolescente, insouciante et sautillant dans la neige en s’ébrouant, jouant des flocons qui tombent et n’écoutant pas ce qu’Alisa lui rapporte. Entre cette ingénue inconsciente et la jeune mariée criminelle, ravagée par la folie, en fin de parcours, quel contraste ! Oropesa joue de sa voix comme la fillette des flocons. Elle est capable de la hisser jusqu’aux plus hautes sphères de la gamme, et d’y rester, de jouer avec les notes, de les rallonger et de se complaire en haute altitude. Le fil est léger, mais il tient. A cet égard, la faire marcher, pendant la scène de la folie, sur une rangée de chaises inexplicablement alignées devant le chœur, visualise parfaitement cette œuvre de funambule, en équilibre constant et toujours périlleux. 

    —  Thierry Verger  •  Forum Opera

    Eine Starbesetzte Lucia Mit Oropesa Und Bernheim An Der Wiener Staatsoper

    Lisette Oropesa, die sich vor positiver Energie sprudelnd gleich im ersten Akt gesanglich verausgabt, was die Palette ihrer hell timbrierten Stimmpotenz nur so hergibt, beeindruckt auch im 2. und 3. Akt mit ihrem mal larmoyant klingenden, dann wieder feinperlend belcantistisch anmutenden Sopran.

    Mit so viel Ausdauer, so viel vokaler Wucht, gepaart nur mit einer weiblichen Stentorkraft, die ihresgleichen sucht, gelingen Oropesa nicht nur sämtliche Koloraturen im Schlaf, sondern auch die mörderische Wahnsinns-Arie, die satte 20 Minuten vokalathletische Höchstleistungen abverlangt.

    —  Nicole Hacke  •  Operaversum

    Lisette Oropesa seems unsurpassable in a strongly sung revival of Lucia di Lammermoor in Vienna

    Lisette Oropesa’s technique is astonishing and she was in absolute command of her beautiful silvery voice and the title role’s demanding coloratura. All her high E flats were hit dead centre and with impressive ease and the mechanics of singing was never on show and Oropesa brought a real sense of character to her dramatically realistic and triumphant portrayal of Lucia. There was a perfect arc from Lucia’s girlish glee and making of a snow angel in Act I to a nuanced, gripping, blood-spattered concluding ‘Mad Scene’ when Oropesa elicited tremendous sympathy for her plight. In short, Oropesa’s Lucia will not easily be surpassed.

    —  Jim Pritchard  •  Seen and Heard International


    Oropesa gilt als die derzeit führende Interpretin der berühmten Donizetti-Partie. Und es wird einem schnell bewusst, warum das so ist. Die Koloraturen der Partie gelingen ihr vorzüglich, die Stimme ist enorm flexibel, schlank im Ton, und baut auf einem guten technischen Fundament auf. Zudem ist ihr Sopran enorm tragfähig und füllt die Wiener Oper mühelos.

    Es ist schon fast erstaunlich wie leicht und sicher sie sich durch die Partie singt. Dabei macht es ihr die statische Inszenierung wahrlich nicht leicht. Doch sie schafft es dennoch von der verliebten jungen Frau über die enttäuschte Geliebte bis hin zur verwirrten Seele das ganze Spektrum ihrer Partie deutlich herauszustellen. Ihre hervorragend gesungene und gestaltete Wahnsinnsszene ist natürlich der umjubelte Höhepunkt.

    —  Lukas Link  •  Online Merker

    ‘Lucia di Lammermoor’ en la Ópera Estatal de Viena: ¡La música por encima de todo!

    La soprano cubano-estadounidense Lisette Oropesa asumió el papel en Londres en 2017 y desde entonces se ha consolidado como una de las mejores intérpretes, si no la mejor, de este papel, formidable tanto por su dificultad como por la resistencia vocal que requiere. Lisette Oropesa detalla brillantemente la compleja paleta emocional de esta joven golpeada por la muerte de su madre, que en realidad fue sólo el comienzo de un largo calvario acompañado de una deriva mental que la lleva a la locura.

    —  Luc Roger  •  Opera World


    After her brilliant performance as Konstanze in Hans Neuenfels ' Abduction and her solo concerto, Lisette Oropesa's role debut as Lucia was eagerly awaited. A complete success. Like the Cuban-American at the beginning of “ …Ed ecco! ecco su quel margine…' startled by the ghostly appearance of the dead woman, already indicates how sensitive, filigree and highly endangered the young woman she portrays is. Her oath of love is highly credible, and the mad scene is touchingly dramatic. 20 gripping, varied minutes that are incredibly touching. Oropesa has been the most sought-after Lucia since her role debut in 2017 at the Royal Opera House London. The acting is unsurpassed and the singing is almost perfect. The coloraturas are supple and clear, her silvery-bright, modulation-capable soprano voice is paired with a secure technique and strong charisma. 

    —  Manfred A. Schmid  •  Online Merker
  • Liceu, 175 anys molt ben portats

    Entremig de tot això, Lisette Oropesa va oferir-nos un sorbet belcantista de luxe. La seva escena de la bogeria de la Lucia és d’aquelles que hom conserva pel record: coloratura executada a la perfecció, interpretada d’una manera exquisida, sense massa sal ni massa pebre —importantíssim, això!— i rematada amb un Mib inapel·lable. Quan va acabar, el teatre va ensorrar-se.

    —  Ferran Vila i Riera  •  El Temps de les Arts

    Sondra Radvanovsky y Lisette Oropesa protagonizan la gala del 175 aniversario del Liceu

    Fabulosa de principio a fin. Por otro lado, Lisette Oropesa como Lucia di Lammermoor en su aria de la locura, con la cadenza clásica incluida. Ingravida, mágica, fascinante y magnética de principio a fin. Uno de esos pocos momentos en el que el mundo se para y no existe más que una voz sobre un escenario. Y parar el mundo, hoy en día, es un regalo ante el que sólo cabe estar agradecido. 

    —  Gonzalo Lahoz  •  Platea Magazine

    Liceu: Fénix de la lírica

    Oropesa mostró la infabilidad de su técnica, su dominio del instrumento y la seguridad escénica con la que bordó una escena de la locura que se llevó la ovación de la noche, tres minutos de reloj!

    —  Jordi Maddaleno  •  La Vanguardia

    Una ovación que dura 175 años en el Liceu

    La soprano estadounidense, con antepasados cubanos y catalanes, se lució con el aria de la locura de Lucia di Lammermoor y arrancó dos largos minutos de aplausos del público, visiblemente emocionado. 

    —  Maricel Chavarría  •  La Vanguardia

    Un aniversario perfecto

    Escenificando la parte III hasta el final de la escena de la locura, pudimos disfrutar de la delicadeza de Lisette Oropesa, quien nos presentó la completa psicología y vocalidad de la famosa escena de la locura. Una escena in crescendo que Oropesa supo sobrellevar con una mezcla de locura y dulzura que encandiló al público. Tras la famosa aria, el público asistente enloqueció en aplausos y otros vítores para alabar el gran trabajo que acababa de realizar en escena. Ella, visiblemente conmocionada por la reacción del respetable, tuvo que reverenciarse, algo que el público aplaudió aun más, llevando a Oropesa a caer sobre sus rodillas en un sincero agradecimiento por la reacción que estaba viviendo. ¡Brava!

    —  Norman Marsà  •  En Platea

    Emoción, ovaciones y autoridades en el concierto del 175º aniversario del Liceu

    Lisette Oropesa es maravillosa, lo controla todo y su escena de la locura del fascinante personaje de Lucia fue simplemente modélica: hubo tensión teatral y un absoluto dominio técnico y en particular de la coloratura y del ornamento, fascinando con la naturalidad de su entrega y el nacarado esmalte de su voz. Fue ovacionada.

    —  Pablo Meléndez-Haddad  •  El Periódico

    Gala Liceu

    La Lucia di Lisette Oropesa resta nella memoria come un momento sospeso nel tempo, con le sue cadenze perfette, acuti torniti, puntature cinguettate. 

    —  Valentina Anzani  •  Giornale della Musica

    Una prima donna moderna y encantadora

    Lisette Oropesa es una artista muy notable, que dispone de una voz de soprano lírica abundante y rica que ella maneja con dominio y habilidad, tal vez más adecuada, por caudal y densidad, para los papeles dramáticos

    —  Álvaro Del Amo  •  El Mundo

    Crítica / Chispeante Oropesa

    Lisette Oropesa es una cantante muy querida en Madrid y con razón; posee una voz lirica ligera bellísima, canta con un excelente gusto, frasea de forma exquisita, sus agudos son limpios y rutilantes, tiene una escuela canora impecable, sobre todo para el canto legato y, además, posee un encanto capaz de meterse a cualquier público en el bolsillo. Su fulgurante carrera ahora está en un excelente momento aunque la soprano ya se prepara para cuando su voz ensanche y tenga que abordar repertorio más pesado.

    —  Francisco Villalba  •  Ritmo

    Lisette Oropesa en Madrid

    Pero la ovacionada aún nos tenía reservadas dos “propinas”, donde mostró toda su gracia y buen hacer que la han convertido en una de las sopranos de referencia del panorama internacional. Meyerbeer (‘Robert, toi que j’aime’ de Robert le diable) y Verdi (‘Merci jeunes amies’ de Les vêpres siciliennes) resultaron ser lo mejor de la noche. Oropesa no defraudó y el público aplaudió a rabiar.

    —  Pro Opera  •  Pro Opera

    Esperado éxito de Lisette Oropesa en Teatro Real

    Comenzó la primera parte, asignada a Rossini, con “Ils s’éloignent enfin…  Sombre forêt”, de Guillaume Tell. De líneas más líricas para ir calentando motores, destacó por los hermosos y largos fraseos que su fiato permitía. Tampoco estuvo falta de exquisitas dinámicas que le permitían ir del piano a un forte sin grandes alardes para ofrecer su faceta más expresiva.

    —  María Pardo  •  Opera World

    Je suis Lisette Oropesa (et j’habite au Teatro Real)

    La soprano tiene todo lo necesario para ser la gran diva y dama de la ópera que es. Aquí lo sabemos desde aquella histórica Traviata, cuando se convirtió en la primera mujer en bisar en el Teatro Real. Una función que, además, hizo que todos los ojos de la lírica mundial mirasen a Madrid, porque todos los demás teatros del planeta seguían cerrados tras el confinamiento.

    —  Nacho Fresno  •  Shangay


    Habiendo debutado en 2007, todavía conserva completamente las características de soprano ligera, si bien goza de un apreciable volumen y proyección -la voz «corre» sin problemas- y es muy homogénea de arriba abajo, utilizando también adecuadamente el canto de pecho -con las limitaciones propias de su extensión natural-, pudiendo así abordar sin problemas los registros más «graves». También contribuyen determinantemente a su atractivo su capacidad de matización, la inteligente utilización de las medias voces -posee un centro bien resuelto-, y una muy buena dicción y administración del fiato, que le permiten frasear y moldear a conciencia su canto legato. Además creemos que su canto en idioma francés es muy correcto.

    —  Oscar del Saz  •  Codalario

    Lisette Oropesa triunfa en su esperado regreso al Teatro Real

    De su ópera Les Martyrs estrenada en Paris en 1840, probablemente de sus menos conocidas o representadas, Oropesa interpretaba un aria oscura “O ma mère, ma mère...Qu'ici ta main glacée bénisse ton enfant”, de un belcantismo al límite, a la vez que apropiado para exhibir unas dotes registros agudos y extraordinaria agilidad que requieren no solo técnica o eficacia, sino una suerte de don. Eso sí, intensamente trabajado.

    —  Alicia Huerta  •  Republica

    MADRID / Lisette Oropesa: su peso en oro

    ropesa desgranó una Sombre forêt desplegando lirismo, elegancia y las exigencias requeridas en su predominante escritura silábica, efectuando los encantadores saltos de octava (la guinda del pastel canoro) con impecable precisión y remate.

    La plegaría de Pamyra en Le siège de Corinthe exige otros recursos expresivos, y Oropesa se dejó llevar por la sublime melodía con un pulcrísimo canto legato, dando al mismo tiempo el necesario contenido emocional. Una delicia que destacó el valor de la página.

    —  Fernando Fraga  •  Scherzo Magazine
  • WIEN/ Staatsoper: RIGOLETTO – wieder umbesetzt

    Oropesas Sopran ließ Gilda keine kühle Virtuosität angedeihen, sondern trug das Herz auf der Zunge. Ihre Stimme ließ in der weich gebetteten Mittellage eine leise Wehmut anklingen, die an längst vergangene Opernzeiten erinnerte. Die Sängerin spielte die Figur ohne Übertreibung, erfüllte sie mit herzwärmender Naivität und Jugendlichkeit

    —  Dominik Troger  •  Online Merker
  • Staatsoper: Die "Entführung" als Gesamtkunstwerk

    Virtuos, wie Lisette Oropesa in der Bravourarie Martern aller Arten mit den Stimmen des Orchesters um die Wette singt

    —  Der Standard  •  Der Standard

    Triumph den Haremsmäusen

    Den meisten Applaus erntete Lisette Oropesa für ihre alle Herausforderungen meisternde Konstanze

    —  Marion Eigl  •  Wiener Zeitung
  • WIEN / Staatsoper: Solistenkonzert LISETTE OROPESA

    Oropesa gelingt es, mit ihrem schlanken, flexiblen Sopran die in den von ihr ausgewählten Liedern beschworenen Stimmungen und Bilder einfühlsam auszuloten. 

    —  Manfred A. Schmid  •  Online Merker

    Arrollador debut valenciano de Oropesa

    La soprano se mostró pletórica de medios desde la primera de las piezas, La stella de Mercadante: la voz corría con facilidad por la sala y su atractivo timbre llenaba hasta cada rincón del teatro. En las piezas de Schubert y Schumann mostró el enorme interés que en ella despierta este repertorio, pues las interpretó sin partitura. Demuestra, pues, que ha trabajado mucho este repertorio y, aunque es una cantante fundamentalmente operística, se defiende en este ámbito sin problemas gracias a su innata musicalidad.

    —  César RUS  •  Opera Actual

    Brillante presentación de Lisette Oropesa en Les Arts

    Recibida con una gran ovación y vítores variados, dio comienzo a su actuación con dos canciones de Severino Mercadante que cantó con gracia, pero con la voz aún algo fría, lo que se percibió ligeramente en un sobreagudo un poco tenso. Siguieron otras dos hiperestésicas y maravillosas canciones de Schubert, y a continuación vino Schumann, desde mi punto de vista lo mejor del recital. Contenido, emocionante y cantado con una gran expresividad, atrapó al público en una atmósfera de reflexión y trascendencia. Tres canciones de Fauré y otras tres de Bizet cerraban esta primera parte. La última de ellas contenía una cadenza bastante difícil y sin acompañamiento. 

    —  Pedro Valbuena  •  Opera World

    De Mercadante a Lecuona, la exquisita Lisette Oropesa encandila en el Reina Sofía

    El programa, amplio en ese abanico, fue además extraordinariamente generoso, tanto como la cercanía de la cantante. Oropesa no lo puede evitar. Es simpática y extrovertida, y necesita el contacto constante con el público. No importa si canta o no. Ella es pura comunicación permanente.

    Y generoso y grande también es su nivel interpretativo, ya que la soprano es dueña de un instrumento, y de unos conocimientos, propios de los mejores. Y por eso es un privilegio escucharla; porque cante lo que cante, lo hace con sabiduría, e imprimiendo un estilo que recuerda a épocas donde deslumbraron los grandes como De los Ángeles o Callas.

    —  Jacobo Ríos-Capapé Carpi  •  Valencia Plaza

    La compagnia di canto è illuminata dalla Giulietta di Lisette Oropesa. Il soprano americano si libra con leggerezza ineffabile sulle melodie belliniane accarezzandole con un timbro di radiosa madreperla che sembra illuminare tutto intorno a se. Il magistrale controllo del fiato le permetto di realizzare mezzevoci di serica delicatezza mentre il corpo vocale si mantiene compatto e omogeneo su tutta la gamma, con un settore medio-grave sonoro unito a un raggiante e facilissimo registro acuto. Sul piano espressivo la sua Giulietta è di una spontaneità che non può non commuovere, un personaggio ricco di sfumature, non limitato a una liliale mestizia.

    —  Giordano Cavagnino  •  GB Opera Magazine

    I Capuleti e i Montecchi Libera

    Grande era l’attesa, dopo la trionfale esecuzione in forma di concerto di Theodora di Häendel nel novembre 2021, per il ritorno sul palcoscenico del Piermarini di Lisette Oropesa, qui al suo debutto nel ruolo di Giulietta Capuleti. Il soprano di New Orleans mostra una linea vocale morbidissima e dal colore adamantino, una consapevolezza totale e un dominio assoluto della tecnica che le consentono di plasmare il suono ad ogni altezza. Di grande rilievo, poi, è la capacità di mantenere compattezza ed omogeneità tra i registri che suonano, rispettivamente, naturale quello grave, adeguatamente corposo il centro, limpido e ben proiettato quello acuto, luminoso il sovracuto. Alcuni passaggi, specialmente le due arie “Oh quante volte, oh quante” di primo e “Ah! Non poss’io partire” di secondo atto sono impreziositi di morbidi filati, trilli limpidissimi e agilità precise e ben appoggiate. Particolarmente riuscito, inoltre, è il personaggio: grazie ad un fraseggio sempre partecipato e ben sfumato, la Oropesa offre una visione di Giulietta come una ragazza che vuole combattere per difendere l’amore per il suo Romeo, anche a costo dell’accettazione della morte, mai compassata o ingenua. Una prova da ricordare.

    —  Marco Faverzani  •  Opera Libera

    I Capuleti e i Montecchi di Bellini alla Scala

    Di ottimo livello il cast coinvolto in questa produzione, a cominciare da Lisette Oropesa impegnata nei panni di Giulietta. Il soprano statunitense, al debutto in questo complesso ruolo belliniano, ha brillato sia vocalmente che interpretativamente, offrendo al pubblico scaligero una performance di alto livello grazie ad una voce perfettamente intonata, acuti sonori e cristallini, colorature precise e grande omogeneità in tutti i registri. La sua Giulietta non è la giovane spaventata che a volte siamo abituati a vedere rappresentata, ma una donna ben più matura, pronta a combattere per il proprio amore e pronta a sacrificarsi per esso.

    —  Blogartpost  •  The.blogartpost

    EATRO ALLA SCALA: I Capuleti e i Montecchi – Vincenzo Bellini, 2 febbraio 2022

    Lisette Oropesa debuttava il ruolo di Giulietta e l’ha fatto alla grande. La classe vocale del soprano statunitense ha poche eguali nel suo repertorio d’elezione, oggi. È il perfetto esempio di canto che si fa interpretazione e viceversa, non una nota o una parola vanno sprecate o sono puramente esornative: precisione, classe, tecnica, intelligenza al servizio della partitura, ed ecco che il personaggio di Giulietta ne esce vero, vivo palpitante; ogni suo singolo momento è stato una lezione di canto, ma se la grande scena, recitativo e aria “Eccomi in lieta vesta… Oh quante volte, o quante” è stata una sospesa oasi di bellezza vocale e intensità espressiva, ciò che resterà impresso nella memoria è la formidabile invocazione al padre nel secondo atto “Ah! Non poss’io partire” affrontata e ripresa in un trascolorare di pianissimi, stupefacenti messe di voce, acuti impalpabili eppur penetrantissimi che parevano provenire dall’anima, emozionanti e stilisticamente impeccabili variazioni di dinamiche e accenti. Superlativa.

    —  Nicola Salmoiraghi  •  I Teatri dell Est

    Aire en la Scala

    Lisette Oropesa canta divinamente, el timbre cristalino con esa cierta lágrima que le infiere su característico vibrato levemente marcado le va a este personaje que ni pintado, dándole a Julieta ese aire doliente que tanto le acompaña. Oropesa sabe además curvar el sonido con inflexiones, diminuendi y medias voces estupendas, algo que en bel canto es fundamental. Brava. La soprano de orígenes cubanos además se encuentra a gusto y con ganas en este personaje, y terminó arriesgando en su última escena con su padre ("Ah! Non poss’io partire") regalándonos momentos de rara intensidad, con personalidad y alta vibración, descomponiendo esa cierta uniformidad de la “chicabuenaquelohacetodobien” a la que nos tiene acostumbrados, ahondando así en una vía que no le vendría nada mal explorar.

    —  Javier Pérez  •  Platea Magazine

    CAPULETI E I MONTECCHI (I) - regia Adrian Noble

    La direzione ha dato giustamente spazio alla prestazione di Lisette Oropesa che delinea vocalmente una Giulietta malinconica, in ciò esaltata nella scena della vestizione Oh! quante volte, oh quante! con l'accurata gestione delle mezze voci, come dei filati, in maniera delicata, come delicata è la linea di canto negli acuti, penetranti ma non lanciati ad effetto nella concitazione della stretta del finale Se ogni speme è a noi rapita; sublime e rarefatta nella scena della morte ambientata in un giardino che fa molto cimitero inglese.

    —  Federica Fanizza  •  Sipario

    I Capuleti e I Montecchi - ON

    The much put-upon Giulietta is not opera's most interesting character, but Lisette Oropesa, starring in her second Scala production after I Masnadieri in 2019, paired vocal artistry with a powerful stage presence to make the role consistently engaging. "Oh! Quante volte" was delicious in Oropesa's hands, the soprano investing arching melodies with myriad colours and yearning sighs, her slender high notes sending tingles down this critic's spine. 

    —  James Imam  •  Opera News

    Bellini returns to La Scala with a trio of female leads

    The strength of the production lay in the vocal cast. Soprano Lisette Oropesa was a superb Giulietta. The singer sounded at ease in the impenetrable score, which she tackled with a beautifully colored, perfectly tuned voice. She gave life to a youthful but at the same time thoughtful Giulietta, contrasting with Romeo’s adolescent look.

    —  Silvia Luraghi  •  The Opera Critic

    Ritornano con successo i Capuleti alla Scala

    Perfetta per questa visione registica è risultata la Giulietta di Lisette Oropesa, elegante ma vulnerabile nella duplicità dei sentimenti: l’amore anche sensuale per Romeo da una parte, dall’altra il legame incoercibile che le impedisce di abbandonare il padre (intensissimo l’attacco di «Ah non poss’io partire»). Grazie alla flessibilità vocale e alla sensibilità del soprano americano, la scena del primo atto e «Morte io non temo, il sai» sono apparse davvero toccanti in ogni singola frase; sono spiaciuti soltanto

    —  Roberto Brusotti  •  Revista Musica

    El triangulo femenino de ‘I Capuleti e i Montecchi’ en La Scala

    Por su parte, Oropesa es poseedora de una voz dulce y sedosa. Su registro agudo es soberbio y educado; digno de loas son sus notas filadas y pianissimi que aportan femineidad al personaje. Su fiato es impresionante, para muestra el recitativo ‘Eccomi in lieta vesta’, naturalmente seguido de la célebre aria ‘Oh, quante volte’, donde intrépida hizo visibles todas sus virtudes musicales. El repertorio belcantista es definitivamente lo que mejor se acomoda a la voz de Oropesa actualmente.

    —  Bernardo Gaitán  •  Opera World

    I Capuleti e i Montecchi Gazet

    In der mit der grossartigen Lisette Oropesa besetzten Giulietta, fand Crebassa dabei eine Sopran-Partnerin, die mit diesem Romeo jederzeit auf Augenhöhe sang. Da klang es nach vollendeter Schönheit, wenn in dem zentralen Duett «Si fuggire», die warme dunkle Stimme der Crebassa mit der silbrig glänzenden der Oropesa in gemeinsamen Koloraturen und Verzierungen verschmolz und damit das Publikum zu lange anhaltendem Szenenapplaus animierte. Oropesa konnte sich zudem bereits nach der meisterhaft interpretierten Arie «Oh, quante volte» über den uneingeschränkten Zuspruch des Publikums freuen und interpretierte die Giulietta als gleichzeitig selbstbewusste, aber doch gleichzeitig sehr verletzliche junge Frau. Es war eine Freude zu erleben, wie mühelos Lisette Oropesa bei den schwierigen Spitzentönen des ersten Finales oder ihrer Arie «Morte io non temo» im zweiten Akt, bis hin zum tragischen Ende brillierte. Ausgezeichnet hatte die Scala die etwas undankbare Tenor-Partie des Tebaldo mit Jinxu Xiahou besetzt, der mit edlem Vibrato die Cavatine «E serbato a questo acciaro» zum Besten gab und in der Duell-Szene des zweiten Aktes glaubhaft einen gebrochenen Mann verkörperte.

    —  Marco Aranowicz  •  Opera Gazet

    Female trio triumphs at La Scala: Oropesa, Crebassa and Scappucci shine in I Capuleti e i Montecchi

    It is hard to imagine two singers more suited to the roles of Giulietta and Romeo than Lisette Oropesa and Marianne Crebassa. Oropesa’s soprano was silvery, with splendid, phosphorescent high and super-high notes, while Crebassa’s mezzo had a spectacular warm and bronzed timbre, with remarkable uniformity in all registers, and beautiful, round high notes. They showed great commitment to the roles and good chemistry among them. Oropesa’s Giulietta was convincingly torn between her love for Romeo and loyalty to her father, with a lyrical delivery, full of pathos. Her “No, non poss’io partire” in the second act was a miracle of filati and variations, with spotless high notes. 

    —  Laura Servidei  •  Bachtrack

    Successo generoso per «I Capuleti e i Montecchi» a Milano

    La Oropesa si è rivelata a partire dalla grande  scena che culmina con la celebre cavatina “Oh quante volte “ e da quel momento il favore del pubblico non l’ha più abbandonata. Perfettamente intonata, timbricamente magnifica, omogenea, stilisticamente ineccepibile, si è nuovamente rivelata una delle voci più interessanti di quest’epoca.   Crebassa e Oropesa si sono presto unite nel loro primo duetto che ha scatenato l’applauso del pubblico.

    —  Luca Chierici  •  Il Corriere Musicale

    Oropesa et Crebassa, idéalement belliniennes

    Deux voix idéalement assemblées, la sincérité de leur jeu, et surtout cette manière de faire advenir l’émotion de la ligne musicale, de la maîtrise des vocalises, des couleurs de l’harmonie. Tout cela servi par les longues arabesques d’Oropesa, les suggestions mélancoliques de sa voix, ses roucoulements, sa ligne musicale, ses notes hautes aériennes, et par le lyrisme d’une Crebassa bouleversante, la chaleur de son timbre profond et sa parfaite crédibilité en jeune homme fougueux (on peut penser qu’à l’instar de Joyce DiDonato elle va faire de ce rôle un de ses chevaux de bataille), leur deux virtuosités mises au service du romantisme bellinien

    —  Charles Sigel  •  Forum Opera

    I Capuleti e i Montecchi

    Che sono comunque Lisette Oropesa e Marianne Crebassa, due tra le più acclamate cantanti della scena internazionale. La prima debutta in un ruolo belliniano che è comunque nel solco delle scelte belcantistiche del soprano americano, il quale sfoggia una linea di canto purissima, timbro incantevole, mezze voci e legati perfetti e un’emissione omogenea nel passaggio nei vari registri, con acuti affrontati con agio e gravi sonori. Il personaggio viene così magnificamente caratterizzato nella sua dimensione tragica di contrasto tra l’amore/dovere verso il padre e quello romantico/sensuale per il giovane della casata nemica.

    —  Renato Verga  •  Opera in Casa

    Milano, Teatro alla Scala – I Capuleti e i Montecchi

    Una resa così maiuscola di queste, difficili, pagine sarebbe stata impossibile senza interpreti vocali pari all’arduo impegno. Raramente negli ultimi anni ci è capitato di ascoltare un soprano della statura di Lisette Oropesa, perfettamente a proprio agio in un ruolo impervio, affrontato senza tentennamenti o incertezze, capace di trillare (finalmente, in un’epoca grama come la nostra nella quale anche pretesi grandi cantanti rossiniani spianano allegramente trilli e agilità) e variare con eleganza le riprese delle arie, interprete immedesimata e per nulla linfatica, una Giulietta più matura e consapevole del suo adolescenziale Romeo.

    —  Giancarlo Arnaboldi  •  Conessi all'Opera

    Oropesa y Scappucci, estrellas del Shakespeare belcantista milanés

    Fue tarea relativamente fácil con la soberbia Giulietta de Lisette Oropesa, que cautivó con sus habilidades: además de cantar con holgura una parte llena de riesgos virtuosísimos, con subidas repentinas al extremo agudo, posee una línea de canto ejemplar en emisión, legato y facilidad para doblar el instrumento, al cual un ligero vibrato añade un toque suplementario de originalidad y carácter, con medias voces, y utilizando una generosa y amplia paleta de colores. Encima tiene la juventud y frescura indispensables para brindar también la estética al personaje, el que sale airoso en toda su fuerza teatral y dramática.

    —  Andrea Merli  •  Opera Actual

    'I Capuleti e i Montecchi' alla Scala, le lotte di potere sono un gioco da ragazze

    Lisette Oropesa, svettante ma non manierata, capace d’un canto deciso, che ha reso una Giulietta-donna matura e volitiva

    —  Angelo Foletto  •

    Milano - Teatro alla Scala: I Capuleti e i Montecchi

    Il cast è quanto di meglio ora si possa ascoltare, in primis la magnifica Lisette Oropesa, una angelicata Giulietta. La tecnica sopraffina e il timbro puro e argenteo le consentono una emissione omogenea tra i vari registri, un legato ipnotico, attacchi in piano e in pianissimo, mezzevoci delicate, colorature aeree di impalpabile leggerezza che spandono una luce madreperlacea sul personaggio, immerso per quasi tutta l’opera in una profonda e struggente afflizione. Facile negli acuti e sovracuti come nei gravi che affondano fino al Do sotto il rigo, nel canto spianato con lunghe arcate melodiche come nel bel canto di agilità, impreziosito da variazioni ed ulteriori abbellimenti. Il personaggio si districa alla perfezione nel contrasto inevitabile e straziante tra l’amore romantico per Romeo, sublimato soprattutto nella stessa musica che i due amanti intrecciano nel quintetto e nell’insieme del finale primo, e quello filiale per lo spietato padre. L’aria “Morte io non temo, il sai…” è tutta giocata tra una serena espressività da un lato e trepidante paura della morte con glissandi soavi di rara intensità dall’altra. Nel finale poi il soprano si abbandona esitante ad una disperazione sconvolgente che prende alla gola.

    —  Ugo Malasoma  •  Opera Click


  • Lisette Oropesa: regalo di Santo Stefano

    Oropesa, senza soluzione di continuità, e culminate in un “tris” di bis che hanno definitivamente conquistato un pubblico rapito da due ore di concerto.

    —  Lucia D’Agostino  •  Cronache Salerno

    Standing ovation per Lisette Oropesa chiude il 2021 della Fondazione Ravello

    Nel post concerto, raggiante per la standing ovation finale tributata dal pubblico di Ravello, ha confidato di essere impaziente di debuttare alla Scala e felice di aver dato un assaggio di quello che sarà con l’interpretazione di una delle arie più complesse de I Capuleti e i Montecchi e cioè Eccomi in lieta vesta. Oh! quante volte, oh quante! dal I atto dell’opera di Bellini.

    —  Stampa  •  Postiano News

    Standing ovation per Lisette Oropesa a Ravello.

    È stato il debutto di Lisette Oropesa a chiudere la lunga stagione di programmazione della Fondazione Ravello. Tre bis e tanti applausi per uno dei più importanti soprani di oggi, acclamata sui palcoscenici dei più grandi teatri del mondo.

    La Oropesa, accompagnata all’Auditorium Oscar Niemeyer dalla Nuova Orchestra Scarlatti, particolarmente ispirata, diretta da Fabrizio Maria Carminati ha dato sfoggia di tutto il suo talento interpretando sette gemme del suo repertorio: Fiorilla, Giulietta, Hélene, Isabelle, Musetta e Manon.

    —  Gazzetta di Salerno  •  Gazzetta di Salerno
  • Crítica: Lisette Oropesa en Sevilla. Músicas de las dos orillas

    Todas estas cuestiones técnicas, con ser de por sí ya sobresalientes, de nada servirían sino estuvieran al servicio del fraseo y de la expresión. Y ahí es donde Oropesa desarma desde los primeros compases gracias a la seducción y delicadeza de su manera de decir, con la complicidad de ese ligero temblor de emoción en su voz. No se puede cantar de una manera más delicada, sotto voce y a flor de labios, la Asturiana o la Nana de Falla. En las canciones de Rodrigo supo amoldar el sonido a una dicción siempre clara y una fraseo muy cuidado, delicado y sutil. Maravillosos por último los tres bises, sobre todo ese vals de El húsar de la guardia tan elegantemente cantado.

    —  Beckmesser  •  Beckmesser

    Lisette Oropesa, como un torrente

    Quizás la estupenda sintonía y colaboración que existe entre estos dos teatros propició la cita, que quedará siempre en nuestro recuerdo como un acontecimiento extraordinario de belleza vocal, expresividad y entusiasmo melódico. Su voz antes ligera ahora ya con un toque lírico considerable, se ha curtido en los mejores escenarios del mundo con especial facilidad para la coloratura y afrontando papeles de enorme envergadura y dificultad. Pero aquí vino defendiendo un programa todo en español, a fuerza de canciones y romanzas de zarzuela de uno y otro lado del Atlántico, llevando sus orígenes cubanos y su pasión española al límite en un recital sin precedentes.

    —  Juan José Roldán  •  El Correo

    Entre zarzuelas y habaneras

    Un aleteo vivaracho abría el recital con la Paloma de Oropesa, quien desde un primer momento ya prometía desde aquí la asombrosa vocalización de cuanto cantaba, y si algo no se le entendía es porque era prácticamente imposible (las zonas más agudas de las sopranos suelen luchar con este escollo). Digamos también que por el hecho de alcanzar agudos estratosféricos su voz no es delgada y ni sin cuerpo, una cualidad que la hace más versátil y su color más variado. Es verdad que también posee un vibrato nervioso, que debe ser más de una técnica determina o una costumbre antes que defecto de su canto, puesto que en las 'Siete canciones populares españolas' que siguieron dicho vibrato se lentificó en las piezas más pausadas ('Asturiana', 'Nana').

    —  Carlos Tarín  •  ABCdeSevilla
  • Oropesa en oro

    No solamente por la magnífica dicción castellana, algo que por sus raíces latinas no le es en absoluto ajeno ni indiferente, sino por la adecuación expresiva, siempre emparentada con su fuerte personalidad operística. Y el Teatro de la Zarzuela vio por vez primera cómo brillaron de nuevo las elevadas facultades canoras de soprano lírica de agilidad que atesora Lisette Oropesa, en la que prepondera un mórbido registro central y unos firmes agudos, espléndidamente emitidos, a lo que une una presencia carismática en el escenario que atrapó al espectador desde su primera interpretación, muy personal, de la salida de Paloma de El barberillo de Lavapiés, o aquella otra de la romanza de Marola “En un país de fábula” de La tabernera del puerto, título visto recientemente en este escenario, que la americana desgranó con finura en línea melódica y picados.

    —  Germán García Tomás  •  Mundo Classico

    Lisette Oropesa arrolla en el Teatro de la Zarzuela

    Demostró una vez más la gran versatilidad de su voz, capaz de abordar nuevos géneros e interpretarlos de manera brillante. O habría que decir, apabullante. Sus cualidades vocales son evidentes. No existe nada en la partitura, ni fuera de ella, que se le resista. Mantiene unos agudos y sobreagudos excepcionales, un centro homogéneo y unos graves muy consistentes. Y una de sus mayores cualidades, teniendo en cuenta su ligereza, un volumen de voz más que apreciable. Aunque en algunos momentos sonó un poco engolada, utiliza a la perfección el legato y la media voz. Mantiene impecable su buena dicción y gestiona con brillantez y generosidad el fiato.

    —  Brío Clásica  •

    De España a Cuba, viaje de ida y vuelta

    Terminar con “¡Yo soy Cecilia Valdés!”, de Roig, fue toda una declaración de intenciones cumplidas, lograda a la perfección en las inflexiones, los cambios de ritmo, los colores, el control de las dinámicas… Y el buen humor y las ganas de divertirse. El público, como no podía ser menos, cayó rendido al encanto de la soprano que llegó a responder, con su inagotable simpatía… ¡Contando un chiste! Monumental y finísima, de una teatralidad sin límites, fue la presencia de Fernández Aguirre al piano: imprescindible sin duda, por su particular sensibilidad y su saber, en estos momentos de la nueva etapa de la carrera de Oropesa.

    —  José María Marco  •  Opera Actual

    El poderío de Lisette Oropesa en la Zarzuela

    Voz de soprano ligera, con una línea a la antigua, que no rehúye de abordar los graves y que muestra personalidad en todo momento. Desgranó el citado Falla, dijo muy bien los “Cuatro madrigales amatorios” de Rodrigo, puso corazón en Barbieri, Sorozabal, Lecuona y Penella, para deslumbrar en “Yo soy Cecilia” de Roig. Eso antes de las propinas, porque nadie se levantaba de sus asientos.

    —  Gonzalo Alonso  •  La Razón


     Por el lado de las canciones cubanas, degustamos los delicados Cantos populares españoles, de Joaquín Nin («Montañesa» y «Tonada del Conde Sol») y la interpretada de forma muy sensual, habanera «Flor de Yumurí», de Bocetos de Cuba, de Jorge Ankermann, terminada en un agudo de preciosa factura. En la segunda parte, y para terminar con nuestros comentarios sobre las canciones, Lisette Oropesa nos maravilló con su versión de los Cuatro madrigales amatorios de Joaquín Rodrigo. Sin duda, de las mejores que hayamos escuchado en directo o en disco, sobre todo de la archiconocida De los álamos vengo, madre, con todos los adornos, trinos, picados, etc., delineados a la perfección y a un tempo muy movido.

    —  Óscar del Saz  •  Codalario

    Lisette Oropesa arrebata en el Teatro de la Zarzuela de Madrid

    La soprano cubano-estadounidense con pasaporte español Lisette Oropesa pudo lucir una interpretación dramática/cómica  activa de todas y cada una de las piezas interpretadas, regalándonos momentos exquisitos con fraseos sinuosos e inteligentes, finales con filados delicados e, incluso,  añadió un chiste antes de los tres bises que nos dedicó: la habanera Tú de Sánchez de Fuentes, la romanza ‘Al pensar en el dueño’ de Las hijas del Zebedeo de Ruperto Chapí y la romanza ‘Un pobre nido solo es la aldea’ de El húsar de la guardia de Amadeo Vives y Gerónimo Giménez, título que se estrenó en este mismo teatro en 1904.

    —  María Pardo  •  Opera World

    Lisette Oropesa, el cóctel (de zarzuela) perfecto: sí, ella es Cecilia Valdés

    Y claro, como hemos dicho, llegó la traca final: Yo soy Cecilia Valdés. ¡Y tanto que ella ‘es’ la protagonista de esta zarzuela cubana! Lo disfrutó en el escenario del Teatro de La Zarzuela pero, sobre todo, nos lo hizo disfrutar a nosotros en el patio de butacas. Sensual, coqueta, divertida, canalla, tímida…, todo esto porque ella, efectivamente, ¡ella es Cecila Valdés! Luego, las generosas propinas, el apoteosis y el delirio de los fans.

    —  Nacho Fresno  •  Shangay
  • Extase et ravissement, Theodora de Haendel au Théâtre des Champs-Elysées

    Si bien que le couple qu’il forme avec Lisette Oropesa gagne peu à peu en crédibilité pour atteindre des sommets lors des derniers duos. La soprano déjà célèbre sur les scènes rossiniennes les plus fameuses, met ici en oeuvre sa parfaite vocalité, son timbre fruité, son intériorité pour dresser un portrait à la fois beau, vrai et déchirant de cette jeune martyre capable de tutoyer les anges.

    —  Bénédicte Palaux-Simonnet  •  Crescendo Magazine

    Luxueuse Theodora de Haendel au Théâtre des Champs-Elysées

    Le rôle de Theodora intervient dans des pages recueillies de prières, témoignages de sa foi inébranlable que vient magnifier la voix de Lisette Oropesa dans une homogénéité sans faille. Dans son cachot, elle se lamente sans théâtralité ostentatoire et l’air "With darkness deep, as is my woe" (Ombres de la nuit, enveloppez moi) révèle la beauté de son timbre agrémenté d’un vibrato touchant. Dans une maitrise constante, elle espère la mort par des vocalises et aigus émis dans une souplesse remarquée.

    —  Frédérique Epin  •  Olyrix

    A starry cast for Handel's Theodora in Paris

    In the title role, Lisette Oropesa offered a straightforward sincerity and innocence. Oropesa’s voice is a perfect fit for the character, pure and unforced but with enough fullness to bloom in Handel’s long legato lines. As always, her vocal technique was a marvel, with perfectly integrated registers and fluent command of Handelian ornamentation. Her Act 2 prison scene was the highlight of the evening, marrying endless lines of pearly sound with disarming sincerity. As her lover Didymus, the young French countertenor Paul-Antoine Bénos-Djian sang with a beautiful, rich tone and excellent coloratura, particularly in his opening aria. His plummy sound, though, wasn’t ideally matched with Oropesa’s silvery purity in the final duet, and his English suffered in comparison to his Anglophone cast-mates.

    —  Kevin W Ng  •  Bachtrack

    Nous nous reverrons au Ciel

    Tout oppose cette Irene flamboyante et sophistiquée à une Theodora sobre, pudique et pourtant lumineuse à sa façon, délicate, et en cela fidèle au drame de Morell et Haendel. Lisette Oropesa avait déjà abordé Haendel il y a quelques années (Serse, Giulio Cesare, Rodelinda, The Messiah), mais aucun emploi qui aurait pu la préparer à celui-ci. Sa concentration, sa précision nous saisissent dès son premier numéro, exempt de tout narcissisme vocal, et le reste de sa prestation sera à l’avenant. Lisette Oropesa confère à chaque mot son poids idéal et sa juste inflexion (« Fond, flatt’ring world adieu ! »), livrant d’emblée l’essence de Theodora : la jeune fille chrétienne renonce à un monde auquel elle n’a, en réalité, jamais véritablement appartenu. Le naturel de l’expression, la sincérité de l’artiste (« Angels, ever bright and fair ») caractérisent chaque station d’un inexorable chemin de croix, depuis son repli dans un abîme intérieur, après avoir imploré les ombres de la nuit de la dissimuler (poignant « With darkness as it my woe ») jusqu’à la délivrance quand, avec Didymus, elle aperçoit enfin ce Ciel (« Thither let our hearts aspire ») où, dans leur premier duo, ils promettaient de se revoir (« To thee, thou glorious son of worth »). 

    —  Bernard Schreuders  •  Forum Opera

    “Theodora” transporte le public du Théâtre des Champs-Élysées

    Theodora – qui trouve dans le timbre lumineux aux aigus délicats de Lisette Oropesa l’image idéale de la vierge martyre

    —  Loïc Chahine  •  Díapason Magazine
  • Milano - Teatro alla Scala: Theodora

    Lisette Oropesa è una protagonista a tutto tondo: la sua è una Teodora ben cantata, estatica, virginale, al tempo stesso timorosa e risoluta, tanto pronta a seguire i dettami della sua religione quanto disposta a salvare l’innocente Didimo dall’ingiusta condanna. Di grande spessore l’esecuzione della scena del carcere, “Oh thou bright sun… With darkness deep as is my woe”, complice lo stretto dialogo con il direttore e l’orchestra, e il duetto conclusivo con Didimo “Streams of pleasure… Thither let our hearts aspire”. 

    —  Martino Pinali  •  Opera Click

    Handel con Theodora infiamma la Scala

    Theodora era Lisette Oropesa, voce con un vibrato stretto, sfrutta le caratteristiche del suo timbro posando a una Santa perennemente sul malinconico fisso, in estasi, dai pochi colori vocali, agìta sul volto la stilizzata recitazione. Nell’aria Fond flatt’ring world, gioca la carta del patetico, con suoni filati, in Angels, ever bright si fa astratta preghiera, mentre trova accenti accorati e “plaintive” nella più bella tra le arie della Theodora, quel With darkness deep che Handel addirittura riscrisse…Coro omogeneo e scattante, capace di smorzare e rendere percepibile la sublimazione della preghiera finale.

    —  Brescia e Armisano  •  Corriere Dello Spettacolo

    La “nobile semplicità” di Theodora alla Scala

    Il soprano Lisette Oropesa ha dato vita ad una Teodora — la nobile cristiana prima sottratta al martirio dall’amante, il soldato Didimo, e poi pronta a morire insieme a lui quando scopre che a sua volta l’uomo è stato condannato — piena di sofferenza e di incanti vocali. Lo si è apprezzato già nella prima aria e lo si è apprezzato nel corso dell’intero oratorio, in particolare nella celebre aria «in catene» con traversiere obbligato all’inizio della seconda parte, un vero e proprio colpo di genio della fantasia händeliana, con il traversiere che in alcune battute quasi sembra perdersi nel silenzio di tutti gli altri strumenti.

    —  Luca Segalla  •  Revista Musica
  • WIEN / Theater an der Wien: THEODORA

    Lisette Oropesa, schwarze Locken, grau-silbriges Abendkleid, sang die Titelrolle. Sie hat mit ihrem Strahle-Sorpan als Konstanze in der Wiener Staatoper die Herzen des Publikums im Sturm erobert. Hier muss sie die „Tugendboldin“ (wie man Händels Heldin bezeichnet hat) interessant machen. Sie tut es so weit wie möglich mit Stimme, Technik und lebhaftem Minenspiel, dessen sich auch alle anderen Sänger bedienen: Wenn man das Ganze schon nicht spielen darf (das Programmheft kündigt allerdings eine szenische Aufführung mit dieser Besetzung irgendwann irgendwo an), dann muss man doch wenigstens zeigen, wie man fühlt und leidet. Leidet vor allem, denn Theodora wird verfolgt, soll zur Prostitution gezwungen werden, will das Opfer des Didymus, der sie retten möchte, nicht annehmen… kurz, selbst wenn man den englischen Text nicht mitliest, weiß man doch nach der Inhaltsangabe worum es geht. Tragisch.

    —  Renate Wagner  •  Online Merker

    Royal Opera House - La traviata

    Oct, 2021 - Nov, 2021

    I’ve rarely heard a Covent Garden crowd explode like they did at Royal Opera's latest Violetta

    Lisette Oropesa is the Violetta of your dreams: spirited, dignified, and singing with the sweet, liquid lyricism of a blackbird before daybreak.  I’ve rarely heard a Covent Garden crowd explode like they did at the end of Oropesa’s ‘Sempre libera’, and even more rarely with such good reason.

    —  Richard Bratby  •  The Spectator

    The perfect Traviata in the Royal Opera House

    Dabei wird es wohl schwierig sein, die makellose Leistung von Lisette Oropesa zu übertreffen. Die amerikanische Sopranistin ist ein Phänomen, Publikumsliebling und eine der großen Verdi-Sängerinnen der Gegenwart. Dies konnte sie bereits vor einigen Wochen als Gilda in Rigoletto beeindruckend demonstrieren.

    Was zeichnet ihre Violetta aus? Eine atemberaubende Klarheit in der Höhe, technische Perfektion und die Fähigkeit, die Partie bis in die kleinsten psychologischen Verästelungen auszudeuten. Von der fliederhaften Leichtigkeit des Duetts „Un dì, felice, eterea“ bis zum letzten, schmerzhaften Aufbäumen im letzten Akt („Addio del Passato“) gelingt es ihr, Höhen und Tiefen ihrer Figur perfekt darzustellen.

    —  Andreas Schmidt  •  Klassik Begeistert

    Londra, Royal Opera House – La traviata (con Lisette Oropesa)

    Ne risulta un ritratto completo dell’evoluzione del personaggio di Violetta, sicuramente una delle più efficaci nella lunga storia di questo allestimento. Nel primo atto, Oropesa mostra una bella padronanza tecnica dello strumento con un buon controllo del fiato e senza nessuno sforzo nel dispiegare le fioriture di “Un dì felice, etera”, così come le agilità della cabaletta “Sempre libera” dove centra il Mi bemolle sopracuto, mentre in “Follie! Follie! Delirio vano” Oropesa trasmette quella frenesia e quel turbamento latente che agitano il personaggio. Lasciatasi alle spalle le difficoltà tecniche del primo atto, la voce inizia ad acquisire maggior colore e spessore interpretativo. Dopo il confronto con Germont, Oropesa esordisce in “Ah, dite alla giovine” con una lunga e sostenuta mezzavoce in piano dal legato curatissimo (uno dei momenti musicali più belli della serata), a cui si oppone poi la disperazione di “Morrò! Morrò!”, enfatizzata da un battito di pugni sul tavolo.

    —  Pietro Dall'Aglio  •  Conessi all'Opera

    La traviata @ Royal Opera House, London

    Given that there are six sopranos scheduled to sing Violetta this run, that will be of paramount importance. Having caused a sensation with her superbly sung Gilda (Rigoletto), which opened the season, Lisette Oropesa returned to perform Violetta for the first time at Covent Garden, and rightly brought the house down. Most of the world’s most illustrious sopranos have graced this staging over the years, but you’d have to go back a long way to find one with such prodigious talents as Oropesa, who embodies the role so fully.

    With a rock-solid technique, she sounded completely at ease across every facet of the role – thrilling coloratura in ‘Sempre Libera’, dispatched with pinpoint accuracy and perfectly tuned runs, wonderfully spun lines, perfect breath control – and acted the role as if her life depended on it. Deeply moving in her Act II ‘Dite alla giovine’, heart breaking in the final act’s ‘Addio del passato’, she capped her thrilling interpretation with an emotionally shattering ‘Parigi, o cara, noi lasceremo’, alongside her former lover, Alfredo, which left few, if any, dry eyes in the house. Without a doubt she is one of the finest, most complete Violettas to grace this staging in its almost 30 year history.

    —  Keith McDonnell  •  Music OMH

    Lisette Oropesa Dazzles as Violetta in La traviata at the Royal Opera House, Covent Garden

    Oropesa is a Violetta with everything as her intricate portrayal of the character is just as mesmerising as her superlative singing. The various situations, moods and states of health that Violetta finds herself in mean that the demands placed on the singing and acting are constantly changing, yet Oropesa remains thoroughly convincing from start to finish. In arias such as ‘Sempre libera degg’io’ the underlying sumptuousness in her sound is complemented by complete mastery of technique and phrasing so that it positively glistens and gleams. On the other hand, in ‘Addio, del passato bei sogni ridenti’, the inherent security in her voice is paradoxically used to convey the most convincing image of frailty. Her acting is also effective as even her arm gestures are in keeping with the wider picture, whether palms are facing outwards so that arms follow the curve of her dress, or hands are coming together as if the emotion she is feeling is so strong she can practically cradle it.

    —  Sam Smith  •  Opera Online

    La Traviata REVIEW: Lisette Oropesa breathes new life into Verdi's most popular opera

    I cannot remember when I last saw the entire audience at the Royal Opera House rise to their feet to applaud a singer, but rarely can a full-house standing ovation have been better merited than the one given to Cuban-American soprano Lisette Oropesa on the opening night of Verdi’s La Traviata on 27 October.

    This singer has everything: a beautiful voice, flexible enough to convey great extremes of emotion, superb acting ability, and the ability to dominate the stage and captivate the audience totally. Even more remarkably, this was the 17th revival of Richard Eyre’s glorious 1994 production of Verdi’s most popular opera, yet thanks to Oropesa’s stunning performance, it looked fresher than ever.

    —  William Hartston  •  Daily Express

    Lisette Oropesa’s Violetta makes this umpteeenth revival of the Royal Opera’s La traviata unmissable

    From then on there was greater warmth, emotion, passion, heartbreak and despair as Oropesa’s commitment to the character became evident and she totally won over the audience to deserve the standing and cheering there was at her curtain call. Her ‘Alfredo, Alfredo, di questo core non-puoi comprendere tutto l’amore’ at the end of Act II was dignified and deeply affecting. Later when she relinquishes her love for Alfredo to the girl he will eventually marry (‘Prendi: quest’è l’immagine’) it was heartrending. 

    —  Jim Pritchard  •  Seen and Heard International

    A standing ovation for Lisette Oropesa in the Royal Opera House’s revival of La traviata

    In Act 2, Oropesa found a little more colour and warmth, making us feel, through her command of the legato line and her sensitivity to the text, her very human struggle to deny mortality and fate.  She paced the tension brilliantly, revealing the anguish of love relinquished and a heart broken.  Perhaps she cannot rely on an innate lyrical quality to convey Violetta’s passion and despair, but Oropesa is a natural singing-actress, and the pathos of Act 3 was heart-wrenching.  The expressive details were emphasised but not exaggerated, even if she looked as hollowed out and haunted as a phantom.  Indeed, this fragile Violetta was so evidently close to death that it was painful to endure her memories and her prayer, even as it was beautiful to hear them.  In ‘Addio del passato’, despite the stunning soaring lines, somehow Oropesa seemed to intimate a body on the cusp of breathless collapse.  Even the depiction of the momentary, delusory belief in recovery, known as spes phthisica, was more convincing than I remembered from previous performances, the surge of adrenaline sending the languishing Violetta spinning around the room, only to slump, lifeless, into Alfredo’s well-timed embrace.

    —  Claire Seymour  •  Opera Today

    Le Royal Opera House continue de raviver La Traviata de Richard Eyre

    Lisette Oropesa suspend le souffle du public chaque fois qu'elle ouvre la bouche et l'assistance aurait visiblement souhaité un bis pour "Sempre libera". Le contrôle des aigus et suraigus parachève celui de la ligne vocale au point de ne plus sembler surprendre. Mais ce rôle permet aussi d'apprécier le registre grave mélodieux de la soprano. Les deux rôles chantés par Oropesa cette saison à Covent Garden (Violetta et Gilda) ont en commun d'opérer une transition au cours de la soirée entre les qualités virtuoses et une concentration vocale à l'intensité du drame, moins brillante et plus tragique.

    —  Mark Everist  •  Olyrix

    La Traviata “Exhilarating performance by Lisette Oropesa”

    Oropesa shows total command of her vocal instrument, thrilling with her expansive dynamic and expressive range. Dramatically, she is at her best in the heart-rending final act, as Violetta in the final stages of consumption, clinging to the hope of a final meeting with her beloved Alfredo (Liparit Avetisyan).

    —  Inge Kjemtrup  •  The Stage

    La Traviata review – Oropesa and Avetisyan are exceptional in impassioned Verdi

    As with her Gilda, Oropesa welds sound with sense to create a characterisation of great depth and subtlety. Vocally, Violetta holds no terrors for her: the reckless coloratura of Act I is admirably secure and capped with a dazzling high E flat; the lyricism with which she yields to the moral demands of Christian Gerhaher’s Germont is at once heartbreaking and exquisite; and the emotional and physical anguish of the final scenes are all the more powerful for being etched with such unsentimental restraint. Suggesting fragile beauty on stage, she realises the breathlessness of tuberculosis – and, tellingly, the panic that accompanies it – with unsparing vividness, and throughout we really do believe in the intensity of her feelings for Alfredo and their power to transform and overwhelm her.

    —  Tim Ashley  •  The Guardian

    Lisette Oropesa's Violetta proves to be one of the greats at Covent Garden

    last night, we were to hear Lisette Oropesa, a soprano at the top of her game whose Violetta blew away audiences in Madrid last year as well as at The Met. She did not disappoint.

    The keystone of her performance was a truly formidable level of technique. Whatever technical aspect you talk about – breathing, placement of vowel sounds, details of Italian diction, legato, timbre, emphasis of bel canto phrasing or many more – Oropesa had them all under control, with supreme confidence in her ability to make her voice do anything she wanted it to. Technique brings freedom: the freedom to choose the exact interpretation of every phrase and to know that it’s going to come out exactly the way she wants it to. Opera singers are constantly making difficult decisions and Oropesa seemed to make every one in a way that was musically and dramatically felicitous. I’ll give just one example: in “Addio, del passato”, when Violetta bids goodbye to the past from her deathbed, she gasps for breath between phrases. How loud to make the gasp? Too loud and you break the musical flow, maybe sounding contrived. Too soft and you sound too healthy. Oropesa nailed the balance exactly right – as she did in hundreds of other places.

    With that musical freedom came an ability to make every word of the role count, whether it’s the glitter of Act 1, the cheerfulness turning to despair of Act 2 scene 1, the impossibility of an exit from her grief at the card playing scene or the inevitability of her terminal illness of Act 3. Her performance convinced at every point even as we enjoyed the music.

    —  David Karlin  •  Bachtrack

    La traviata review — a star shines in the Royal Opera’s Verdi revival

    Bob Crowley’s sets, famously marked by heavily architectural semi-circular structures choked with objects that get in the way (banquettes, a gambling table, hoop skirts), never seemed to pin Oropesa to the spot as it did with other performers. In Act I she vibrated with life and young innocence, hitting the coloratura heights in the climactic Sempre libera without the brilliance ever seeming forced. The open warmth of her tone, lack of affectation and gentle half-voice allowed her to easily display unfettered hurt and vulnerability, much needed as the libretto carved from the Alexandre Dumas play La Dame aux camélias presses on.

    —  Geoff Brown  •  The Times
  • Il Loggione Emiliano: In Salotto Con Verdi, Lisette Oropesa E Francesco Izzo

    Lisette Oropesa si presenta in un abito di grande eleganza in tutto il suo splendore. La voce è agile, leggera, sorretta da una padronanza tecnica invidiabile che le consente di concentrarsi interamente sull’interpretazione delle contrastanti emozioni trasmesse dai diversi brani in programma. Oropesa riesce nell’intento di trasmettere con estrema sincerità e spontaneità e senza alcuna “costruzione”, tanto sé stessa e il suo amore per quest’arte, quanto il personaggio che, seppur brevemente, è chiamata ad essere in ciascuna aria. Il canto è sempre elegante, il fraseggio raffinato e ogni gesto, sguardo, sospiro, ogni intenzione musicale e non, è al tempo stesso naturale e studiata. Cosa chiedere di più?

    —  Grigorij Filippo Calcagno  •  Ieri Oggi Domaini Opera

    Parma - Festival Verdi: Recital del soprano Lisette Oropesa

    En ese sentido, la soprano comenzó el recital pasito a pasito, casi tímidamente, intentando un acercamiento con la audiencia que se produjo muy pronto durante la noche. Aprovechó asimismo esta oportunidad, para calentar una voz que se desarrolló como suele en todas sus comparecencias, con agudos sorprendentes, agilidades, buen gusto, enorme expresividad, capacidad de apianar, matizar y especialmente, conectar con el público con una calidez que a menudo no se encuentra en los conciertos ni en las grandes representaciones- diferentes- de ópera. Lució su dominio de las lenguas extranjeras, ya que, de origen hispano pero integrada en la cultura de Estados unidos, su español es, natural y se expresa y canta también en francés, italiano y alemán o inglés.

    —  Alicia Perris  •  Opera Click

    Con Lisette a casa Verdi

    La voce, dal timbro lirico, è omogenea in tutta l’estensione, morbida, rotonda, ricca di armonici nei centri, sale con facilità in alto pur senza la necessità di avere la sfrontatezza delle voci leggere di coloratura e mantiene fermezza e corpo anche nella regione grave. Sorretta da un legato magistrale colpisce la precisione strumentale con cui snocciola gli abbillimenti e, tra questi il più difficile, il trillo. Precisione che conferisce fermezza alla linea di canto, sempre controllata anche nei momenti di maggior espressività.

    —  Paolo Malaspina  •  Wanderer

    Parma, concerto Oropesa/Izzo

    Per dosare bene tutti gli ingredienti ci vuole la persona giusta e la persona giusta è senz’altro Lisette Oropesa. Si presenta nel nostro salotto allargato con un bell’abito ispirato alla moda risorgimentale, ma lo sdrammatizza con la grazia di una Fille du régiment che ha imparato le buone maniere senza perdere la sua genuinità. Resta in equilibrio fra il personaggio che via via incarna, sia pure per un cameo di pochi minuti, e la dimensione concertistica in cui è e deve essere sé stessa. Musicista finissima, fa ciò che vuole con la sua voce leggera e penetrante, e per fortuna ciò che vuole è fraseggiare con gusto, intenzione, ispirazione, garbo e malizia. Non lascia nulla al caso ma appare spontanea, empatica, con uno sguardo e un sorriso conquista il pubblico e questa non è gigioneria, è arte. Quando un artista vuole fare il simpatico e ostenta solo sé stesso lo si riconosce, e non è questo il caso: qui Lisette Oropesa trasmette solo amore per quel che fa, amore per il pubblico, gioia nel dar vita a questa musica e a questi versi. 

    —  Roberta Pedrotti  •  L'ape musicale

    Parma, Verdi Festival 2021 - Recital by Lisette Oropesa

    A gentle diva, Oropesa, who seems to be pervaded by a light, elegant and aristocratic grace without being distant, incisive as an interpreter without ever being affected and, above all, without sacrificing spontaneity. The timbre is really beautiful in color and roundness, the voice is full-bodied in the centers and gradually softer and more mellow in the passage up to bright highs, which really fill the room. Moreover, the singing is always excellently projected, the technique is superb (the trills are wonderful), the phrasing is elegant and cared for, the nuances are remarkable. 

    —  Fabio Larovere  •  Conessi all'Opera

    In salotto con Verdi (Festival Verdi 2021)

    Il grande successo della serata è merito senza dubbio dei due protagonisti: il Maestro Francesco Izzo al pianoforte e Lisette Oropesa, stella ormai affermatasi nel panorama lirico mondiale.

    Il soprano, originario della Louisiana, in un bellissimo ed elegante abito da sera nero, che ne valorizza la figura longilinea, si posiziona al proscenio e intona i primi versi dei brani di apertura del concerto (arie di Saverio Mercadante); il pubblico rimane da subito affascinato dalla purezza e dalla morbidezza di una voce immacolata, luminosa e che si espande facilmente in sala.

    —  Marco Faverzani  •  Opera Libera

    Royal Opera House - Rigoletto

    Aug, 2021 - Sep, 2021

    Royal Opera London - a “rigoletto” like in the cinema

    But the vocal sensation of the evening was undoubtedly the Gilda of the American soprano Lisette Oropesa. Her lyrical coloratura soprano sounded that evening with such impeccable purity and lived passion that the pampered Covent Garden audience was swept away to true storms of applause. She is perhaps the best Gilda I have ever admired worldwide.

    —  Dr. Charles E. Ritterband  •  Klassik Begeistert

    Cursed by man and nature

    It is next to impossible to imagine a more affecting Gilda than Oropesa. The stylishness, sweetness, tenderness, flexibility and expressivity of her singing is breathtaking

    —  Anna Picard  •  The Times Literary Supplement

    London, Royal Opera House - Rigoletto

    Lisette Oropesa is without a doubt the highlight of the cast. She is a never cloying and very credible Guild in communicating fragile curiosity, palpitating and naive love, violated innocence and unconditional sacrifice for the love of the father. Highlights are her "Caro nome" where the trills (which almost become one with her tight and so peculiar vibrato) truly capture the beating of Gilda's heart, "Tutte le feste" from the lyrical and vulnerable abandonment and the final duet with Rigoletto “Lassù in cielo”, very moving. One would have expected a much smaller live voice, especially in a large room like Covent Garden, but was pleasantly surprised. Despite some thinning in high notes, the voice is very well projected and perfectly audible in all moments of the ensemble, without ever being covered by the orchestra and colleagues. Oropesa takes care of the legato well and has a taste for phrasing, which is never boring.

    —  Pietro Dall'Aglio  •  Conessi all'Opera

    First New Production of Rigoletto in Twenty Years at the Royal Opera House, Covent Garden

     t is, however, Lisette Oropesa, with her beautifully toned sound, who stands as the first among equals as she presents a Gilda who is totally overwhelmed by her delusion that the Duke really loves her.

    —  Sam Smith  •  Opera Online

    Rigoletto at the Royal Opera House review

    As Gilda, the American soprano Lisette Oropesa, one of today’s star coloraturas, is the most vocally convincing of the central trio with her needlepoint accuracy and penetrating high notes, easily riding the orchestral tumult of the climactic Storm trio.

    —  Hugh Canning  •  The Sunday Times

    Royal Opera House 2021-22 Review: Rigoletto

    Lisetta Oropesa remains one of the leading lyric coloraturas working today. There is richness and oaky color in her lower register – redolent of Callas – which gives the character a power and gravitas that twittering glittering approaches rule out. Her “Caro nome” received a thunderous reception, and most of the passagework and high notes shone – particularly that trill

    —  Benjamin Poore  •  OperaWire

    BWW Review: RIGOLETTO, Royal Opera House

    Oropesa gets to the heart of Gilda's tragedy - that in protecting her, her father left her open to the first man to pay her any attention. Should he have trusted his intelligent and beautiful daughter to swim with the sharks in the palace? The time had to come, but "Tomorrow" is often the easiest answer for any parent when a child must be sent out into a hostile and risky world. Oropesa's huge reception at the curtain underlined how emotional was her connection to the audience and how magnificently she sang the role.

    —  Gary Naylor  •  Broadway World

    Oliver Mears’ Rigoletto at Covent Garden: a superb drama of darkness and light

    Oropesa communicates both Gilda’s youthful sensuality – as she reclines on her bed, stroking her legs as she dreams of her beloved ‘Gualtier Maldè’, it’s clear that she’s not as innocent as her father thinks – and traumatised disillusionment.  Oropesa is simply superb: ‘Caro nome’ was beautifully ornamented and bravely, brilliantly executed.  The coloratura soprano absolutely deserved her thunderous ovation. 

    —  Claire Seymour  •  Opera Today

    The Royal Opera – Season Opening – Oliver Mears’s new production of Verdi’s Rigoletto

    Lisette Oropesa gave Gilda everything: she was warm voiced with her father, later steely determined, and ultimately fragile as she implores Him in Heaven for guidance, showing us the real Gilda.

    —  Classical Source  •  Classical Source

    Time will tell if Oliver Mears’s new Rigoletto for the Royal Opera will reveal more

    Let’s start from the one absolute stellar contribution: that of Lisette Oropesa. After she cancelled singing Elvira (I puritani) in Gstaad recently, one did wonder if she would (a) show and (b) be at her best. Show she did, and this was the best Gilda I, for one, have heard. Her voice is beautifully pure and agile yet has a fullness that carries right to the back of the theatre. Her ‘Caro nome’ was a showstopper; she has an innocence, and yet we feel that underneath that is a knowing which is powerful.

    —  Colin Clarke  •  Seen and Heard International

    Great new production of ‘Rigoletto’ reopens the Royal Opera

    Lisette Oropesa as Gilda was simply glorious, perhaps the finest coloratura soprano in the world today. 

    —  Mark Ronan  •  The Article

    Rigoletto, Royal Opera, review: thrilling music, ascetic sets and a truly grotesque doll

    There is no doubt where the vocal triumph of the evening lies. This is Lisette’s Oropesa’s first Gilda on a British stage: girlish and unaffected, it is a wonderfully complete piece of singing, her “Caro nome” precise and emotional in every detail.

    —  Nicholas Kenyon  •  The Telegraph

    Rigoletto review – Oropesa is a matchless Gilda in powerful new take on Verdi’s tragedy

    Oropesa makes a matchless Gilda, singing with an extraordinary beauty of tone and understated depth of feeling: this really is one of the truly great performances.

    —  Tim Ashley  •  The Guardian

    Rigoletto, Royal Opera House, London, review: A wickedly effective new production

    Cuban-American soprano Lisette Oropesa’s Gilda has a fullness of tone which simply grows in beauty as she duets with the Duke, then launches into her ecstatic reverie, ‘Caro nome’.

    —  Michael Church  •  iNews


    Lisette Oropesa has all Gilda’s notes at her command and manages the tricky task of conveying her character’s almost terrifying innocence.

    —  George Hall  •  The Stage

    Rigoletto review — thrilling new production opens the Royal Opera season

    Lisette Oropesa is simply the most believable Gilda I have seen; not the most voluptuous voice, but used to devastatingly expressive effect. Her mixture of fragility and self-sacrifice, transferred from one controlling monster to another, is heart-rending.

    —  Richard Morrison  •  The Times UK

    Rigoletto, Royal Opera review - routine clouds the best in this season opener

    Charismatic, though, he isn’t. Lisette Oropesa doesn’t have a huge amount to go on as the silly girl who loves her rapist to the end, but her lyric soprano – fuller than usual in this role – is engaged in a fascinatingly different “Caro nome” from the coloratura.

    —  David Nice  •  The Arts Desk

    Rigoletto at the Royal Opera House review - worth the 30 year wait

    In her celebrated aria Caro nome, Lisette Oropesa succeeds in showing us both the virtuous flower and, with a flash of bare legs and an innocent roll on her bed, the sensual attraction she feels for the duplicitous duke. The extravagant ornamentation of the aria is delivered superbly, complete with real trill, yet with delicacy and subtlety. 

    —  Barry Millington  •  Evening Standard

    A striking Rigoletto opens Oliver Mears' account at The Royal Opera

    Both Álvarez and Oropesa are great actors. Oropesa also happens to be the finest lyric coloratura in the world today. Her soprano is quite dark lower down – hers is no tweetie-pie Gilda – and “Caro nome” revealed rock solid technique including an excellent trill. She narrowed her voice daringly fine at the top, but just within the bounds of control.

    —  Mark Pullinger  •  Bachtrack

    Martina Franca: Lisette Oropesa vestale del Belcanto

    È comunque l’altra Giulietta, alla quale Bellini fa cantare quell’”O quante volte o quante” che insieme al recitativo da cui è preceduta è sistematicamente straziata da quasi tutte le partecipanti a qualsiasi concorso lirico e svilita a nenia melensa, alla quale il soprano statunitense rende tutta la sua profondità lavorando di cesello su ogni singola parola e su ciascuna nota.

    La Oropesa sale poi definitivamente in cattedra dando voce ad un’Amalia – solitamente vittima di un insopportabile overacting vocale – animata da una meravigliosa fragilità piena di forza.

    —  Alessandro Cammarano  •  Le Salon Musicale

    Martina Franca, Festival of the Valle d'Itria 2021 - Recital by Lisette Oropesa

    Oropesa ha esibito una bella incisività nel recitativo, eseguendo poi con perfetta musicalità e un suono dolce e vibrante l’aria, prima della funambolica cabaletta dove la precisione dei trilli era sostenuta da un eccezionale controllo del fiato e si accompagnava sempre a una ragione espressiva. Notevolissima poi nell’articolazione della frase, nitida e priva di qualsivoglia artificio, nell’intensa pateticità di “Adieu, notre petite table” da Manon di Massenet.

    —  Fabio Larovere  •  Conessi all'Opera

    La Fantôme de l'Opéra

    Reste Lisette Oropesa. Nous suivons depuis très longtemps cette chanteuse éblouissante et de nouveau elle fascine par la facilité technique, par l’éclat d’une voix d’une fraicheur insolente sans aucune faille. Nous avions déjà admiré sa Violetta bien plus traditionnelle à Vérone. Dans cette production et avec cette direction elle est au rendez-vous en adaptant la manière de chanter à la vision du personnage. Son chant illumine toute la représentation : le premier acte éperdu et haletant, le deuxième désespéré, y compris musicalement car Gatti refuse de se complaire dans le lyrisme insistant mais plutôt le "précipité" (au sens chimique) du drame : elle est dépassée, presque empêchée de chanter « comme on l’attend » et c’est aussi déchirant. Les plus désespérés sont les chants les plus beaux2…
    Son troisième acte est absolument exemplaire dans son rôle de jeune femme massacrée par la vie, la voix a une fraicheur tragique, et du coup presque inutile – de cette voix cristalline il ne sortira que la mort et le désespoir. Elle sait aussi se plier à une nouvelle approche, moins démonstrative et plus « vécue », plus réaliste que d’habitude.

    —  Wanderer  •  Wanderer

    Violetta filmada entre bambalinas

    Lisette Oropesa tiene el phisique du rôle y viste perfectamente a su Violetta; su técnica vocal es inmaculada y, si se puede detectar en ella alguna ligera vacilación, ello es debido a las continuas repeticiones o interrupciones impuestas por el propio rodaje que obstaculiza el mantenimiento de la necesaria concentración. Fundamentalmente se trata de una soprano lírico-ligera que sin embargo consigue afrontar los momentos más dramáticos con una interpretación basada más en lo sutiles matices psicológicos que en los grandes efectos dramáticos.

    —  Mauro Mariani  •  Opera Actual

    Oltre un milione di applausi per la “Traviata” di Martone

    Lisette Oropesa, statunitense diorigine cubana, é l’incarnazione di Violetta. Vocemagnifica, aderisce totalmente al personaggio, élibera di muoversi, di danzare. La sua Violetta é disperata, carnale, gigante. L’amante a cui dedica quell’“amami Alfredo”, che commuove fino alle lacrime chi ascolta.

    —  Fabiana Dallavalle  •  Messaggero Veneto

    La Traviata dell’Opera su Rai3: esperimento di creatività premiato da un milione di telespettatori

    Violetta è interpretata in modo superbo dal soprano Lisette Oropesa che ha dato anima, voce e corpo questo film.

    —  Simona Antonucci  •  Il Mattino

    Il turbine e il vuoto

    Ascoltare una tale sapienza nel tratteggiare il personaggio di Germont è una rarità che non pone comunque in ombra l’ammirazione per la Violetta di Lisette Oropesa. Canta bene, non forza mai l’emissione, che suona naturale, duttile, capace di esprimere una sincera partecipazione e un palpito personale anche nell’incalzare suggerito da Gatti. Anzi, proprio il fatto che non ci sia spazio per effetti e abitudini, che tutto si asciughi, pone in evidenza la fragilità iniziale, quella vibrazione nervosa che poi si fa sempre più intensa, consapevole, determinata e dolorosa anche nella recitazione, franca ed efficace. Alla frenesia degli eccessi segue il trasporto sincero senza artificio, mentre il trucco, le luci e la fotografia mettono bene in evidenza le espressioni del volto, tutt’uno col canto.

    —  Roberta Pedrotti  •  L'ape musicale

    Violetta nel traffico di Roma Traviata, bellezza senza eta

    Violetta é interpretata in modo superbo dal soprano Lisette Oropesa che ha dato anima, voce e corpo questo film.

    —  Leonetta Bentivoglio  •

    Un/altra Traviata nel vuoto del teatro

    La complessita della protagonista viene esaltata dal canto recitato di Lisette Oropesa

    Lisette Oropesa, statunitense di origini cubane, é una Violetta da manuale: recita con il canto. Le sfaccettature di un personaggio complesso prendono vita momento per momento.

    —  Dino Villatico  •  Il Manifesto
  • BILBAO / El mundo era suyo

    Oropesa no arrancó con un ¡boom! que rompiese drásticamente todos estos meses de sequía sino con dos canciones de Mercadante que parecían miniaturas inapreciables, diminutas por la simplicidad de su música, en las cuales la voz mostró ya su presencia, creando un mundo que era suyo, con una amplitud, una igualdad, un cuerpo y un color que sedujeron desde el principio.

    —  Asier Vallejo Ugarte  •  Scherzo Magazine

    Oropesa enamora en el Palacio Euskalduna

    Para entonces Oropesa ya había mostrado sus extraordinarias dotes vocales. La primera, que su espléndida voz muestra timbre y resonancia igual en todos los registros; llega cómoda a la zona central y sostiene bien los graves. Además se pasea por las dificultades como si no lo fueran para ella, y ataca los agudos sin portamento alguno, con precisión segura o, a veces, deslizándose a ellos con una finura y fluidez llenos de belleza y encanto; siempre con magistral dominio de las dinámicas y cuidado en la expresión.

    —  José Miguel Balzola  •  Opera Actual

    Ganas de lírica

    Oropesa se mostró no solo cómoda sino incluso contenida en las primeras piezas, con una emisión firme plena de cálida morbidez, que se regodeaba en un registro medio de asombrosa riqueza, aunque sin miedo de explorar la carnosidad de las notas más graves o los holgados agudos –que, astutamente, dejó para las últimas intervenciones– gracias a una impecable calidad técnica que le permite un timbre flexible, homogéneo y brillante en todo su registro.

    Destacable su control del fiato, pero más aún porque no abusa del fraseo solo por hacer alarde de su impecable legato, sino porque cada respiración está premeditadamente realizada con la expresividad justa, integrándola en el propio canto. Con la misma sencillez –por no llamarla humildad–, coloraturas y adornos fueron ejecutados con resolución pero sin regodeos ni aspavientos, de modo que no resultaron vacíos juegos de malabares sino refuerzos de la expresividad musical; y los sobreagudos, derrochando ligereza y presencia a partes iguales, fueron justamente racionados, sin ánimo de buscar el aplauso fácil.

    —  Franco Madariaga  •  Naiz

    Atracción artística

    La soprano cubano-norteamericana Lisette Oropesa mostró dos factores esenciales en su canto, un gran fiato y una perfecta afinación. Ya se sabe que, cuando concurren el correcto manejo de la respiración y una emisión bien proyectada, el uso técnico vocal se ve muy facilitado. Su voz, además, resultaba siempre de igual color y no abandonó nunca la belleza cromática de su limpio timbre, ni siquiera en alguna que otra nota grave en la que su voz pueda incomodarse. Su actuación fue de más a menos. desde un comienzo académico hasta llegar a la interpretación de Schubert. Fue entonces cuando se mostró más expresiva, y también cuando Rubén Fernández 

    —  Nino Dentici  •  El Correo


    Digámoslo cuanto antes: el recital ha sido un éxito sin paliativos. Uno, que no es amigo de este formato, no recuerda en los últimos años una cantante con la calidad vocal de Oropesa en recital alguno. La voz es de bello color, uniformidad en todos los registros –aunque algo matizado en la zona más grave, lo que parece natural- un fraseo de calidad y una implicación con el texto digna de aplauso.

    Además, técnicamente Oropesa nos ofreció detalles de alta calidad, de esos que están destinados para disfrutar casi en la intimidad. Por poner solo dos ejemplos, el trino final de la segunda pieza de Mercadante, La primavera, está alcance de pocas; y en la segunda parte, en la operística, toda la escena final de La sonnambula de Bellini fue un ejemplo de buen decir, de implicación con el personaje y de generosidad con el público pues la soprano incluyó el recitativo, muy sentido, el aria y la cabaletta final.

    —  Enrique Bert  •  Platea Magazine



    Brava Oropesa!

    Lugar y fecha: Gran Teatre del Liceu (15/XII/2020) Seductora y carismática, así fue la Violetta Valéry de la estadounidense Lisette Oropesa, éxito personal y ovación en el Liceu. Recuperadas las funciones de La Traviata tras ampliar el tope de 500 espectadores a 1.000, faltaba disfrutar de la tercera de las cuatro Violetta en discordia, vistas ya Kristina Mkhitaryan y Pretty Yende, y a falta de Ermonela Jaho en la última función. Lisette, la más ligera, sorprendió, pues más allá de un primer acto brillante, donde desplegó su instrumento a piacere, Mi bemol al nal del “Sempre libera!” , agudos fáciles, luminosos y timbrados, creció con el desarrollo de la partitura. En su dúo con Germont padre coloreó, buscó expresión y matices, siempre sul ato, con un fraseo detallado, articulando cada frase con una escuela belcantista de primera. En su aria nal “Addio del passato” , la más aplaudida, controló el vibrato, aportó drama y acabó con un pianissimo volátil inolvidable. Brava la Oropesa!

    —  Jordi Maddaleno  •  La Vanguardia
  • Constellation d’étoiles (dé)filantes pour l’Ouverture de saison à La Scala

    Arrive ensuite Donizetti et Lucia di Lammermoor, l’œuvre initialement prévue en cette ouverture de saison et ici “réduite” à un seul air (“Regnava nel silenzio”). Lisette Oropesa, à peine remise de sa déception de ne pouvoir endosser le rôle dans l’entièreté de l’œuvre, déploie dans cet extrait son timbre clair et pur, présentant une incarnation de Lucia portée par l’énergie et une certaine candeur, aussi. 

    —  Pierre Géraudie  •  Olyrix

    Scala-Eröffnung in Milano: Der Abend lässt auf eine glanzvolle Renaissance nach Covid 19 hoffen

    Der Preis des Abends gebührt eindeutig der Newcomerin Lisette Oropesa. Sie war als Premierenbesetzung für die Lucia-Aufführung angesetzt und durfte nun zum Trost die Arie der Lucia aus dem ersten Akt singen. Dabei konnte sie unter Beweis stellen, dass sie weitaus mehr als nur eine Coloratrice mit geläufiger Gurgel ist. Ihre Stimme sitzt perfekt, hat ein ausgesprochen schönes Timbre und wird von ihr wirkungsvoll eingesetzt. Da will man dann doch bald einmal mehr hören!

    —  Andreas Schmidt  •  Klassik Begeistert

    Roma e Milano: la capitale vince il confronto

    Fra i migliori, certamente la strepitosa Lisette Oropesa — canto perfetto al servizio di un fraseggio acuminato

    —  Nicola Cattò  •  Revista Musica

    Prima della Scala 2020

    La migliore: Lisette Oropesa (voto 9)
    Il soprano Lisette Oropesa ha fatto capire cosa sarebbe potuta essere la prevista ‘Lucia di Lemmermoor’. Toccante il suo “Regnava nel silenzio”, fatto di splendide colorature e tanto altro

    —  Enrico Girardi  •  Corriere Della Sera

    La Scala’s online gala is a triumph

    Donizetti’s Lucia di Lammermoor is usually found in gloomy Scotland, not paddling on a sun-soaked beach, but the brilliant-voiced Lisette Oropesa thrived there anyway.

    —  Richard Fairman  •  Financial Times

    Un “dream team” para resucitar la ópera

    Con fines benéficos e intención de redimirse, claro. La más brillante, de largo fue la soprano cubano-estadounidense Lisette Oropesa, que interpretó el aria «Regnava nel silenzio» de «Lucia di Lammermoor». La ópera de Donizetti, a la que habían consagrado en este 2020 la «prima» de La Scala antes de que llegara la pandemia, se vio relegada a una actuación más.

    —  Ismael Monzón  •  La Razón
  • Double vision in Wiener Staatsoper's Entführung... and the opera benefits

    Lisette Oropesa shone both in voice and action as Konstanze in her Staatsoper debut. Demonstrating ownership of the role from the start, she moved through the contrasting lyric and coloratura sections of “Ach ich liebte” with aplomb, soaring to the repeated top Ds with ease.

    —  George Jahn  •  Bachtrack

    Staatsoper: „Entführung aus dem Serail“in Hans Neuenfels’ „historischer“Regie

    der Besetzung brilliert Lisette Oropesa: ein wunderbar geschmeidiger, warm leuchtender Sorpan mit hoher Koloraturensicherheit. Betörend schön ihre Arien „Traurigkeit ward mir zum Lose“und die „Marternarie“.

    —  Karlheinz Roschitz  •  Kronen Zeitung

    Wenn Musik die Worte retten muss

    Den Abend trägt die tragisch Leidende, Konstanze. Lisette Oropesa singt zum ersten Mal in der Staatsoper und nimmt das Haus im Sturm. Ihr Sopran verströmt herzwärmende Innigkeit und meistert auch die extremen Klippen der Rolle mühelos. Tritt sie auf, findet das Stück zu jener Schlichtheit zurück, die seinen Zauber ausmacht. „Sing, Konstanze, sing!“, fleht ihre Doppelgängerin in der Not. Musik als Heilmittel.

    —  Zeitung  •  Kleine Zeitung Steiermark

    „Die Entführung aus dem Serail“: Doppelt steht Mozart gut

    Das sorgt für große Momente, wenn Lisette Oropesa als Konstanze ihr heftig bejubeltes Staatsoperndebüt gibt: ein wunderbar in – an Erika Köth erinnerndem – Feinvibrato leuchtender Sopran. Eine souverän alle Klippen meisternde „geläufige Gurgel“, die auch noch voller Ausdruck zu singen versteht.

    —  Stefan Musil  •  Tiroler Tageszeitung

    Aufgewärmter Opernkaffee statt Verjüngungskur

    Fulminant hingegen die Dramatik der Martern-Arie, wobei der Akzent von Lisette Oropesa ausging. Die amerikanische Sopranistin überzeugte als Konstanze, beherrschte wahnwitzige Koloraturen sowie feine Zwischentöne und zelebrierte darstellerische Vielseitigkeit. 

    —  Michael Wruss  •  OÖNachrichten

    Staatsoper: Wien hält auch Hans Neuenfels aus

    Strahlender Star des Abends: die US-Sopranistin Lisette Oropesa, die bei ihrem Staatsoperndebüt als Konstanze ausnahmslos alle im Publikum überzeugte.

    —  heid  •  ORF.AT

    Einen Jux wollt’ er sich machen

    Und erst recht die Konstanze der Lisette Oropesa, die man bisher nur aus den Übertragungen der Met kannte und die ein strahlendes Debüt ablieferte, eine wunderbare, dunkel timbrierte Stimme mit einer Koloratur-Attacke, die sprachlos machte.

    —  Volksblatt  •  Volksblatt

    "Entführung aus dem Serail“ an der Staatsoper: Wütende Buhs, ephorische Bravos

    Wolfgang Amadeus Mozarts Singspiel „Die Entführung aus dem Serail“in der legendären Regie von Hans Neuenfels mit einer grandiosen Lisette Oropesa „Entführung“

    Die amerikanische Sopranistin ist eine Konstanze von Weltformat, verfügt über alle nötigen Koloraturen, Lyrismen und Registerübergänge und gestaltet nicht nur die berühmte „Martern-Arie“ mit einer unglaublichen stimmlichen Intensität. 

    —  Peter Jarolin  •  Kurier

    Mozarts "Entführung aus dem Serail": Hans Neuenfels' verspielter Aufreger

    Lisette Oropesa wieder einmal in Regionen besonderer Unmittelbarkeit auf. Trotz eines leicht flatternden Wesenszugs ihrer Stimme gelingen der Hausdebütantin (als Konstanze) Momente immenser vokaler Präsenz.

    —  Ljubiša Tošić  •  Der Standard

    Die Poesie eines (Musik-)Theatermachers

    Lisette Oropesa ist eine wahre Entdeckung. Ihre Konstanze ist ein Ereignis. Der amerikanischen Sopranistin fehlt nichts: ihr Sopran erstrahlt in den hohen Tönen, die sie mühelos erreicht, besticht durch Sinnlichkeit und Ausdruck. Fulminant ihre "Martern"-Arie. 

    —  Susanne Zobl  •  News.AT


    Die beste Leistung bot ohne Zweifel Lisette Oropesa als Konstanze. Sie sang mit großer Dynamik, gutem Ausdruck und schön geführter Stimme.

    —  Heinrich Schramm-Schiessl  •  Online Merker


    Und Konstanze der Stern, der alles überglänzte. Wer Lisette Oropesa schon an der Met (im Kino) kennen gelernt hat, als so nachdrückliche Manon von Massenet, wie man sie von einer damals noch weitgehend Unbekannten nie erwartet hat, der war nicht überrascht – und doch: eine Konstanze, die mit dunkel leuchtendem Sopran und attackierender, darstellender Koloratur so leidenschaftlich gesungen und gestaltet wird, erlebt man nicht alle Tage.

    —  Renate Wagner  •  Online Merker

    Double blonde: Neuenfels' "kidnapping" at the State Opera

    mit dem strahlenden Debüt von Lisette Oropesa als Konstanze ist Hans Neuenfels' Deutung von Mozarts "Entführung aus dem Serail" am Montag an die Wiener Staatsoper gekommen.

    —  APA  •  Salzburger Nachrichten
  • Royal Opera: Live in Concert was a Covid-secure evening of world-class singing and music-making

    There was something deeply affecting in hearing the chorus singing once more in the theatre as Oropesa caught the eye and ear during Amina’s engrossing final scene from La sonnambula (The Sleepwalker) with more than just a little help from Felipe Manu’s cameo as Elvino. (Manu is a promising New Zealand-Tongan tenor and currently on the Jette Parker programme.) There are wondrous qualities in Oropesa’s singing and her voice has such bloom and (if she will forgive me) you could see her diaphragm working overtime to provide secure support and allow her to send Bellini’s phrases soaring. Oropesa clearly had a particularly sensitive understanding of nuance in the combination of notes and words she was singing.

    —  Jim Pritchard  •  Seen and Heard International

    Getting the band back together: Pappano leads The Royal Opera's return to action

    Vocally, these two delivered outstanding contributions. Oropesa’s technique is superb. She is the reigning bel canto queen in my book and the finale from La sonnambula was perfectly pitched, crowned by a sparkling “Ah! non giunge”.

    —  Mark Pullinger  •  Bachtrack

    The Royal Opera: Live in Concert review — Antonio Pappano had brilliant energy

    The American soprano Lisette Oropesa partnered Castronovo in a Donizetti duet, but her slinky Manon (the gavotte from Massenet’s opera) and affecting Amina (the finale of La Sonnambula) were more memorable.

    —  Neil Fisher  •  The Times
  • Verona, Festival d’estate 2020 – Rossini Gala

    Spicca il nome di Lisette Oropesa, soprano statunitense, che proprio con Rossini al ROF di Pesaro si è fatta conoscere due anni fa dal pubblico italiano, e che ora è una certezza del panorama lirico internazionale. Si tratta in effetti di una solida professionista: un soprano lirico-leggero dotato di una tecnica e una personalità interpretativa che le consentono di spaziare in un repertorio che va da Mozart a buona parte dell’Ottocento operistico italiano e francese. La voce, che ha un leggero vibrato e ricorda, come è stato giustamente notato, certe inflessioni timbriche della Gheorghiu, corre senza problemi anche in ampi spazi. L’emissione è rotonda e fluida in tutta la gamma e solo qualche sopracuto a volte risulta meno pieno e timbrato. In “Bel raggio lusinghier” da Semiramide, Oropesa mette subito in luce l’accuratezza del fraseggio, l’accento ben calibrato, l’ottima dizione, dominando senza particolari problemi la tessitura tendenzialmente centrale dell’aria (il ruolo viene concepito da Rossini per la Colbran), dando sfogo al registro acuto e sopracuto nella parte finale, debitamente variata con eleganza e disinvoltura. Le agilità sono buone, ma non trascendentali. Poco filologica, se vogliamo, la scelta di cantare l’aria di Rosina dal Barbiere di Siviglia, “Una voce poco fa”, che Rossini scrive per contralto, con una tessitura che oscilla per la precisione fra contralto e mezzosoprano. Anche qui, nessun problema per Oropesa, che affronta la versione sopranile con facilità, coloratura puntale ed espressiva, senza i bamboleggiamenti tipici dei soprani leggeri che un tempo avevano l’appannaggio del ruolo. Insomma, non sarà una fuoriclasse del canto rossiniano, ma sicuramente Lisette Oropesa si conferma una vocalista e un’interprete di rango.

    —  Roberto Mori  •  Conessi all'Opera


    As we said, the vocal sector was extraordinary, starting with Lisette Oropesa.The soprano highlighted the grace of her voice, the technical cleanliness, the sparkle of a springy and bright song.He opened the evening with “Bel radius flattering” by Semiramide, painted with elegant variations and continued with the cavatina by Rosina del Barbiere (“Una voce poco fa”), light and lively, in full correspondence with the artist's temperament.

    —  Francesco Lodola  •  Ieri Oggi Domaini Opera


    The vocal part of the gala opened by Lisette Oropesa: the American soprano, scenically casual and equally brilliant in her soaring on the staff, addressing the pages from Semiramide ("Bel radius flattering") and from the Barber of Seville ("Una voce poco fa") it brings us back a Rossini with a "liberty" taste, funanbolic in the variations, not "philological", but with a sure hold on the public.

    —  Giorgio Bagnoli  •  GB Opera Magazine

    Verona, a Rossini si addice l’Arena

    Oropesa (also debut in Pesaro two years ago, alongside Sekgapane nell'Adina), opened the journey on the notes of "Beautiful flattering ray" (Semiramide, act I), the triumph of belcanto as the elegance of the line, in a coloratura of supreme abstraction and captivating precision;and he continued it on the ironic and very concrete brilliance of Rosina's Cavatina (Barbiere di Siviglia, act I), this time bending agility to the needs of an expressiveness entirely of comedy. 

    —  Le Salon Musicale  •  Le Salon Musicale

    Il Rossini Gala dell’Arena di Verona

    Excellent interpretations by all the interpreters involved.Lisette Oropesa confirms herself as a singer perfectly at ease in the bel canto repertoire, as well as able to immerse herself in the different characters she has to face in a few minutes, although so different from each other (Semiramide and Rosina in the Barbiere in the first part of the concert).

    —  blogartpost  •  The.blogartpost
  • Lisette Oropesa réveille les braises de la passion lyrique

    Oropesa a conçu Violetta Valéry précisément sur la base solide de la tradition belcantiste, en déployant un chant d'une rare pureté, d'une perfection vertigineuse, d'un équilibre admirable. Elle a un formidable contrôle de la respiration, ce qui lui permet au deuxième acte une exquise énonciation de Dite alla giovine, un moment de rare concentration, dans lequel elle rend le théâtre muet devant la qualité de l’expression, comme absorbée, rêveuse, obtenue grâce à la généreuse amplitude de la tenue de souffle. Et comme on pouvait s'y attendre de la part d'une chanteuse qui maîtrise si bien les ressources de son instrument, la fin du premier acte est admirable pour la limpidité et la précision de la colorature.

    —  Antoine Lernez  •  Wanderer

    La realidad como propuesta escénica. La Traviata en el Teatro Real

    But if this particular performance is memorable, it is because of the magnificent performance by Lisette Oropesa.The memories of her Lucia from last summer still alive in this very place, the American soprano (and now Spanish nationalized) offers a dramatically overwhelming and vocally very own portrait of the protagonist.If we look at the cliché of Violeta's three voices - light, lyrical and dramatic - Oropesa is situated in the initial part of the triad, and there he remained throughout the performance.She solved with ease and comfort the agility of the first act while showing us a timbre that, without being very rich in harmonics, seduced us by brightness and homogeneity.A beautiful legato song and a very careful diction - every word was understood,each inflection in each syllable - demonstrated during the second act the technical quality of this artist.And in the final part, the lightness of her instrument managed to outline a delicate Violet, fragile to the point of breaking at any moment.The masterful mastery of pianissimo and dynamics presided over the final part, shattering the myth that a more bodied voice is essential for the outcome, and leaving the unforgettable memory of an “Or tutto finì” issued as an exquisite and eternal floating row. .

    —  Juan José Freijo  •  Bachtrack


    Second and third acts require a soprano of more robustness and dramatic substrate, but the Oropesa shows off her weapons, namely, remarkable vocalist skills and sincere expression, without artifice, or any room for excess.An example of this was the precise attack in pianissimo and link with the phrase "Dite alla giovane" in the great Duet with Germont Sr. [climax of the work] in which an impeccable spianato sostenuto song [flat song with a slow rhythm, without ornamentation and based on long values], firm and full of morbidity compensated for the lack of timbral width to fill the Verdi phrase.Likewise, the "Amami Alfredo" achieved an impact in the room, first because it was vocally and technically irreproachably reproduced and the expression, in the absence of greater doses of punch and charisma, treasured frankness and truthfulness.It is also fair

    The sensitive and musical singing of Oropesa and his control of the emission and the column of air were imposed on the personality and dramatic force (appreciable deficiencies in that speech of the reading of the letter "You have the promessa") and on a timbre far from be patrician in the aria "Addio del passato" and also in "Prendi quest'è l'immagine" of the third act.Indeed, pure singing and outstanding vocal skills, especially in Italian opera, are genuine elements of pathos and expression.

    —  Raúl Chamorro Mena  •  Codalario

    Lisette Oropesa Protagoniza 'La Traviata' En El Teatro Real De Madrid

    I well remember the impact that the soprano Lisette Oropesa caused exactly two years ago with her Lucia di Lammermoor at the Teatro Real, together with the tenor Javier Camarena. For her naturalness, for her magnetism, for her careful technique, for the closeness of her singing ... And all this has once again marked her return to Madrid, embodying a very close Violetta, with whom it is inevitable to empathize. There is a rare mix of control and emotion in Oropesa's song. Naturalness and technique converge in her doing, in a very chosen, almost select way. Oropesa is a singer of palpalbe intelligence, aware of her means, who manages and manages in such a way that they seem to redouble her potential. Its material, with a pleasant natural vibrato and a slightly dark color,with a barely metallic timbre - it sometimes reminds me of Gheorghiu in its beginnings - it manages to flow with distinguished naturalness. His first act was a paragon of virtues, crowning with an E flat that was nothing but the icing on an exhibition of technical resources, despite a slight fatigue in the last section of 'Semper Libera'.

    Already in the second act, Oropesa once again exhibited a prodigious ability to manage his means, singing in a low voice the 'Dite alla giovine', putting the hair on end and creating an atmosphere of outstanding theatricality, as had already happened in the first act with a masterful and chilling 'Ah, maybe him'. Her composure and dignity, in dialogue with Germont; her despair later when she met Alfredo again; and finally his heartbreak when he faced death in the third act. All this reflected Oropesa's voice with amazing ease and with palpable truth. There were even moments in which his voice seemed to double its flow, as in that thrown 'Amami Alfredo quant'io t'amo', with the pit at full throttle. As a final,crowning the page with a sharp A that he regulated at will, in 'Or tutto finì!'. In short, and in short, an anthology Violetta.

    —  Alejandro Martínez  •  Platea Magazine

    Llegó Lisette Oropesa y ‘dio el canto’ en ‘La Traviata’ (y el Teatro Real se vino abajo)

    Now, in the final stretch, Lisette Oropesa arrives.You have to go see it, and especially to listen to it.Even if it is only for the few seconds in which her Amami Alfredo transports us to the great ones that we all have engraved in our brain, which is the best hard drive that can exist.

    It is true that we are in need of beautiful things.And it is no less true that the Oropesa gives us the ear.When we still remember his Lucia from two years ago (and his Gilda del Rigoletto from 2015), now comes his Violetta, which enshrines her in the Real: from chaste diva, chaste goddess, to absolute diva.But with the closeness that the divas of the 21st century require.Her elegance on stage, in addition, adds many points.

    El Real, we insist, is at fifty percent capacity for health reasons.Those who were on July 18 filled all the gaps with applause;a welcome that makes history.The shadow of the encore flew over the room after his sublime Addio del passato of the final act.Just as the illusion that he would come out to be applauded behind the curtain that closed the first one also flew overhead.As before, as could be done when the voice prevailed.

    —  Nacho Fresno  •  Shangay
  • El Maggio Musicale de Florència va regalar una gala lírica per internet

    Lisette Oropesa –que al desembre inaugurarà la temporada de la Scala, aportant la millor interpretació de la nit, una ària de l’òpera americana ‘The Ballad of Baby Doe’,

    —  Pablo Meléndez-Haddad  •  El Periódico

    BWW Review: Maggio Musicale's Home Gala

    Because of the remote location, Lisette Oropesa's singing was prerecorded in her home at Baton Rouge, Louisiana. She offered a gorgeous, heart-rending a cappella version of Baby Doe's aria from Douglas Moore's The Ballad of Baby Doe. Before singing, however, she read an Italian translation of the American aria. Sometimes we forget how much Italian is translated for us.

    —  Maria Nockin  •  Broadway World

    La porti un bacione a Firenze ! (streaming)

    Mais il faut dire que le moment le plus admirable nous est venu de Lisette Oropesa qui, depuis son domicile de Baton-Rouge aux Etats-Unis, a choisi d’interpréter a capella une chanson du saule. Pas du tout celle de Verdi ni celle de Rossini, mais celle de la Ballad of Baby Doe de Douglas Moore. Un moment d’enchantement, aidé par l’une des meilleures captations de la soirée, pré-enregistrée.

    —  Cédric Manuel  •  Forum Opera

    Constellation de stars en ligne du Maggio Musicale Fiorentino : l’empathie plus que le plaisir

    Lisette Oropesa, à Bâton-Rouge, prête sa finesse prosodique à des intervalles définis avec une immense précision et à une ligne de chant déconfinée.

    —  Thibault Vicq  •  Opera Online

    The Top 5 Moments From the Maggio Musicale Fiorentino’s At Home Gala

    In an outstanding rendition of Douglass Moore’s aria “Willow,” Oropesa offered audiences a refined and moving performance filled with crystal clear high notes, all sung a capella.

    While the performance was pre-recorded, Oropesa also recited the text for Italian audiences in a beautiful and moving reading.

    —  Francisco Salazar  •  Opera Wire

    El Maggio Musicale de Florencia regaló una gala lírica por internet

    Lisette Oropesa que en diciembre inaugurará la temporada de La Scala, aportando la mejor interpretación de la noche, una aria de la ópera americana 'he Ballad of Baby Doe,

    —  Pablo Meléndez-Haddad  •  Cordoba
  • The Metropolitan Opera’s online gala was the most ambitious event of its kind

    Lisette Oropesa, in Robert le Diable, raised the spirits.

    —  Richard Fairman  •  Financial Times

    BWW Review: Metropolitan Opera's At-Home Gala

    The Met technical folks went to Baton Rouge, Louisiana, to catch Lisette Oropesa who, accompanied by Michael Borowitz, sang a perfectly executed "En vain espère" from Meyerbeer's Le Prophète.
    Her rendition contained some of the best singing I've heard in years.

    —  Maria Nockin  •  Broadway World

    The Met Opera’s At-Home Gala: Informal Yet Profoundly Moving

    The soprano Lisette Oropesa, in Baton Rouge, La., sounded radiant in an aria from Meyerbeer’s “Robert le Diable.”

    —  Anthony Tommasini  •  New York Times

    The Metropolitan Opera’s At-Home Gala review – thrilling singing, live from the stars’ living-rooms

    The high point, though, for me, came from Lisette Oropesa, singing an aria from Meyerbeer’s Robert le Diable from her house in Baton Rouge: astonishing singing, her coloratura thrilling beyond belief.

    —  Tim Ashley  •  The Guardian

    The Met At-Home Gala review: a galaxy of opera stars 'phone in' for a glitchy but uplifting concert

    at the soprano end of the scale, Lisette Oropesa twittered very prettily through En vain j’espère from Meyerbeer’s Robert le Diable.

    —  Rupert Christiansen  •  The Telegraph

    Metropolitan Opera - La Traviata

    Feb, 2020 - Mar, 2020

    Metropolitan Opera 2019-20 Review: La Traviata (Cast B)

    Lisette Oropesa, taking on the role at the Metropolitan Opera for the first time (according to her official website she had taken it on just 11 times prior to this run), is one of the few artists that can manage to pull off the role with not only the dramatic temperament, but also the vocal consistency.

    —  David Salazar  •  Opera Wire

    BWW Review: A Marvelous Oropesa is Definitely Not 'Lost' in Met's TRAVIATA

    She gave a stellar performance that showed a firm grip on all the facets of the role--the coloratura, the drama, the pathos, the glamour.

    She was the party girl of Act I, the delirious lover and compassionate figure of Act II, and the dying woman of Act III, each perfectly placed, each cannily acted. Whether she was singing the joyous "Sempre libera" at the opera's start or the woeful "Addio del passato" at the end of Act III, she was in full command of all that was demanded of her. She had good backup from the Met Orchestra, under Bertrand de Billy, with the usual stellar work of the Met Chorus, under Donald Palumbo.

    —  Richard Sasanow  •  Broadway World

    Review: Lisette Oropesa Makes ‘La Traviata’ Her Own

    In Act I, when Violetta, a charming courtesan, is throwing a lavish party, a soprano must summon flights of coloratura brilliance and coquettish sparkle. Ms. Oropesa breezily dispatched runs and embellishments as she mingled with her guests and met Alfredo, the smitten young man from a bourgeois family who has been pining for her from afar.

    Yet you could detect a trace of forced vivacity in Ms. Oropesa’s interpretation, an intentional touch of tremulous fervor in her sound, even as she let bright-voiced, ebullient phrases soar. Here was a young woman determined to prove that she was undaunted and would remain, as she later sings, “sempre libera”: always free.

    —  Anthony Tommasini  •  New York Times

    Oropesa is an unforgettable Violetta in Met’s “Traviata” revival

    There’s a melancholy feeling that very occasionally accompanies the greatest performances. Tangled up in the thrill of witnessing a historic interpretation of an iconic work comes the sad realization that you may never encounter its equal.

    The Metropolitan Opera has seen a number of superb sopranos appear as Violetta Valéry in the past decade: Diana Damrau, Natalie Dessay, Sonya Yoncheva, and Angelina Gheorghiu are just a handful of the most recent leading artists to make a mark in La Traviata’s touchstone role.

    The sensational performance that Lisette Oropesa gave on Wednesday night in her role debut at the Met deserves to be counted in the very first rank.

    Oropesa brings a voice ideally suited to the role: direct and lively, bright yet round, so focused you can almost see it as it pierces through the air of the auditorium and slams into the back wall. Yet even with its power and laser clarity, her soprano never feels aggressive, as she wields her instrument with musical sensitivity and classic elegance.

    —  Eric C. Simpson  •  New York Classical Review
  • Opéra National Review 2019-20: Il Barbiere di Siviglia

    The Star of the Show
    American lirico-leggera soprano Lisette Oropesa took on the role of Rosina. She is well-loved by the Parisian audience, as she has stepped into the role of Marguerite di Valois in “les Hugenots” on very short notice last season and then stepped in as well into “L’Elisir d’amore,” combining rehearsals for the Donizetti work while performing the Meyerbeer opera at the Bastille.

    All the admiration she received on this particular night was well-deserved. Her timbre is dark, round, and completely even throughout her register. She tops off this combination with amazing, ringing high notes.

    She surprisingly sang the famed aria “Una voce poco Fa” in the mezzo-soprano key ( the aria is published in two different keys, with the soprano version one semi-tone higher) delivering sonorous low B naturals and C sharps. Her coloratura technique is depurated and immaculate, as well as her staccato notes and all the high interpolated high notes; it must be said that she was very cautious with variations, maintaining most of the original written lines.

    Her duet with Figaro was lively and cunning, again proving her amazing control of the middle voice. Her voice was quite present during the final concertante; choosing this time to sing Berta’s lines which are written for a soprano with two chromatic ascensions to high C; here her voice shined clearly over the rest of the cast, chorus, and orchestra.

    She took on her second act aria “Contra un cor” in the soprano key which is one and a half semi tones higher than the mezzo key. Her voice was constantly tasked with high Cs, which she pulled off beauifully. The rest of the aria was a masterful display of vocal fireworks well-rewarded by the audience.

    She kept her polished coloratura technique and sweet timbre for the trio with Figaro and Almaviva, and for the final scene, always adding subtle variation in order to preserve the integrity of the original melody.

    Oropesa was the true success of the evening, and she received a well-deserved long ovation at the curtain call.

    —  Mauricio Villa  •  Opera Wire

    “The Barber of Seville”, “Les Contes d'Hoffmann” or “Les Bains Macabres”: the lyrical year is well u

    Cavalcades à tous les étages
    Installée dans un immeuble sévillan joliment décati, dont on nous révèle alternativement la façade et les intérieurs, l’efficace mise en scène de Damiano Michieletto fait cavalcader les chanteurs entre la rue et les étages. Non seulement cela ne semble pas coûter le moindre effort à Lisette Oropesa, 36 ans, marathonienne de choc à la ville comme à la scène, mais la soprano américaine, actrice très expressive autant que fine chanteuse, semble s’amuser énormément à camper Rosina en adolescente frondeuse, amoureuse et délurée.

    C’est aussi à l’opéra Bastille qu’on l’avait découverte, à l’automne 2018. Éblouissante Marguerite de Navarre dans Les Huguenots de Meyerbeer — elle y remplaçait, en catastrophe et pour le meilleur, la très attendue Diana Damrau —, Lisette Oropesa y fut ensuite une délicieuse Adina dans L’Elixir d’amour de Donizetti. Son soprano radieux, vif et agile fait merveille dans le rôle moins dramatique, mais tout aussi exigeant, de la juvénile Rosina. En attendant qu’elle revienne (comme on l’espère) à l’Opéra de Paris, les Provençaux la retrouveront le 18 avril au Grand Théâtre de Provence (Aix-en-Provence), en récital avec le ténor Juan Diego Florez, et les Franciliens l’entendront les 10 et 11 juin à la Philharmonie de Paris, dans les Carmina Burana de Carl Orff.

    —  Sophie Bourdais  •  Télérama

    Bastille resumes filming, resumption of the Barber of Seville in a striking climate

    Lisette Oropesa  finally returns and for the second time to Rosina, 17 years after her debut in the role (she posted a charming souvenir photograph of youth on social networks). The character here is even younger: a rebellious and sulky post-adolescent girl in Gothic attire. The American soprano embodies it with the plausibility of a teenage movie  and does not forget to channel this sparkling and luminous game in the voice. With its long breath, it passes in one sentence from a colored high to a deep bass, then goes up in agile and sensual vocalizations from the low guttural to the high, moiré or shimmering, explosive or intensely contained .

    —  Charles Arden  •  Olyrix

    Jeunes et prometteurs

     Appréciée du public parisien depuis sa Marguerite de Valois dans Les Huguenots à l’automne 2018, Lisette Oropesa compose une Rosine en tout point captivante. La jeune soprano ne manque ni de piquant ni de charme. La voix est brillante, l’aigu aisé, les vocalises sont parfaitement exécutées et la ligne de chant ornementée avec subtilité. Actrice accomplie, elle évolue comme un poisson dans l’eau dans l’univers imaginé par Michieletto. 

    —  Christian Peter  •  Forum Opera
  • A variety of musical discoveries

    When was the last time you caught your breath in surprise? Anyone who is passionate about concerts and frequently attends will agree that this is fairly rare and only happens when expectations are well and truly exceeded. Top performances are always expected from well-known stars but expectations not always met. However, if you sit in a concert at a small music festival where the names of the artists are unfamiliar, the surprise is all the more intense.

    This is how the audience found the performance by Lisette Oropesa and Natalia Morozova in Rougemont church. The warm timbre of the soprano was already very moving at the start of Handel’s "V’adoro pupille" by Giulio Cesare.

    —  Çetin Köksal  •  Gstaad Life

    Lisette Oropesa enchante le New Year Gstaad Festival

    In the little church of Rougemont, she offers an original, diversified and balanced recital, in which she can showcase all the facets of her art: in fact, she deploys the evening during treasures of charm, intelligence and of sensitivity.The belcanto is first honored thanks to the famous "V'adoro pupille" extracted from Handel's Giulio Cesare, then to the air "Come dolce all'alma mia" taken from Tancredi by Rossini.His prodigious technique allows him an almost infinite range of colors, dynamics, breathtaking mass and ineffable pianissimi.Of Cuban origin by his parents, we then savor his impeccable Spanish in "De Espana, vengo" (El nino judio de Luna Carné),

    But most of the evening will be devoted to the German Lieders, with the Drei Lieder der Ophelia by Richard Strauss and various Lieder by Schubert including the sublime "Marguerite au rouet" (Gretchen am Spinnrade).The first cycle offers Lisette Oropesa's voice their miraculous melodic drawings and the opportunity to display the most varied colors.In the Schuberts, each of the retained tunes takes its poetic charge in an iridescent murmur of the infinite nuances of an inspired voice.French music - remember that Lisette was born in New Orleans and she speaks perfect French - is also part of it with a Romance by Debussy, then the air "Je vais par tous les chemin" drawn by Manon de Massenet.In the second tune, she pays the luxury of retaining her voice, to better release the emotion,and the unique bis will also be extracted from our national heritage, the air of jewelry in Faust ... which won him a triumph;in fact, what an art to apply - as with a brush - the colors on the vowels without giving up virtuosity!

    —  Emmanuel Andrieu  •  Opera Online

    Gstaad in majesty

    One of the highlights of the 2019-2020 edition of the Gstaad New Year Music Festival was the recital of the American soprano Lisette Oropesa.In rehearsal in Paris for Le Barbier de Seville, the singer did not hesitate to make a quick return trip to Gstaad, despite the strikes in France and their batch of trains canceled, to offer a memorable evening.The program was particularly varied and eclectic, alternating opera arias and lieder, in four different languages.Unmistakable charisma, clear and luminous voice, ample and majestic, healthy and homogeneous over the whole range, with brilliant treble and perfectly assured vocalizations, Lisette Oropesa has everything to make a good career, and besides the biggest scenes are l 'tear.In Gstaad, she was especially able to highlight her musicality, her impeccable diction,whatever the language sung, and its sense of expressiveness, playing on each word, each sentence, each inflection of the score, whether in melancholy and sad compositions or in flamboyant and brilliant pages.She was accompanied on the piano with finesse and tact by Natalia Morozova, a follower of Gstaad since she has been performing there for ten years.

    —  Claudio Poloni  •  Concerto Net


  • Opera All Over the Map

    Lisette Oropesa also achieved a musical and theatrical triumph as Ophelia, finding the part’s hurt and pathos as well as the terrific staccati and chromatic scales; she has become an excellent interpreter of French opera.

    —  David Shengold  •  Gay City News

    In this ‘Hamlet,’ the Danish prince is proclaimed king

    He was well-matched by his Ophélie, Lisette Oropesa, who melded dramatic sensitivity with a clean, pearly soprano. The technically demanding mad scene, the conclusion to the opera’s broad-strokes depiction of Ophélie’s fragility, was delivered with a delicate effortlessness.

    —  Harry Rose  •  Washington Post

    WCO’s superlative casting lights a fire amid the gloom of Thomas’s “Hamlet”

    Exemplary in this demanding coloratura role was soprano Lisette Oropesa, whose voice seems to grow richer and more refined with each appearance. She has sung the role on stage before, and the sense of a specialist’s knowledge came through from her love duet in Act I and Act II scene onward.

    Oropesa’s coloratura exploits, especially in the show-stopping mad scene that encompasses all of Act IV, revealed consummate control and grace. Incendiary high notes floated, chromatic runs slid downward with clarity, and trills glimmered. Particularly convincing were the runs that rocketed upward, ending abruptly as high as the E off the staff, incarnating the character’s mad outbursts.

    —  Charles T. Downey  •  Washington Classical Review
  • BWW Review: All-Star RICHARD TUCKER GALA is a One-of-a-Kind Treat at Carnegie Hall with Winner Orope

    But let's start with Oropesa, who was all bel canto, all the time at the concert, showing us that the Met doesn't have to look far for an Elvira in Bellini's PURITANI or a Lucia in Donizetti's LUCIA DI LAMMERMOOR. Her shimmering "Qui la voce" from PURITANI and her part in the famed sextet from LUCIA (though it sounded more like a trio here, with three young singers no match for Oropesa, Costello and Rucinski) were memorable moments and smart choices for the soprano.

    And though it's unlikely that the Met will do Rossini's TANCREDI anytime soon, Oropesa's "Come dolce all'alma mia" showed off her gilded soprano in the ingenue-ish role of Amenaide. Yet, she could be paired up very nicely with another of the evening's headliners, Jamie Barton, in the title role.

    —  Richard Sasanow  •  Broadway World


    Oropesa first. A noted bel canto singer – who has, by the way, also run six marathons! – she’s adept in both the long legato line and coloratura, but as her Manon showed, she’s also a lyric soprano who brings a dramatic intensity to everything she sings. Her two solos were well chosen. Amenaide’s lively Come dolce all’alma mia from Rossini’s underrated Tancredi was a gift, her flexible, open-throated, and especially open-hearted approach connecting singer with audience from the get-go. Hurling herself at the top notes with joyous abandon, it displayed the evenness of a voice that can also dip low with never a hint of ugliness. Elvira in I Puritani is a tricky role, especially launching in mid-mad scene, but Oropesa’s Qui la voce and subsequent cabaletta were stylish, fluent, and demonstrated her ease in the upper register. The Richard Tucker Award is intended to acknowledge a singer on the threshold of a major international career. Tick.

    —  Clive Paget  •  Limelight Magazine


    La Ganadora 2019 del Tucker Award y notable Manón del Met , Lisette Oropessa , fue clase de belcanto , su brillo vocal y simpatía logran una química inmediata con el público. Sus pianísimos crescendos e increscendos fueron absolutamente refinados, una verdadera delicia de la lirica joven americana, con una carrera fulgurante que da en acierto poseer un repertorio ideal.

    —  Battaglia  •  By Battaglia

    Review: Richard Tucker Gala 2019

    This year’s award winner was Lisette Oropesa, who just one day earlier was essaying “Manon” Live in HD at the Metropolitan Opera. Oropesa’s career has been on the rise for quite some time with the soprano conquering Europe in recent years and now doing much the same on this side of the Atlantic.

    Oropesa opened the night offering an aria from Rossini’s “Tancredi.” The aria “Come dolce all’alma mia” features difficult coloratura runs and a chance to show off a soprano’s virtuosic powers and high notes. It is light and playful but it ultimately doesn’t create the impact that other Rossini arias do, particularly for an opening number of a gala. Oropesa sang the aria with delicacy and a fluid coloratura line that showed her mastery of the vocal style. But it wasn’t really the best display of Oropesa’s powers nor what she could ultimately do with her lyrical voice.

    She left that for the middle of the program in her “Qui la Voce…Vien diletto” from “I Purtiani.” Here Oropesa started the opening phrase with a piano sound that continuously grew in form and shape with each repetition of “Rendetemi la speme.” The voice grew in size and in expression, showing Elvira’s increasingly agitated state. As the phrase rose to a high note so did Oropesa’s sound, and she eventually descrescendoed to a mere piano that created a haunting effect.

    In the cabaletta, the soprano sang with precision and exciting tempi. One particularly exciting moment was the phrases “Vien, o caro, all’amore” as she drove the tempo forward during the roulades, creating an unpredictability and excitement that one rarely hears in this aria. During the repetition, Oropesa opted for the “less is more” philosophy with her ornaments. There were sparkling high notes and interpolations that resounded and showed off the soprano’s glittering top register. But ultimately Oropesa was holding off for the final E flat that was effective and resounded throughout the hall. One thing to take note was that Oropesa also chose to sing through the whole Cabaletta instead of doing the traditional cuts in galas; this really allowed the soprano a chance to show different shades of colors.

    Her final showcase was in the sextet of “Lucia di Lammermoor.” Here the ensemble decided to perform from the beginning of the second act scene allowing the performers to showcase their acting abilities. Oropesa got to bring her chemistry with baritone Artur Rucinski, creating a tense moment as she was forced to sign a marriage contract; they were so immersed in the agitation of the moment that the pen flew out of his hands at one point. They showcased raw emotions in their actions and in the famed sextet, it was all about the passionate music. Rucinski and Oropesa’s powerful voices particularly stood out in the ensemble and her final C sharp was impeccable and a great way to cap off the evening.

    —  David Salazar  •  Opera Wire

    Metropolitan Opera - Manon

    Sep, 2019 - Oct, 2019

    Review: Feasting on the New York Met’s extravagent four-opera weekend getaway

    The role almost seems to have been written just for Lisette Oropesa, whose performance combined overwhelming charisma and movie star looks.Her flexible light soprano has the fluttering sound of another era, familiar now mostly from old wax recordings.She has a perfect trill.The role of Des Grieux was sung by Michael Fabiano, a fascinating American tenor with a resonant voice, good looks and dramatic intensity.Conductor Maurizio Benini's pacing was a bit too spacious for me, but he drew elegant sounds from the orchestra.

    —  James L. Paulk  •  Arts ATL

    A ravishing and heart-rending evening: Massenet's Manon from the Met, Live in HD

    It was the towering performance of Lisette Oropesa as Manon [last seen in Meyerbeer's Les Huguenots at the Paris Opera, see Robert's review] though that swept all before. It’s a rare thing to vocally and physically convince us of this story’s verisimilitude – and on a screen the size of a house there’s nowhere to hide. So totally did she embody her character that she had me from the get-go. Just one look into those sweet wilful impish eyes was enough. Nothing about her interpretation seemed to have been left to chance. Every thought and move seemed connected to the next. A performance of supreme self-control and insight. Every finessed and exquisite phrase pushed her inexorably towards her fate. A ravishing and heart-rending evening.

    —  Planet Hugill  •  Planet Hugill

    La pétillante Manon de Lisette Oropesa en direct du Metropolitan Opera

    Manon pimpante et espiègle, Lisette Oropesa chante et interprète le rôle-titre avec une aisance déconcertante. Évoluant avec légèreté sur le plateau, la soprano déroule son chant avec naturel, d’un médium coloré à des aigus souples et sonores. Elle passe avec évidence de l’adolescente indécise à la femme du monde et ses qualités d’interprète s'affirment dès les premiers instants où elle entonne avec juvénilité « Je suis encor toute étourdie » jusqu’aux derniers où, livide, elle semble réellement quitter la vie en titubant. Avec son partenaire masculin, elle est accueillie triomphalement aux saluts, de même que l’ensemble de la distribution.

    —  Jeanne Auffret  •  Olyrix

    En direct de New-York, la consécration de Lisette Oropesa

    Lisette Oropesa enfin est la grande triomphatrice de la soirée, Elle fait sien le personnage de Manon avec une aisance désarmante. Son apparition timide au premier acte, avec son regard innocent, évoque la jeune Adjani dans L’Ecole des femmes. Elle chante « Je suis encore tout étourdie » avec une timbre pur et cristallin. Au II, elle propose une « Petite table »  tout en émotion contenue avant d’apparaître, au début du troisième acte, dans sa féminité, troublante et provocante. Sa voix se fait sensuelle dès les premières notes de « Suis-je gentille ainsi ? » et se pare d’accents nostalgiques dans la gavotte. Sa scène finale enfin est particulièrement poignante, tant sur le plan scénique avec sa démarche épuisée et son visage blafard, que vocal.  Cette Manon se hisse d’emblée au niveau des meilleures interprètes du rôle.

    —  Christian Peter  •  Forum Opera


    Manon is her finest role to date, her clear, flexible soprano perfectly suited to Massenet’s blend of text-driven lyricism with the occasional burst of coloratura. From her breathless first entry full of wide-eyed charm to her final desperate gasp in the middle of Thomas’s endless highway to hell, she charts a clear path that ensures our engagement even as we vacillate between sympathy and condemnation. Each of her arias is a carefully contrasted gem, from the ditzy chit of Act I’s Je suis encore tout étourdie, to the double whammy of her Act III showpiece Je marche sur tous les Chemins with its following coloratura gavotte. By contrast, her famous Adieu, notre petite table is simple, yet profound.

    —  Clive Paget  •  Limelight Magazine

    Lisette Oropesa y Michael Fabiano brillan en la Manon del Met

    La Manon de Lisette Oropesa destacó por la naturalidad de la proyección y la eficacia dramática que supo imprimir al personaje. La técnica de la soprano cubanoamericana está muy por encima de las dificultades vocales de la heroína de Massenet. Ello le permitió centrarse en perfilar psicológicamente una Manon de referencia, tan delicada como torrencial, tan inocente como sensual. La energía que despliega la soprano en escena es inaudita, una oleada artística que refresca el personaje y hace que lo redescubramos de nuevo. La voz, con un vibrato siempre al límite, mantiene la flexibilidad que la ha hecho famosa, pero ya se adivinan meandros líricos que, de ensancharse, pueden dar lugar a una tipología vocal más asentada, que apenas se adivina hoy. Oropesa cantará esta temporada Violeta en Madrid y Nueva York, Rosina en París y Lucia en Munich. 

    —  Carlos J Lopez  •  Opera World

    At the Met, Lisette Oropesa shines as Manon

    Most importantly, the chemistry between singers lit a match that didn’t burn out until standing ovations were long over. Arias stood out just enough to punctuate the narrative with moments of reflection. Most notably, Oropesa sang Act II’s famous ‘Goodbye, our little table’ with a mix of determination, nostalgia, innocence — and guilt. Each duet sung by Oropesa and Fabiano blended with a texture that perfectly matched the story’s momentum. As innocent lovers, they sang a youthful, touching love duet in their stolen-away Left Bank studio (complete with slanted roof). By Act IV, they have reunited — in Grieux’s priestly quarters, and both tainted by the ravages of modern life — for the St. Sulpice duet, arguably the highlight of the night. Even more than in Act II, Oropesa and Fabiano pulled out sustained and powerful phrases, evoking a no-longer innocent but highly complex love. Both singers captured intimacy so mature and raw that audience members were transformed into voyeurs, as the two characters fell into an embrace on a bed.

    —  Daniele Sahr  •  Seen and Heard International

    Manon at the Met—a marvelous revival keeps Massenet fresh

    Still, the performers made this Wednesday evening something special. All the principal singers were, as of the previous week, new to their roles at the Met; and for Lisette Oropesa, as the lovably fallible heroine, it was an actual role debut. I’d never have guessed it from the performance she gave: vocally and dramatically Manon fit her like a perfectly tailored Parisian glove, full of lovely detail but never fussily so. The voice, with its seductive silvery glimmer, has enough colour to give it texture and depth and enough power to make Massenet’s musical points without straining. It’s been gratifying to see Oropesa, so long underappreciated at what for years was her home house, being given her local due: both as the dual winner of this year’s Richard Tucker Award and the Met’s Beverly Sills Award, and in her twin starring roles this season at the Met (Violetta in La traviata awaits her in February). As slow as Peter Gelb has been—again!—to recognize what’s right under his nose, it’s a pleasure to welcome this very special singer back to New York. She’s the finest Manon I’ve heard since the glory days of Beverly Sills.

    —  Patrick Dillon  •  Opera Canada

    Strong singing as The Met revives Massenet’s Manon

    Lisette Oropesa, making her role debut as Manon, sang with an elegance and style that was perfect for a heroine with little control over her fate. Her French diction was incisive and clear, and her high notes soared into a long and sustained arc. As much as she thrilled with her beautiful singing.

    —  Ako Imamura  •  Bachtrack

    Manon shines musically

    But musically this Manon shines. Lisette Oropesa makes a truly touching title figure, especially in the plaintive parts. 

    —  John Rockwell  •  Financial Times

    BWW Review: The Met's MANON a Showcase for the Charms of Tucker Award-Winner Lisette Oropesa

    Lisette Oropesa, where have you been all my life?

    Of course, I've heard her before--she's appeared 100 times or so at the Met so one could hardly miss her--but never in a showpiece like the title role of Jules Massenet's MANON, opposite tenor Michael Fabiano's Chevalier des Grieux, on the second night of the Met's new season.

    As Manon, Oropesa showed off her voice's clear, clean, pretty top...but make no mistake: She is not simply a songbird. The voice has some heft to it (ok, she's no Brunnhilde in the making). And she's also a fine actress: Oropesa is about the only one I've heard as Manon (or its step-sister, MANON LESCAUT by Puccini), who could pull off the girlish 16-year-old of Acts I & II and not seem frumpy or ridiculous. When librettists Meilhac and Gille say "no voice could be face more enchanting," they could have had Oropesa as their model.

    In the famed Cours-la-Reine scene that starts Act III--staged something like Cecil Beaton's Ascot Gavotte in the original MY FAIR LADY--it's interesting to see the change in Oropesa's demeanor: there isn't much. Usually, the Manons I've seen have become grand dames by this point--I particularly recall the portrayals of Beverly Sills and Anna Netrebko--but in Oropesa's account, she is still the teenager at heart with an eye on pleasure, but despite the fancy clothes, it's like she's wearing her older sister's gown.

    This seems more in character in a story that appears to unfold over very few years, even though, by Act III, the girl can wrap any man she wants around her finger, with Oropesa singing gorgeously about the joys of love and wealth in "Obeissons quand leur voix appelle." Oropesa is a pleasure to hear and see, even when she expires at the end of Act V on a road that looks like a stretch of an LA freeway. (This Manon never gets to America, to expire in the desert of Louisiana as in MANON LESCAUT.)

    —  Richard Sasanow  •  Broadway World

    Oropesa shines brightly in Met’s lethargic “Manon”

    Lisette Oropesa gave a performance as Manon that confirmed she is fully ready for leading roles at the Met. Her voice has grown in size and color since the days when she primarily appeared in soubrette parts: she has developed into a formidable lyric soprano, her voice filling out into a luscious instrument without losing any of its flexibility or tartness. 

    Moreover, Oropesa proved to be the rare soprano who can be entirely convincing in both sides of a complex role. In the first two acts she approached the role with a lovely, bright innocence, charming with a rendition of “Je suis encore tout étourdie” that combined spacious phrasing and breathless excitement, then channeling quiet but intense sadness in “Adieu, notre petite table.”

    —  Eric C. Simpson  •  New York Classical Review

    Review: In ‘Manon,’ a Soprano Charms Her Way to the Top

    Lisette Oropesa's performance in Massenet's opera at the Met is alone worth the price of admission.

    Ms. Oropesa slips into the title role as if it were custom couture. In her first aria, “Je suis encore tout étourdie,” sung with enunciation so clear it could be transcribed, she has an innocent lightness that gives way to intoxicating joy as it becomes apparent that Manon is already too grand for her humble packaging at the start: slight frame; childish hat and ponytail; plain outfit in muted blues.

    As the opera continues — with Massenet’s effervescent and eclectic score, eager to please and utterly pleasing under the baton of Maurizio Benini — Ms. Oropesa’s musicality becomes even more layered.

    It can be easy to play Manon as a ruthless femme fatale, for example, as she becomes the toast of Paris, and Ms. Oropesa was suddenly big-voiced, glamorously tossing off high notes with insouciant sprezzatura. But hear also how she shrinks her sound to a stark mournfulness in “Adieu, notre petite table,” pained yet chilly as she prepares to leave des Grieux for another man’s luxury.

    —  Joshua Barone  •  New York Times

    Metropolitan Opera 2019-20 Review: Manon

    Speaking of Lisette Oropesa, she had a major success in her first Met “Manon.” The title role is a mammoth undertaking and has proven a touchstone role for many famed divas of the past. Moreover, Pelly’s production requires a singer who can also dominate as an actress, navigating the complex world that the director created for the opera and character.

    There is no denying Oropesa’s vocal purity and assurance and she wove an elegant legato line throughout “Je suis encore tout étourdie,” with the high A naturals at the apex of main melody statement gleaming. It was one of the few times where the speedier tempi worked well with Oropesa’s fierce coloratura, the unpronounced rallentandoes, and even the breezy take on the sixteenth note descents on “Pardonez à mon bavardage” allowing for a portrayal of Manon as a hurricane of energy ready to be unleashed.

    —  David Salazar  •  Opera Wire
  • Uma grande cantora passou pelo Rio

    O melhor da noite ainda estava por vir, e a sequência que encerrou o programa oficial, com a ária Qui la voce e a cabaletta Vien diletto, do segundo ato da ópera I Puritani, de Bellini, recebeu de Oropesa uma interpretação arrebatadora: se a ária foi extremamente musical, a cabaletta foi de arrepiar, com uma demonstração exuberante de agilidade e domínio técnico. Era evidente que estávamos todos diante de uma grande cantora.

    —  Leonardo Marques  •  Movimento

    Arena di Verona - La traviata

    Jul, 2019 - Aug, 2019


    Rimpasto nel cast della serata che vede nel ruolo di Violetta per la seconda recita in Arena Lisette Oropesa che disegna una ragazza particolarmente fragile sin dall’inizio nel suo desiderio effimero di evadere dal suo destino, dalla voce tecnicamente malleabile e parecchio efficacie nelle note più alte del suo registro, capace di rifinire un suono delicatissimo fino all’impercettibile, sempre con grande precisione.

    —  Maria Teresa Giovagnoli  •  MTG Lirica

    Tutto Domingo per i suoi cinquant’anni in Arena

    con la Violetta di Lisette Oropesa – squisita per eleganza del canto, precisione nel virtuosismo, sensibilità espressiva, toccante in particolare nell’ ultimo atto

    —  Silvia Poletti  •  DelTeatro


    Accanto a lui Lisette Oropesa è una Violetta delicata, diremmo quasi angelicata. Il soprano mette in luce le sue carte migliori nel canto lirico di “Ah, fors’è lui” e del duetto con Germont del II atto. Convince in ogni caso anche nel virtuosismo del primo atto, “Sempre libera”, coronata da un preciso Mib. Il personaggio risulta ben delineato in tutte le sue sfaccettature, anche se nell’ultimo atto un velo di stanchezza metteva alla prova la cantante. Sicuramente con le prossime recite la sua interpretazione crescerà, prendendo più confidenza con l’imponenza del palco e di questo spettacolo.

    —  Francesco Lodola  •  Ieri Oggi Domaini Opera


    Nel ruolo della sfortunata protagonista c’era una straordinaria Lisette Oropesa, voce bella e sostenuta da un’invidiabile tecnica che le ha consentito di superare il nodo “delle tre Violette” che, come noto, richiede altrettante tipologie di soprano (leggero, lirico e drammatico), che sottolineano con lo svolgersi della vicenda il declino della donna e l’incedere inesorabile della malattia. Una bella linea di  canto la sua, con legati espressivi e un pieno controllo del suono.

    —  Gianpaolo Dal Dosso  •  GB Opera Magazine

    La Traviata des mythes

    Lisette Oropesa était Violetta, un rôle qu’elle chanta il y a quelques années et qu’elle a interprété l’espace d’un soir à Athènes quelques jours avant, histoire de se le remettre en voix. Ce qui étonne toujours chez Oropesa et qui ravit, c’est d’abord son phrasé italien quasi parfait, son sens de la couleur, l’impeccable contrôle de la voix et la tenue du souffle. On lui a reproché quelquefois une sorte de supériorité de la technique sur l’émotion ; on a au contraire ici l’union d’une technique impeccable et le sens donné à chaque mot, le poids de l’expression (quel deuxième acte ! quelle intensité dans amami Alfredo !) et l’intériorité, un mot étrange dans une représentation devant 15000 personnes, où elle est une petite tache blanche sur l’immensité de la scène. Lisette Oropesa, aux origines cubaines, a une évidente familiarité avec un phrasé latin, et une vraie sensibilité, outre une technique de fer acquise dans la formation américaine. C’est d’emblée une Violetta avec laquelle il va falloir compter, car m’est avis qu’elle va les multiplier. Son Addio del passato est exemplaire, et même sa lecture de la lettre, si claire. Et en plus elle a les notes qu’il faut, dans les agilités (ses gioir du premier acte) comme dans les moments plus lyriques du deuxième (dite alla giovine bouleversant et sans doute aussi décuplé par l’émotion distillée par son partenaire Domingo).

    —  Guy Cherqui  •  Wanderer
  • Herodion bowed to "Traviata" directed by Rigos

    The Power of Nature Lizette Oropesa
    And it was fortunate for Lizette Oropesa to be called to play a leading role in this vision. A true power of nature. The 35-year-old New Orleans-based soprano from Cuba, the marathon runner with the vigorous body and the overwhelming voice and body strength, has cut the public's breath. So much so that we forgot the heat and sweat in our necks as we were crammed into the crowded Herodion and held our breath until we burst into applause again and again. Not at all comme il faut according to the codes of the audience at the opera, but the eagerness to express the chills that permeated the bodies listening to her voice was stronger. With a body of fever and a lyric-like stalk, Oropesa moved to the stage, to the black stage party.

    —  Katerina I. Rise  •  IefiMerida

    The triumph of a "Traviata" of smart choices and great protagonists

    Born to the romantic bell-cadet, the 36-year-old lyricist demonstrated her great class: her medium-sized, well-placed, luminous voice - obviously more suited to her more moving last two acts than to her crafty requirements - her huge Roman amphitheater, her aesthetic and the good taste of her song (trillions, ornamentations) constantly reminded the early Verdi's Bell-Candid debts, the stage presence was ethereal, emotional and emotional j with correct passion doses. Athens was lucky enough to enjoy - and rightly so! - a singer who has all the backgrounds (youth, beauty, voice, stage displacement) to shine worldwide in the role of tragic partner!

    —  Eutychios D. Choriatakis  •  Athinorama
  • Les Brigands de Verdi en haut de l’échelle : La Scala triomphe à Savonlinna

    Lisette Oropesa s’attaque au rôle à l’origine conçu pour Jenny Lind (dont le bicentenaire sera sans doute commémoré l’année prochaine en Suède). Ce seul personnage féminin se révèle le plus attentionné de tous. L’Amalia d’Oropesa n’a pas que le cœur sur la main, mais également sa respiration et ses palpitations, qui deviennent pratiquement physiques d’une manière qui évoque le souffle audible d’une Violetta ou d’une Gilda. Oropesa sait profiter au maximum de l’écriture vocale : plus ses coloratures et ses sauts impeccables entre les registres montent vers les niveaux stratosphériques, plus son timbre chaleureux et teinté de mélancolie gagne en beauté et en sûreté. Lorsqu'elle apprend que Carlo est en vie, elle effectue un changement soudain d'intention, touchant à la folie, qui offre un instant irrésistible. Les spectateurs ravis s’unissent pour la récompenser, elle, ses collègues et tout l’orchestre (qui vient sur le plateau), d'une ovation debout.

    —  Andreas Wahlberg  •  Olyrix

    Teatro alla Scala - I Masnadieri

    May, 2019 - Jul, 2019


    Di Lisette Oropesa, Amalia, precedentemente udita solo in un’aria eseguita negli studi della RAI di Roma in occasione della celebrazione dei trenta anni de “La barcaccia”, ci si è innamorati immediatamente: oltre all’interprete trepidante e sensibile, ha incantato la facilità e bellezza del canto, dove il soprano riesce a dominare tutte le dinamiche, a svettare con limpidezza in acuto e ad essere quanto mai espressiva nel fraseggio e seducente nell’accento della giovane innamorata. Perfetta già nella sortita “Lo sguardo avea degli angeli” ha raggiunto l’apice nella scena del cimitero cesellando un’aria e la cabaletta, ovviamente col da capo squisitamente variato, che apre il secondo atto. Ci si augura di riaverla presto in Scala e, in generale, in Italia.

    —  Andrea Merli  •  I Teatri del est

    Verdi a ferro e fuoco

    L’opera intera è ben sorretta dal cast, a partire dai due protagonisti, Lisette Oropesa, al debutto scaligero, pienamente superato data la naturale espressività e lo spessore dato al personaggio di Amalia

    —  Carlo Emilio Tortarolo  •  Teatri Online

    «I masnadieri», il Verdi più innovativo e spregiudicato

    Amalia, ancor immersa nel belcanto e Lisette Oropesa ideale (soprattutto quando alleggerisce il vibrato stretto) perfetta nel registro etereo, nella delicata fermezza. Simbolo della fanciullezza innocente, ma anche coraggiosa, nell'affrontare per amore il lato brutale del mondo maschile che la circonda.

    —  Carla Moreni  •  Il Sole 24

    I Masnadieri di Verdi al Teatro alla Scala

    A Lisette Oropesa spetta la palma di migliore della serata. La voce ottimamente proiettata è sonora, di bel timbro; il fraseggio elegante e la coloratura è ineccepibile. L’interprete ha anche un bel portamento e, a dispetto delle posture convenzionali riservatele da McVicar, si dimostra una valida attrice.

    —  blogartpost  •  The.blogartpost

    Lisette Oropesa Shines In Troubled Verdi Opera

    The Superstar Stands Out

    Even among such an superb cast, Lisette Oropesa stood out: her striking performance as Amalia demonstrated that she has graduated fully from soubrette roles to more demanding lyric ones without losing any of the astonishing flexibility of her voice. Equally comfortable in arias and cabalettas, she moved effortlessly between nimble, fluttering coloratura and arching lyrical phrases.

    “Lo sguardo avea degli angeli,” her gorgeous Act one aria, showed a shining instrument, buttery in her middle register and full at her top, with a lively vibrato and elegant diction.

    —  Eric Simpson  •  Opera Wire


    Venendo al cast, trionfo meritato per Lisette Oropesa, voce fresca e limpida, che debutta alla Scala nella parte tutta cabalette e agilità che fu di Jenny Lind. E se nelle prime due arie i virtuosismi convincono più dei cantabili, già a partire dal duetto col baritono del secondo atto i due piani si riallineano e la Oropesa riesce a fare di Amalia un personaggio tutt’altro che inesistente, a dispetto di quanto sostengono critici e musicologi più e meno illustri.

    —  Mattia L. Palma  •  CultWeek

    La Scala telle qu'en elle‐même : I masnadieri musicalement exemplaires

    Lisette Oropesa (qui reprend le rôle tenu par la légendaire Jenny Lind à la création) montre par son succès auprès du public qu’elle a immédiatement séduit.  Ce qui frappe c’est d’abord une technique parfaitement maîtrisée et un contrôle de tous les instants sur une voix d’une grande ductilité. Elle possède cette préparation technique qui caractérise l’école américaine, mais avec en plus une intelligence et une intuition rares. À peine entend‐on ici quelques notes aiguës un tantinet courtes ou un léger abus de vibrato, mais dans un ensemble tellement maîtrisé et tellement ressenti, tellement émouvant et engagé, que ce ne sont que détails : dans ce répertoire, Lisette Oropesa est en train de conquérir une place de choix dans les sopranos américaines à côté des Angela Meade ou des Sondra Radvanovski.

    —  Guy Cherqui  •  Wanderer

    L’eleganza del Verdi minore(?)

    Senza rivali l’Amalia di Lisette Oropesa, finalmente una virtuosa con carte in regola per una parte che esige tanta esuberante risonanza quanta esterrefazione lirica, fino a trilli e passaggi che implicano – e qui trovano – il capolavoro tecnico. 

    —  Francesco Lora  •  L'ape musicale


    Brilla tanto sul piano vocale che interpretativo l’Amalia di Lisette Oropesa, semplicemente perfetta nell’unico ruolo da autentico soprano leggero scritto da Verdi. Belcantista di razza, la Oropesa unisce un timbro morbido e setoso, senza le asprezze che a volte ritroviamo in questo tipo di voci con una tecnica fenomenale. Un canto leggero ed etereo ma sempre sostenuto da un perfetto controllo del fiato che le permette di volteggiare sicura anche nei più impervi passaggi di bravura – le colorature sono ineccepibili da ogni punto di vista – senza mai perdere l’assoluto controllo della linea. La Oropesa non è però solo splendida cantante ma anche interprete attenta e sensibile: il virtuosismo non è mai fine a se stesso ma sempre calato in un’attenta dimensione espressiva che dà vita alla radiosa esplosione di “Carlo vive?”, alla sincera commozione delle scene con Massimiliano o all’impeto di rivolta in “Ti scosta o mal nato”.

    —  Giordano Cavagnino  •  GB Opera Magazine


    Le casting vocal repose sur un quatuor principal solide dominé par l’impressionnante prestation de Lisette Oropesa pour sa première apparition sur la scène de la Scala. Amalia est un rôle qu’elle connait bien pour l’avoir pratiqué régulièrement depuis sa prise de rôle à Washington, il y a cinq ans. Alliant ramage et plumage (en référence au « rossignol suédois » pour qui fut écrit le rôle) elle donne au personnage d’Amalia un relief rarement atteint, tant vocalement que scéniquement, assumant avec vaillance et sans outrage la composante belcantiste du rôle. Son timbre magnifique de pureté sait se durcir en fonctions des exigences dramatiques, son agilité vocale impressionne dans les vocalises et des aigus stratosphériques, la ligne de chant séduit par son élégante souplesse.

    —  Patrice Imbaud  •  ResMusica

    McVicars Masnadieri stelt teleur bij de Scala

    Ook muzikaal voelde de voorstelling erg dubbel. Aan de positieve kant was er Scala-debutante Lisette Oropesa, die de rol van Amalia met een heerlijk warme, maar enigszins groot aangezette sopraan uitvoerde. De sympathieke zangeres slaagde erin precies de juiste balans te vinden tussen de lichte coloraturen van Amalia en de meer dramatische uitbarstingen.

    —  Mordechai Aranowicz  •  Place de l'Opera

    Milano: I masnadieri “military style”

    Spicca il soprano Lisette Oropesa che incarna perfettamente il ruolo di Amalia, figura della semplice perseguitata in chiave romantico-verdiana, vittima della sventura a prescindere, donna temperamentosa che non si arrende e cerca di cambiare le sorti del proprio destino.

    Scrupolosamente attenta al diktat verdiano, la Oropesa dimostra di essere musicista oltre che cantante, mantenendo sempre un notevole equilibrio stilistico fra le parti cantabili e di agilità senza mai eccedere in accenti esasperati. Non poderosa nel registro medio-grave, ha trovato il giusto compromesso per mantenere un’emissione uniforme e chiara nella dizione.

    —  Gian Francesco Amoroso  •  Le Salon Musicale

    «I masnadieri» incendiano la Scala

    Eccellente debutto alla Scala per Lisette Oropesa, che del resto è da tempo una garanzia in tutto il mondo. Verdi cucì la parte di Amalia su Jenny Lind, che doveva essere una frigida coloratura: Oropesa risolve con facilità e con eleganza tutti i coccodé, ma riesce anche a renderli espressivi e, insomma, crea un personaggio. 

    —  Alberto Mattioli  •  La Stampa

    I masnadieri: “Verdi's ugliest opera” returns to La Scala with mixed results

    In the role created for Jenny Lind, Lisette Oropesa, in her La Scala debut, demonstrated a magnificent silvery voice, beautiful vibrato and impeccable coloratura. Her performance was cheered by the public.

    —  Renato Verga  •  Bachtrack

    I masnadieri at La Scala — channelling the vitality of Verdi’s opera

    As so often under Pereira, casting was the strongest element here. Lisette Oropesa made a rapturous house debut, investing Amalia with depth, authenticity and allure, and streaming through this fluttering Jenny Lind role with disarming ease. As a result, this usually drab heroine became the production’s unlikely pillar.

    —  James Imam  •  Financial Times

    Milano, Teatro alla Scala – I masnadieri

    Grande attesa circondava il debutto scaligero del soprano americano Lisette Oropesa, che è stata lungamente applaudita. La voce è luminosa e timbrata, il colore molto bello, la linea di canto sempre sorvegliata e ricamata con grande gusto. Il meglio di sé mi pare che Oropesa lo abbia dato nei cantabili, ove la dimensione malinconica della melodia trovava singolare espressione, mentre una qualche imprecisione si è fatta registrare nei passaggi virtuosistici.

    —  Fabio Larovere  •  Conessi all'Opera

    Milano - Teatro alla Scala: I masnadieri

    Chi ha invece messo tutti d’accordo è stata la prestazione di Lisette Oropesa, una straordinaria Amalia, salutata da scroscianti applausi già alla fine della cabaletta “Carlo vive?...O caro accento” e da un’ovazione finale. Soprano dal timbro delicato, dall’emissione controllata, tutta sul fiato, che le consente di legare i registri con una musicalità rara. Colorature leggere, con picchiettati, scale, volatine e trilli di alta scuola. Ed interprete che mette in luce i lati più nascosti di una fanciulla innamorata e soggetta alla rabbiosa e ottusa mascolinità dei Moor. La cavatina “Lo sguardo avea degli angeli” è intrisa di tenerezza, di rimpianti per la felicità perduta, di estasi soave e rarefatta. L’innocenza trasfusa in un canto trasfigurato e consolatorio la vede protagonista nel duettino e nel quartetto del finale primo. Commovente e patetica, morbida ed espressiva nell’aria “Tu del mio Carlo” ma altrettanto brava nel mostrare entusiasmo e brio nella difficile cabaletta citata sopra, dove un prolungato trillo sul Sol acuto è stato poi suggellato da una scalata al Do di pregnante efficacia. Ma efficace è stata anche in tutti i concertati, in cui è svettata per penetranza e luminosità. Nel duetto con Francesco ha sottolineato la ripugnanza, il disprezzo e il furore verso il demoniaco fratello di Carlo, mentre con l’innamorato si è lasciata andare ad un’entusiastica esplosione di gioia, ma anche ad una delicatissima, brillante e saltellante stretta conclusiva. L’attrice è stata poi in grado di tener testa agli aggressivi masnadieri, nonché stoica nel consegnare la sciabola a Carlo perché l’uccidesse nel grandioso finale d’opera.

    —  Ugo Malasoma  •  Opera Click

    Pittsburgh Opera - Don Pasquale

    Apr, 2019 - May, 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 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.

    —  OperaGene  •  OperaGene

    Pittsburgh Opera’s “Don Pasquale” a Clever, Campy, Comic Delight

    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.

    —  George B. Parous  •  PGH in the Round

    Review: Pittsburgh Opera revisits silent Hollywood in waggish season finale production

    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.

    —  Jeremy Reynolds  •  Pittsburgh Post Gazette

    La Monnaie - Robert le Diable

    Mar, 2019 - Apr, 2019


    En premier lieu, la reine de la soirée, Lisette Oropesa dans le rôle d’Isabelle ; elle y développe toute la suprématie vocale qu’elle possède sans faille, étant à l’apogée de ses moyens : sons filés, aigu victorieux, colorature mathématique, tout y est absolument à sa place. De plus, sa qualité suprême est de parvenir à créer des lignes superbes dans le phrasé, créant de réelles tensions dramatiques à des moments plus faibles de l’ouvrage. L’équilibre était difficile à obtenir avec le second rôle féminin, qui est finalement celui qui a bénéficié des nombreuses innovations musicales de Meyerbeer à l’époque de l’écriture de l’œuvre : trios a capella, tessiture hybride, urgence dans l’action.

    —  Alain Attyasse  •  ResMusica

    Robert le Diable de Meyerbeer ressuscité au Palais des Beaux-Arts de Bruxelles

    Etourdissante Marguerite de Valois dans la production des Huguenots précitée, la soprano étasunienne Lisette Oropesa (Isabelle) enthousiasme à nouveau grâce à sa miraculeuse technique et son grain de voix d’une séduction renversante. Au brio de sa première scène « En vain j’espère » suivie d’une cabalette ornée d’un goût très sûr, elle oppose l’intensité et la grâce, l’émotion de l’accent et la beauté de la ligne dans l’air « Robert, toi que j’aime ». 

    —  Emmanuel Andrieu  •  Opera Online

    Meyerbeer, prophète au plat pays

    Aucune réserve en ce qui concerne l’Isabelle de Lisette Oropesa. Dans la droite ligne de sa Marguerite de Valois à Bastille en octobre, elle continue de stupéfier, et le public bruxellois lui a réservé un triomphe. Ce qu’on entend sortir de sa gorge tient du miracle. Une voix belle, incroyablement belle, une technique souveraine, une égalité jamais prise en défaut quels que soient les redoutables intervalles imposés par Meyerbeer, des réserves de puissance qui paraissent inépuisables, un français qu’on dirait appris à la naissance. De quoi perdre la tête.

    —  Dominique Joucken  •  Forum Opera

    A Bruxelles, la beauté du Diable de Meyerbeer

    Après sa triomphale prise de rôle en Elisabeth de Valois à l’Opera de Paris, Lisette Oropesa faisait ses débuts à Bruxelles dans un autre rôle de Meyerbeer, la princesse Isabelle, dont elle avait déjà brillamment interprété en récital le grand air « Robert, toi que j’aime ».

    Une nouvelle fois, la soprano américaine maitrise sans aucun effort apparent les difficultés de la partition, tant dans ses airs et leurs cabalettes que dans les duos et autres redoutables finales d’acte. Toujours très expressive et en interaction avec ses partenaires et le chœur, elle réussit même, malgré la version de concert et grâce à un français remarquable, une belle caractérisation du personnage. L’air du 4ème acte est un concentré de toutes ses qualités : émotion, longueur de souffle, légato parfait, aisance dans les coloratures et magnifiques nuances y compris dans le suraigu. Elle y obtient une longue et légitime ovation du public bruxellois conquis.

    —  Denis Peyrat  •  Toute la culture

    Robert le diable in het PSK

    De ontegensprekelijke ster van de avond was de Isabelle van Lisette Oropesa. Ik heb haar al een paar keer in cinemavoorstellingen gehoord, meest recent als Marguerite vanuit Parijs, maar dit was mijn eerste live ervaring. De cinema-versie van Oropesa is maar een schaduw van hoe ze in het echt klinkt. Meteen met haar openingsaria "En vain j'espère" zit haar stem juist. Ze zingt met een pakkende frasering, haar hoge noten klinken fantastisch met daarenboven mogelijkheid tot dynamiek van piano tot forte, coloraturen hebben diepgang en met dat alles kan ze nog eens ontroeren ook. Haar paradestuk komt in het vierde bedrijf met de cavatina "Robert, toi que j'aime". Dat zou een saaie aria kunnen worden met een paar honderd herhalingen van "grâce pour toi", maar bij Oropesa blijf je luisteren naar alle smekende nuances die ze weet op te roepen, maar telkens met een ondertoon van het hartzeer dat ze voelt. Het einde van de aria geeft ze een voorwaartse stuwing mee die onvermijdelijk leidt tot een minutenlange ovatie.

    —  Inquisitor  •  Il Grand' Inquisitor

    Oropesa steelt de show in Robert le Diable

    Alles wat deze Cubaans-Amerikaanse sopraan aanraakt, verandert in goud. In Amsterdam hoorde we haar eerder als een fenomenale Nannetta in Falstaff (De Nationale Opera) en Gilda in Rigoletto (De Nationale Opera en de NTR ZaterdagMatinee). Haar krachtige lyrische sopraan klonk als een warm bad.

    Oropesa’s eerste aria werd onthaald met langdurig applaus. Haar tweede aria, ‘Robert, toi que j’aime’ in de vierde akte, was een showstopper pur sang. Wat een prachtaria, en wat een prachtsopraan. Trillers, coloraturen, legatolijnen, dictie: alles klopt bij Oropesa. Hopelijk houdt ze het hoofd koel en weet ze zich te hoeden voor rollen die ze wijselijk moet afhouden. Dit is een stem die niet vaak voorkomt heden ten dage.

    —  Lennaert van Anken  •  Place de l'Opera

    Sorpresa barroca en el foso

    La soprano Lisette Oropesa trunfó con una interpretación de Rodelinda de coloratura espetacular, bellas ornamentaciones y una calidez y riqueza expresiva cautivadoras. Guth la mantiene en escena casi toda la ópera, en un trabaja extenuante como actriz que, de forma admirable, muestra las agitadas emociones de una mujer enamoradad y fiel, que sufre, se resigna y se rebela con furia.

    —  Javier Pérez Senz  •  Scherzo Magazine

    Recuperación triunfal

    Lisette Oropesa cantó con una gran musicalidad, estuvo segura en los ornamentos, con un gran dominio del estilo, una expresión muy convincente, aguantando con brillantez la complejidad y duración de su papel.

    —  Albert Vilardell  •  Ritmo

    ‘Rodelinda’ debuta al Gran Teatre del Liceu

    Doble debut de Lisette Oropesa: al Liceu i com a Rodelinda. La soprano estatunidenca és especialista en belcanto romàntic i el timbre i la projecció de la veu ho delaten, però Oropesa s’emmotlla a l’estil händelià i se’n surt amb nota gràcies a passatges exquisidament resolts, com ara l’ària Ombre, piante, urne funeste del primer acte.

    —  Jaume Radigales  •

    De la estimulante puesta de largo de Rodelinda en el Liceo

    Lisette Oropesa dio vida a una Rodelinda sin mácula. La joven soprano estadounidense, una de las sensaciones del panorama lírico actual, debutaba en el teatro barcelonés y cosechó un merecido triunfo. Oropesa exhibió una voz bien proyectada en todo momento, de bello timbre, cálido, elegante, de acentos mórbidos y homogéneo en todos los registros. Una voz aunada a una técnica sin debilidades, que permitió a la joven soprano afrontar con inapelable solidez el virtuosismo de sus arias. Teatralmente, la soprano de Nueva Orleans se desenvolvió con espontaneidad y magnetismo en todo momento, completando una actuación redonda. Sin lugar a duda, la estrella de Oropesa está llamada a brillar con intensidad en el repertorio lírico durante los años venideros.

    —  Xavier Borja Bucar  •  Codalario

    The captivating league of Rodelinda in the Liceu. Lisette Oropesa and Bejun Mehta

    La Rodelinda de Lisette Oropesa recogió claramente el guante protagonista en un voraz debut; voraz en las indecisiones del personaje, en las aceptaciones, en las negativas, voraz en los aplausos en los que insistió el público.

    —  Opera World  •  Opera World

    Rodelinda al Liceu: London after midnight

    El Liceu ha pogut comptar per aquestes representacions amb el talent emergent de la soprano Lisette Oropesa, una cantant de tracte proper i exquisit (res a veure per tant amb el “dimoni” Cuzzoni). La veu lírico-lleugera d’Oropesa pateix en algun moment d’una partitura extenuant i excessivament greu, però amb la seva tècnica impol·luta i uns imaginatius ornaments acaba portant el personatge a la seva tessitura, component una interpretació absolutament colpidora i fascinant. Si haguéssim de triar un fragment (arriba a cantar fins a 8 àries!) ens quedaríem amb el bell lament de l’acte tercer, “Se’il mio duol”. La soprano debutava al teatre i en el rol; no podem més que desitjar noves visites per la seva part.

    —  Daniel Cortès Gil  •  Núvol


    Händel exige un enorme despliegue vocal a la soprano y Lisette Oropesa encarnó una reina de Lombardía de gran factura dramática, con aplomo en el despliegue de la multifacética Rodelinda, vulnerable y desafiante, tierna y agresiva... Dotada de un centro esplendoroso, haciendo uso de un magnífico legato y de una voz fresca y bien impostada redondeó un debut brillante en el Liceu. Con momentos emocionantes como una conmovedora “Ombre, piante” –soberbias las flautas en el diálogo– se metió en el bolsillo al público.

    —  Diego A. Civilotti  •  Platea Magazine

    Una 'Rodelinda' de lujo en el Liceu

    Un lujo, tanto como el que ofreció el impresionante y auspicio debut de Lisette Oropesa en el papel titular, quien impuso una voz de gran belleza y esmalte, dominio estilístico y sentido teatral, fascinando con las arias a su cargo y poderosa en el ornamento.

    —  Pablo Meléndez-Haddad  •  El Periódico

    ‘Rodelinda’ enamora al Liceo

    Con fantasía y buen gusto en las ornamentaciones y una coloratura espectacular, Lisette Oropesa es una Rodelinda de ensueño. La voz es bella, cálida, rica en colores, tan fascinante como su riqueza expresiva. Siempre en escena —y eso que la ópera dura más de tres horas— muestra de forma admirable las agitadas emociones de una mujer enamorada y fiel, que sufre, se resigna y se rebela con furia.

    —  Javier Perez-Senz  •  El Pais



    Rigoletto à Rome : retour à Verdi

    Lisette Oropesa est en train de devenir l’une des références parmi les sopranos, elle a triomphé à Paris dans Les Huguenots, puis dans Don Pasquale, elle fut avec Gatti Nanetta dans le Falstaff d’Amsterdam. On pourrait croire en une voix légère, mais il n’en est rien, la voix a un vrai corps, avec des aigus et suraigus très maîtrisés et très contrôlés. Elle est une Gilda très fraîche, jeune, mais aussi décidée et mûre. Elle n’a rien d’un rossignol, notamment dans le célèbre « Caro nome » débarrassé des cadences et fioritures inutiles, tout au contraire : la ligne de chant et les passages sont impeccables, la diction sans aucun accroc, avec un vrai sens de la couleur, elle sait notamment faire émerger le drame, les hésitations, tout autant que la joie : la manière dont à son entrée en scène elle se précipite vers son père pour essayer de lui raconter son amour naissant (sans y réussir d’ailleurs) avec une couleur juvénile et dans la sincérité immédiate de la joie, tranche avec un « Caro nome » certes plein d’amour, mais déjà sérieux, presque mélancolique qui est un chef d’œuvre de retenue et d’émotion notamment dans le « e fin l’ultimo mio sospir, caro nome, tuo sarà. » si prémonitoire.

    Elle sait aussi à la fin du second acte, avoir des accents dramatiques marqués. La voix est d’une rare sûreté, d'une grande homogénéité et l’engagement est total. Une très grande Gilda, sans doute la meilleure aujourd’hui, qui sait parfaitement doser l’engagement entre la jeunesse, l’amour, le drame, avec une grande présence scénique et vocale : elle est bouleversante dans la scène finale (« Ah, ch’io taccia ! A me, a lui perdonate. ») où comme au final du II, elle demande au père de pardonner (« Perdonate : a noi pure una voce di perdono dal cielo verrà. »), une fois de plus prémonitoire, puisque la mise en scène la fait mourir debout, telle l’ange qu’elle deviendra au ciel…

    —  Guy Cherqui  •  Wanderer

    Le 120 giornate di Rigoletto

    Lisette Oropesa… vale tanto oro quanto pesa. Il soprano americano di origine cubana è una Gilda fresca e ingenua come dev’essere il personaggio, la sua voce è perfettamente adatta alla parte, con la coloratura agile e precisa, come ben si apprezza in Caro nome e in Tutte le feste al tempio. 

    —  Nicola Iannello  •  L'ascoltatore dilettante


    Intensa pure la Gilda di Lisette Oropesa che ha saputo esprimere il candore e la purezza della virtù con un timbro morbido e assai gradevole, spostando l’interpretazione più sul piano lirico del fraseggio che non su quello della coloratura virtuosistica, probabilmente seguendo le indicazioni del direttore.

    —  Francesco Giudiceandrea  •  GB Opera Magazine

    Rigoletto fresco d’inchiostro

    La voce di Lisette Oropesa ha quel tanto di ingenuo ma inossidabile nel carattere volitivo femminile, come nella tenuta d’intonazione e nella rotondità del registro acuto, che, quasi senza che ce ne accorgiamo, la bambina-Gilda cantando diventa donna prima del tempo. Non solo perché cinguetta un po’ meno ma perché l’orchestra la sollecita a far capire che la domenica andando alla messa forse aveva riflettuto anche sul suo futuro di orfana reclusa, in età di sentimenti non solo rispettosamente (rassegnatamente) filiali. E così, quando il suo canto-dolore domina il quartetto, viene soltanto da chiedersi come mai non avvenga sempre così.

    —  Angelo Foletto  •  Classic Voice

    Cuore e batticuore nel Rigoletto di Gatti

    Inquietante come inquietante è la risolutezza che Lisette Oropesa, grazie a un canto impeccabile e a una voce che conquista da subito, offre a Gilda : il suo Caro nome (con la cadenza originale scritta da Verdi) è una riflessione sull’amore, il Tutte le feste al tempio diventa la dichiarazione di libertà di una donna che, pur tradita, vuole comunque amare e andare fino in fondo al suo destino. Inquietante perché il suo cuore, nel buio, schiacciato da questo dolore più che piagato dal pugnale, smetterà di battere.

    —  Pierachille Dolfini  •  Pierachille Dolfini

    Roma, Teatro dell’Opera – Rigoletto

    Il soprano Lisette Oropesa, in possesso di una vocalità tornita e di bello smalto, dipinge una Gilda fresca e liliale senza, però, scadere in vacui bamboleggiamenti o inutili atteggiamenti languorosi: la sua è sì una fanciulla innamorata ma, al contempo, risoluta e determinata. Piace qui ricordare la resa del “Caro nome”, dove la Oropesa esibisce pregevoli colorature, una buona tenuta dei fiati e un registro acuto di bellezza adamantina.

    —  Stefano Balbiani  •  Conessi all'Opera

    Rigoletto all’Opera di Roma: solitudine, dramma e segretezza

    La soprano americana Lisette Oropesa è stata una Gilda dolce, innamorata ma decisa (giusto la cadenza del Caro Nome non è stata perfettissima, ma era una macchiolina su di una tovaglia bianca).

    —  Marco Rossi  •  Cultura Mente

    Il «Rigoletto» di Gatti è un Verdi doc

    A questo punto, se Rigoletto smette di essere una palestra dove misurare atletismi e «canne» vocali, i cantanti devono essere valutati per quanto e come contribuiscano a un progetto interpretativo così rivoluzionario. In questo senso è perfetta la Gilda di Lisette Oropesa, che non solo canta benissimo sempre, ma riesce a trasformare «Caro nome» da grande aria della diva in un bellissimo, toccante soliloquio di una ragazzina innamorata.

    —  Alberto Mattioli  •  La Stampa

    OPERA/ “Rigoletto” e le camicie nere

    Purissima l’emissione di Lisette Oropesa, una Gilda  che ha letteralmente incantato il pubblico.

    —  Giuseppe Pennisi  •  Il Sussidiario
  • Vittorio Grigolo and Lisette Oropesa brewed this potion even better

    Lisette Oropesa made her role debut as Adina with a great success. Even if “L’Elisir d’Amore” seemed to work better in a more traditional take, Adina’s character benefited greatly from a modern context. She seemed more real as a lovely, kind, but a bit fickle girl with hopes and dreams than just a proud and responsible landowner.

    Oropesa started “Della crudele Isotta” in a quiet and gentle manner, but later showed off her powerful voice. There was tremendous confidence throughout as she jumped in the hay despite having been injured during rehearsals. This alone kept audiences on their toes.

    Her “Prendi, per me sei libero” in Act two was just splendid. This aria has a high tessitura and Oropesa matched it beautifully with lovely coloratura.

    —  Polina Lyapustina  •  Opera Wire

    Oropesa y Grigolo ¡la nueva pareja de moda!

    Los papeles principales son interpretados por la soprano Lisette Oropesa como Adina y el tenor Vittorio Grigolo como Nemorino.

    Juntarles es una idea excelente, no les falta nada, parece que nacieron para interpretar juntos estos roles. Sus voces coinciden y empastan la una con la otra de una manera natural inesperadamente asombrosa.

    Ella, que acaba de terminar (casi solapadas) sus representaciones de Les Huguenots brilla desde que aparece. Es una virtuosa, este papel, muy distinto al que le vimos interpretar en Les Hugonotes nos enseña que lo tiene todo. Maravillosas coloraturas, dulzura vocal y una proyección excelente y muy comedida. En el escenario es muy enérgica y no se excede nada con el rol, parece que ella es Adina en la vida real.

    —  Opera World  •  Opera World


    Après sa remarquable et remarquée prise de rôle en Marguerite de Valois dans Les Huguenots au mois de septembre, Lisette Oropesa conquiert à nouveau le cœur du public parisien avec le rôle d’Adina, qu’elle connaissait mais n’avait jamais interprété à la scène. La soprano américaine prouve ici qu’elle est aussi à l’aise dans la comédie que dans le drame. Elle s’affirme ainsi, après Lucia di Lamermoor, comme une des meilleures interprètes actuelles du belcanto italien. Sa maitrise du souffle et son aisance vocale, tant dans les vocalises que dans les sons filés n’ont d’égales que la présence charmante et le naturel comique de son jeu. Elle est une Adina piquante et touchante, moins « bitch » que dans la conception du rôle qu’elle nous exposait dans sa récente interview. Quel Nemorino n’aurait pas succombé ?

    —  Denis Peyrat  •  Toute la culture


    Lisette Oropesa, qui s’était illustrée quelques jours plus tôt en Marguerite dans Les Huguenots, quitte sans encombre les parures de reine pour son fichu de paysanne. Sa force réside dans ses roucoulements de coloratura, où sa voix claire claironne avec une belle agilité. Moins chaleureuse que Vittorio Grigolo, son jeu est tout aussi convaincant, et leurs voix se répondent agréablement aux premier et deuxième acte, lorsqu’Adina accepte la proposition de mariage de Belcore pour narguer Nemorino, puis lorsqu’elle revient sur sa décision et déclare à ce dernier son amour le jour de son mariage avec le premier.

    —  Max Yvetot  •  Opera Gazet

    Comme au premier jour

    Elle chantait encore récemment sur cette même scène la Reine Marguerite des Huguenots, et pourtant Lisette Oropesa, Adina, mais de Rossini à Pesaro cet été et maintenant dans le personnage de Donizetti, parvient à passer sans problème chaque vocalise et à ressortir de tous les ensembles par un style étincelant et une impeccable tenue de la ligne de chant. Son dernier air trouve alors toute la souplesse et l’agilité qui lui convient, jusqu’à un sublime contre-ut tenu plusieurs secondes, avant la réponse de Nemorino puis la seconde partie de l’air, aussi parfaitement gérée.

    —  Vincent Guillemin  •  Alta Musica

    Bonheur et fraîcheur de fin d’été

    Après des débuts salués et remarqués dans Les Huguenots le mois dernier (voir WT ), Lisette Oropesa confirme son talent en Adina et fait montre d’autant de facilité dans cet opera buffa que précédemment dans le drame. Sans entacher une prestation pleine d’assurance, de finesse et d’humour, la soprano semble parfois légèrement sur la retenue : fatigue légitime ou gestion de l’effort ? Quoi qu’il en soit, elle reste éblouissante et présente une ligne de chant à la fois délicate et percutante, avec des aigus soyeux, des vocalises délicatement disséquées, tel ce Prendi, per me sei liberotout de grâce. Le public parisien salue cette fois encore l’Américaine qui a décidément trouvé à Bastille une nouvelle maison.

    —  Quentin Laurens  •  Web Théâtre

    L'Elixir d'amour

    De sa très belle voix de soprano, claire mais suave, la jeune américaine Lisette Oropesa campe une pétillante Adina, à l’opposé de son rôle de Marguerite de Valois dans Les Huguenots de Meyerbeer qu’elle vient tout juste de quitter. D’une grande précision dans la justesse, puissante dans tous les registres de sa tessiture, on la voudrait pourtant plus « capricieuse » vocalement, à l'image du personnage qu'elle incarne : le jeu de scène est là, parfait, mais la voix est parfois trop sage et manque un peu de nuances. On aurait souhaité que la chanteuse s'amuse davantage, quitte à prendre quelques risques, pour nous proposer différentes facettes de son organe vocal qu’elle maîtrise parfaitement, à n’en point douter.  

    —  Floriane Goubault  •  Avant-Scène Opéra

    L’Élixir d’amour du docteur Pelly : euphorie garantie à l’Opéra de Paris

    Avec son jeu scénique et vocal tout en finesse, celle qui a récemment mis Bastille à ses pieds dans Les Huguenots continue sur sa lancée. Timbre ardent, projection homogène sur toute la tessiture, vocalises agiles, aigus scintillants, Oropesa a pour elle tous les atouts… et elle en use avec élégance et facilité, jouant plus qu’elle ne chante. 

    —  Tristan Labouret  •  Bachtrack

    L'elisir d'amore - Paris (Bastille)

    Ses duos avec Adina sont de véritables moments de grâce tant la voix de la soprano s’accorde idéalement avec la sienne. Lisette Oropesa accomplit là un véritable exploit : hier encore elle incarnait une éblouissante Marguerite de Valois dans Les Huguenots et ce soir elle campe une Adina piquante et mutine à souhait sans aucune trace de fatigue dans la voix si ce n’est peut-être un aigu légèrement tendu en fin de soirée, peccadille au regard d’une incarnation en tout point captivante servie par un timbre radieux et une remarquable agilité vocale.

    —  Christian Peter  •  Forum Opera

    À la Bastille, les réjouissants pouvoirs de « L’Élixir d’amour »

    La soprano Lisette Oropesa est en passe de devenir « la petite fiancée d’Amérique » pour le public de l’Opéra de Paris. Expression affectueuse suscitée par son charme juvénile, son jeu pétillant et le bonheur manifeste avec lequel elle exerce son art. Mais qui ne doit pas masquer une exceptionnelle technique vocale, une homogénéité remarquable de la tessiture – aigu cascadant, médium gouleyant et graves qui ne s’en laisse pas compter – et une endurance de marathonienne (ce qu’elle est, au sens propre du terme, par ailleurs) puisqu’elle a enchaîné Les Huguenots et L’Élixir sans faiblir…

    —  Emmanuelle Giuliani  •  La Croix

    Avec « L’Élixir d’Amour », l’Opéra Bastille déroule le tapis rouge à Gaetano Donizetti

    Le personnage d’Adina, riche et belle fermière, campé par Lisette Oropesa est pétillant à souhait. La soprano virevolte comme une elfe sur le plateau pleine de charme, de malice et fait des étincelles vocales dans le registre du belcanto.

    —  Jean-Christophe Mary  •  Putsch Media

    L’Elixir d’amour de Pelly, réjouissance théâtrale à Bastille

    24 heures après avoir chanté la dernière des neuf représentations des Huguenots (auxquels elle glisse une référence en proposant la « Reine Margot » lorsque Dulcamara cherche le nom d’Isolde), qui l’ont vu triompher (lire notre compte-rendu) en remplacement de Diana Damrau, la piquante Lisette Oropesa enchaîne avec la Première de l’Elixir d’amour, qu’elle a répété en parallèle (comme elle nous l’indiquait en interview). Pour autant, sa voix garde sa fraîcheur délicate dans le médium et sa finesse acidulée dans l’aigu. Son vibrato rapide et fin se module selon les intentions du personnage, accompagnant ainsi les nuances du chant. Elle garde une grande énergie sur scène, ne ménageant pas ses efforts, en femme volage et capricieuse, mais touchante dans le dénouement.

    —  Damien Dutilleul  •  Olyrix
  • Les Huguenots - ON

    The best singing in the cast came from soprano Lisette Oropesa as Marguerite. Oropesa’s faultless technique made “Ô beau pays de la Touraine” the finest display of coloratura singing heard at the Opéra in recent years. Close trills and a soaring altissimo, coupled with a charming stage presence, earned the American soprano the warmest applause of the evening. 

    —  Stephen J. Mudge  •  Opera News


    La soprano estadounidense tuvo que aprenderse en menos de una semana su parte después de sus actuaciones de este verano en Pésaro al lado del mismo Mariotti, quien la propuso para el papel. La escuela belcantista que Oropesa lleva a sus espaldas la hicieron triunfar en el personaje de Margarita de Valois (obtuvo la gran ovación de la noche). Su acercamiento a la reina de Navarra es delicado, juvenil, con unas estratosféricas coloraturas interpretadas con excelente precisión. Quizás se podría pedir más cuerpo a su voz, pero su interpretación enamoró al público de la Bastilla con sus agudos etéreos y sus medias voces. ¡Brava!

    —  Dani Cortés Gil  •  Codalario

    Les Huguenots, Kleo

    En revanche, Lisette Oropesa est SUBLIME. Vraiment. Jamais je n’ai entendu quelqu’un autant ovationné à Bastille (et pourtant j’ai assisté aux adieux de Natalie Dessay au rôle de La Fille du régiment). Cette fille a une voix d’une pureté incroyable, je pense qu’elle pourrait tirer des larmes à une pierre. Ses solos étaient des moments de grâce qui à eux seuls justifiaient tout le spectacle.

    —  Kleo  •  Kleo á Paris

    Letter From Paris: The Opéra National de Paris Celebrates 350 Years in Style

    American soprano Lisette Oropesa sang the benevolent Queen spectacularly, with regal confidence, a diamond-bright voice, and pinpoint accuracy in the most difficult coloratura passages.

    —  Lisa Hirsh  •  San Francisco Classical Voice

    Parigi - Opéra Bastille: Les Huguenots

    Anche Diana Damrau aveva tempo fa abbandonato la produzione, ma in questo caso il teatro ha avuto l’agio e la fortuna di trovare una sostituta all’altezza del compito. Lisette Oropesa, nonostante l’annuncio di indisposizione prima dell’inizio dello spettacolo, è stata una Marguerite elegantissima, con quel tanto di coquetterie necessaria. In grado di affrontare tutte le ornamentazioni richieste e di aggiungerne altre con incantevole e spericolata disinvoltura, ha ricevuto vere e proprie ovazioni, tanto da poterla definire, senza timore di essere smentiti, la regina della serata.

    —  Silvano Capecchi  •  Opera Click

    Les Huguenots (Die Hugenotten)

    Nicht nur, weil sie die Königin Marguerite de Valois verkörpert ist sie an der Spitze zu nennen: Lisette Oropesa präsentiert die halsbrecherischsten Arien ganz leicht, selbstverständlich und ohne Druck. Perfekte Piani krönen ihre wahrhaft königlichen Auftritte. Eine Perfektion, die die Pariser mit ausgiebigem Szenenapplaus belohnen.

    —  Joachim Lange  •  Online Musik Magazin

    The Dark, Prophetic Vision of Giacomo Meyerbeer

    Lisette Oropesa was a splendid substitute, combining absolute technical assurance with a deft actorly portrayal of a naïve, self-involved royal. 

    —  Alex Ross  •  The New Yorker

    Les Huguenots de Meyerbeer triomphent de l’asepsie calviniste

    Ainsi de la soprano Lisette Oropesa (cf. article Crescendo, Festival de Pesaro 2018) qui illustre avec autant de sensibilité, de charme que d’éclat, la « manière » belcantiste du compositeur. Future reine de France, le personnage de Marguerite de Valois, relève -dans les codes belcantistes- de la catégorie des divinités, telle Vénus. A ce titre, elle se voit confier des airs ornés, vocalises et cadences, toutes formes stylistiques qui révèlent l’instant mystérieux où le chant s’émancipe du mot et de la gravité terrestre. La soprano américaine met sa science de la « messa di voce » (prendre le son piano en le faisant croître et décroître sur le même souffle), trilles ou cadences au service de l’expressivité tandis que son endurance de marathonienne, son intelligence, la sympathie naturelle qu’elle inspire, lui valent un triomphe.

    —  Bénédicte Palaux-Simonnet  •  Crescendo Magazine

    “Gli Ugonotti”: Meyerbeer torna a casa

    Lisette Oropesa non solo esegue deliziosamente tutti i coccodè di Margherita di Navarra ma canta e recita con un’ironia così piccante e raffinata che il soprano «à roulades» sembra un personaggio vero.

    —  Alberto Mattioli  •  La Stampa


    Con su canto pluscuamperfecto, límpido y preciso, de una seguridad intachable, Lisette Oropesa cosechó las ovaciones más sonadas y merecidas de la velada con su grácil encarnación de Marguerite de Valois.

    —  Alejandro Martínez  •  Platea Magazine

    Lisette Oropesa, majestueuse Marguerite de Valois à l’Opéra Bastille

    Dans ce climat où le combat contre l’ennui devient la grande affaire du spectateur, un miracle s’accomplit à l’acte II. Au milieu de sa cour, Marguerite de Valois – qui appelle vainement de ses vœux la réconciliation entre catholiques et protestants – trouve en Lisette Oropesa une ambassadrice souveraine, irrésistible.

    Aimable jeu
    Vêtue d’une vaporeuse robe rouge rehaussant son adorable physique, la soprano américaine rayonne, incontestable étoile de la soirée. Rien ne résiste à sa voix, légère et pourtant magnifiquement projetée dans l’immense hall de la Bastille, ni à sa technique qui triomphe des traits les plus redoutables comme s’il s’agissait d’un aimable jeu.

    —  Emmanuelle Giuliani  •  La Croix

    Les Huguenots returns to the Paris Opera

    he casting was bedevilled by illness, first Diana Damrau dropped out to be replaced as Marguerite by Lisette Oropesa who learned the role in under a month. Then Bryan Hymel departed due to illness too, leaving even less time for Yosep Kang to take on the role of Raoul (Kang sang it with the Deutsche Oper in Berlin and sings the role in Dresden next year). Oropesa's assumption of the role of Marguerite was remarkably assured, but Kang did not feel as if he had had time to run it in properly.

    Oropesa was simply stunning as Marguerite. It is not a large role, Act Two and the end of Act Three (no wonder Joan Sutherland chose it as her final role at the Sydney Opera House), but Oropesa made it count. She combined sparkling coloratura with a delightful personality, this was definitely a star turn.

    —  Robert Hugill  •  Planet Hugill

    Retour contrasté des Huguenots à l'Opéra de Paris

    Au sommet, Lisette Oropesa, remplaçant Diana Damrau, montre qu’elle est prête à un répertoire que peu de sopranos abordent sans crainte. Confinée aux Nanetta et aux Gilda, aux Sophie –de Werther, en début de carrière, elle montre en Marguerite de Valois une pleine maîtrise belcantiste, avec un contrôle de tous les instants, des aigus faciles, des filati de rêve, et une impeccable diction comme tous les grands chanteurs de ce répertoire. On entend derrière cette voix qui remplit aisément le vaisseau bastillais des héroïnes verdiennes (on rêve d’une vraie Hélène des Vêpres siciliennes), mais aussi toutes les héroïnes belliniennes : quelle Giulietta elle sera, mais quelle Marguerite de Faust de Gounod, et quelle Isabelle de Robert le Diable, tout un répertoire s’ouvre qui a peu de titulaires aujourd’hui douées de cette force, de cette technique et de cette aura scénique. Lisette Oropesa a conquis là – on s’y attendait‐ ses galons de star belcantiste.

    —  Guy Cherqui  •  Wanderer

    Les promesses d’un retour après 82 ans d’absence

    La grande surprise vient de la lumineuse et brillante Lisette Oropesa qui livre une prestation exceptionnelle. Magnifique actrice, sa ligne de chant est fine et puissante, elle se défait avec une aisance déconcertante des vocalises d’une partition pourtant délicate, à l’image d’un « Sombre chimère » gracieusement exécuté dès l’Acte II. Pétillante et affirmée, Lisette Oropesa reçoit pour cette prise de rôle les acclamations justifiées d’un public enjoué.

    —  Quentin Laurens  •  Web Théâtre


    Dans le deuxième acte, c’est l’apparition : en Marguerite de Navarre d’un autre château blancs aux arabesques (et aux bains à la Ingres un peu clichés), la divine Lisette Oropesa (lire notre interview) est à la hauteur de toutes nos attentes. Elle ne fait que nous éblouir au fur et à mesure que progresse l’acte autant par sa voix puissante que par son jeu et l’on fond à l’écoute du formidable « Ah ! si j’étais coquette ».

    —  Yaël Hirsch  •  Toute la culture

    Raus aus dem moralischen Starrsinn

    personifiziert in der großen Entdeckung des Abends, der Amerikanerin Lisette Oropesa: eine kokette Königin von Kopf bis Fuß, eine unwiderstehliche Charme-Offensive für Raoul, der sich sogleich in sie verliebt, und mit einem Sopran begnadet, den sie mit souveräner Leichtigkeit, technischer Brillanz und perfekter, nicht wahrnehmbarer Atemführung durch ihre trillernden Koloraturen führt – minutenlanger Beifall in der Bastille.

    —  Lotte Thaler  •  Frankfurter Allgemeine Zeitung

    La Reine Margot

    Julie Robard-Gendre et Elodie Hache sont également à noter pour la clarté et les coloris du chant, mais s’il faut ne garder qu’un souvenir de cette production, c’est avant tout celui de l’héritière d’un rôle d’abord prévu pour Diana Damrau, la magnifique Reine Marguerite de Valois portée à l’extase dans l’incroyable contrôle du souffle, la superbe agilité des vocalises et la sublime délicatesse des piani de Lisette Oropesa.

    —  Vincent Guillemin  •  Alta Musica

    4 octobre 2018 - Les Huguenots ( Meyerbeer) à l’Opera national de Paris ( Bastille).

    Lisette Oropesa est une Marguerite exceptionnelle, qui sera ovationnée aux saluts. Elle ne fait qu’une bouchée du rôle à multiples facettes de Marguerite de Valois, virtuose ébouriffante ne reculant devant aucune ornementation, elle propose un exceptionnel « Ô beau pays de la Touraine » dès le début du II, souligne presque immédiatement la légèreté de « Ah si j’étais coquette ». On pourra regretter qu’elle peine davantage à incarner la souveraine en colère et impuissante mais quelle technique ! Le timbre est pur, le vibrato parfaitement maitrisé, les vocalises sont d’une précision diabolique, les pianissimi enchanteurs et le messa di voce souverain. 

    —  Jean Luc  •  OperaPhile

    "Les Huguenots" de Meyerbeer ressuscitent à l'Opéra-Bastille

    On découvre donc l'Américaine Lisette Oropesa avec bonheur: timbre léger et virtuose, jolies couleurs, son "tube", "Ô beau pays de la Touraine", est très réussi, le reste n'est pas mal non plus. Comme comédienne elle est charmante (la séduction de Marguerite et la morgue d'une reine) même si elle a moins de présence pour séparer les combattants mais après tout, la vraie Marguerite y a échoué aussi...

    —  Bertrand Renard  •  CultureBox


    Mais l’Urbain de Karine Deshayes est un plaisir de roi : projection fière et joueuse, brillance et diction, personnage scénique, tout est là et ravit. Et elle ne le cède en rien en abattage à Lisette Oropesa (remplaçant Diana Damrau initialement distribuée, mais qui s’était retirée de la production à la mi-août), grande triomphatrice de la soirée tant sa Marguerite paraît se défier d’un clin d’œil de toute la pyrotechnie convoquée par Meyerbeer : suraigus, traits, longueur de souffle, nuances et virevolte, elle semble ébouriffante sans y penser – un comble, et le signe d’une très grande, de celles dont le chant est sourire. Soudain Marguerite annonce Zerbinette, épiphanie qui déborde le cadre d’une œuvre et emporte tout – salle, intrigue, partenaire – sur son passage. Un tel moment vaut à lui seul le rendez-vous à demi manqué avec un illustre fantôme du répertoire.

    —  François Lesueur  •  Concert Classic

    Les Huguenots à l'Opéra Bastille, une résurrection conventionnelle

    L'autre remplacement de ce plateau frappé de malchance est pour le meilleur, grâce au chic et à l'agilité irréprochables de la Marguerite de Valois de Lisette Oropesa.

    —  Christian Merlin  •  Le Figaro

    Sängerfest an der Bastille – Die Pariser Oper glänzt mit Giacomo Meyerbeers Gand opéra „Les Huguenot

    Außerdem ist ein Protagonisten-Ensemble auf der Bühne, das man in der Ausgewogenheit und Qualität wohl nur in Paris zusammenbekommt. Nicht nur, weil sie die Königin Marguerite de Valois verkörpert ist sie an der Spitze zu nennen: Lisette Oropesa präsentiert die halsbrecherischsten Arien ganz leicht, selbstverständlich und ohne Druck. Perfekte Piani krönen ihre wahrhaft königlichen Auftritte. Eine Perfektion, die die Pariser mit ausgiebigem Szenenapplaus belohnen

    —  Joachim Lange  •  Neue Musikzeitung


    Diese werden angeführt durch Lisette Oropesa (statt der ursprünglich angesagten Diana Damrau) als exzellente Marguerite de Valois. Ihre berüchtigt schwierige Arie „O beau pays de la Touraine“, mit wunderbaren aber sehr sehr langen Koloraturen, war der Höhepunkt des Abends.

    —  Olivier Brunel  •  Concerto Net

    Lisette Oropesa triunfa en Les Huguenots de París

    Y para terminar Lisette Oropesa, el gran triunfo de la noche. Es una maravilla escucharla. Su virtuosismo nos enamora, haciendo que hasta cinco horas de opera se nos quedan cortas para escucharla a ella. La más aplaudida de la noche ofrece un papel esplendido, y no solo vocalmente ya que en la escena también es un gozo. Su primera aparición nos deslumbra, sus coloraturas y trinos infinitos, sus pianísimos imposibles y su dulzura vocal le garantizan al final de la noche una ovación completa por parte del público de Paris. La ausencia de Damrau así se lleva mejor.

    —  Opera World  •  Opera World

    Der Staat sagt, wer wen lieben darf

    Malchance partagée car le rôle de Marguerite de Valois était de loin celui le mieux tenu, par Lisette Oropesa, qui remplaçait Diana Damrau initialement prévue: une grande voix claire, phrasant superbement les longues séquences de ses airs surdimensionnés, à la virtuosité se jouant de toutes les difficultés techniques. Cette chanteuse au physique très avantageux et majestueux avait tendance à parader un peu trop à la manière d’une chanteuse de music-hall, un des partis pris très contestables de la direction d’acteur en général.

    —  Thomas Schacher  •  Neue Zürcher Zeitung

    After 350 Years, Paris Still Defines Opera

     the soprano Lisette Oropesa sounded lucid and silky, radiating good intentions,

    —  Zachary Woolfe  •  New York Times

    Des Huguenots tout blancs qui font pâle figure

    Par bonheur, Lisette Oropesa a pris le rôle de Marguerite de Valois et y est absolument fabuleuse. Délicate autant qu’agile dès le radieux« Ô beau pays de Touraine » qu’elle chante en barbotant pieds nus dans les bassins des jardins de Chenonceaux agitant avec vivacité sa longue rouge. La jeune soprano fait preuve d’un panache hors-pair et d’une irrésistible séduction à chacune de ses apparitions. 

    —  Christophe Candoni  •  SceneWeb

    Les Huguenots

    Bei den Protagonisten hatte man zwei gesundheitsbedingte Ausfälle zu verkraften. Dass die Starsopranistin Diana Damrau für die Rolle der Marguerite durch die weniger bekannte Lisette Oropesa ersetzt wurde, erwies sich indes als kein Nachteil. Die Amerikanerin verfügt über einen sensationellen Koloratursopran, traumwandlerische Sicherheit in höchsten Höhen sowie Reichtum an Farbgebung und dynamischer Gestaltung. Und sie setzt ihren Charme so zielsicher ein, dass die verfeindeten Parteien wie Lämmer vor ihr hinknien. Nach ihrer Auftrittsarie im 2. Akt erntet Oropesa minutenlangen Szenenapplaus.

    —  Chantal Cazaux  •  Avant-Scène Opéra


    Annoncé longtemps à l’avance, le forfait de Diana Damrau a permis d’entendre la Marguerite de Valois de , grande gagnante à l’applaudimètre, exquise de timbre, de charme et de souplesse.

    —  Catherine Scholler  •  ResMusica

    onp 2018/2019: les huguenots (kang-jaho-oropesa-testé-deshayes-sempey-gay; kriegenburg-mariotti)

    Oropesa no és una dramàtica coloratura i més aviat s’alinia en els líriques coloratura, però la seva extraordinària qualitat vocal i tècnica va fer que el temps s’aturés i en la immensa sala de La Bastille es produís el silenci de les grans ocasions i ella dominés a plaer de manera encisadora totes les virtuoses coloratures de “Ô beau pays de la Touraine” i la corresponent cabaletta. El domini de la veu, el registre ampli, l’emissió nítida, les notes flotants, les agilitats, trinats i salts van ser prodigiosos i per primera i única vegada durant la representació i de manera espontània el públic va irrompre en acabar l’escena en una calurosa, llarguíssima i alliberadora ovació. Només es pot dir una cosa BRAVISSIMA! 

    —  Joaquim  •  In Fernem Land

    PARIS/Opéra de Paris: LES HUGUENOTS von Giacomo Meyerbeer PREMIERE

    Diese werden angeführt durch Lisette Oropesa (statt der ursprünglich angesagten Diana Damrau) als exzellente Marguerite de Valois. Ihre berüchtigt schwierige Arie „O beau pays de la Touraine“, mit wunderbaren aber sehr sehr langen Koloraturen, war der Höhepunkt des Abends.

    —  Waldemar Kamer  •  Beckmesser

    Lisette Oropesa conquers Paris in Les Huguenots

    In Act 2, Lisette Oropesa stopped the show with dazzling coloratura as Marguerite de Valois. It’s an unashamed showpiece and Oropesa pulled out all the stops: girlishly carefree throughout (Marguerite was only 19 at the time of the action, a few days after the wedding which made her Queen of Navarre), elegantly romantic in “Ô beau pays de la Touraine” and extremely naughty in “Ah! Si j’étais coquette”. Oropesa comprehensively conquered the hearts of the Paris audience, a particularly extraordinary performance given that she was a late replacement for Diana Damrau and only had three weeks to learn the role.

    —  David Karlin  •  Bachtrack

    Des Huguenots intemporels ressuscitent à l’Opéra Bastille

    Au premier rang d’entre eux figure Lisette Oropesa (Marguerite en lieu et place de Diana Damrau), qui reçoit une véritable ovation lors des saluts finaux. « Je suis musicienne », nous confiait-elle dans l’interview qu’elle nous accordait il y a quelques jours. De fait, pour sa prise de rôle au pied levé, elle fascine le public par sa virtuosité. Sa voix pure et coquettement vibrée reste colorée. Accompagnée des vagues du violoncelle, les pieds dans l’eau, elle laisse écouler avec détachement les vocalises ciselées dans des flux et des reflux nuancés, jusqu’au sein d’un même souffle (les fameux messa di voce). Ses intenses pianissimi ou ses trilles projetés dans des envolées lyriques provoquent un feu d’artifice vocal brûlant tout sur son passage. Mutine et joueuse d’abord, il lui manque ensuite, lorsque le drame se noue sous ses yeux, l’autorité souveraine et la royale colère qui marqueraient plus nettement l’évolution du personnage.

    —  Damien Dutilleul  •  Olyrix

    Les Huguenots à l'Opéra de Paris, un retour bien sage

    En revanche, deux femmes dominent le spectacle, d’abord la Reine Marguerite de l’américaine Lisette Oropesa, éblouissante de bout en bout, avec un timbre caressant qui demeure chaud jusque dans les aigus et suraigus dont elle se joue avec une facilité déconcertante. Un souffle aux ressources impressionnantes, des couleurs chatoyantes, des sons filés qui laissent pantois : à 35 ans, elle se hausse d’emblée de Reine de Navarre en Reine de Paris ! De surcroit, son abattage de meneuse de revue au sourire craquant fait fondre la salle, à ses pieds à la fin de ce deuxième acte où son brio fait merveille. 

    —  Alain Duault  •  Opera Online

    Meyerbeer chez Ikea

    Lisette Oropesa est l'autre plaisir coupable de la soirée. Elle incarne avec un abattage exceptionnel toutes les facettes de la reine Marguerite, se jouant des vocalises, variations (dès son second couplet de l'air d'entrée), suraigus ou sons filés. Scéniquement, le personnage est délicieux. Les très nombreux seconds rôles sont globalement correctement tenus. 

    —  Jean Michel Pennetier  •  Forum Opera
  • Verdi Opera Night, maestoso “promo” dagli effetti incerti

    Maggiore impressione ha destato la coppia Rigoletto-Gilda, rispettivamente il baritono Luca Salsi e il soprano Lisette Oropesa, entrambi estremamente convincenti in questi ruoli, voci verdiane d’eccellenza, ben amalgamate nel duetto “Si, vendetta …”, giustamente bissato.

    —  Paolo Corsi  •  Opera Magazine

    Verona, Arena Opera Festival 2018 – Verdi Opera Night

    C’era attesa per il debutto veronese di Lisette Oropesa, reduce dai trionfi pesaresi al ROF. Il soprano americano non ha deluso le aspettative. La voce, che ha un leggero vibrato e ricorda, come è stato giustamente notato, certe inflessioni timbriche della Gheorghiu, non è parsa affatto esile e leggera e si espandeva nell’anfiteatro meglio delle altre. L’emissione è risultata rotonda e fluida in tutta la gamma e solo il mi bemolle del duetto “Sì vendetta” suonava un po’ stiracchiato (duetto che peraltro è stato bissato non proprio a furor di popolo). Si aggiunga l’ottima dizione, l’accuratezza del fraseggio, l’accento ben calibrato, e si avrà l’idea di un’interprete molto interessante.

    —  Roberto Mori  •  Conessi all'Opera

    Cinquanta Sfumature Di Verdi All’arena Di Verona

    Brilla l’astro di Lisette Oropesa, vera trionfatrice della serata, al suo debutto in Arena. Una voce angelicata che corre alla perfezione in teatro, sempre con morbidezza e con una delicatezza e sincerità espressiva commovente. Speriamo di poterla risentire presto qui…magari Violetta nel 2019.

    —  Francesco Lodola  •  Ieri Oggi Domaini Opera

    Verona: una “Trilogia popolare” ammantata di stelle

    Gilda è il soprano statunitense Lisetta Oropesa, reduce dal recente successo in Adina al Rossini Opera Festival, che stupisce per plasticità di modulazione e pulizia del fraseggio.

    —  Matteo Pozzato  •  Le Salon Musicale

    Rossini Opera Festival - Adina

    Jul, 2018 - Aug, 2018

    Festival de Pesaro 2018 : Rossini en sa splendeur

    Lisette Oropesa surmonte, tout aussi vaillamment, les embûches d’une mise en scène plus focalisée sur ses jambes que sur le spectre des émotions qu’une artiste de cette trempe, à la vocalité idéale, si complète et si vive, est en mesure de déployer. 

    —  Bénédicte Palaux-Simonnet  •  Crescendo Magazine


    Lisette Oropesa è una grande protagonista, vocalmente e scenicamente, entra nella concezione registica del suo personaggio con grande simpatia e humour, perfettamente a suo agio come primadonna buffa. Fa annunciare un’indisposizione prima dell’inizio della recita, ma niente nella sua prestazione suggerisce una forma vocale non perfetta. Il suo timbro è personale, non troppo chiaro, con un caratteristico vibrato che conferisce alla sua voce un fascino lievemente rétro molto interessante. Il suo strumento, che riempie con facilità la sala, è piuttosto ampio e morbido per la tipologia di lirico leggero che spazia da Pamina a Violetta e Gilda. È una cantante virtuosa, ma mai meccanica nei passaggi di agilità, sa essere eloquente ed espressiva nei momenti di ripiegamento e di malinconia.

    —  Filippo Bozzi  •  GB Opera Magazine


    Lisette Oropesa, mi-vamp mi-fillette, domine les difficultés de ses airs avec une élégance et une diction parfaite. Sa voix légère explose en feux d’artifices d’aigus, et passe facilement du bouffe au pathos.

    —  Élisabeth Schneiter  •  ResMusica

    Adina - Pesaro

    Lisette Oropesa, annoncée souffrante, se régale pourtant visiblement du rôle-titre, qui lui permet de faire montre de sa longueur de souffle, d’une belle projection et d’une technique belcantiste souveraine.

    —  Adina - Pesaro  •  Forum Opera

    Pesaro, Rossini Opera Festival 2018 – Adina

    Autentica trionfatrice della serata è la deliziosa Adina di Lisette Oropesa, che coinvolge, commuove, seduce. È perfetta per l’irresistibile physique du rôle, valorizzato dagli adorabili costumi di Claudia Pernigotti, ma soprattutto per una vocalità che, perfettamente centrata per i passaggi più leggeri, valorizza le screziature di una pasta omogenea, malleabile, sontuosamente governata. Non è certo la sortita delle “Fragolette fortunate” a porle problemi, semmai permettendole di delineare un personaggio civettuolo e bamboleggiante ma con grazia; ma dove sorprende è nel finale, perché – già a partire dal Quartetto – perfettamente comprende l’improvviso viraggio verso un patetismo più pronunciato e poi – dopo l’agnizione – verso l’inattesa felicità finale. La Oropesa è perfettamente consapevole di questo scarto di registri e, con ironia ma senza calcare la mano, fa del suo risveglio dopo lo svenimento quasi una pagina preparatoria della Sonnambula. Tanto più le si attagliano le agilità di forza e la grammatica del Rossini serio quanto più risulta vittoriosa negli autentici fuochi d’artificio della rutilante, spettacolare cabaletta finale, in cui sormonta acrobazie d’ogni sorta – anche fisiche, mentre s’inerpica sulla torta – per esprimere una gioia ritrovata e condivisa.

    —  Giuseppe Montemagno  •  Conessi all'Opera

    Adina attraverso lo specchio

    Il cast vocale si presta compatto a una visione un po' stralunata, ad affetti di carta che si susseguono disinvolti, a partire dall'Adina fra lo svampito e l'infantile di Lisette Oropesa, ancora di limitate esperienze operistiche in Italia e già in possesso di un'ammirevole familiarità con la nostra lingua. Voce leggera, caratterizzata da un sottile vibrato, canta con eleganza e intenzione sempre coerente alla scena.

    —  Roberta Pedrotti  •  L'ape musicale

    Adina nel Paese delle Meraviglie al Rof

    Festeggiatissimi dal pubblico tutti gli interpreti alle prese con parti vocali di grande virtuosismo a partire da Lisette Oropesa, da molti considerata la rivelazione di questa edizione del Rof

    —  Alessandra Massi  •

    Pesaro: Adina pop ma voci rossiniane doc

    Svetta nel ruolo di Adina Lisette Oropesa, soprano di New Orleans (anche lei al debutto), che lavora con efficacia sulla coloratura, sulle dinamiche (notevoli un paio di raffinati “smorzando”) e in generale sulla caratterizzazione belcantistica, servita da un bel timbro seducente e nitido, controllato al meglio in ogni zona della tessitura.

    —  Cesare Galla  •  Le Salon Musicale

    A box of mixed chocolates

    Lisette Oropesa makes her Rossini Opera Festival debut fifteen years after another American – Joyce DiDonato – last brought Adina to the Pesaro stage. She is a vigorous and youthful performer who easily carries the part of the flirtatious and love-struck heroine. She moves athletically, having highly capable performance skills which see her “hamming it up” at several points in the opera. Her voice is a powerful instrument which easily fills the theatre and often has to be held back or risk swamping her fellow performers. Its upper range is silvery toned but the lower register is the real delight: rich and creamy, it has great agility and pin-point accuracy. This was a very convincing performance, particularly in the scene in which she weeps out her grief on the shoulder of one of the non-singing cast, amid gasps, tears and hysterics, earning roars of laughter from the audience.

    —  Gregory Pritchard  •  Concerto Net

    Adina, una farsa per Lisbona al ROF 2018

    Adina è cantata da Lisette Oropesa soprano della Louisiana con lontane origini cubane. La parte destinata originariamente a un mezzosoprano viene trasformata con intelligenza per un soprano di coloratura: la Oropesa possiede un legato perfetto nella cavatina d’esordio “Fragolette fortunate” a cui segue una caballetta sullo stesso testo dove la coloratura più minuta è realizzata meticolosamente. Prima della ripresa della cabaletta un episodio a parte, insolito per Rossini, ci trasporta verso nuovi territori armonici a sottolineare che questa farsa è stata composta nella piena maturità dell’artista facendoci ancora più compiangere il mancato impegno su tutti i numeri musicali. Essendo la scena una grande torta nuziale le fragolette si presume andranno a decorare questo dolce. La Oropesa ha il momento clou nell’aria finale con un cantabile struggente “Ah! Che per piangerlo” sostenuta dalla costante presenza del coro. Una voce chiara e sensibile ma al tempo stesso caratterizzata da colori ampi che le danno il giusto spessore anche nei momenti di spiccato sentimentalismo.

    —  fabiotranchida  •  Il trillo parlante
  • Pesaro - Teatro Rossini: Concerto di Lisette Oropesa e Christopher Franklin

    Qui la Oropesa (che debutterà nel ruolo di Isabelle nella prossima stagione a Bruxelles) metteva in mostra tutto il suo migliore armamentario: purezza del legato, espressività contenuta eppure di grande impatto, sicurezza assoluta dell’emissione con pianissimi eterei in zona acuta, trillo da belcantista provetta  e variazioni ardite mutuate dalla Sills del disco di arie francesi di fine anni sessanta, ricevendo un tripudio di applausi. 

    —  Silvano Capecchi  •  Opera Click

    Pesaro, Rossini Opera Festival 2018 – Lisette Oropesa in concerto

    La franchezza e la freschezza del materiale, la superiore capacità di emozionare e l’ottimo dominio tecnico vanno al di là – o forse al di qua – della lezione callassiana: ricordano la bellezza di una Moffo come l’empito rigoglioso della miglior Caballé. O, forse, semplicemente di Lisette Oropesa: che a Pesaro si inscrive nel firmamento delle certezze del repertorio lirico e serenamente vi brilla all’ombra dell’“astro maggior” di Gioachino Rossini.

    —  Giuseppe Montemagno  •  Conessi all'Opera

    Il trillo di Lisette

    Sottile con il fisico da cui proviene sembra la voce di Lisette Oropesa, ma questo con questo filo l'artista sa tessere trine preziose, ricami e trasparenze, giocare in un'ampia gamma dinamica; scala caparbia le vette del pentagramma, e quando sembra che il suono possa essere un po' dritto e rischiare d'indurirsi, stupisce modulandolo con decisione. Così, ancora una volta non è un qualche arcano incanto timbrico o coloristico a colpire nell'astrazione del vocalizzo Le rossignol et la rose di Saint-Saëns, bensì, si direbbe, il suo contrario, un suono quasi prosciugato all'essenza e di lì condotto nelle volute della coloratura estetizzante del secondo Ottocento. Non trascendentale, affabile, piuttosto, fine, sciolta, duttile e sicura. Quando, poi, in chiusura di programma, torna al belcanto italiano con un omaggio a Rossini, la leggerezza fanciullesca si riarrotonda per offrire una piacevole, sognante Amenaide (“Come dolce all'alma mia”) e una Fiorilla (“Squallida veste e bruna”) debitamente ardita nei virtuosismi. Fra applausi calorosissimi, Juliette tornerà a dimostrare l'affinità del soprano con il repertorio francese e Violetta la sicurezza della preparazione anche in un cimento dei più insidiosi.

    —  Roberta Pedrotti  •  L'ape musicale

    Rof, il concerto di Lisette Oropesa incanta il pubblico

    PESARO – Meditativa prima, poi appassionata, frizzante, esuberante, scatenata, travolgente, incontenibile. Lisette Oropesa, soprano statunitense nata a New Orleans, in Luisiana, dove si respira cultura europea, soprattutto francese, è stata protagonista di uno dei concerti più memorabili nella storia del Rossini Opera Festival, che pure nei suoi 39 anni di momenti indimenticabili ne ha vissuti un’infinità.

    Mancava un concerto come quello della protagonista di Adina che non ha tradito le grandi attese.

    —  Luciano Murgia  •

    Teatro Real - Lucia di Lammermoor

    May, 2018 - Jul, 2018

    La incólume soprano estadounidense de ascedencia cubana Lisette Oropesa revoluciona el Teatro Real c

    Lisette Oropesa es una de esas cosas excepcionales que aparecen, en plan Cometa Halley, cada x años: está revolucionando al público del Real, que la vitorea, en pie, noche tras noche (y mira que la audiencia real es dura de roer). La conjunción de la voz de esta mujer y un instrumento tan especial y fantasmagórico como la recuperada armónica de cristal resulta en un instante en el cual se congela el tiempo

    —  Miguel Gabaldón  •  Notodo


    Lisette Oropesa è un soprano di grande valore, che purtroppo canta assai raramente nei teatri italiani (fu Gilda all’Opera di Roma nel dicembre 2016; debutterà al Rossini Opera Festival di Pesaro in Adina il mese prossimo); al Real di Madrid esordì in Rigoletto nel dicembre 2015, proponendo una voce che non era quella di un soprano leggero ordinario. Questa produzione di Lucia conferma un ulteriore sviluppo delle sue qualità: il timbro è suggestivo, per essere più forte che angelicato, delicato ma con qualche zona d’ombra che si adatta bene ai colori fondamentali dell’orchestra. Il vibrato è molto bello; decisamente pregevoli i trilli e gli acuti, preciso il fraseggio; è in alcuni momenti dell’emissione che deve ancora perfezionare la tecnica, soprattutto negli attacchi e nelle note basse, bisognosi di un maggior sostegno. Nella grande scena del III atto la Oropesa trattiene le inflessioni smodate ed enfatiche per concentrarsi sull’espressività delle singole frasi; molto corretta l’enunciazione della cadenza grazie a un buon dominio del fiato, sebbene si profili con evidenza insistente il modello d’impostazione callasiano. 

    —  Michele Curnis  •  GB Opera Magazine

    CRÍTICA / Doble triunfo del brillo y la expresión en la "Lucía" del Real

    Afirmar que Oropesa estuvo a la altura de tan exigidísimo personaje, vocal y expresivamente, es quedarse corto. No solo se paseó sin el más mínimo desfallecimiento y con sorprendente facilidad por toda la onerosa tesitura, creó además una Lucia frágil, femenina, muy bien definida página a página en un crescendo de enorme eficacia dramática y, para colmo, sumando a tan consistente actuación  una equivalente belleza visual. Dentro del mejor estilo belcantístico para más concreción y disfrute. Oropesa, en fin, supo aprovechar las partes de brillo vocal y los momentos dramáticos que el personaje permite, en una suma infalible e intercomunicativa entre exhibición instrumental y capacidad expresiva, tal como era de esperar, sin sorpresas, tras su previa Gilda verdiana en 2015.

    —  Fernando Fraga  •  Scherzo Magazine

    Lucia Di Lammermoor en el Teatro Real: apoteosis lírica

    Qué mejor que empezar por la gran triunfadora de la noche, la soprano Lisette Oropesa, espléndida cantante y actriz que configuró un rol difícilmente superable hoy en día. Con una voz de lírico-ligera que, ahora mismo, se adapta como un guante a la tesitura del endiablado papel. Cantó con un gusto exquisito transitando por las agilidades sin apenas dificultad y dando una verdadera clase de canto a la hora de interpretar todos  los reguladores, filados, trinos… con una solvencia pasmosa y no exenta de volumen a la hora de proyectar. Además su caracterización del personaje, en continua evolución, es absolutamente creíble y está pensada hasta el último detalle, en conclusión, magnífica.

    —  Mariano Hortal  •  Opera World

    Lucia di Lammermoor at the Teatro Real

    Outstanding debut aside, it was Lisette Oropesa who brought the house down with her candidness on stage and her total match with the production’s concept. Her dramatic triumph wasn’t so unqualified at the vocal level. Her technique is canonic, allowing a total command of her beautiful voice, which possess a sober and warm colour at the centre.

    —  Fernando Remiro  •  Bachtrack

    Lucia di Lammermoor, toda la violencia del heteropatriarcado en una sola ópera

    El público del Teatro Real se ha rendido a los pies de la soprano estadounidense Lisette Oropesa, que entrega una Lucia emocionante, tanto en lo musical como en lo teatral, hasta unos niveles incalculables.

    —  Manuel Cuéllar  •  El Asombrario

    ‘Lucia Di Lammermoor’ Pone En Pie Al Público Del Teatro Real

    La soprano Lisette Oropesa construye una impecable e intensa Lucia en una interpretación

    El espeluznante delirio asesino de la protagonista y el resultado de combinar la maravillosa interpretación de Oropesa – vestido blanco ensangrentado, mirada perdida en la felicidad que le han arrebatado – con tan sorprendente y delicado instrumento es, sin duda, una razón más para ponerse en pie y ovacionar a quien encarna, hasta estrujarnos el alma, la locura infinita. 

    —  Alicia Huerta  •  Voz Libre

    Lucia di Lammermoor, el mayor éxito del Teatro Real en la temporada 2017-2018

    La première del viernes contó con la intervención vocal, en los papeles protagonistas, de la soprano de origen cubano Lisette Oropesa y del tenor mexicano Javier Camarena. Ambos encarnan roles de extrema dificultad y extensión: una auténtica maratón vocal para la que es preciso una técnica sólida y depurada. La tesitura exigida en ambos papeles es la de una voz lírico-ligera, pero con los suficientes quilates dramáticos, lo cual no es tan habitual. Oropesa, en el papel de Lucía de Lammermoor, cumplió este cometido a la perfección durante las tres horas que duró la función. 

    —  Isabel Cantos  •  El Imparcial

    El Teatro Real enloquece con 'Lucia di Lammermoor'

    La locura de la protagonista, interpretada por la soprano estadounidense de ascendencia cubana Lisette Oropesa, se ha trasladado al público del coliseo madrileño, que ha roto en aplausos y en gritos de \"brava\" en el culmen de su enajenación.

    —  Europa Press  •  Europa Press

    El Real enloquece con la soprano Lisette Oropesa en una violenta Lucia de Lammermoor

    Oropesa cosechó, tanto tras la célebre escena de la locura (cuando se pasa 15 minutos cantando tras asesinar a su marido en la noche de bodas) como en los saludos finales una enorme ovación, bastante poco propia de los estrenos del Teatro Real, a menudo contenidos en entusiasmo, cuando no directamente fríos.

    Pero la soprano norteamericana probó su espléndido instrumento vocal, su control de la dinámica y su conexión con sus evidentes capacidades interpretativas, que en esta producción, especialmente oscura y violenta, la hacen aparecer con un camisón totalmente ensangrentado. Su éxito en el papel la precede gracias a teatros como la Royal Opera House de Londres, donde lo interpretó el año pasado.

    Oropesa estuvo al borde del bis, algo muy poco frecuente en cualquier teatro, también en el Real. Y éste parecía provocado por el entusiasta director musical, Daniel Oren, que aplaudía y animaba desde el coro.

    —  Daniel Basteiro  •  El Español

    Amores violentos

    Lisette Oropesa y Javier Camarena encarnan a una pareja protagonista absolutamente creíble en lo físico y extraordinariamente bien avenida en lo musical. Ella, ovacionada en pie al final por buena parte del público, es una cantante completísima y, sobre todo, nada tramposa: su escena de la locura fue, por comparación con lo que suele verse y oírse, un dechado de contención. Y, sin imitar a ninguna de las grandes Lucías históricas (la de Maria Callas la primera, por supuesto), consigue dibujar la suya con perfiles muy personales, una actuación escénica muy contenida y una caracterización vocal completísima en cada una de sus intervenciones.

    —  Luis Gago  •  El Pais

    Las pasiones llevadas al extremo de "Lucia di Lammermoor" enloquecen al Real

    "Espectacular", "qué gusto oír voces así", "brava" o "perfecta" son expresiones que esta noche el publico del Teatro Real ha regalado a la soprano estadounidense Lisette Oropesa, que ha protagonizado "Lucia di Lammermoor", la ópera de Donizetti, cuyas pasiones desatadas han enloquecido a un coliseo entregado.

    Una ovación que se ha extendido al resto de los cantantes y al coro, y que se ha hecho sentir desde la primera intervención de la soprano, que ya ha emocionado al público con sus agudos, sus trinos, sus filados, y con el control sin límites de su respiración.

    Una voz con una coloratura que le ha permitido una maestría que ha enamorado a los espectadores, alguno de los cuales también lo achacaba al buen momento y a "la madurez" que vive esta gran soprano y gran actriz.

    —  El Diario  •  El Diario

    LA Opera - Rigoletto

    Apr, 2018 - May, 2018

    LA Opera’s “Rigoletto” Has Great Tunes, Fanciful Costumes and Sizzling Hot Voices

    American soprano Lisette Oropesa gave the finest singing of the evening as Gilda, a hopeless romantic-turned-hero who gave her life for her unfaithful lover.  Splendid in her lyrical outpourings in duets with the Duke and Rigoletto, Ms. Oropesa had plenty of vocal glamour that could turn from silver into steel at the drop of a hat.  Ms. Oropesa’s singing offered an object lesson in the fine art of bel canto.  “Caro nome” featured some meltingly beautiful lines and and perfectly-turned trills, and those ravishing pianissimo high notes in the final duet were to die for, literally.

    —  Truman C. Wang  •  Classical Voice

    meeting rigoletto

    Having enjoyed Lisette Oropesa in the recent OrphéeI was eager to make my acquaintance with her Gilda and she alone, amongst a talented cast, was the one who consistently spun vocal gold. Her formidable technical prowess constantly brought pleasure and astonishment to the ear. Her breath control and fluency above the staff were magical and her touching, nervous, sincerity in the opening scene laid the foundation for the sacrifice to come in the last.

    Her “Caro nome” was a veritable how-to manual on holding an audience enraptured. Her final moments, with her beautiful arching messa di voce lines, were the very definition of what the the Italians call “la bella morte.”

    —  Patrick Mack  •  Parterre

    L.A. Opera Thunders With a Romantic Rigoletto, and Long Beach Opera Intoxicates With The Love Potion

    Oropesa, who starred in L.A. Opera’s Orpheus & Eurydice in March, reveals a more subtly enchanting presence when she discloses her attraction for the Duke in a delicately eerie and movingly sublime version of the love song “Gualtier Maldè! … Caro nome.” Oropesa’s voice trails off with a sighing, spacey exoticism as Gilda revels in her desire for the Duke, in one of the opera’s most memorable scenes.

    —  Falling James  •  LA Weekly

    LA Opera’s rousing ‘Rigoletto’ affords a classic its due at the Dorothy Chandler Pavilion

    Oropesa, who starred in L.A. Opera’s “Florencia en el Amazonas” and more recently as the conflicted heroine in Gluck’s “Orpheus and Eurydice,” is the personification of Verdi’s Gilda, the cloistered young girl in love with the idea of love. But it is Oropesa’s singing that raises the role to its zenith, with delicate phrasing and sustained high notes that will break your heart.

    —  Jim Farber  •  The Press Enterprise

    A Vivid Rigoletto in a Timeless Staging at LA Opera

    Oropesa’s expressive and beautifully modulated soprano gave full range to Gilda’s every emotion. Her love and regard for her father was palpable from their first duet in Act I to Act II’s ‘Piangi, fanciulla’ to their final tragic duet, ‘Lassu – in cielo’, as Gilda dies in Rigoletto’s arms.

    —  Jane Rosenberg  •  Seen and Heard International

    A Rice-A-Roni 'Rigoletto,' Verdi's opera as a dated San Francisco treat

    she brought a golden honeyed tone, a little reminiscent of Beverly Sills, to Verdi's great coloratura aria "Caro Nome" at the end of the first act and vocally remained the stunning star of the show 

    —  Mark Swed  •  Los Angeles Times

    BWW Review: RIGOLETTO at Dorothy Chandler Pavilion

    Lisette Oropesa was a truly magnificent Gilda. She portrayed her character's girlishness, innocence, and obsessive love. Her voice was clear and bell-like, especially above the staff. Her "Caro Nome" ("Dear name") was most impressive with its radiant, silvery tones and tasteful decoration. Amazingly, she finished the main part of her aria, climbed a long flight of stairs, and immediately began the trill that ends the scene. Twentieth century operagoers told tales of the legendary Erna Berger and her long trills. Twenty-first century patrons may have their own legend-in-the-making with Oropesa. She definitely is a singer to watch.

    —  Maria Nockin  •  Broadway World
  • Love, death and remembrance: John Neumeier's conceptually powerful and touching Orpheus and Eurydice

    His Eurydice is appropriately feisty, questioning and a convincing match in the competent embrace of soprano Lisette Oropesa. The pearlescent finesse and expressive intent of Eurydice’s thoughts and words drawn in voice, to both find comfort in and counter Orpheus’s presence, become a vital and compelling force, highlighted in duet with Mironov with marvellously complimentary singing and acting.

    —  OperaChaser  •  OperaChaser

    LA Opera’s “Orpheus and Eurydice” Is a Dynamic Spectacle of Dance & Music

    Clad mostly in a wedding dress, Oropesa brings resilient strength to the calamity looming over Eurydice, mobilizing her roaring coloratura that is equal parts lilting and honeydew-like. The most noteworthy instance of this is when Oropesa’s Eurydice painstakingly mourns her predicament of an ostensibly unloving husband in Act III (via the duet “Vieni, appaga il tuo consorte” / “Viens, suis un époux qui t’adore” and her solo aria “Che fiero momento” / “Fortune ennemie”), singing out with fervid, heart-wrenching pain that is as powerful as it is pleasant. Not to mention, Oropesa adeptly sings simultaneously while performing some choreography with the Joffrey Ballet, moving with a lithe light-footedness that impeccably befits her apparitional character.

    —  ByImaan Jalali  •  LA Excites

    Joffrey Ballet, LA Opera combine for a new ‘Orpheus and Eurydice’

    Enter Eurydice sung with pathos and spirit by soprano Lisette Oropesa. She is the company’s feisty prima ballerina. A heated (unsung) argument ensues, climaxing with a vicious slap across the face of her director/husband. She storms out.

    —  Jim Farber  •  Los Angeles Daily News


    Lisette Oropesa as Eurydice is lovely, both vocally and in her graceful ghost-like paces through the land of the dead. Dressed in a beautiful white wedding gown, we're riveted to her presence whenever she’s on stage.

    —  Loren Lester  •  Schmopera

    every day a little death

    Lisette Oropesa‘s first appearance in the fields of Elysium took many by surprise as she had some fairly detailed choreography that involved quite a bit of sprinting about the stage and manipulating an extremely long silk cloak. She accomplished all with a dancer’s grace and precision. Accordingly, when she opened her mouth and began to sing there was a quiet ripple of surprise in the theater.

    Oropesa dazzled with a crystalline tone and even support from top to bottom. She rendered grace notes with ease, sang a tender line, and brought a beautiful elegance to Eurydice’s despairing ”Fortune ennemie” in the last act. She returns to us in May for Verdi’s Gilda and I for one am looking forward to it.

    —  Patrick Mack  •  Parterre

    Operas Orpheus and My Lai Resonate in Surprising Ways

    Her face covered in a sheer white bridal veil, Oropesa moved across the stage like a phantom presence, her silvery voice hinting at an almost timeless sense of melancholy. In her simple gestures, the soprano managed to look at ease among all the ballet dancers swirling around her.

    —  Falling James  •  LA Weekly

    Lots of Gluck: LA Opera’s Orphée et Eurydice

    Lisette Oropesa’s Eurydice was exquisite

    —  Laurence Vittes,  •  Bachtrack

    Joffrey Ballet dazzles in L.A. Opera's 'Orpheus and Eurydice'

    Lisette Oropesa ... brings worthy vocal opulence to Eurydice.

    —  Mark Swed  •  Los Angeles Times

    Los Angeles Opera Review: ORPHEUS AND EURYDICE / ORPHÉE ET EURYDICE (LA Opera)

    First generation Cuban American soprano Lisette Oropesa played the part of Eurydice with grace and beauty, her voice blending sweetly with Mironov’s in the delicious duets of Act III.

    —  Tony Frankel  •  Stage and Cinema

    Gluck’s Orpheus and Eurydice: Dancing with the Spirits at LA Opera

    Lisette Oropesa was a lovely and determined Eurydice, caressing every vocal line with a delicacy underpinned with sensuality.

    —  Jane Rosenberg  •  Seen and Heard International

    'Orpheus' Legend Reborn With Joffrey Ballet

    Soprano Lisette Oropesa’s Eurydice (aka ballerina) managed a few leaps and port de bras like a trouper but really shone in her radiant singing in Act II and floated some gorgeous high notes above the trio in Act III.

    —  Truman C. Wang  •  Classical Voice

    Ravishing and wondrous: LA Opera’s “Orpheus and Eurydice”

    Orpheus’s beloved wife Eurydice is soprano Lisette Oropesa, whose sumptuous voice is one I want to hear again and again. Luckily she is scheduled to return to LA Opera in May as Gilda in Verdi’s Rigoletto. She makes an amazing Eurydice and moves so beautifully that she appears to be one of the dancers instead of an opera diva.

    —  David Gregson  •  Opera West

    BWW Review: ORPHEUS AND EURYDICE at Dorothy Chandler Pavilion

    Dressed in white with a billowing cape as the deceased Eurydice, Lisette Oropesa looked and moved like one of the dancers. Her sounds were liquid silver and she seemed to be an amazingly graceful creature from another world. She sang through a veil at times, but it never marred the focus of her sound. My only thought was that her part was too short.

    —  Maria Nockin  •  Broadway World
  • Lisette Oropesa sings at Tucson Desert Song Festival

    Leonard Bernstein’s 1949 “Two Love Songs” tell of a love that is stronger than life and can weld two souls together so that they sing a single melody. Oropesa’s butter cream tones were completely unified with Borowitz’s shimmering melodic strains. She finished the first half of the recital with an exquisite rendition of the “Vocalise” that Camille Saint-Saens wrote on a visit to Egypt in 1901. It is a wonderful text-free song that allows the coloratura to use some of her most intricate and difficult maneuvers. For Oropesa, it was a pièce de résistance.

    —  Maria Nockin  •  Opera Today

    Metropolitan Opera 2017-18 Review – Hansel and Gretel: Lisette Oropesa & Co. Deliver One of Season’s

    Perhaps no one did a more fantastic job at playing to this tonal flexibility than Lisette Oropesa, her entire interpretation walking this line beautifully. Physically she was fully committed to arguably the most demanding of roles in this particular opera. We always felt she was a young girl just from looking at her. From her extremely acting facial expressions to her prancing about, even in the darkest of times. Seeing her fool around while the witch was attempting to control her elicited a tremendous amount of laughs.

    —  David Salazar  •  Opera Wire

    Review: The Met’s Holiday ‘Hansel’ Is Surreal (and Timely)

    It was fun to watch the fidgety Hansel (the mezzo-soprano Tara Erraught) and fretful Gretel (the soprano Lisette Oropesa) trading nonsensical taunts, dancing together and skipping their chores while their parents are off working, like mischievous siblings everywhere.

    —  Anthony Tommasini  •  New York Times

    hell’s kitchen

    Oropesa runs marathons and no doubt needed that stamina for the non-stop rigorous work-out Gretel gets in the third act. Her high sweet voice always struck just the right note of girlish delight and awe.

    —  Christopher Corwin  •  Parterre

    Met’s colorful, if gruesome, “Hansel and Gretel” returns with its seasonal “magic”

    Soprano Lisette Oropesa as Gretel sang with slimmed-down, girlish tone in the early scenes, limiting her projection of words and emotions, but found her dramatic mojo (and piercing high notes) in the climactic final act.

    —  David Wright  •  New York Classical Review



    Opera is a high-wire act that can go badly wrong.

    The real star, though, was the young Cuban-American soprano Lisette Oropesa, who is making her Royal Opera debut. Not just for her singing, which probably won’t be bettered in Britain this year, but for her acting. Even when she wasn’t singing, I found it impossible to take my eyes off her. I was not alone. Oropesa got a lengthy standing ovation from the entire audience. Even if you think you don’t like opera, try to get to one of the remaining performances if you can. It might be life-changing.

    —  John Grace  •  The Guardian

    Lucia di Lammermoor - Opera Magazine

    Matching him in all respects was the Lucia of Lisette Oropesa. She excelled in all aspects of the role (the rigours of which were made more severe in this production by the fact that she is onstage for practically the entire duration), acting affectingly throughout, dispatching the ornamentation fearlessly and with a security one very rarely experiences. Most affecting of all was her pianissimo singing at the start of ‘Alfin son tua’: a feat of vocal daring that had the entire house in hushed awe.

    —  Roger Parker  •  Opera Magazine

    Lucia di Lammermoor

    To match such a revelation in storytelling and character there is Lisette Oropesa who is a revelation by herself. Prior to, and after seeing this production I listened to Maria Callas and Joan Sutherland’s performances and I can genuinely tell you, as someone who has now seen Oropesa in the role three times, she sings it better. There is no straining in her voice, she is relaxed and her range, her ability is staggering. The Mad Scene in particular has Oropesa singing in a way that I didn’t think possible. Oropesa can’t just sing though, her acting is just as important in this production, being on stage the entire time (with a few seconds break going from one side of the set to the other) and she can really act.

    —  Stuart  •  The Stuart Review

    Lucia di Lammermoor en Londres: Apoteosis de Lisette Oropesa en Londres

    El reparto vocal estaba encabezado por la soprano cubano americana Lisette Oropesa. Oropesa se adaptó con maña a la propuesta escénica y su Lucia trasmitió la determinación feminista que la dirección escénica pedía. No obstante, lo más interesante de sus intervenciones estaba en el canto. Lisette Oropesa cuenta con un instrumento flexible y atlético que produce un sonido magro y fibroso, pero tremendamente versátil. En el primer acto, la soprano espesó el canto con un vibrato excesivo. No obstante, su manejo de la respiración, la solidez en el apoyo y la articulación de la voz hacen de su canto una herramienta de exquisita precisión, lo que le permite navegar a placer las aguas más agitadas del belcanto donizettiano. Así, Oropesa epató con larguísimas frases a media voz, agudos recogidos pero ricos y bien proyectados, trinos carnosos y expresivos y un buen surtido de delicadezas dinámicas que emocionaron al público inglés. La escena de la locura, de elevada factura estética, fue interrumpida con ovaciones, mientras que sus intervenciones en dúos y concertantes no admiten peros.

    —  Carlos Javier López  •  Opera World

    Tremendous revival of Katie Mitchell's Lucia at the ROH

    Oropesa’s glinting soprano is fairly light but it grew warmly and expansively as Lucia’s distress deepened, and the crystalline precision and limpidness which I had admired at Glyndebourne this summer were again in notable evidence. As the sometimes cruel Norina in Mariame Clément’s Don Pasquale, Oropesa was a woman firmly in control of her own destiny but despite Mitchell’s avowal to make Lucia more feisty than faint-hearted, however much she wishes to challenge Enrico’s callousness Lucia’s destiny is undeniably ordained. She can ‘escape’ only into madness. In the ‘mad scene’, Oropesa was utterly broken but, to the soprano’s and Mitchell’s credit, this Lucia’s melodic meltdown was not an abstraction of disembodied madness but the terrible disintegrated of a real woman for whom we, and the stage witnesses, feel terrible sadness. Oropesa’s vocal purity returned Lucia to childlike vulnerability and victimhood.

    —  Claire Seymour  •  Opera Today

    Mourning Sickness

    The thrilling new Cuban-American soprano Lisette Oropesa is a decided plus on last year.
    Her Lucia is young and fragile but defiant, while the famous mad scene is superlatively played.
    Her pure crystal voice soars to the heights.

    —  Leslie Jones  •  Sunday Express

    Lucia di Lammermoor at the Royal Opera House, London

    Lisette Oropesa dazzles in the title role as her soprano is powerful enough to pierce our very hearts, yet never feels extravagant or overblown. It is paradoxical that her lines in ‘Il dolce suono’(from the famous ‘mad scene’) seem almost as if they could evaporate into thin air, and yet, because of the underlying strength of technique and precision, feel rock steady.

    —  Sam Smith  •  Opera Online

    Lucia di Lammermoor | Opera Review | The Arbuturian

    Lisette Oropesa whose performance is simply magnificent. The role is famously demanding. Forced into a marriage against her will to save the family fortune, for Lucia the second half of the opera runs through murder, miscarriage and madness. Oropesa is not only a thrilling singer, she is a thoroughly convincing actor caught in a finely judged physical and mental downward spiral.

    —  Anna Selby  •  The Arbuturian

    A devastating revival of Katie Mitchell's Lucia di Lammermoor

    Oropesa made a strong impression at Glyndebourne this year in a far more light-hearted Donizetti opera. Here, she wasonfine vocal form, with those trills that you crave from the role generous and fluid. High notes felt a little worked for in the very early scenes, but they were always accurate and certainly by the climactic mad scene, she was in total control of the voice, floating the notes, spinning phrases and generally showing off a vocal technique that’s ripe for further bel canto exploration. She showed an engaging stage presence as well, embodying Mitchell’s feminist spin on the work in her scene with Enrico prior to the wedding when her sparky Lucia is sacrificed for the politics of men.

    —  Dominic Lowe  •  Bachtrack

    Lucia di Lammermoor, opera review: Touch of madness works wonders

    Lisette Oropesa, making her Royal Opera debut, is a revelation as Lucia. She acts with conviction, hits the notes deadcentreand controls the dynamics. Her “mad scene” is 20 minutes of exquisite devastation.

    —  Nick Kimberly  •  Evening Standard

    Lucia di Lammermoor REVIEW: A real gem in the tragic opera repertoire

    Best of all, however, was the performance of Cuban-American soprano Lisette Oropesa in the title role which was simply sensational.

    In fact, it is one of the best performances I have ever seen at Covent Garden. Her crisp, clear voice added to true dramatic acting ability make her perfect for the role, with her high notes particularly piercing and effective and her soft notes even more gripping.

    Her performance in the mad scene was particularly riveting and even silenced the usual coughing from the audience.

    —  William Hartston  •  Sunday Express


    Lisette Oropesa sang her Royal Opera House debut as a was tender, sincere Lucia. Her voice was easiest in the top and she navigated the role with ease. ... There was nothing but bravery from Oropesa as she navigated the emotional turmoil of the second half of the opera.

    —  Vivian Darkbloom  •  Schmopera

    The Royal Opera – Donizetti’s Lucia di Lammermoor – Lisette Oropesa, Charles Castronovo, Christopher

    This revival has a new Lucia, and how! Lisette Oropesa was making her debut in the House. Hers is not the ample agile voice of a Sutherland, not the bright glassy dazzle of Gruberová, but is an instrument full of interesting dark colours and technical mastery put at the service of communication and the drama. Her first appearance was notable for the inflection and colouring of the text, as was evident by the sudden quiet in the auditorium. The ‘mad scene’ – here more a post-miscarriage hallucinatory nightmare – had exactly the same effect, almost painful to listen to and observe. She is a truthful actress. ... Oropesa and Castronovo should be heard live: they can easily and honourably bear comparison to those performers of distant memory and legend.

    —  Alexander Campbell  •  Classical Source

    An Extraordinary Covent Garden Lucia from Oropesa, Castronovo, Maltman and Mariotti

    The Cuban-American soprano Lisette Oropesa, making her Royal Opera debut, starts strongly and just continues to get stronger, inhabiting the part both in her actions and in her voice. No surprise she has taken on Gilda (Dutch National Opera), Violetta (Opera Philadelphia) and Marie (Donizetti’s La fille du régiment in Washington); without hearing these, it would be completely believable if this Lucia were the climax of this particular handful of select roles. With Katie Mitchell taking a part that already goes through the emotional wringer and tightening the screw to almost unbearable heights, the challenges are clear. As clear as Oropesa’s virtuosity, nowhere more than in the moments in the Mad Scene where she interacts with the flutes, her pitching impeccable.

    —  Colin Clarke  •  Seen and Heard International

    Donizetti's Lucia di Lammermoor

    As Lucia in this handsome and intelligent production, the birdlike American-Cuban soprano Lisette Oropesa, bubbly and light-hearted in Glyndebourne Festival Opera's Don Pasquale this summer, now conveys both aching fragility and determination, powering up to those famous high notes with the accuracy of a swift. The whole performance is shot through with a passion that makes Lucia capable of a calculating and overwhelmingly violent attack on her new husband.

    —  Claudia Pritchard  •  Culture Whisper

    Lucia di Lammermoor review – bloody and convincing

    But allears as well as eyesare on Lisette Oropesa. Lucia is her first Royal Opera role, and the Cuban-American soprano is sensationally good. She makes the stratospheric vocal fireworks of her mad scene – accompanied by flute this time, not glass harmonica – sound easy; indeed, her every note is part of a convincing portrayal of a complex character. It’s a rare Lucia – and a rare production – that manages that.

    —  Erica Jeal  •  The Guardian

    Opera review: Lucia di Lammermoor at Covent Garden

    Lisette Oropesa makes an exciting house debut. It’s not the largest voice, but the Cuban-American makes every phrase felt and sings with piercing vulnerability, whether in fragile trills or heart-searing high notes. Her “mad scene” is so sincerely done that it feels wrong to applaud — that’s a tribute. At least one man is supporting her: Michele Mariotti’s conducting is flexible and attentive, the epitome of good bel canto, and he draws wonderfully stirring playing from the orchestra.

    —  Neil Fisher  •  The Times

    Lucia di Lammermoor review at Royal Opera House, London – ‘a triumph’

    The cast is outstanding, especially the Lucia of Cuban-American soprano Lisette Oropesa. A consummate actor with a fresh, pearly sound and exquisite top notes, Oropesa creates a flesh-and-blood character out of Donizetti’s sketchy heroine. Her mad scene is beautifully judged, full of nuance and changes of pace – deeply disturbing rather than tragic – and her tender relationship with Alisa (superbly acted by Rachel Lloyd) is the most honest in this ghastly story.

    —  Amanda Holloway  •  The Stage

    Review: Lucia di Lammermoor (Royal Opera House)

    Having rescued Glyndebourne's Don Pasquale from mediocrity this summer, the Cuban-American soprano now elevates another Donizetti opera to the heights. Oropesa's subtle vibrato, fast, light and allied to a silvery-bright timbre, was a constant delight, and her account of the mad scene (accompanied this time by a solo flute rather than glass harmonica obbligato) had a transcendent beauty.

    —  Mark Valencia  •  What's on Stage

    Lucia di Lammermoor, Royal Opera review - creepy, violent and intense

    Lucia is sung by Lisette Oropesa, here making her house debut. Her voice isn’t large, but she is a true coloratura soprano. She has excellent support for the long fioratura lines, and ideal agility for the runs and ornaments. Her Mad Scene (flutes here, no glass harmonica) is more about dramatic conviction than vocal acrobatics, but is no less impressive for it.

    —  Gavin Dixon  •  The Arts Desk

    Philharmonie de Paris - Falstaff

    Sep, 2017 - Oct, 2017

    Les facéties de Falstaff à la Philharmonie

    Nanetta, interprétée par Lisette Oropesa (Gilda surprise la saison dernière à Bastille). Elle aussi soprano, sa voix plus légère et son vibrato serré insufflent une certaine innocence au personnage, gazouillant naïvement pendant que les autres protagonistes montent des stratagèmes pour se piéger. Ses aigus cristallins et sa maîtrise du souffle impressionnent le public, notamment à l'acte III, où, déguisée en Reine des fées, elle produit de merveilleuses envolées lyriques.

    —  Malory Matignon  •  Olyrix

    Glyndebourne - Don Pasquale

    Jun, 2017 - Aug, 2017

    Don Pasquale- Glyndebourne

    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.

    —  Stuart Review  •  The Stuart Review

    Lisette Oropesa is Outstanding in Glyndebourne’s Admirable Don Pasquale Revival

    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.

    —  Robert Beattie  •  Seen and Heard International

    Opera review: Don Pasquale at Glyndebourne

    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.

    —  Anna Picard  •  The Times

    Don Pasquale: a cold-hearted comedy at Glyndebourne

    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.

    —  Claire Seymour  •  Opera Today

    Review: Don Pasquale (Glyndebourne)

    ...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.

    —  Mark Valencia  •  What's on Stage

    Buffa as blood sport: Mariame Clément's Don Pasquale at Glyndebourne

    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.

    —  David Karlin  •  Bachtrack
  • Lisette Oropesa, Gilda surprise dans Rigoletto à Bastille

     Son sens de la nuance, exceptionnel et charmant, lui garantit de toute façon d’emblée une ovation en fin de soirée : capable de percuter le spectateur d’un aigu flamboyant, elle allège ailleurs son chant sur quelques syllabes susurrant un aigu intense et long. Elle achève son premier air (et le public) d’un suraigu pur dont le vibrato s’élargit progressivement pour se changer en trille.

    —  Damien Dutilleul  •  Olyrix

    De Nationale Opera - Rigoletto

    Apr, 2017 - Jun, 2017

    Amsterdam - Opera Nazionale Olandese: Rigoletto

    Lisette Oropesa disegna una Gilda liricamente appassionata nonché cantata in modo sopraffino e Caro nome, chiuso da un trillo da manuale, le guadagna una vera ovazione.

    —  Edoardo Saccenti  •  Opera Click


    De rol van Gilda was bij Lisette Oropesa, een Amerikaanse coloratuursopraan met schitterende topnoten, in goede, tedere handen. In de beste handen, eigenlijk:  zij was de werkelijke ster van de avond. Haar soepele sopraan en alerte podiumprésence maakten grote indruk, en haar “Caro nome” was de beste die ik ooit gehoord heb. Van een andere wereld! Alleen al om Lisette Oropesa is deze Rigoletto de moeite van het bezoeken waard. Een fonkelende parel!

    —  Olivier Keegel  •  Opera Gazet

    Rigoletto bij DNO: ogen dicht en genieten!

    Lisette Oropesa een Gilda die een in voorkomen en timbre meisjesachtige vertolking combineerde met een volwassen artistieke allure. Haar licht gekruide lyrische sopraan met een mooi natuurlijk vibrato gaat geen zee te hoog, maar excelleert tegelijk in lyriek en vocale finesses. Aan het slot van een exemplarisch 'Caro nome ' wordt dat alles bekroond met een triller zoals ik die al veel jaren niet meer heb gehoord.

    —  Paul Korenhof  •  Opus Klassiek

    Rigoletto is mad but the singing is fine at Dutch National Opera

    Slender and graceful, soprano Lisette Oropesa was simply world-class as Gilda, with flawless emission and generous top notes, crystalline up to high E. The long trill at the end of “Caro nome” would have traced a perfect zigzag on a pitch visualiser. Even more stunning than her bravura was the melting glow at the centre of her voice, her morbidezza (softness).

    —  Jenny Camilleri  •  Bachtrack

    Rigoletto In Steriel Krankzinnigengesticht

    Zo’n dreamteam staat er ook op het podium met bariton Luca Salsi als Rigoletto en Lisette Oropesa als Gilda. Oropesa bracht op de premiere haar aria ‘Caro nome’ met een zoetgevooisd en zilverzacht timbre: het werd een muzikaal hoogtepunt waarin tekstuitdrukking en muzikale virtuositeit op geheel natuurlijke wijze samenvloeiden.

    —  Oswin Schneeweisz  •  TheaterKrant

    Rizzi leidt ijzersterke Rigoletto bij DNO

    Oropesa was een fantastische Gilda. Met een stem zo breekbaar als glas, transparant en sterk tegelijk, is ze een ideale vertolkster voor deze rol.

    —  Jacqueline van Rooij  •  Place de l'Opera
  • Colourful, Amusing and Uplifting Die Entführung aus dem Serail

    Making the most of her role was the raven haired Spanish lady Konstanze sung by Lisette Oropesa notable for her creamy tone. Extremely well focused she projected her voice strongly through the house right from her first aria ‘Ach ich liebte’ and I especially admired her heavenly aria ‘Martern aller Arten’ from Act II.

    —  Michael Cookson  •  Seen and Heard International
  • Soprano delivers a seemingly effortless performance at UDC theater

    For someone with the slight build of a marathon runner (she is one, and apparently a very good one, too), Oropesa gives an impression of having limitless resources of vocal power, which, wisely, she managed to keep under wraps for this program while never sounding reined in. She’s a lyric soprano with the kind of seamless voice that can travel smoothly on a single vowel from the bottom of her huge range to the top, arriving pianissimo and in tune — and then sustaining it effortlessly (or so it sounded) for an apparent eternity. This, coupled with astonishingly accurate agility, made Haydn’s “Ragion Nell’alma Siede” something for the opera-lovers in the audience to revel in instead of having to hang on for dear life while hoping for a safe landing. 

    —  Joan Reinthaler  •  Washington Post

    Lisette Oropesa shines brightest in opera with Vocal Arts DC

    The evening opened with “Ragion nell’alma siede,” an aria from Haydn’s opera Il mondo della luna. It was a gutsy move, and Oropesa easily filled the smaller venue with sound. The accuracy during runs was striking, as were the highest notes, all produced with facility. Her tone turned especially limpid on the little cadenza. Pianist Vlad Iftinca, who was a consummate musical partner throughout the program, gave vitality to the long introduction to the piece.

    —  Charles T. Downey  •  Washington Classical Review

    Opéra de Lausanne - Hamlet

    Jan, 2017 - Feb, 2017

    Compte-rendu, opéra. Lausanne, Opéra, le 12 février 2017. Thomas: Hamlet. Vincent Boussard / Fabien

    L’Ophélie de Lisette Oropesa est tout aussi aboutie. Belle, délicate et vive elle incarne bien cette jeune fille amoureuse jusqu’à la mort. Vocalement il est rare d’avoir une cantatrice aussi complète dans un rôle « à cocotes ». Car les suraigus, les vocalises, les trilles ont été parfaitement interprétés. Mais c’est surtout la beauté de la voix sur toute la tessiture qui séduit. La richesse des harmoniques dans le medium et le grave pourrait par moments évoquer celle si riche d’Angela Georghiu. Quelle artiste ! Face au couple si assorti et si accompli le reste de la distribution tient parfaitement.

    —  Hubert Stoecklin  •  Classique News

    Belcanto à la française

    Was Lisette Oropesa hier leistet, allein schon darstellerisch mit ihren Grenzgängen auf den Rändern einer Badewanne, in der sie sich am Ende ertränkt, vor allem aber stimmlich, kann einem Schauder über den Rücken jagen. Das helle, ausstrahlungsstarke Timbre, die makellose, ungeheuer präzis zeichnende Beweglichkeit und die geradezu sensationelle Höhensicherheit sorgen zusammen mit der szenischen Präsenz der fragilen Sängerin für das Glanzlicht des Abends.

    —  Peter Hagmann  •  Peter Hagmann

    Une Ophélie d'exception époustoufle « Hamlet »

    Grâce à une Ophélie d'exception: Lisette Oropesa incarne une jeune femme touchante de fragilité, qui se laisse mourir parce qu'elle se criot abandonnée par Hamlet. La chanteuse n'hésite pas à se lancer dans des vocalises époustouflantes en se tenant debout sur les bords d'une baignoire. Une scéne que les spectateurs n'oublieront pas de sitôt. La soprano réussit ensuite l'exploit de chanter recroquevillée au fond de la baignoire, avant de remonter lentement la tête en filant des pianissimi éthérés. Frissons garantis! La prestation est d'autant plus remarquable qu'il s'agit d'une prise de rôle.

    —  Claudio Polloni  •  Lausanne Local Paper

    À Lausanne, La Bouleversante Ophélie De Lisette Oropesa

    Actrice centrale de ce succès : la soprano Lisette Oropesa. Elle n’a pas les aigus stratosphériques qu’avait Natalie Dessay (qui les aura jamais ?). Elle n’a pas non plus sa folie théâtrale. Et pourtant, elle offre avec « son » Ophélie, un personnage vocal et théâtral bouleversant d’amour, de désespérance, d’ingénuité et d’authenticité comme il est rare d’en voir et d’en entendre.

    L’impermanence du théâtre vivant est chose magique. Il vous emmène dans l’émotion soudaine, vous transporte aux larmes, vous noue délicieusement le ventre. Quelle extraordinaire sensation. Ainsi, Lisette Oropesa (Ophélie), froissant les pages d’un cahier d’écolier pour en faire d’improbables papillons, se lovant dans une baignoire, trônant solitaire au centre de la scène, pour y chanter son À vos jeux, Messieurs… hymne funèbre et désespéré à l’amour qu’elle porte pour Hamlet reste un moment transcendental absolu. Bien sûr, l’inspiration musicale d’Ambroise Thomas illustrant ces strophes tient du génie. Certes, les mots d’Ophélie sombrant dans la folie amoureuse sont d’une force expressive à couper le souffle. Mais, les chanter, les dire comme la soprano Lisette Oropesa, tout à coup soutenue en même temps qu’entraînant un Orchestre de Chambre de Lausanne jusqu’ici presque détaché de l’intrigue, relève du miracle artistique qu’on voudrait ne jamais quitter et voir se répéter sans cesse.

    Aux côtés de cette Ophélie miraculeuse, en résonance à ses legato merveilleux, à sa diction parfaite, à son étonnante et parfaite préparation, les autres protagonistes s’investissent dans la trace de la soprano américaine.

    —  Jacques Schmitt  •  ResMusica

    Grand Opéra als kraftvolles Kammerspiel

    Die junge Sopranistin Lisette Oropesa verleiht dem Moment mit der feingliedrigen Koloraturarie À vos jeux, mes amis eine Intimität, die ihresgleichen sucht, und löst beim Premierenpublikum Begeisterungsstürme aus.

    Lisette Oropesa lässt ihren jungen Sopran in allen Facetten erklingen und legt vor allem in der Wahnsinnsarie mit scheinbar mühelosem Legato und flirrenden Glissandi ein Scheit nach. Oropesas Koloraturen sind frei und von lyrischer Reinheit, ihr sotto voce ist engelsgleich.

    —  Peter Wäch  •  O-Ton

    Ambroise Thomas interroge Hamlet

    L'incarnation délicate et virtuose d'une Ophélie sur le fil de la raison par l'excellente soprano colorature Lisette Oropesa. 

    En effet, à l'instar d'un Donizetti ou d'un Bellini, Thomas offre à son héroïne l'un des airs de «folie» les plus exigeants du grand répertoire lyrique. Avec ici une apothéose dramaturgique et musicale notable!

    —  Marie Alix Pleines  •  Le Courrier

    A Lausanne, «Hamlet» et ses beautés ténébreuses

    La transparence du chant, les vocalises irisées et sa simplicité désarmante ont déclenché une salve d'applaudissements bien mérités!

    —  Julian Sykes  •  Le Temps



    Roma - Teatro dell'Opera: un buon Rigoletto pre-natalizio

    Alongside this Rigoletto, the excellent Guild of Lisette Oropesa.With a high school legacy and a beautiful lyric soprano timbre, the Oropesa indulges in high notes exposed as a nice merchandise (for example at the end of the duet with the Duke, who however does not follow her in the high notes, thus seeming almost an intimidated Duke ), but it is not limited to singing.The diction is, also for her, well-kept and almost perfectly understandable in every passage, even in the moments of coloring, the in-depth and communicative phrasing.He catches an applause on the open scene after a notable Caro name, supported by the work of orchestra and conductor, and together with Salsi brings home the ending to be framed.The acting is really convincing: the fall after the stabbing is very credible, and even more the singing and the slow movement of the last scene,

    —  Michelangelo Pecoraro  •  Opera Click

    Torna "Rigoletto" con una Gilda di classe

    The Cuban-American soprano Lisette Oropesa, was a classy Guild, with a very beautiful, balanced and tuned voice.

    —  LucaDella Libera  •  Il Messaggero
  • Review: Oropesa, Brownlee, Burdette in Rollicking Washington National Opera “Fille du Régiment”, Nov

    The title role of Marie, the regimental “daughter”, proved a winsome vehicle for Louisiana lyric coloratura soprano Lisette Oropesa. The role of Marie encompasses both light-hearted coloratura fireworks and highly emotional legato passages. Oropesa navigated the challenging role brilliantly.

    Oropesa’s second act aria Par le rang et par l’opulence was one of the many high points of her performance. That aria, whose descending melodies seem to foreshadow later masterpieces of Giuseppe Verdi, the younger composer whom Donizetti mentored, was performed with exquisite sensibility and style.

    —  William Burnett  •  Opera Warhorses

    WNO’s jolly good production of “Daughter of the Regiment”

    Lisette Oropesa, whose star shone brightly as Susanna in WNO’s season-opening production of Mozart’s “Marriage of Figaro,” outdoes even that fine performance in her star turn as Maria in WNO’s production. Bright, youthful and full of spunk, her tomboy attitude and her character’s essentially good nature combine to drive this opera’s lighter-than-air plot with loads of charm and—particularly in the second stanza—excellent comic acting and timing including a touch of slapstick and a few bars of intentionally bad singing.

    Ms. Oropesa sings Maria with a bright, almost carefree lyrical approach, expertly shaping each line for effect but doing so in a natural way.

    —  Terry Ponick  •  Communities Digital News

    BWW Review: THE DAUGHTER OF THE REGIMENT at Washington National Opera

    Despite it's highly visible ensemble of cheery papas, THE DAUGHTER OF THE REGIMENT is really a showcase for its two stars, Oropesa and Brownlee. The role of Marie is a coloratura soprano's dream and Oropesa makes the role look super fun and easy despite being the busiest presence onstage. Oropesa demonstrates impressive vocal control and agility. Possessed of a bright smile and prolific comedic talent, she is the highlight of the opera.

    —  Jennifer Minich  •  Broadway World

    Justice is served in comic opera

    The role of Marie was sung by Baton Rouge soprano Lisette Oropesa on opening night, and she was perfect in this role so closely associated with Beverly Sills and Dame Joan Sutherland. She sang flawless runs and coloratura, acted in the humorous tradition of Carol Burnett, moved like a prima ballerina, and used vocal coloring for best emotional effect. Her pianissimo, crescendo and decrescendo were breathtaking. Clearly, Oropesa is a rising star of opera.

    —  Arnold Saltzman  •  Washington Jewish Week

    The Daughter of the Regiment offers much-needed respite from tumultuous times

    First there are the leads. Grabbing every scene by the short and curlies is an insuppressible Lisette Oropesa, singing her Marie with technical fabulousness and beautifully-toned buoyancy. If she veers a tad close to the chronically-cheerful tradition of Julie Andrews, she offsets it with some great physical comedy. 

    —  Kate Wingfield  •  Metro Weekly

    Opera Review: ‘The Daughter of the Regiment’ by Washington National Opera at The Kennedy Center

    Lisette Oropesa (one of two Maries performing the role during the production’s run) is equally strong, handling the wide dramatic range of the character from the comic music lesson, to the starkly beautiful “Par le rang et l’opulence” when left alone in the chateau. This moment is heightened by subtle and sensitive lighting shifts in Mark McCullough’s design. Oropesa’s control in her upper register is particularly dazzling.

    —  Chris Williams  •  MD Theatre Guide

    Theater review: Fun cameo by Ruth Bader Ginsburg launches buoyant 'Daughter of the Regiment' in D.C.

    Oropesa does not have a big sound, but her limpid tone and elegant phrasing pay dividends. This is especially true in "Il faut partir," Marie's Act 1 aria of farewell to Tonio after learning that she must leave him and the regiment to follow her new-found aunt. (The opera is performed in the original French; Ginsburg said her lines in English.)

    The soprano is a natural comic actress, too. She has particular fun in the second act, when Marie, pushed to hone high-society ways, makes a mess of singing and dancing lessons.

    —  Tim Smith  •  Baltimore Sun

    Brownlee, Oropesa and Ginsburg in WNO's 'Regiment'

    Oropesa, who dominated the recent WNO production of “The Marriage of Figaro” as Suzanna, does so again as the foundling Marie, displaying not only marvelous, trilling and thrilling singing chops, but also a gamine comedic touch that reminds one of silent-movie clowns. She’s athletic and not afraid of slapstick, and she even has to pretend to sing badly, always a neat trick for a superb singer.

    —  Gary Tischler  •  The Georgetowner

    Daughter of the Regiment at Washington National Opera (review)

    All the vocal performances impress, but none more so than Lisette Oropesa as Marie, the title character. Oropesa is in complete command throughout. Her coloratura is both delicate and precise, and equally as impressive, she makes the high notes demanded by the role seem easy. While it’s hard to point to any particular moment, her rendition of “Par le Rang”—one of the better known arias from this opera—was strikingly effortless and fluid. And her virtuosity is matched only by the joy she brings to the role with her acting and movement.

    —  Dante Atkins  •  DC Theatre Scene

    Washington National Opera’s ‘The Daughter of the Regiment’

    Oropesa’s soaring and sensitive Soprano come to the fore immediately with the initial regimental song that exudes the character’s charismatic affection for the camaraderie of her fellow army “fathers”(Aria: Chacun le sait. Chacun le dit /” Everyone knows it, everyone says it”.) The joy that this character feels, while exhibiting her nationalistic pride, is pervasive throughout the opera.

    Ms. Oropesa possesses a thrilling soprano voice of infinite variety and an ethereal purity of tone.

    —  David Friscic  •  DC Metro Theater Arts

    Washington National Opera's sparkling Daughter of the Regiment

    Lisette Oropesa gave a simply dazzling performance as tomboy-turned-lady, Marie. From the graceful, ardent first notes (sung off stage) to the glorious finale on the shoulders of the regiment, she was seemingly born to play the part. Her garçon persona – carried off with irresistible spirit and aplomb – was belied by one of those effortlessly lovely female voices, quite thrilling at the higher register, soaring above the chorus and the other leads when needed. It was a consummate performance, sung with notable facility.  

    —  Hilary Stroh  •  Bachtrack
  • Lisette Oropesa @ Chamber Music Society

    All of the things I love about her singing were in abounding evidence tonight: the distinctive colour, the mastery of dynamics, the magical turns of phrase, the imaginative way with words. In three Mendelssohn songs - "Wanderlied", "On the Wings of Song" and "Suleika" - Lisette cast a spell over the hall, and Mr. Kalish was a most valuable fellow sorcerer.

    —  Oberon  •  Oberon's Grove

    Chamber Music Society opens season with a lively Mendelssohnian road trip

    Three familiar songs by Mendelssohn himself followed. In “Wanderlied,” “Auf Flügeln des Gesänges,” and “Suleika,” soprano Lisette Oropesa’s clear, agile, well-placed voice easily projected this composer’s distinctive brand of submerged passion, and pianist Gilbert Kalish subtly rendered his busy accompaniments.

    Oropesa’s pinpoint intonation rang like a silver bell through Mendelssohn’s euphonious harmonies. A delighted audience rewarded the pair with vigorous applause.

    —  David Wright  •  New York Classical Review

    Review: A Musical Tour of Mendelssohn’s Europe

    Berlin was represented by select Mendelssohn songs, which the soprano Lisette Oropesa, accompanied by the pianist Gilbert Kalish, rendered with pellucid tone and unfussy styling

    —  Corinna Da Fonseca-Wollheim  •  New York Times
  • Review: A German Requiem | Dallas Symphony Orchestra | Morton H. Meyerson Symphony Center

    Soprano soloist Lisette Oropesa has a rich, complexly timbred voice that works well for this music.

    —  J. Robin Coffelt  •  Theater Jones
  • BWW Review: THE MARRIAGE OF FIGARO Offers a Bouquet of Musical Delights at Washington National Opera

    Also making an auspicious debut was the Susanna of this FIGARO, sung with pointed grace and lyricism by Lisette Oropesa. As Countess Almaviva's strong-willed servant who must battle the advances of the Count while preparing to marry Figaro, Oropesa brings out the nuances of character with clarity, whether she is flirting with her intended or standing her ground against the Count. Her voice also rings true with clear tone and supple beauty, especially in her playful rendition of "Deh vieni, non tardar."

    —  Jeffrey Walker  •  Broadway World

    The Marriage of Figaro from Washington National Opera (review)

    Lisette Oropesa may not have had the same size of voice as others on the big Kennedy Center stage, but her Susanna was effervescent and charming.  In her duets, both with Figaro in Act I and gorgeously with the Countess in the second half of the production, the voices blended beautifully. More important to this audience member, she acted the part with such verisimilitude that I was rooting for her all the way.

    —  Susan Galbraith  •  DC Theatre Scene

    WNO’s winning ‘Marriage of Figaro’ triumphs over adversity

    Regarding Ms. Oropesa, congratulations are in order for one of the brighter, better-informed renditions of Susanna we’ve had the privilege to hear. In many respects, “Figaro” is more Susanna’s opera than it is a starring vehicle for the title character, given the amount of beautiful and challenging music Mozart gives her to sing.

    Ms. Oropesa made this notable role her very own, deftly and intelligently adapting to every negative plot twist with a fine sense of theater and with a bright, sunny soprano that matched the positive attitude of Mr. McKinny’s Figaro.

    —  Terry Ponick  •  Communities Digital News

    Opera Review: ‘The Marriage of Figaro’ at The Washington National Opera

    Oropesa is immediately engaging and she demonstrates impressive control of her voice, most notable in Susanna’s playful aria “Deh vieni, non tardar.”

    —  Jennifer Minich  •  MD Theatre Guide

    Review: ‘The Marriage of Figaro’ at Washington National Opera

    But it is the women who are truly at the heart of this production: Lisette Oropesa’s quick-thinking, loyal Susanna steals the show, aided by the heartsick Countess, in her efforts to maneuver through a world ruled by the passions and suspicions of men.

    —  Julia Hurley  •  DC Metro Theater Arts

    Lisette Oropesa, qu’on a vue dans Konstanze au Nationaltheater, et dans Sophie (de Werther) au MET, et dans Nanetta de Falstaff à Amsterdam. Comme d’habitude, elle est très attentive à la diction, au contrôle de la voix, à la fluidité, et en plus elle chante quelquefois en dansant. Encore une chanteuse qui montre la formation accomplie de l’école anglo-saxonne, ainsi qu’un engagement scénique notable qui se traduit par un plaisir visible à être sur scène, même si l’engagement scénique nuit quelquefois à la fluidité de la langue, pourtant si travaillée.

    —  Wanderer  •  Blog du Wanderer

    Les Indes galantes

    Musicalement, quelques belles surprises, à commencer par l’Hébé/Zima de Lisette Oropesa, à la voix fraîche mais solide, et au français excellent, pour son personnage d’institutrice qui attire la sympathie et qui n’hésite pas à se mêler aux danseurs.

    —  Laurent Bury  •  Forum Opera

    Mit der Liebe kehrt der Frieden zurück“

    Ana Quintans (Zaire, L'Amour) und Lisette Oropesa (Hébé, Zima) begeistern mit glanzvollen Koloraturen, kraftvollem Volumen und schauspielerischem Charme.

    —  Michaela Schabel  •  Onetz

    Im Spagat verrenkt

    Hebe, eindrücklich gestaltet von der bisher kaum barockerfahrenen Lisette Oropesa, erzählt den Schülern viel über Liebe und die menschliche Natur.

    —  Marco Frei  •  Neue Zürcher Zeitung

    „Les Indes galantes“ unter Barockspezialist Ivor Bolton bei den Münchner Opernfestspielen

    Makellos die Solisten: Herausragend agieren – in edlen Kantilenen und rasanten Koloraturen – Lisette Oropesa, Ana Quintans, Elsa Benoit und Anna Prohaska, von den Männern sei stellvertretend der kraftvolle Tenor Cyril Auvity genannt.

    —  Otto Paul Burkhardt  •  Südwest Presse

    Les Indes Galantes un magnífico espectáculo

    La soprano americana Lisette Oropesa fue una deliciosa intérprete de la diosa Hebé en el Prólogo y de Zima en el acto de Norte América. Voz muy atractiva y estupenda cantante y actriz, como se pudo comprobar este mismo año en su Gilda del Teatro Real.

    —  José M. Irurzun  •  Beckmesser

    "Les Indes galantes": Im Korsett verschnürt

    Lisette Oropesa (Hébé/ Zima) startet zu nachdrücklich, singt sich jedoch locker und überstrahlt final das Personal.

    —  Markus Thiel  •  Online Merker

    Münchner OpernfestspieleMenuette wie Sommerhits

    Die Reise auf der Bühne des Prinzregententheaters beginnt in der Schule, wo Hébé (Lisette Oropesa) den Grundton vorgibt. Ihr Sopran ist kristallklar, quirlig und lebendig, ihr darstellerisches Vermögen – wie übrigens auch das der anderen Sänger – grandios und voller Humor.

    —  Isabel Winklbauer  •  Stuttgarter Nachrichten

    Ballettoper “Les Indes galantes” als feinsinniges, selbstironisches Multikultispektakel

    Unter den vorzüglichen Solisten, die fast alle in Doppelrollen zu erleben waren, stachen Anna Prohaska als Phani/Fatime und Lisette Oropesa als Hébé/Zima mit leuchtendem Sopran und nie steril wirkenden Koloraturen hervor.

    —  Georg Etscheit  •  Musik Heute
  • Opernarien statt Börsenkrach

    Auch Lisette Oropesa ist von der Allerheiligen-Hofkirche schließlich herübergekommen. Sie und ihre beiden amerikanischen Kollegen, Matthew Grills und John Moore, geben Arien und Duette von Donizetti, Leoncavallo, Puccini und Rossini zum Besten. Besonders Lisette Oropesa singt sich mit ihrer glasklaren Sopranstimme in die Herzen des Publikums.

    —  Jennifer Gaschler  •  Süddeutsche Zeitung
  • Mozart Mass inspires in May Festival opener

    “Oropesa performed the lovely solo, “Et incarnatus” with radiant beauty, and her stunning trills, leaps and embellishments were in perfect tandem with the winds of the CSO”

    “In the evening’s first half, Oropesa displayed impressive vocal flourishes and flexibility in the soprano showpiece, “Exsultate, jubilate.”

    —  Janelle Gelfand  •  Cincinnati Enquirer
  • Phila. Orchestra delivers a mighty 'Symphony of a Thousand' at Verizon Hall

    A special word for Lisette Oropesa, whose character, Mater Gloriosa, is supposed to appear out of the sky. The top tier of Verizon Hall was perfectly suitable, with her in a white gown and voice sounding, well, gloriosa.

    —  David Patrick Stearns  •  The Inquirer
  • Markus Stenz leads BSO, UM Concert Choir, stellar soloists in 'German Requiem'

    Making her debut with the orchestra, soprano Lisette Oropesa spun out a radiant sound that communicated every hopeful, calming word in the fifth movement.

    —  Tim Smith  •  Baltimore Sun
  • Parco della Musica, tris di compositori e di opere. Al violino Michael Barenboim per la direzione di

    Eccellenti e straordinari tutti gli interpreti, dall’ineguagliabile Pappano e dai due solisti, il baritono Vito Priante e, soprattutto, il soprano Lisette Oropesa

    —  Sergio Prodigo  •  Focus Italy
  • Review: Lisette Oropesa Scales Down Her Voice but Not Her Presence

    Ms. Oropesa and Mr. Churchwell brought uncommon freshness to this music, which somehow hovers on the divide between breathless desire and spiritual calm.

    Ms. Oropesa combined vocal refinement with articulate delivery of the texts. It’s impressive that all of the English translations printed in the program (the recital spanned Italian, German, French and Spanish) were by Ms. Oropesa herself. Clearly, she involves herself deeply in the words she sings.

    —  Anthony Tommasini  •  New York Times



    Teatro Real - Rigoletto

    Nov, 2015 - Dec, 2015

    Verdi entre toses

    De Lisette Oropesa conocíamos personajes asociados a ese tipo de vocalidad femenina denominado soubrette. De hecho, su nombre  de pila es el mismo que detenta un perfecto ejemplo de tal categoría sopranil, o sea, la segunda soprano de La rondine, personaje que forma parte de su repertorio además de Sophie (la massenetiana), Nannetta o Susanna. Pero la enorme sorpresa fue encontrarnos con una Gilda de medios suficientes, con un canto donde la expresión se encontraba perfectamente acomodada con la capacidad suficiente para asegurarla, pasando con total comodidad de los dúos con el barítono y el tenor  a un Caro nome simplemente extraordinario. Resolviendo sin problemas las partes que posteriormente le son más exigidas en el final del acto II y en el terceto del III (recordamos aquí que el estricto Toscanini, eligió una spinto, Zinka Milanov, para la grabación de este acto en  1944) y dejando de la escena de su muerte un recuerdo seguramente imborrable, modelo canoro para Gildas posteriores.

    —  Fernando Fraga  •  El arte de la fuga

    RIGOLETTO Teatro Real. Madrid

    ... y la Gilda de Lisette Oropesa. Interpretando de forma delicadísima a la hija de Rigoletto, esta soprano cubano americana consiguió unos cuantos "Brava" con una composición perfecta y profundamente emocionante y por la cual ya merecería la pena el montaje entero.

    —  Miguel Gabaldón  •  Notodo


    Il vibrato della statunitense Lisette Oropesa fa sì che la sua voce di soprano leggero sia sempre percorsa di una pregevole vivacità; la tecnica vocale compiutissima, la grazia nel porgere, la precisione nei vocalizzi ne fanno un’interprete perfetta del carattere di Gilda: «Caro nome che il mio cor» è la pagina meglio riuscita della recita, soprattutto per l’emissione di trilli purissimi e perlacei, ma si può ricordare almeno l’attacco di «Tutte le feste al tempio», capolavoro di controllo dell’emissione e della mezza voce. L’unico difetto della Oropesa è un piccolo sfasamento di timbro tra le note di passaggio e il registro acuto, il cui colore è un poco sbiadito rispetto al resto; ma si tratta di una minuzia, e infatti il pubblico la acclama alla fine di ogni scena.

    —  Michele Curnis  •  GB Opera Magazine

    Crítica: 'Triunfo De Gilda'. 'Rigoletto' En El Teatro Real, Con Salsi, Oropesa Y Demuro

    Notable la encarnación de Lisette Oropesa, una voz de lírico-ligera con cuerpo,  impecablemente proyectada, bien colocada y correctamente apoyada sobre el aire. Buena la coloratura como pudo comprobarse en una brillante interpretación del “Caro nome” culminada por un trino largo y de buena factura. Estupendo también fue el mi bemol del final de la vendetta. Cierto es que el timbre no es especialmente bello ni singular y que a alguno de los filados que prodigó le faltó un punto de firmeza y posición, pero estamos, sin duda, ante una soprano con los papeles en regla, con control sobre su instrumento, sobre la intensidad del sonido, la respiración y los resortes del canto. Eso sí, en el aspecto interpretativo no es un prodigio de expresividad.

    —  Raúl Chamorro Mena  •  Codalario
  • MÜNCHEN/ Bayerische Staatsoper: RIGOLETTO

    Für die erkrankte Patricia Petibon übernahm dankenswerterweise kurzfristig Lisette Oropesa die Rolle der Gilda, die sie mit ihrem vollen, leuchtenden, farbenreichen Sopran sehr schön darbot.

    —  Martina Bogner  •  Online Merker

    Opera Philadelphia - La traviata

    Sep, 2015 - Oct, 2015

    OPERA NEWS - La Traviata

    To judge from her first attempt at the role (heard Oct. 9), Lisette Oropesa bids fair to be among its great exponents in her generation.

    Oropesa manifested secure technical chops—trills, staccati, pinpoint dynamics and—most impressively—a long, sustained line that allowed her to hold the audience breathless in both “Dite alla giovine” and the party scene ensembles. Her quicksilver tone aptly combined appealing girlish purity with lightly charged sensuality.

    —  David Shengold  •  Opera News

    La Traviata

    It will be remembered as a 'were you there the night' soprano Lisette Oropesa made her debut as Violetta in "La Traviata." At the end, when the curtain closed and came back up on Oropesa standing alone on the stage, the whole Academy audience bounded to its feet, shouting and lustily applauding for after her spellbinding performance in one of the most vocally and emotionally demanding roles in all of opera.

    —  Lewis Whittington  •  EDGE Pittsburgh

    Review: This 'La traviata' makes news

    Through a series of stepped vocal shadings over more than two hours, she embraced Violetta's bubbly spirit, infused it with the pale resignation of the dejected lover, and, ultimately - in following one of Verdi's shrewdest emotional zigs - beautifully navigated the last moments of a euphoric consumptive. Oropesa has the instrument for the role, and she has the emotional intelligence.

    Her performance grew. If in "Sempre Libera" Friday night her intonation and note placement were pinpoint accurate and her sound commanding, by Sunday afternoon the aria had acquired nuance. With her added lift on the word translating as "free," you felt buoyed.

    —  Peter Dobrin  •  The Inquirer

    REVIEW: Opera Philadelphia’s La Traviata

    In fact, Ms. Oropesa, the dramatic soprano who stars in the staging at the Academy of Music, brings so much gusto, so much soul to her Violetta, that it is sort of a miracle that the entire stage doesn’t blow up at the end of the three-hour show. Yes, she’s that good, and I’ve never seen an Opera Philadelphia audience react with such fervor to a performer in recent memory.

    —  Bryan Buttler  •  PhillyMag

    LA TRAVIATA (Opera Philadelphia): A stunning new design and a stellar new Violetta

    ...and the outstanding Oropesa brings psychological depth and emotional expressiveness to her sympathetic character, ranging from–and equally masterful at–the ebullient bel canto and decorative coloratura of Act I to the scaled-down drama and poignancy of Act III.

    —  Debra Miller  •  phindie

    La Traviata (Opera Philadelphia) Review

    It is possible for a lyric singer to be a great Violetta – among recordings, one I treasure is Bidu Sayão from the Met, who imprinted the role with her distinctive prettiness and pathos. It was Sayão I thought of as I heard how easily Oropesa’s voice carried in the large space, and how elegantly she shaped every phrase, always making the words matter. Throughout, there was telling attention to detail, from the little internal trills in “Sempre libera” that hardly any sopranos today bother with, to the gorgeously tapered phrase endings in “Addio, del passato.” And of course, it helps that Oropesa, like Sayão, is ravishing looking – in her 1950s gowns here (see more on that below), she resembled Pier Angeli.

    —  David Fox  •  Reclining Standards
  • Mozart’s ‘Figaro’ a welcome return to S.F. Opera

    Singing from the heart, the entire ensemble was at its thespian best. Bass-baritones Sly and Pisaroni, both tall and handsome, engaged in convincing combat, and sopranos Sierra and Oropesa were beauteous and appealing.

    —  Janos Gereben  •  San Francisco Examiner

    Figaro Charms in Well-Cast S.F. Opera Revival

    Lisette Oropesa is a charming Susanna. Her voice has a gorgeous delicate quality to it but still has volume. Her "Deh vieni, non tardar" was unstrained and she managed to do a perfect martial arts flip of Figaro when she loses her temper with him later in the act.

    —  Charlise Tiee  •  San Francisco Classical Voice

    Review: San Francisco Opera’s Youthful Cast Excels in “Marriage of Figaro”

    As the center of most everything that happens in the opera, a Susanna must convey wit, intelligence and spark. Oropesa does this convincingly, as well as affectingly singing Susanna’s great aria, Deh vieni, non tardar.

    —  Williams  •  Opera Warhorses

    ‘Figaro’ in the shadows at S.F. Opera

    Soprano Lisette Oropesa was a superb Susanna, singing with both delicacy and quick-witted allure. Her duet with the Count at the beginning of Act 3, in which Susanna pretends to be willing to accept his advances, was a particular high point.

    —  Joshua Kosman  •  SFGate
  • Opera News - La Fille du Régiment

    For her own part, Oropesa’s Marie lacked neither virtuosity nor personality. With solid high notes, accurate coloratura and an endless supply of golden-age trills (I stopped counting after five), this endearing artist ran a vocal marathon that might have paralleled the physical feat she was preparing to run in Pittsburgh Marathon the next morning. Apparently untiring, she looked and sounded as fresh at the opera’s conclusion as she had been at her first entrance. With strikingly clear diction, she negotiated with facility not just the role’s vocal fireworks, but also the legato and tenderness of Marie’s slower solos, known in the original French as “Il faut partir” and “Par le rang.” 

    —  Robert Croan  •  Opera News

    Pittsburgh Opera Ends Its 76th Season with Donizetti’s “Daughter of the Regiment.”

    Of the singers, natural inclination leads us first to Lisette Oropesa, the silvery-voiced Marie, a world-renowned young soprano who already has over 100 performances with the Metropolitan Opera under her belt, and who last night presented more than adequate proof of her well-earned reputation. Lithe, lovely and agile, she was a delight throughout - vocally, visually, and histrionically. In addition to a remarkable voice of thrilling loveliness, she possesses outstanding talent as a comedienne. In the ballet lesson of Act Two, decked out in a flowing, billowy ballerina costume – and the combat boots she wore in Act One – her achievements were on a par with Lucille Ball’s attempt at learning the classical art of dance in the “I Love Lucy” episode we’ve all seen in reruns fifty times or more. In the pretty arias and ensemble numbers alike, her astonishing flights of coloratura were charmingly delightful. For a brief moment at the beginning of Act One, it seemed as if she might have a slight bit of difficulty in smoothly gliding down from her more florid flights, but this quickly disappeared, and she went on to create quite a sensation which was tumultuously approved by the audience at every opportunity.

    —  George B. Parous  •  The Pittsburgh Stage

    Review: Heavyweight singing anchors Pittsburgh Opera's 'Daughter of the Regiment'

    Soprano Lisette Oropesa returned to Pittsburgh Opera for her first performances of the title role. She made for a humorous, charming Marie, and, while not the most nimble, her dulcet voice showed shimmers of brilliance in high notes and trills. Her unceasing energy in the role’s dramatic and vocal acrobatics explained her impressive plans to run the Pittsburgh Marathon mere hours after the curtain dropped.

    —  Elizabeth Bloom  •  Pittsburgh Post Gazette

    Review: Superb music, well-acted comedy make 'Daughter of the Regiment' a standout

    Soprano Lisette Oropesa's Marie was a triumph at the Benedum Center, utterly winning in both the role's vocal challenges and the physical demands of Curran's staging. Her voice is wonderfully suited to the role, warm and rounded in tone but also pure, and sparkling in coloratura. “The Song of the Regiment” started with a lovely vocal flourish, then proceeded with irresistible elan.

    Oropesa proved a master of physical comedy throughout, especially in a dance lesson Curran interpolates during the orchestra entr'acte after intermission. In the first act, we meet Tonio, Marie's guy, who joins the regiment to be with her. But at the end of that act the Marquise of Berkenfeld claims Marie as her “niece.”

    The second act takes place at the castle of the Marquise, who is providing Marie with lessons to add refinement appropriate for an arranged aristocratic marriage. The choreography for the four dancers gives Marie klutzy moves right out of a routine by Les Ballets Trockadero de Monte Carlo. Oropesa offered a perfect lesson in comic gestures and timing.

    —  Mark Kanny  •  Pittsburgh Tribune-Review

    'Le Nozze di Figaro' closes season with opera that pleases the ears

    Soprano Lisette Oropesa returned home to sing the role of Susanna, bringing an alluring lyricism to the stage. Her rendition of "Deh vieni, non tardar" was especially sweet. Oropesa also is a fine comic actress, capable of raising the buffoonery of it all a notch or two.

    —  Theodore P. Mahne  •  The Times-Picayune

    N.O. Opera closes season with appealing ‘Marriage of Figaro’

    As Susanna, Figaro’s bride-to-be, Louisiana-born and -raised Lisette Oropesa was taking on one of the most demanding roles in the soprano repertoire. Being in nearly every scene of a long opera can pose a serious challenge to a singer, but Oropesa rose to it. In her arias as well as in duets and ensemble pieces, Oropesa offered a fine display of vocal versatility, from the lilting coloratura of a young woman in love to the confusion and anger of the object of the lascivious intentions of her overlord, Count Almaviva.

    —  Thomas Hammon  •  New Orleans Advocate

    Opera Ends Season With Figaro's High Note

    As Susanna, Lisette Oropesa pulls of the the notable aria “Venite, inginocchiatevi “ (“Come, kneel down before me”) perfectly. However, Oropesa’s best moments come through her mastery of the physical humor so prevalent in the play. She executes slapstick with the skill of Charlie Chaplin and keeps the audience laughing so hard that the music occasionally feels like lagniappe. Kudos must be given the blocking in the work.

    —  Michael Martin  •  NOLA Defender
  • St. John Passion by Soli Deo Gloria, Chicago

    The arias sung at the start and close of this part introduce the soprano and tenor voices. Ms. Oropesa’s introductory piece, “Ich folge dir gleichfalls mit freudigen Schritten” (“I shall follow you likewise with joyful steps”), was sung with a nice sense of melodic evenness, emphasizing especially the central line, “mein Leben, mein Licht” (“my life, my light”). Her voice blended well with the double flute accompaniment.

    —  Salvatore Calomino  •  Opera Today

    'St. John Passion,' Rising Stars concert lifts voices and hearts

    Lisette Oropesa brought her limpid, plaintively expressive voice to the two soprano arias.

    —  John von Rhein  •  Chicago Tribune
  • Amsterdam - Royal Concertgebouw: Rigoletto

    Indeed, she shone as Gilda, showing a beautiful and refined soprano lirico with an adamant high register. She conquered a standing ovation after an immaculate Caro nome,

    —  Edoardo Saccenti  •  Opera Click

    James Gaffigan conducts a full-blooded Rigoletto at the Concertgebouw

    Lisette Oropesa was a ravishing Gilda, her silvery tones and beautiful high range perfectly suited for the role of the young innocent girl. “Gualtier Malté”, that one and only traditionally-constructed aria of the opera, had unfortunately to be interrupted at first, so as to whisk away a member of the audience who was apparently unwell. When the performance resumed, Ms Oropesa sang the aria with elegant phrasing, top notes ringing to the rafters and exquisitely executed trills with which she has deservedly brought down the house.

    —  Nicolas Nguyen  •  Bachtrack

    Oropesa’s Gilda steelt show in Rigoletto

    De show werd echter gestolen door Rigoletto’s dochter Gilda, vertolkt door de Amerikaanse sopraan Lisette Oropesa (vorig seizoen Nanetta in Falstaff bij De Nationale Opera). In haar stemgeluid lagen zowel een warme laagte als een glanzende hoogte besloten, en haar vocale acrobatiek was indrukwekkend. Vooral indrukwekkend was haar ‘Caro Nome’, dat in eerste instantie voortijdig moest worden afgebroken omdat iemand in de zaal onwel werd. Ze eindigde de aria met een prachtige triller waar maar geen eind aan leek te komen.

    —  Laura Roling  •  Place de l'Opera
  • Wolfgang Amadeus Mozart : Die Entführung aus dem Serail, K. 384

    Voix légère, Lisette Oropesa n’a rien à craindre de Konstanze, qu’elle nimbe d’une fraîcheur juvénile, plus fragile mais plus raffinée ... les registres s’équilibrent, les vocalises s’égrènent prestement, les lignes se galbent, les aigus peuvent s’émettre pianissimo.

    —  Didier van Moere  •  Concerto Net

    Parigi - Opéra Garnier: Il ratto dal serraglio

    Ben affiatato anche il duo protagonista, con Lisette Oropesa nel ruolo di Konstanze in luogo della prevista Albina Shagimuratova. Anche lei soprano ancora giovane, al suo debutto a Parigi ma già Konstanze alla Staatsoper di Monaco, la Oropesa è stata premiata dal pubblico grazie a una prova molto convincente. Elegante e misurata in scena come si conviene al personaggio, ha persuaso per la sua capacità di mettere in rilievo anche nel canto gli stati d’animo, ora malinconici, ora rapiti, ora sdegnati che la parte prevede. Da ciò l’ottimo effetto di Welcher Wechsel herrscht in meiner Seele, sospirosa e malinconica, da ragazza più che da donna infelice nella voce della Oropesa, seguita da Marten aller Arten, cantata con accenti incisivi e appassionata recitazione. 

    —  Lorenzo De Vecchi  •  Opera Click










    A ‘Figaro’ With Youth, Agility and Eros

    Ms. Oropesa’s last-minute elevation turns out to be a more interesting story than a pregnant Susanna. She proved a vocally and physically agile Susanna, with an attractively silky, flexible timbre. Her fine comic instincts and cheerfully bright sound put her in command of the stage during much of the first two acts. But she conveyed emotional depth too, most notably in her moving, dark-hued account of “Deh vieni, non tardar” in the final act.

    —  Allan Kozinn  •  New York Times