Reviews

..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

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

—  Maria Nockin  •  Opera Today

Oropesa’s voice is lovely yet delicate

—  Falling James  •  LA Weekly

soprano Lisette Oropesa, a brilliantly perky Rosalba.

—  Mark Swed  •  Los Angeles Times

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

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

—  William  •  Opera Warhorses

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

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

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

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  •  Wanderer

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

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

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

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

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

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

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

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

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

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  •  Wanderer

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

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

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

—  John Allison  •  The Telegraph

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

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

—  Chris Browner  •  Columbia Spectator

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

—  The New Yorker  •  The New Yorker

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  •  NJ.com

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

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

—  Anthony Tommasini  •  New York Times

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

—  Martin Bernheimer  •  Financial Times

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

—  Heidi Waleson  •  Wall Street Journal

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

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

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

—  Ronni Reich  •  NJ.com

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

—  Anthony Tommasini  •  New York Times

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

...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

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

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