• 2018

    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

    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

    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

    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

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

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

    —  Mark Swed  •  Los Angeles Times

    '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

    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

    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

    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

    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
  • 2017

    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

    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

    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

    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

    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 | 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

    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

    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

    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

    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

    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


    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

    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

    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

    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

    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

    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

    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

    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

    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

    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

    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

    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

    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

    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

    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

    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
  • 2016

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

    Al fianco di tale Rigoletto, l'ottima Gilda di Lisette Oropesa. Con un legato di alta scuola e un bel timbro di soprano lirico, la Oropesa indulge in acuti esposti come bella mercanzia (per esempio al termine del duetto con il Duca, il quale però non la segue all'acuto, sembrando così quasi un Duca intimorito), ma non si limita al canto. La dizione è, anche per lei, curatissima e quasi perfettamente comprensibile in ogni passaggio, anche nei momenti di coloratura, il fraseggio approfondito e comunicativo. Si becca un applausone a scena aperta dopo un notevole Caro nome, avvalorato dal lavoro di orchestra e direttore, e insieme a Salsi porta a casa il finale da incorniciare. La recitazione è davvero convincente: credibilissima la caduta, dopo l'accoltellamento, e ancor più il canto e i movimento stentati dell'ultima scena, tra le braccia di Rigoletto.

    —  Michelangelo Pecoraro  •  Opera Click

    Torna "Rigoletto" con una Gilda di classe

    Il soprano cubano-americano Lisette Oropesa, é stata una Gilda di gran classe, con una voce molto bella, tibrata e intonata.

    —  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

    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

    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

    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

    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

    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

    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

    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

    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 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

    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

    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

    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

    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

    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

    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  •  Le 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": Im Korsett verschnürt

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

    —  Markus Thiel  •  Online Merker

    „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

    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
  • 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 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
  • 2014

    Florencia en el Amazonas

    ..while Oropesa’s voice is still light and supple, there are hints in it of the darker dramatic roles that Florencia herself would have been master of.

    —  Simon Williams  •  Opera News

    Florencia in el Amazonas Makes Triumphant Return to LA

    Oropesa sang with spinning silvery tones that rang to the rafters.

    —  Maria Nockin  •  Opera Today

    In L.A. Opera's Florencia en el Amazonas, a Boat Ride Leads to a Secret Concert (GO!)

    Oropesa’s voice is lovely yet delicate

    —  Falling James  •  LA Weekly

    'Florencia en el Amazonas' a culture clash solved by orchestra

    soprano Lisette Oropesa, a brilliantly perky Rosalba.

    —  Mark Swed  •  Los Angeles Times

    Review: L.A. Opera pays tribute to Daniel Catan with lush ‘Florencia en al Amazonas’

    Oropesa is a rising star with a sweet soprano that shines. Her duets with Chacón-Cruz provide the vocal high points of the production.

    —  Jim Farber  •  Los Angeles Daily News

    Daniel’s Catán’s Opera Steams Down the Amazon

    As the young lovers, Lisette Oropesa as Rosalba and Arturo Chacón-Cruz as Arcadio are a charming pair. Oropesa’s soprano floated with a lithe and silvery line. 

    —  Jane Rosenberg  •  Seen and Heard International

    Review: Los Angeles Opera’s Magically Staged and Sung “Florencia en el Amazonas”

    The fresh, lyrical voices of Oropesa and Chacón-Cruz blended beautifully in Catán’s lushly romantic duets.

    —  William  •  Opera Warhorses

    L.A. Opera Revives Florencia en el Amazonas

    Rising coloratura soprano Lisette Oropesa as Rosalba, with ardent tenor Arturo Chacon-Cruz as Arcadio, provided the evening’s most satisfying vocal performances. 

    —  Rodney Punt  •  San Francisco Classical Voice

    'Florencia' makes undemanding return to L.A. Opera

    With svelte phrases and gleaming high notes, the American soprano Lisette Oropesa introduced a primly earnest Rosalba, a writer looking to pen a book on the diva.

    —  Timothy Mangan  •  Orange County Register

    Crítica: 'El Rapto En El Serrallo' De Mozart En La Ópera De Múnich

    Cabe también elogiar el buen trabajo de Lisette Oropesa con la exigente parte de Konstanze, de escritura imposible y que la joven soprano americana resolvió con verdadera naturalidad, sin forzar un ápice el instrumento. Le faltan a su instrumento, lo mismo que a sus acentos, un carisma y personalidad más genuinos, pero estamos sin duda ante una intérprete esmerada.

    —  Alejandro Martínez  •  Codalario


    Lisette Oropesa a toutes les qualités exigées par Konstanze : une fraîcheur et une jeunesse enviables, une technique solide, cela se sent dès son premier air très paminien , Ach ich liebte déjà difficile dans la retenue qui exige déjà aigus et trilles. 

    —  Wanderer  •  Le blog du Wanderer

    A colorful, fantastical Entführung at the Bayerische Staatsoper

    Now for the human stars: Entführung is Konstanze’s show, and Lisette Oropresa doesn’t disappoint. “Ach, ich liebte” is not an easy first aria, and she falters on a few high notes and trills. But by the time she reaches Konstanze’s showpiece “Martern aller Arten”, she’s tossing off coloratura and high Ds with ease and looking fiercely defiant, to boot.

    —  Ilana Walder-Biesanz  •  Bachtrack

    The Autumn Season Begins…

    The standout, however, was Lisette Oropesa’s Gilda. The American soprano is a superb coloratura with ringing top notes. She displayed a strong sense of line which she used to convey all the sides of her character. Her evolution from an innocent young girl to a resolute woman was credible and moving. She brought the house down and deserved every second of it.

    —  Antoine Leboyer  •  Seen and Heard International

    GENF/ Grand Théâtre de Genève: RIGOLETTO

    Lisette Oropesa ist eine sehr koloratursichere, innig zarte Gilda, welche die Kantilenen gleichsam mit dem Silberstift zeichnet. Dabei kommt die Liebe zum Vater allerdings glaubhafter zum Ausdruck als die Leidenschaft für den Herzog die Gilda ihr Leben opfert. Sie gestaltet ihre grosse Arie im ersten Akt fein, als zurückgenommenen, lyrischen Monolog. Im dramatischen zweiten Teil, wo sie sich anstelle des Herzogs vom Meuchelmörder Sparafucile (sehr überzeugend: Sami Luttinen) ermorden lässt, begeistert die Sopranistin mit dramatischen Tönen.

    —  Marcel Paolino  •  Online Merker

    A Genève, Rigoletto ou la défaite de la femme

    Le monde de Gilda, fait d’amour juvénile et pur, donne lieu à la plus émouvante des scènes. Le toit du chapiteau soudain constellé de mille étoiles voit Gilda s’élever du sol sur un trapèze et sa romance prendre alors une puissance émotionnelle extraordinaire. Qui mieux que Lisette Oropesa (Gilda) pouvait mettre le poids de l’or qu’elle possède dans sa voix pour faire vibrer cette sublime cantilène ? Un moment de grâce où la jeune soprano américaine offre une voix aux subtiles nuances. Quelle beauté de timbre, quelle intelligence d’interprétation, quel cœur, quel admirable chant. Donnant l’impression de chanter aux limites de sa voix, chacun retient son souffle de peur qu’elle ne trébuche, qu’elle soit emportée par l’émotion du moment, mais sous ces aspects de fragilité, on sent la force d’une chanteuse à la technique parfaite et à l’authenticité d’une artiste accomplie. Ce n’est qu’aux ultimes mesures de son air que la tension s’apaise et que le public, jusqu’ici assez tiède, laisse exploser sa joie et réserve un triomphe à cette exceptionnelle interprète.

    —  Jacques Schmitt  •  ResMusica

    Rigoletto, antihéros d’un cirque vicieux

    Mais le moment de grâce absolue se niche sous les étoiles d’un ciel de rêve. Lorsque Gilda apparaît en trapéziste lunaire au-dessus de la roulotte paternelle. Lisette Oropesa offre là un exemple de chant aérien, dans une magnifique longueur de voix, aux nuances souples, à la musicalité fine et à l’humanité frissonnante. Un sommet du genre.

    —  Sylvie Bonier  •  Le Temps

    Opera Review: Ravinia’s stylish staging underscores timeless beauty of Mozart operas

    His Susanna was the attractive American soprano Lisette Oropesa, who deftly captured the sparkle and intelligence of that lovely character. Oropeso is graceful beyond telling, moving like a dancer, shining in every scene.

    —  Dorothy Andries  •  Mundelein Review

    James Conlon Conducts Marriage of Figaro at Ravinia

    Lisette Oropesa is a natural on stage.  Her lovely, light soprano fit Susanna perfectly.  Hers is the standard to which all opera acting should aspire.

    —  Susan Hall  •  Berkshire Fine Arts

    Ravinia’s intimate Mozart magic remains with Conlon’s well-cast “Figaro”

    The combination of his (John Relyea) big but expressive bass-baritone and her (Lisette Oropesa) lithe, silvery soprano was enchanting. Moving with the elegance of a ballerina, Oropesa flitted easily between outraged innocence and wily cynicism.

    —  Wynne Delacoma  •  Chicago Classical Review

    Review: John Nelson Leads the Credo Festival Orchestra and Chorus in Haydn’s The Creation (July 19)

    Oropesa’s light and dulcet tone was ideal for both the roles of Eve and the angel Gabriel

    —  Daniel Hautzinger  •

    Food, Glorious Food: Falstaff at the Holland Festival Is a Feast for the Eyes and Ears

    With her beautifully floated, vibrant soprano Ms Oropesa was simply bewitching in Nannetta's Fairy Queen aria, “Sul fil d’un soffio etesio”

    —  Jenny Camilleri  •  Bachtrack

    Falstaff, berooide veelvraat die harten steelt

    Lisette Oropesa, als jonge bakvis Nannetta uithuilend bij een bak ijs, klinkt puur en zuiver. In de verkleedscène in het bos is ze een engelachtige Feeënkoningin.

    —  Floris Don  •  NRC Handelsblad


    Lisette Oropesa est l'exemple même de chanteuse américaine très préparée, techniquement sans failles, mais qui a aussi une vraie personnalité scénique, lumineuse, engagée.

    —  Wanderer  •  Le blog du Wanderer

    Review: St. Matthew Passion at Harris Theater

    soprano Lisette Oropesa, whose lovely, plaintive vocal colorings made one anticipate her Susanna in the upcoming Ravinia performances of Mozart's "Marriage of Figaro"

    —  John von Rhein  •  Chicago Tribune

    Jonas Kaufmann is the Ultimate Romantic Hero as Werther at the Met

    Soprano Lisette Oropesa is so charming as Charlotte’s sister Sophie that one wonders why the poet fails to respond to her apparent interest.

    —  Barry Bassis  •  Epoch Times

    Werther, Metropolitan Opera, New York, review

    Lisette Oropesa is more than a soubrette Sophie, bringing strong presence to the painful scene between the sisters.

    —  John Allison  •  The Telegraph

    Il Werther fin de siècle di Jonas Kaufmann

    Professionalmente ineccepibile la compagnia di canto nel suo insieme , su cui spicca sicuramente la fresca voce di Lisette Oropesa nella parte della sorella Sophie.

    —  Stecconi Biagiarelli  •  Le mille e una notte all'Opera

    Jonas Kaufmann As Werther At The Met

    And Lisette Oropesa was not the usual soubrette Sophie–directed to be more of an equal than “little sister” to Charlotte, she sang with great elegance and energy.

    —  Robert Levine  •  Classics Today


    Lisette Oropesa è un’ottima Sophie, giovane e graziosa, che trasmette una ventata di freschezza con voce soavissima e argentina, squillante senza essere petulante.

    —  Maria Teresa Giovagnoli  •  MTG Lirica


    but the house favorite Lisette Oropesa lights up the stage as Sophie

    —  (none)  •  The New Yorker

    Met Opera continues solid season with skillful production of ‘Werther’

    Lisette Oropesa’s radiant soprano is well suited for the role of Sophie, Charlotte’s exuberant younger sister,

    —  Chris Browner  •  Columbia Spectator

    'Werther' at the Metropolitan Opera showcases Jonas Kaufmann and Sophie Koch

    Soprano Lisette Oropesa is perfectly cast as Charlotte’s sister Sophie. Singing of flower bouquets and happiness, the character is nearly the sole ray of sunshine in the piece, and Oropesa’s sweet, agile soprano is one as well.

    —  Ronni Reich  •

    Met’s “Werther” variable yet Sophie Koch proves a Charlotte to die for

    Her beaming smile and sparkling voice lit up the stage every time she came on. She sang with bright, playful innocence throughout, and was wonderfully endearing when she flirted with the gloomy Werther. 

    —  Eric C. Simpson  •  New York Classical Review

    Werther, Metropolitan Opera, New York – review

    Lisette Oropesa focused giddy sympathy as Sophie, the resident quasi-soubrette.

    —  Martin Bernheimer  •  Financial Times

    A Taut Drama of Passion, Obsession and Pursuit

    Lisette Oropesa brings a bright, pealing soprano to the role of Sophie

    —  Heidi Waleson  •  Wall Street Journal

    A New ‘Werther’ at the Metropolitan Opera

    The bright-voiced, impressive soprano Lisette Oropesa is a sunny, winning Sophie

    —  Anthony Tommassini  •  New York Times

    A New ‘Falstaff’ at the Met

    As Nannetta, Lisette Oropesa, looking like the young Debbie Reynolds in a ponytail, is a charmer. Her rendition of “Sul fil d’un soffio” was one of the evening’s highlights.

    —  Barry Bassis  •  Epoch Times

    Score Desk for FALSTAFF @ The Met

    The vocal highlight of the evening was - as expected - Lisette Oropesa's spun-moonlight rendering of Nannetta's enchanting aria "Sul fin d'un soffio etesio" where the soprano was lovingly supported by the conductor.

    —  Oberon  •  Oberon's Grove

    'Falstaff' opens at the Metropolitan Opera led by music director James Levine

    Lisette Oropesa, who plays Nannetta, sings with a breathtaking sustained high float.

    —  Ronni Reich  •

    I’ll tickle your catastrophe

    Nanetta’s music is a gift to any light soprano, and the Met has fortunately cast Lisette Oropesa, possibly the best singer they have in this Fach. She sang “Sul fil d'un soffio etesio” with beautifully light, clear, crystalline tone, and her high notes hang in the air forever.

    —  Micaela  •  Likely Impossibilities

    he is big

    Lisette Oropesa played Nannetta as an adorable young teenybopper, comfortable at home in pedal pushers, while poised and pert in public, and spinning sustained high notes with gossamer beauty.

    —  Lee B. Ahmo  •  Parterre

    Review - Falstaff: A Massive Achievement Worthy of Its Larger-Than-Life Title Character

    By the end of their scene in the first act, she delivered an ethereal sustained high A-flat that was sung almost pianissimo and emphasized the purity of Nannetta's love for Fenton. She sang with utmost delicacy throughout the "Sul fil d'un soffio etesio," her voice reaching a breathtaking climax on a sustained high-A on the phrase "Carmi e malie" that included the most subtle of swells in the middle of the note.

    —  David Salazar  •  Latinos Post

    A fine ensemble cast boosts the Met’s delightful Fifties-era “Falstaff”

    ...the wonderfully silky, bell-like soprano of Lisette Oropesa, whose Nanetta charmed without cloying. Her sustained high notes during “Sul fil d’un soffio” were as magical as one could hope for.

    —  Eric Myers  •  New York Classical Review

    In Carsen’s ‘Falstaff’ at the Met, Verdi Through a Postwar Lens

    Nannetta, the winning soprano Lisette Oropesa, sings with effortless grace and lyrical bloom.

    —  Anthony Tommasini  •  New York Times
  • 2013

    Pittsburgh Symphony Orchestra kicks off season with rousing concert.

    She, for her part used her light, clear sound effectively, with no signs of strain up to high D in the climactic passage.

    —  Robert Croan  •  Pittsburgh Post Gazette

    Opera's Birthday Boys

    Lisette Oropesa achieved total triumph as Amalia, the trill-filled part created for Jenny Lind. She sang with passion, technical aplomb, delicacy, and lovely timbre within her lyric-coloratura means.

    —  David Shengold  •  Gay City News

    Washington Concert Opera offers Verdi rarity ‘I masnadieri’ in time for composer’s birthday

    Soprano Lisette Oropesa made a pleasing debut as the suffering Amalia

    —  Charles T. Downey  •  Washington Post

    Nozze di Figaro (8/3/13)

    If there was a leader in the pack, it was Lisette Oropesa, whose Susanna was a potent combination of charm and beautifully articulated wit, with telling touches of peasant common sense.

    —  Simon Williams  •  Opera News

    Santa Fe Opera Revives The Marriage of Figaro

    Lisette Oropesa is an up-and-coming soprano who has established an excellent reputation for singing with luminous tones and precise coloratura. Her Susanna was flirty, saucy and passionate.

    —  Maria Nockin  •  Opera Today

    A Perfect Marriage

    Soprano Lisette Oropesa creates a very young, but wise beyond her years, Suzanna. She resists the usual “smartest girl in the class” smugness that many purveyors of the role affect. We see her evaluate, and then approve, the ideas as the conspirators hatch the harebrained scheme to give the Count his comeuppance. Her aria Deh Vieni, Non Tardar is exquisite.

    —  Gregory Sullivan Isaacs  •  Theatre Jones

    Santa Fe Opera 2013: ‘The Marriage of Figaro’

    Lisette Oropesa (who shares Madeline Kahn’s birthday) sings Susanna with sweet vibrance and spunky stage presence. I admired Oropesa in The Enchanted Island at the Met two seasons ago, and here, with superior dramatic material, she’s winning.

    —  William V. Madison  •  Billevesées

    Nature’s Power Meets Star Power in Santa Fe

    Lisette Oropesa was irresistible as Susanna, burbling to and fro in a lovely voice.

    —  James R. Oestreich  •  New York Times

    The Marriage of Figaro at Santa Fe Opera

    I was thoroughly impressed with Lisette Oropesa's Susanna. She had great stage presence, comic flair, good timing in her stage movements, vivid chemistry with both her Figaro and Countess Almaviva, and sang beautifully this Mozart music that suits her voice so well. She sang naturally throughout the evening, with never a strained note. What a charming Susanna!

    —  Luiz Gazzola  •  Opera Lively

    Green Is Gold

    His Susanna, Lisette Oropesa, makes an incandescent debut. I still can’t get her limpid, astutely phrased “Deh vieni” out of my head. That Letter Duet, “Sull’aria” with the Countess, could hardly be better sung.

    —  John Stege  •  San Francisco Reporter

    Opera rekindles Figaro’s marriage

    Lisette Oropesa, also from the Metropolitan Opera, employs her clear and appealing soprano to the myriad emotions of the complex young woman – cajoling, frustration, jealousy and ultimate satisfaction. In her touching final aria “Deh vieni non tardar (At last the moment is near)” one can almost hear her becoming tired of the subterfuge and simply wishing to be married peacefully to Figaro.

    —  D.S. Crafts  •  Albuquerque Journal

    SFO spins Mozart’s magic in ‘Le nozze di Figaro’

    Lisette Oropesa, who made everyone fall in love with her right from the outset in her company debut. Nothing in the evening surpassed her rendition of “Deh vieni, non tardar” in Act IV, in which she spun strands of magic in the evening air.

    —  James M. Keller  •  Santa Fe New Mexican

    The Opera San Antonio: Eight stars shine brightly

    Soprano Lisette Oropesa was brilliant in Handel's lively “Da tempeste,” hitting the best high notes of the night and showing signs of being an opera star on the rise

    —  David Hendricks  •  My San Antonio

    The Way to Slay Wagner’s Dragon

    ...beautifully sung from offstage by Lisette Oropesa.

    —  Vivien Schweitzer  •  New York Times

    'Siegfried:' Machine Lives Up To Hype; Singers Carry The Performance

    Lisette Oropesa brought a sweet soprano as the forest bird and sang with ease throughout the role's difficult arching passages. 

    —  David Salazar  •  Latinos Post

    Rigoletto at the Met, Spring Cast

    Lisette Oropesa was a compelling Gilda, with beautiful coloratura and purity of tone.

    —  Luiz Gazzola  •  Opera Lively

    Score Desk for RIGOLETTO

    Her '"Caro nome" was exquisite, a perfectly lovely arc of tonal radiance and dynamic nuance, climaxing with an incredible trill. All evening the soprano produced one beautiful phrase after another, with impeccable musicianship and with the character's vulnerability and ultimate resolve finely delineated in both the words and the colours of the voice.

    —  Oberon  •  Oberon's Grove

    A Shy Rat Pack, Longer on Volume Than on Vim

    And Lisette Oropesa was a Gilda who invited tenderness. Her pure, smooth soprano and alert presence were both endearing

    —  Zachary Woolfe  •  New York Times

    Metropolitan Opera Review - Rigoletto: Oropesa, Grigolo, Gagnidze Give Winning Performances In Vegas

    Oropesa's "Caro Nome" was one of, if not the highlight, of the evening

    —  David Salazar  •  Latinos Post

    This duke is on fire in 'Rigoletto'

    Still, as Gilda, Lisette Oropesa offered a pearly “Caro nome” in her poised soprano

    —  James Jorden  •  New York Post

    In darkest Vegas

    Oropesa also has, perhaps more noticably for some, a pure light lyric soprano that is as balanced and classically expressive as recent decades have seen.

    —  JSU  •  An Unamplified Voice

    Strong lead performances stand out in FGO’s ‘Flute’

    Pamina was sung by the Louisiana-born Cuban-American soprano Lisette Oropesa, and she sang beautifully. Oropesa has a lovely, powerful voice, with a big top and strength throughout her whole register, and an ability to add believable pathos and sadness to her singing, particularly in her very fine Ach, ich fühls, which is when she most needs it. It is also a voice with warmth and richness, and that made Oropesa’s Pamina a sympathetic figure, rather than a dreary, lovelorn sop. Her acting was believable and sincere, and she looked delectable in her blue cocktail dress, platinum-blond wig and pink shoes. But most of all, you wanted to hear her sing some more.

    —  Greg Stepanich  •  Palm Beach Arts Paper

    Operagasm Exclusive Review: Florida Grand Opera’s Die Zauberflote

    Her voice had the lushness in the lower and mid-ranges, but floated lightly and nimbly through the upper range.

    —  Judy O. Marchman  •  Operagasm

    The Florida Grand Opera's 'Magic Flute' is high art for a lowbrow age.

    Most of the applause at the curtain went to soprano Lisette Oropesa, making her FGO debut as the dewy Pamina, recognizing her passionate declamations of love and heartbreak.

    —  Bill Hirschman  •

    Opera: Florida Grand Opera Hits a High Note with Magic Flute

    Even more impressive, and affecting, is soprano Lisette Oropesa as the harried young heroine, Pamina. Made up like a bouffant haired 60’s ingénue in the manner of Sandra Dee, Oropesa draws on the humor of the caricature while making her emotionally real. Her second act “Now my heart is filled with sadness” aria is a wonder of delicacy and feeling.

    —  Tony Guzman  •  Miami Sun Post

    The Magic Flute

    Oropesa was beyond fantastic in her portrayal of Pamina. She has a lovely, large and clear soprano voice. ... Her rendering of the aria "Ach, ich fühls" was poignant and heart-renderingly beautiful. Everything she sang during the performance was note perfect and beautiful.

    —  Jack Gardner  •  EDGE Miami

    FGO serves up an entertaining and spectacular “Magic Flute”

    The soprano Lisette Oropesa made a fresh-faced and innocent Pamina. Her aria Ach, ich fühl’s, sung as she believes Tamino no longer loves her, was genuinely moving, with quietly intense high notes and assured, unforced articulation of quick passages.

    —  David Fleshler  •  South Florida Classical Review
  • 2012

    Handel meets Hollywood in Michigan Opera Theatre's "Julius Caesar"

    Oropesa is an elegant and magnetizing leading lady. Her portrayal of Cleopatra is strong and confident — everything you expect the queen to be. The American soprano’s performance is augmented by her lovely voice as she sings Handel’s gorgeous music.

    —  Samantha White  •  The Oakland Press

    Roll out the superlatives: 'Caesar' is in town

    Her voice is like elastic: She produced thrilling trills and staccato high notes, and her slim, graceful body performed eloquently – especially in her "victory" dance when she learns her rotten brother is dead and Caesar is alive.

    —  Michael H. Margolin  •  Encore Michigian

    MOT takes Handel’s ‘Julius Caesar’ to Hollywood

    American soprano Lisette Oropesa (November 10, 14, 17) is stunning in her company debut as Cleopatra

    —  Patty Nolan  •

    'Julius Caesar' moves from ancient Egypt to a Hollywood back lot in inspired update

    Oropesa’s soprano simply dazzled in the seductive “V’adoro pupille,” and she convincingly made the key dramatic arc from sexy schemer to a heroine of profound feeling

    —  Mark Stryker  •  Detroit Free Press

    Review: 'Lucia' star stuns Tucson audience

    "You could exhaust the dictionary looking for the perfect words to describe coloratura soprano Lisette Oropesa’s performance at Tucson Music Hall Saturday night. “Arresting.” “Stunning.” “Magnificent.” “Sublime.” Extraordinary.” They come to mind alongside “brilliant,” “breath-taking,” ‘divine” and “fearless.”"

    —  Cathalena E. Burch  •  Arizona Daily Star

    Mozart's Mitridate in Munich through a child's eyes

    Lisette Oropesa as Isemene sang with the most beautiful sound in the cast

    —  Zerbinetta  •  Bachtrack

    Mozart's opera on the Orient Express thrilling

    ...and the best singer of the bunch, the petit flapper that was Ms. Oropesa, had the best music. The light soprano consistently tossed off high notes and coloratura with ease, and then cleared out emotional space in the touching aria "Endless Grief."

    —  Andrew Druckenbrod  •  Pittsburgh Post Gazette

    Lisette Oropesa, Brian Mulligan & Ken Noda

    "She has a real feeling for the French language and style" and "A light lyric soprano with a full arsenal of bel canto effects at her disposal, she wields a distinctive, bell-like timbre that is instantly appealing"

    —  Eric Myers  •  Opera News

    'Enchanted Island' at the Met

    Much of "The Enchanted Island" is quite humorous. Miranda, delightfully sung by Lisette Oropesa, is Prospero's charming eligible daughter, who seems to be loved by everyone. Without wishing to typecast and thus narrow her future career options, I'd say Oropesa is a natural for this sort of role.

    —  Jerome R. Sehulster  •  San Francisco Chronicle

    noble salvage

    Lisette Oropesa as Miranda showed once again that she is one of the most radiant (yet sadly underused) talents at the Met

    —  DeCaffarrelli  •  Parterre

    Met’s strong cast and magical staging win out over PC cliches in “Enchanted Island”

    Lisette Oropesa’s pliant, luminous tone makes much of Miranda’s music

    —  Marion Lignana Rosenberg  •  The Classical Review

    Shiny Bibelot From Shakespeare, Handel & Co.

    The lyric soprano Lisette Oropesa brought a gleaming voice and beguiling grace to Miranda.

    —  Anthony Tommasini  •  New York Times
  • 2011

    Review: San Francisco's Opera's 'Xerxes' might turn out to be the hit of the season

    As Romilda, in her company debut, soprano Lisette Oropesa is a porcelain-fine singer, with ample emotion brewing beneath the exquisite surface.

    —  Richard Scheinin  •  Mercury News

    'Xerxes' review: S.F. Opera triumphs from A to X

    Soprano Lisette Oropesa made a superb company debut as Romilda, the object of both royal brothers' affection, her singing bright and precise (if a bit small-scaled) and her phrasing eloquently to the point.

    —  Joshua Kosman  •  San Francisco Chronicle

    San Francisco Opera makes old Persian tale 'Xerxes' fresh

    Vocalists, well-balanced and without ego, gave all-around outstanding performances in a true ensemble event

    —  Janos Gereben  •  San Francisco Examiner

    Xerxes: Birds and Bees Befuddled

    "Making her San Francisco Opera debut, 2005 Metropolitan Opera National Council Auditions winner Lisette Oropesa as Romilda displayed a most engaging light soprano with an especially lovely top. The highest notes may not boom out, but their sweetness and fragility cuts right to the heart."

    —  Jason Victor Serinus  •  San Francisco Classical Voice

    Munich Opera Festival’s new Mitridate Re di Ponto

    Ismene, the (eventual) bride of Farnace, was the American soprano Lisette Oropesa, whose performance was remarkable: A very attractive voice and an excellent singer.

    —  José MªIrurzun  •  Seen and Heard International

    Orfeo ed Euridice, Metropolitan Opera

    Lisette Oropesa made a pleasing god of love, the voice pure and clear, filling the hall, the gestures a minimum of cute excess.

    —  John Yohalem  •  Opera Today

    An Underworld Rescue With Dancers and Chorus

    And Lisette Oropesa, also a soprano, was charming as the chirpy Amor, meeting the production’s demand that she sing dangling from wires high above the stage with aplomb.

    —  James R. Oestreich  •  New York Times

    N.O. Opera hooks a gem in Bizet's 'Pearl Fishers'

    New Orleans-born soprano Lisette Oropesa sang the role of Leila, the priestess at the apex of the love triangle. Audiences will recall her debut with the company a couple of seasons ago as Gilda in “Rigoletto.” Here she has truly found her voice, which has developed beautifully. She has the lightness and flexibility for Bizet’s lines, while also showing an impressive depth and richness, adding layers of color. She also is a charming singing actress, drawing out all she can from the sketchily defined role.

    —  Theodore P. Mahne  •  The Times-Picayune
  • 2010

    When Opera Stars Show Their Frisky Side

    Ms. Oropesa was exquisite in “Caro nome” from Verdi’s “Rigoletto.”

    —  Anthony Tommasini  •  New York Times

    Double dose of Mozart a delight at Ravinia

    Lisette Oropesa sang the role of Susanna with a sweet sound as pure as a silver bell. 

    —  Mike Silverman  •  Huffington Post

    Some fine singing, but Ravinia's 'Figaro' no match for previous Mozart opera

    I was even more taken with Oropesa, the bright-voiced, very musical singer who played the chambermaid Susanna. Her sharpwitted and beautifully sung portrayal was a smooth fit with John Relyea's amused and amusing manservant, Figaro.

    —  John von Rhein  •  Chicago Tribune

    BSO takes on challenging Mozart opera ‘Seraglio’

    Musically, things were more successful, starting with soprano Lisette Oropesa as Konstanze. Mozart put some of his most taxing vocal writing in “Seraglio,’’ including two arias for Konstanze — the mournful “Traurigkeit ward mir zum Lose’’ and the defiant “Martern aller Arten’’ — one after the other in Act II. Oropesa handled both with blistering power and assurance, as well as a range of vocal colors and emotional shadings. She is one to watch.

    —  David Weininger  •

    Verdi de primera división

    Lisette Oropesa tiene una voz pequeña pero bella. Su Nannetta, junto al Fenton de Sola, formó un dúo de enamorados, juveniles y tiernos, y destacaría, entre las características de su técnica, su excelente fiato.

    —  Javier del Olivo  •  Mundo Classico

    The Abduction from the Seraglio, Millennium Centre, Cardiff The Gamblers, Royal Festival Hall, Londo

    ...while Oropesa's ardent, dewy soprano makes "Traurigkeit ward mir zum Lose" the high point of the work and delivers "Marten aller Arten" with ease while being showered with furs, silks, jewels and shoes (shoes!)...

    —  Anna Picard  •  The Independant
  • 2009

    Pratfalls at the Palace, Upstairs or Downstairs

    As his fiancée, Susanna, Lisette Oropesa was a dynamo: her singing had a bell-like purity and enviable agility; her stage presence was magnetic.

    —  Steve Smith  •  New York Times

    Teenagers of Lammermoor

    Her voice strengthened act by act, but Oropesa had no problem with the singing even from the start, showing an easy trill and confidence through the part's range.

    —  JSU  •  An Unamplified Voice

    Paulo Szot brings the hot to the Met Opera's SummerStage show

    Yet the hottest number of the evening was Oropesa. Resplendent in a cornflower-blue dress, she defied the mikes by tossing off impeccable trills in “Caro nome” from Rigoletto and coquettishly charming the audience with “Quando m’en vo” from La bohème (a last-minute change to the program that proved to be a brilliant move). Her agile, silky soprano earned the most bravos of the night.

    —  Olivia Giovetti  •  Time Out New York

    Puccini and Operetta? He Does It His Way

    ...and the coloratura soprano Lisette Oropesa as, appropriately, Lisette offer sweet, lively and well-sung portrayals.

    —  Anthony Tommasini  •  New York Times
  • 2008

    Baritone Mark Rucker rules as Rigoletto

    Her bright lyric soprano resulted in a rendition of "Caro nome" that literally stopped the show.

    —  Maria C. Montoya  •  The Times-Picayune
  • 2007

    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