Nannetta in Falstaff

Lisette Oropesa's interpretation of Nannetta has garnered widespread acclaim for both her technical prowess and her enchanting stage presence. Critics consistently highlight her ability to infuse the character with innocence and purity, qualities that are essential to Nannetta's youthful and love-stricken persona. Her voice, described as light and vibrant, is perfectly suited to the role, allowing her to deliver performances that exude both warmth and charm. Reviews frequently note her capacity to maintain a tight vibrato that enhances the character's youthful innocence, making her portrayal particularly captivating.

A recurring highlight in Oropesa's performances is her rendition of the aria "Sul fil d'un soffio etesio," which has been described as bewitching, ethereal, and spun with moonlight. Her ability to sustain high notes with breathtaking ease and gossamer beauty is a testament to her technical skill and vocal control. This aria, often mentioned as a standout moment in her performances, showcases her lyrical bloom and effortless grace, leaving a lasting impression on audiences and critics alike.

Oropesa's stage presence, combining technical flawlessness with genuine charm, further elevates her portrayal of Nannetta. Critics note her ability to embody the character's youthful spirit, whether through her physical appearance, likened to a young Debbie Reynolds, or her poised and pert demeanor. This combination of technical excellence and engaging charisma makes Lisette Oropesa's Nannetta a memorable and definitive interpretation, earning her accolades across the opera world.

Lisette has been reviewed 13 times in this role.

Role Information

Composer: Giuseppe Verdi
Opera: Falstaff
Performances: 25
Reviews: 13
Venues: 5
Organizations: 5
Years: 2010 - 2017

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.
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.
Metropolitan Opera
— Oberon's Grove, December 2013
Nanetta, portrayed by Lisette Oropesa (who was a surprising Gilda last season at Bastille). She too is a soprano, and her lighter voice and tight vibrato infuse the character with a certain innocence, innocently chirping while the other characters concoct schemes to trap each other. Her crystal-clear high notes and her impressive breath control captivate the audience, particularly in Act…
Nanetta, portrayed by Lisette Oropesa (who was a surprising Gilda last season at Bastille). She too is a soprano, and her lighter voice and tight vibrato infuse the character with a certain innocence, innocently chirping while the other characters concoct schemes to trap each other. Her crystal-clear high notes and her impressive breath control captivate the audience, particularly in Act III, where, dressed as the Fairy Queen, she produces wonderful operatic flights.
Philharmonie de Paris
— Olyrix, October 2017
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.
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.
Metropolitan Opera
— Epoch Times, January 2014
...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.
...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.
Metropolitan Opera
— New York Classical Review, December 2013
Nannetta, the winning soprano Lisette Oropesa, sings with effortless grace and lyrical bloom.
Nannetta, the winning soprano Lisette Oropesa, sings with effortless grace and lyrical bloom.
Metropolitan Opera
— New York Times, December 2013
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…
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.
Metropolitan Opera
— Latinos Post, December 2013
Lisette Oropesa has a small but beautiful voice. Her Nannetta, alongside Sola's Fenton, made up a pair of youthful and tender lovers, and among the features of her technique, her excellent breath control would stand out.
Lisette Oropesa has a small but beautiful voice. Her Nannetta, alongside Sola's Fenton, made up a pair of youthful and tender lovers, and among the features of her technique, her excellent breath control would stand out.
ABAO Opera Bilbao
— Mundo Classico, May 2010
Lisette Oropesa, as the young love-stricken Nannetta crying over a tub of ice cream, sounds pure and clear. In the costume scene in the forest, she is an angelic Fairy Queen.
Lisette Oropesa, as the young love-stricken Nannetta crying over a tub of ice cream, sounds pure and clear. In the costume scene in the forest, she is an angelic Fairy Queen.
De Nationale Opera
— NRC Handelsblad, June 2014
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.
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.
Metropolitan Opera
— Parterre, December 2013
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.
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.
Metropolitan Opera
— Likely Impossibilities, December 2013
Lisette Oropesa, who plays Nannetta, sings with a breathtaking sustained high float.
Lisette Oropesa, who plays Nannetta, sings with a breathtaking sustained high float.
Metropolitan Opera
— NJ.com, December 2013
With her beautifully floated, vibrant soprano Ms Oropesa was simply bewitching in Nannetta's Fairy Queen aria, “Sul fil d’un soffio etesio”
With her beautifully floated, vibrant soprano Ms Oropesa was simply bewitching in Nannetta's Fairy Queen aria, “Sul fil d’un soffio etesio”
De Nationale Opera
— Bachtrack, June 2014
Lisette Oropesa is the quintessential example of an American singer who is not only highly prepared and technically flawless but also possesses a genuine stage presence that is both radiant and engaging.
Lisette Oropesa is the quintessential example of an American singer who is not only highly prepared and technically flawless but also possesses a genuine stage presence that is both radiant and engaging.
De Nationale Opera
— Blog du Wanderer, June 2014

Famous Interpreters

The role of Nannetta in Giuseppe Verdi's "Falstaff" was originally created by the Italian soprano Adelina Stehle, who performed at the opera's premiere on February 9, 1893, at La Scala in Milan. Stehle's interpretation of Nannetta was marked by her ability to convey the character's youthful innocence and romantic charm, qualities that were essential to the role. Born in 1860 in Milan, Stehle was known for her bright, agile soprano voice, which was well-suited to the lighter roles in the operatic repertoire. Stehle's portrayal of Nannetta set a standard for the role with her clear, lyrical tone and expressive phrasing, creating a template for future sopranos to follow.

Following Stehle's definitive creation, several sopranos have made significant contributions to the role of Nannetta, each bringing their unique artistry to this endearing character. Renata Scotto, active during the mid-20th century, was one such interpreter known for her meticulous attention to musical detail and emotional depth. Her Nannetta was celebrated for its vocal beauty and dramatic nuance, particularly in her famous recording with the Philharmonia Orchestra under Herbert von Karajan. Scotto's interpretation retained the innocence of the character while adding layers of emotional complexity, reflecting a more modern understanding of Nannetta's youthful desires and dreams. Another pivotal soprano was Mirella Freni, whose career spanned from the 1950s to the 1990s. Freni's Nannetta was notable for its vocal purity and the warmth of her timbre, which perfectly captured the character's youthful exuberance. Her performances, particularly her portrayal in the 1982 Glyndebourne production, brought a fresh vitality to the role, emphasizing the playful yet sincere aspects of Nannetta's personality. Through these performances, both Scotto and Freni expanded the interpretative possibilities of Nannetta, ensuring the role's continued evolution in the operatic canon.

About the Composer

Giuseppe Verdi, a towering figure in the world of opera, is renowned for his profound ability to blend rich musical expression with compelling drama. Born in 1813 in Italy, Verdi's style evolved from the bel canto tradition to a more integrated approach that emphasized dramatic truth and emotional depth. "Falstaff," his final opera, premiered in 1893 when Verdi was nearly 80 years old. Despite his age, Verdi embraced this comic masterpiece with youthful vigor, drawn to the witty and vibrant libretto by Arrigo Boito, based on Shakespeare's "The Merry Wives of Windsor" and scenes from "Henry IV." This work is significant for its departure from the tragic intensity of his earlier operas, showcasing instead Verdi's skill in creating intricate ensembles and quicksilver changes in mood. Verdi's approach to vocal writing in "Falstaff" is particularly masterful; he crafts the vocal lines to complement the rapid-fire exchanges and overlapping dialogues, capturing the humor and humanity of the characters. This opera stands as a testament to Verdi's lifelong commitment to innovation and his unparalleled ability to bring characters to vivid life through music.