Lisette Oropesa's portrayal of Susanna in "The Marriage of Figaro" has consistently garnered praise for its charm, wit, and vocal finesse. Across various reviews, a common theme emerges highlighting Oropesa's ability to embody the quick-thinking, intelligent, and spirited nature of Susanna. Critics have noted her capacity to engage the audience with a performance that is both effervescent and deeply informed by the nuances of the role. Her portrayal stands out for its seamless blend of operatic lyricism and theatrical dynamism, which ensures that Susanna remains a captivating central figure throughout the opera.
Oropesa's vocal performance is frequently noted for its clarity and expressiveness. Her rendition of the aria "Deh vieni, non tardar" is often singled out for its delicate yet powerful delivery, demonstrating her impressive control and emotional depth. Despite some comments on the smaller size of her voice relative to larger venues like the Kennedy Center, critics agree that her vocal quality and interpretative skills more than compensate, bringing a refreshing lightness and precision to her singing. This balance of vocal charm and technical prowess allows her to convey the intricacies of Susanna's character, making her interpretation both memorable and distinctive.
Overall, Oropesa's portrayal is marked by a profound understanding of Susanna's role in the opera, ensuring that her performance is not only vocally impressive but also theatrically compelling. Her ability to convey Susanna's intelligence and playfulness, combined with her lyrical talent, has made her a standout in this role, earning her widespread acclaim from critics and audiences alike.
Lisette has been reviewed 28 times in this role.
Role Information
Composer: W. A. Mozart
Opera: Le Nozze di Figaro
Performances: 37
Reviews: 28
Venues: 6
Organizations: 6
Years: 2007 - 2016
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.
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.
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…
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.
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…
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.
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.
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.
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.
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.
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…
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.
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!
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!
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.
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.
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…
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.
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…
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.
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.
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.
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.…
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."
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…
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
The role of Susanna in Wolfgang Amadeus Mozart's "Le Nozze di Figaro" was first brought to life by the Austrian soprano Nancy Storace at the opera's premiere on May 1, 1786, in Vienna's Burgtheater. Storace's creation of the role was definitive due to her exceptional vocal ability and vivacious stage presence, which captured the wit and intelligence of Susanna. Born in London to Italian parents, Storace was a member of an acclaimed operatic family. Her musical training and experience in both England and Italy shaped her into a versatile performer. Before originating Susanna, she had already established herself in Vienna as a favorite of Mozart, who wrote the role tailored to her vocal strengths, particularly her ability to convey complex emotions with clarity and warmth. Storace's interpretation set a precedent for the role with her clear diction, expressive phrasing, and the dynamic interplay she brought to the stage, elements that have continued to influence performances of Susanna throughout operatic history.
Throughout the years, several sopranos have left an indelible mark on the role of Susanna, each bringing their unique artistry to the character. Among them is Elisabeth Schwarzkopf, active primarily in the mid-20th century, who is renowned for her elegant interpretation of Susanna. Schwarzkopf's recordings, particularly the 1950s studio recordings under the baton of Herbert von Karajan, are celebrated for their precision and musicality. Her Susanna was characterized by a crystalline voice and a nuanced approach to the character's intelligence and charm, blending humor with an undercurrent of emotional depth. Another monumental interpreter was Mirella Freni, whose performances spanned from the late 1950s to the 1990s. Freni brought a distinct warmth and lyricism to Susanna, emphasizing the character's humanity and emotional resilience. Her portrayal was famously captured in the 1976 recording conducted by Karl Böhm, where her vibrant vocal color and dramatic sensitivity added new dimensions to the role. Each artist has contributed to the evolution of Susanna, interpreting her with varying emphases on vocal agility, emotional complexity, and dramatic interpretation, thereby enriching the tradition established by the original creator, Nancy Storace.
About the Composer
Wolfgang Amadeus Mozart, a prolific and influential composer of the Classical era, was known for his exceptional ability to infuse operatic works with emotional depth and structural mastery. Born in Salzburg in 1756, Mozart was a child prodigy who quickly became a master of the classical style, admired for his symphonies, concertos, and operas. "Le Nozze di Figaro," premiered in Vienna in 1786, is a prime example of Mozart's genius. The opera was composed during a period of Enlightenment, a time when societal norms and class structures were being questioned, and this work cleverly reflects these themes. The libretto, penned by Lorenzo Da Ponte, is based on Pierre Beaumarchais' play, which was initially banned in Vienna for its controversial depiction of aristocracy. What makes "Le Nozze di Figaro" significant is its intricate blend of humor, social commentary, and deep character development, all seamlessly woven into a brilliant score. Mozart's approach to vocal writing in this opera is particularly noteworthy; he crafts each character's music to perfectly capture their psychological complexity and social status, using a rich variety of musical forms—arias, ensembles, and recitatives—to propel the drama forward. This opera remains a beloved masterpiece, celebrated for its vitality, wit, and the way it captures the human condition.
