Violetta Valery in La traviata

Place and date: Gran Teatre del Liceu (December 15, 2020) Seductive and charismatic, this was the Violetta Valéry of American Lisette Oropesa, a personal triumph and ovation at the Liceu. With the revival of La Traviata performances after the audience limit was extended from 500 to 1,000, it was time to enjoy the third of the four Violettas at odds,…

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Place and date: Gran Teatre del Liceu (December 15, 2020) Seductive and charismatic, this was the Violetta Valéry of American Lisette Oropesa, a personal triumph and ovation at the Liceu. With the revival of La Traviata performances after the audience limit was extended from 500 to 1,000, it was time to enjoy the third of the four Violettas at odds, having already seen Kristina Mkhitaryan and Pretty Yende, and with only Ermonela Jaho left for the final performance. Lisette, the lightest of them, was a surprise, as beyond a brilliant first act, where she displayed her instrument at pleasure, E-flat at the end of the "Sempre libera!", easy, bright, and well-timbred high notes, she grew with the unfolding of the score. In her duet with Germont senior, she added color, sought expression and nuances, always sul A (on the A string), with detailed phrasing, articulating each phrase with top bel canto technique. In her final aria "Addio del passato", the most applauded, she controlled the vibrato, delivered drama, and finished with a memorable volatile pianissimo. Brava Oropesa!

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Gran Theatre del Liceu

— La Vanguardia, December 2020

I well remember the impact that the soprano Lisette Oropesa caused exactly two years ago with her Lucia di Lammermoor at the Teatro Real, together with the tenor Javier Camarena. For her naturalness, for her magnetism, for her careful technique, for the closeness of her singing ... And all this has once again marked her return to Madrid, embodying a…

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

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

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Teatro Real

— Platea Magazine, July 2020

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

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

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Metropolitan Opera

— Opera Wire, March 2020

As with her Gilda, Oropesa welds sound with sense to create a characterisation of great depth and subtlety. Vocally, Violetta holds no terrors for her: the reckless coloratura of Act I is admirably secure and capped with a dazzling high E flat; the lyricism with which she yields to the moral demands of Christian Gerhaher’s Germont is at once heartbreaking…

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

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Royal Opera House

— The Guardian, October 2021

With Lisette Oropesa's Violetta - exquisite for her elegance in singing, precision in virtuosity, expressive sensitivity, particularly touching in the final act.

With Lisette Oropesa's Violetta - exquisite for her elegance in singing, precision in virtuosity, expressive sensitivity, particularly touching in the final act.

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Arena di Verona

— DelTeatro, August 2019

Lisette Oropesa, born in New Orleans in 1983, is an absolutely wonderful singer, as you can see at the Munich Opera Festival. There she sings Violetta in Verdi's "La Traviata" in Günter Krämer's production, which is now almost 30 years old. One of the bizarre things about opera is that dying on stage is often the most enchanting moment, and…

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

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

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Bayerische Staatsoper

— Süddeutsche Zeitung, June 2022

Lisette Oropesa, an American of Cuban origin, is the embodiment of Violetta. With her magnificent voice, she fully embraces the character, freely moving and dancing. Her Violetta is desperate, carnal, and larger than life. The lover to whom she dedicates that "love me, Alfredo," moves listeners to tears.

Lisette Oropesa, an American of Cuban origin, is the embodiment of Violetta. With her magnificent voice, she fully embraces the character, freely moving and dancing. Her Violetta is desperate, carnal, and larger than life. The lover to whom she dedicates that "love me, Alfredo," moves listeners to tears.

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Teatro dell'Opera di Roma

— Messaggero Veneto, April 2021

Second and third acts require a soprano of more robustness and dramatic substrate, but the Oropesa shows off her weapons, namely, remarkable vocalist skills and sincere expression, without artifice, or any room for excess. An example of this was the precise attack in pianissimo and link with the phrase "Dite alla giovane" in the great Duet with Germont Sr. [climax…

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

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

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Teatro Real

— Codalario, July 2020

There has been a reshuffling in the cast for the evening, which sees Lisette Oropesa in the role of Violetta for the second performance in the Arena. She portrays a particularly fragile girl from the beginning, with her ephemeral desire to escape from her fate. Her voice is technically malleable and is highly effective in the highest notes of her…

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There has been a reshuffling in the cast for the evening, which sees Lisette Oropesa in the role of Violetta for the second performance in the Arena. She portrays a particularly fragile girl from the beginning, with her ephemeral desire to escape from her fate. Her voice is technically malleable and is highly effective in the highest notes of her range, capable of refining a very delicate sound to the imperceptible, always with great precision.

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Arena di Verona

— MTG Lirica, August 2019

Then there's Lisette Oropesa. We have been following this dazzling singer for a very long time, and once again, she captivates with her technical ease and the brilliance of a voice of brazen freshness without any flaws. We had already admired her much more traditional Violetta in Verona. In this production, and with this direction, she meets the expectations by…

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Then there's Lisette Oropesa. We have been following this dazzling singer for a very long time, and once again, she captivates with her technical ease and the brilliance of a voice of brazen freshness without any flaws. We had already admired her much more traditional Violetta in Verona. In this production, and with this direction, she meets the expectations by adjusting her singing style to the vision of the character. Her singing enlightens the entire performance: the first act, frantic and breathless; the second, one of despair, including musically as Gatti refuses to indulge in insistent lyricism but rather focuses on the "precipitation" (in the chemical sense) of the drama: she is overwhelmed, almost prevented from singing "as expected," and this is also heart-wrenching. The most desperate songs are the most beautiful ones... Her third act is absolutely exemplary in her role as a young woman ravaged by life, her voice has a tragic freshness, and thus almost pointless—for from this crystalline voice, only death and despair will emerge. She also knows how to adapt to a new approach, less demonstrative and more "experienced," more realistic than usual.

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Teatro dell'Opera di Roma

— Wanderer, April 2021

Bob Crowley’s sets, famously marked by heavily architectural semi-circular structures choked with objects that get in the way (banquettes, a gambling table, hoop skirts), never seemed to pin Oropesa to the spot as it did with other performers. In Act I she vibrated with life and young innocence, hitting the coloratura heights in the climactic Sempre libera without the brilliance…

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

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Royal Opera House

— The Times, October 2021

Lisette Oropesa took the role of Traviata. The singer makes an enormous impression in intimate scenes, such as the conversation with Alfred's father or the final death scene, where the delicate, melancholic timbre of her voice and the fabulous pianissimos can be heard. In the first act, the famous "E strano!...Ah, fors'è lui...Sempre libera" displayed her technical proficiency and coloratura…

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Lisette Oropesa took the role of Traviata. The singer makes an enormous impression in intimate scenes, such as the conversation with Alfred's father or the final death scene, where the delicate, melancholic timbre of her voice and the fabulous pianissimos can be heard. In the first act, the famous "E strano!...Ah, fors'è lui...Sempre libera" displayed her technical proficiency and coloratura agility. However, it was a pity that it was interrupted in the middle by audience applause, which disrupted the gradual build-up of tension by the artist.

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Wiener Staatsoper

— Opera Lovers, September 2024

Oropesa conceived Violetta Valéry precisely on the solid foundation of bel canto tradition, deploying a singing of rare purity, dizzying perfection, and admirable balance. She has a formidable control of breath, which allows her in the second act an exquisite enunciation of "Dite alla giovine", a moment of rare concentration, in which she renders the theater silent in front of…

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Oropesa conceived Violetta Valéry precisely on the solid foundation of bel canto tradition, deploying a singing of rare purity, dizzying perfection, and admirable balance. She has a formidable control of breath, which allows her in the second act an exquisite enunciation of "Dite alla giovine", a moment of rare concentration, in which she renders the theater silent in front of the quality of expression, absorbed, dreamy, achieved thanks to the generous breadth of breath control. And as one could expect from a singer who masters the resources of her instrument so well, the end of the first act is admirable for the clarity and precision of the coloratura.

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Teatro Real

— Wanderer, August 2020

Violetta is superbly portrayed by soprano Lisette Oropesa, who has given her soul, voice, and body to this film.

Violetta is superbly portrayed by soprano Lisette Oropesa, who has given her soul, voice, and body to this film.

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Teatro dell'Opera di Roma

— Il Mattino, April 2021

Lisette Oropesa leaves the audience breathless every time she opens her mouth, and clearly, the audience would have loved an encore for "Sempre libera". The control of high notes and falsettos completes her vocal line control to the point of no longer being surprising. But this role also allows for an appreciation of the soprano's melodious low register. The two…

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Lisette Oropesa leaves the audience breathless every time she opens her mouth, and clearly, the audience would have loved an encore for "Sempre libera". The control of high notes and falsettos completes her vocal line control to the point of no longer being surprising. But this role also allows for an appreciation of the soprano's melodious low register. The two roles sung by Oropesa this season at Covent Garden (Violetta and Gilda) have in common a transition over the course of the evening between virtuosic qualities and a vocal concentration with the intensity of the drama, less brilliant but more tragic.

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Royal Opera House

— Olyrix, October 2021

There’s a melancholy feeling that very occasionally accompanies the greatest performances. Tangled up in the thrill of witnessing a historic interpretation of an iconic work comes the sad realization that you may never encounter its equal. The Metropolitan Opera has seen a number of superb sopranos appear as Violetta Valéry in the past decade: Diana Damrau, Natalie Dessay, Sonya Yoncheva,…

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

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

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

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

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Metropolitan Opera

— New York Classical Review, February 2020

Lisette Oropesa was Violetta, a role she sang a few years ago and performed again in Athens a few days prior, as a way to get back into vocal shape. What always astonishes and delights about Oropesa is firstly her nearly perfect Italian phrasing, her sense of color, the impeccable control of her voice, and the management of her breath.…

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Lisette Oropesa was Violetta, a role she sang a few years ago and performed again in Athens a few days prior, as a way to get back into vocal shape. What always astonishes and delights about Oropesa is firstly her nearly perfect Italian phrasing, her sense of color, the impeccable control of her voice, and the management of her breath. She has sometimes been criticized for a sort of superiority of technique over emotion; however, here there was a union of impeccable technique and the meaning given to each word, the weight of the expression (what a second act! What intensity in "amami Alfredo"!) and a sense of introspection, an odd word in a performance before 15,000 people, where she is but a small white spot on the vastness of the stage. Lisette Oropesa, of Cuban heritage, has an evident ease with Latin phrasing, and a true sensitivity, in addition to a solid technique acquired through American training. She instantly becomes a Violetta to be reckoned with, as I believe she is going to take on this role more frequently. Her "Addio del passato" is exemplary, and even her reading of the letter, so clear. And she has the necessary notes, in agility (her "gioir" in the first act) as well as in the more lyrical moments of the second ("dite alla giovine" is moving and undoubtedly also intensified by the emotion distilled by her partner Domingo).

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Arena di Verona

— Wanderer, August 2019

In Lisette Oropesa, Vienna's celebrated new Traviata, the cantilena not only carries a dramatic undertone but is also more nobly and smoothly integrated into the overall progression of the poignant aria, which she concludes in a flawlessly flowing pianissimo. One has to leaf back quite a ways through the annals of the State Opera to encounter a Traviata of similar…

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In Lisette Oropesa, Vienna's celebrated new Traviata, the cantilena not only carries a dramatic undertone but is also more nobly and smoothly integrated into the overall progression of the poignant aria, which she concludes in a flawlessly flowing pianissimo. One has to leaf back quite a ways through the annals of the State Opera to encounter a Traviata of similar sovereignty. Typically, sopranos in this role are divided into two camps: those who can bring the brilliance required for the first act, and those who possess the lyrical qualities and youthful-dramatic vigor for the remainder. Oropesa, already well-established here as Konstanze, Gilda, and Lucia, impresses in all three aspects, yet knows how to transform all technical abilities into expression. And she does so with a timbre in which similarities with Angela Gheorghiu and Ileana Cotrubas flash again and again.

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Wiener Staatsoper

— Die Presse, October 2023

She gave a stellar performance that showed a firm grip on all the facets of the role--the coloratura, the drama, the pathos, the glamour.She was the party girl of Act I, the delirious lover and compassionate figure of Act II, and the dying woman of Act III, each perfectly placed, each cannily acted. Whether she was singing the joyous "Sempre…

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

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

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Metropolitan Opera

— Broadway World, March 2020

It is finally possible to experience Lisette Oropesa as Violetta in Vienna. Oropesa transforms the feared coloraturas of "È strano" with her radiant, blooming soprano into exuberant expression, just as she moves to tears with "Addio del passato" through a blend of final longing and tender despair.

It is finally possible to experience Lisette Oropesa as Violetta in Vienna. Oropesa transforms the feared coloraturas of "È strano" with her radiant, blooming soprano into exuberant expression, just as she moves to tears with "Addio del passato" through a blend of final longing and tender despair.

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Wiener Staatsoper

— Kronen Zeitung, October 2023

Lisette Oropesa proves herself at the State Opera as one of the divas of our time. Juan Diego Flórez as Alfredo pleases with emotion. It truly benefits when you have a subtly acting performer like Lisette Oropesa, who embodies elegance with charm. She takes photos more casually, effortlessly from the wrist. This doesn't diminish the impact of the first act's…

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Lisette Oropesa proves herself at the State Opera as one of the divas of our time. Juan Diego Flórez as Alfredo pleases with emotion. It truly benefits when you have a subtly acting performer like Lisette Oropesa, who embodies elegance with charm. She takes photos more casually, effortlessly from the wrist. This doesn't diminish the impact of the first act's overt nature but is less intrusive than her predecessors. Warm timbre, brilliant highs. Generally, Oropesa is probably one of the best Violettas you can hear and see right now. How she virtually breaks under the demand of Alfredo's father to give him up, how she fragilely fights against the progressing illness, how the love to Alfredo cannot be extinguished – that was a very strong singing performance. Above all, the vocal interpretation left nothing to be desired: Warmly timbred, with precise coloraturas and phrasings as well as brilliant high notes, she proved herself as one of the divas of our time. Remarkable is the quality with which she brings both the luminosity for the first act and the lyricism for the following.

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Wiener Staatsoper

— Die Presse, September 2024

The second performance of "La Traviata" at the Arena showcased an excellent cast led by the American soprano Lisette Oropesa, who had already made her triumphant debut in the Verdi opera, achieving dazzling success: there was no doubt she would confirm that. It would be trivial, if not tedious, to describe her singing and acting skills; Oropesa is born for…

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The second performance of "La Traviata" at the Arena showcased an excellent cast led by the American soprano Lisette Oropesa, who had already made her triumphant debut in the Verdi opera, achieving dazzling success: there was no doubt she would confirm that. It would be trivial, if not tedious, to describe her singing and acting skills; Oropesa is born for the legendary role and "condemned" to bring the audience to euphoric rapture: and so it was last night. Her perfect physique for Violetta, disarmingly natural acting, a voice with distinctive vibrato yet well-timbred and with a particular shine, impeccable technique all garnered great success; numerous curtain calls and endless expressions of admiration for the astonishing American soprano.

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Arena di Verona

— L'ape musicale, July 2023

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…

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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.

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Opera Philadelphia

— PhillyMag, October 2015

Lisette Oropesa performed the role of Violetta with virtuosity, yet also with profound emotion. Her uniquely dark-hued, resonant, metallic, yet still round and soft voice is something special, captivating the audience throughout the entire evening. She also delivered a convincing acting performance, most notably in the third act, where she deeply moved the audience with her heartfelt portrayal of the…

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Lisette Oropesa performed the role of Violetta with virtuosity, yet also with profound emotion. Her uniquely dark-hued, resonant, metallic, yet still round and soft voice is something special, captivating the audience throughout the entire evening. She also delivered a convincing acting performance, most notably in the third act, where she deeply moved the audience with her heartfelt portrayal of the character.

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Bayerische Staatsoper

— Online Merker, July 2022

Especially when the "Traviata" of our times takes the stage: Lisette Oropesa, with her splendidly radiant coloratura soprano and her intense acting, is simply overwhelming, between the joys of coloratura and the tear-inducing sighing and dying.

Especially when the "Traviata" of our times takes the stage: Lisette Oropesa, with her splendidly radiant coloratura soprano and her intense acting, is simply overwhelming, between the joys of coloratura and the tear-inducing sighing and dying.

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Wiener Staatsoper

— Kronen Zeitung, September 2024

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

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

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

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Royal Opera House

— Daily Express, October 2021

But Violetta Valéry, on this Sunday afternoon, is none other than Lisette Oropesa, triumphant in her melodious power while perfectly embodying the confident seductress. Her performance and dynamic voice broaden the stage and acoustic space, skillfully piercing the wall of orchestra and choirs with her accents, without neglecting the great moments of tenderness and the clear declamation of the text.

But Violetta Valéry, on this Sunday afternoon, is none other than Lisette Oropesa, triumphant in her melodious power while perfectly embodying the confident seductress. Her performance and dynamic voice broaden the stage and acoustic space, skillfully piercing the wall of orchestra and choirs with her accents, without neglecting the great moments of tenderness and the clear declamation of the text.

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Opéra National de Paris

— Olyrix, February 2024

The current benchmark for the role is soprano Lisette Oropesa, who offers us a performance rich in emotional expressiveness that never loses sight of either the phrasing or the pitch, resulting in a delivery that is flowing and crystalline. She is also fully aware of the theatricality of movement, which allows her to present a highly believable Violetta on stage.…

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The current benchmark for the role is soprano Lisette Oropesa, who offers us a performance rich in emotional expressiveness that never loses sight of either the phrasing or the pitch, resulting in a delivery that is flowing and crystalline. She is also fully aware of the theatricality of movement, which allows her to present a highly believable Violetta on stage. Applause for the entire cast, with ovations for Meli and a genuine standing ovation for Oropesa, concluded this successful evening.

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Arena di Verona

— Le Salon Musicale, July 2023

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…

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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.

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Opera Philadelphia

— Opera News, October 2015

Lisette Oropesa as Violeta Valéry sets new standards for Simon Stone's La Traviata Oropesa's rather lyrical than dramatic soprano impresses with shimmering beauty, is technically perfect, allowing for effortless legato and precise heavenly coloratura, even in the highest register. The airy light timbre and her delicate vibrato give her voice a pulsating, compelling sound. She wonderfully shapes the "Sempre libera"…

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Lisette Oropesa as Violeta Valéry sets new standards for Simon Stone's La Traviata Oropesa's rather lyrical than dramatic soprano impresses with shimmering beauty, is technically perfect, allowing for effortless legato and precise heavenly coloratura, even in the highest register. The airy light timbre and her delicate vibrato give her voice a pulsating, compelling sound. She wonderfully shapes the "Sempre libera" and the trills in "Ah, fors' è lui" in the third act. Wistful yet also joyful. In portraying the role, Oropesa benefits from her unerring sense of characters. In the first act, her Violetta appears somewhat artificial, narcissistic, and capricious. The discovery of true love with Alfredo transforms her into a responsible, loving, caring woman in the second act, also aided by the conversation with Alfredo's father. In the third act, she is heavily marked by the deadly illness, oscillating between total despair and burgeoning joie de vivre, which is also evident in her voice. It requires courage. Oropesa's portrayal of the death scene couldn't be more moving, even though the continuous progression imposed on her by the direction on the rotating stage starkly contradicts her miserable physical condition. However, when Traviata then disappears into the brightly shining gap, it is a striking and incomparable exit.

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Wiener Staatsoper

— Online Merker, October 2023

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…

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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.

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Opera Philadelphia

— EDGE Pittsburgh, October 2015

Born to the romantic bell-cadet, the 36-year-old lyricist demonstrated her great class: her medium-sized, well-placed, luminous voice - obviously more suited to her more moving last two acts than to her crafty requirements - her huge Roman amphitheater, her aesthetic and the good taste of her song (trillions, ornamentations) constantly reminded the early Verdi's Bell-Candid debts, the stage presence was ethereal, emotional…

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

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Greek National Opera

— Athinorama, July 2019

In the role of the unfortunate protagonist was the extraordinary Lisette Oropesa, with a beautiful voice supported by an enviable technique that allowed her to navigate the challenge of "the three Violettas". As it is known, this requires three types of soprano voices (light, lyric, and dramatic) that highlight the protagonist's decline and the relentless progression of her illness throughout…

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In the role of the unfortunate protagonist was the extraordinary Lisette Oropesa, with a beautiful voice supported by an enviable technique that allowed her to navigate the challenge of "the three Violettas". As it is known, this requires three types of soprano voices (light, lyric, and dramatic) that highlight the protagonist's decline and the relentless progression of her illness throughout the story. Her singing line was beautiful, with expressive legato and complete control of the sound.

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Arena di Verona

— GB Opera Magazine, August 2019

Oropesa is a Violetta with everything as her intricate portrayal of the character is just as mesmerising as her superlative singing. The various situations, moods and states of health that Violetta finds herself in mean that the demands placed on the singing and acting are constantly changing, yet Oropesa remains thoroughly convincing from start to finish. In arias such as…

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

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Royal Opera House

— Opera Online, November 2021

It will likely be challenging to surpass the flawless performance of Lisette Oropesa. The American soprano is a phenomenon, beloved by audiences, and one of the great Verdi sopranos of our time. This was something she impressively demonstrated a few weeks ago as Gilda in Rigoletto. What makes her Violetta stand out? A breathtaking clarity in the high notes, technical…

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It will likely be challenging to surpass the flawless performance of Lisette Oropesa. The American soprano is a phenomenon, beloved by audiences, and one of the great Verdi sopranos of our time. This was something she impressively demonstrated a few weeks ago as Gilda in Rigoletto. What makes her Violetta stand out? A breathtaking clarity in the high notes, technical perfection, and the ability to interpret the role down to the smallest psychological intricacies. From the lilac-like lightness of the duet "Un dì, felice, eterea" to the last, painful defiance in the final act ("Addio del Passato"), she succeeds in perfectly portraying the highs and lows of her character.

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Royal Opera House

— Klassik Begeistert, November 2021

Foremost among them is the captivatingly singing and emotionally engaging Lisette Oropesa in the title role. The Cuban-American soprano possesses everything essential for this role: a beautiful voice, just large enough, bright and finely timbred, expressive and technically skilled enough to gracefully and almost weightlessly float through the cadenzas with elegant ease. She is capable of the most delicate pianissimo,…

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Foremost among them is the captivatingly singing and emotionally engaging Lisette Oropesa in the title role. The Cuban-American soprano possesses everything essential for this role: a beautiful voice, just large enough, bright and finely timbred, expressive and technically skilled enough to gracefully and almost weightlessly float through the cadenzas with elegant ease. She is capable of the most delicate pianissimo, but also solid in powerful sequences like in "Sempre libera." Admirable is how Oropesa can transform herself in the changing emotional worlds, from the blissful joy of being in love in the first act to the heartbreaking despair in "Addio del passato" and the final flicker of life and will to love in the face of death. In her portrayal, she convinces with honest, lovable sincerity, not with grand gestures.

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Wiener Staatsoper

— Online Merker, September 2024

Lisette Oropesa, with her lyrical coloratura soprano which effortlessly handles both delicate lyricism and dramatic outbursts, is an ideal interpreter of Violetta Valéry, who in Simon Stone's production, is not a courtesan in 19th century Paris, but a modern influencer. Oropesa even surpasses her predecessor in the premiere of this production. We believe her both in her exuberant joy of…

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Lisette Oropesa, with her lyrical coloratura soprano which effortlessly handles both delicate lyricism and dramatic outbursts, is an ideal interpreter of Violetta Valéry, who in Simon Stone's production, is not a courtesan in 19th century Paris, but a modern influencer. Oropesa even surpasses her predecessor in the premiere of this production. We believe her both in her exuberant joy of life at the beginning and in her resignation and despair over the progressing cancer disease.

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Wiener Staatsoper

— Online Merker, September 2024

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

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

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Royal Opera House

— The Stage, October 2021

Given that there are six sopranos scheduled to sing Violetta this run, that will be of paramount importance. Having caused a sensation with her superbly sung Gilda (Rigoletto), which opened the season, Lisette Oropesa returned to perform Violetta for the first time at Covent Garden, and rightly brought the house down. Most of the world’s most illustrious sopranos have graced…

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

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

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Royal Opera House

— Music OMH, November 2021

last night, we were to hear Lisette Oropesa, a soprano at the top of her game whose Violetta blew away audiences in Madrid last year as well as at The Met. She did not disappoint. The keystone of her performance was a truly formidable level of technique. Whatever technical aspect you talk about – breathing, placement of vowel sounds, details…

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

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

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

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Royal Opera House

— Bachtrack, October 2021

In the coolly curious Instagram staging by Simon Stone, Oropesa vocally positioned the Violetta Valéry on the robust side, even in the face of impending stage death. The top tones of the American were as unerringly targeted as arrows, her coloratura acrobatics practiced.

In the coolly curious Instagram staging by Simon Stone, Oropesa vocally positioned the Violetta Valéry on the robust side, even in the face of impending stage death. The top tones of the American were as unerringly targeted as arrows, her coloratura acrobatics practiced.

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Wiener Staatsoper

— Der Standard, October 2023

Just last week, Lisette Oropesa made her role debut as Violetta at the Haus am Ring - and she proves herself to be an excellent choice. Not only does she possess a voice of expansive volume, agile coloratura, and brilliant highs, but she also fully invests herself in the role: With natural credibility, she navigates the emotional peaks and valleys…

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Just last week, Lisette Oropesa made her role debut as Violetta at the Haus am Ring - and she proves herself to be an excellent choice. Not only does she possess a voice of expansive volume, agile coloratura, and brilliant highs, but she also fully invests herself in the role: With natural credibility, she navigates the emotional peaks and valleys between exuberant joie de vivre in the excellently sung "Sempre libera," and depressive resignation, her growing despair etched on her face as the story tragically progresses. With poignant intensity, she pours out her suffering heart, before leaving the world behind through visually hauntingly fading memories of happier days past.

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Wiener Staatsoper

— Klassik Magazin, October 2023

Violetta is superbly portrayed by soprano Lisette Oropesa, who has given soul, voice, and body to this film.

Violetta is superbly portrayed by soprano Lisette Oropesa, who has given soul, voice, and body to this film.

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Teatro dell'Opera di Roma

— https://www.repubblica.it/, April 2021

In Act 2, Oropesa found a little more colour and warmth, making us feel, through her command of the legato line and her sensitivity to the text, her very human struggle to deny mortality and fate.  She paced the tension brilliantly, revealing the anguish of love relinquished and a heart broken.  Perhaps she cannot rely on an innate lyrical quality…

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

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Royal Opera House

— Opera Today, October 2021

The Power of Nature Lizette OropesaAnd it was fortunate for Lizette Oropesa to be called to play a leading role in this vision. A true power of nature. The 35-year-old New Orleans-based soprano from Cuba, the marathon runner with the vigorous body and the overwhelming voice and body strength, has cut the public's breath. So much so that we forgot…

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

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Greek National Opera

— IefiMerida, July 2019

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

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

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

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

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Teatro Real

— Shangay, July 2020

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…

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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.

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Opera Philadelphia

— The Inquirer, October 2015

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…

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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.

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Opera Philadelphia

— Reclining Standards, October 2015

Lisette Oropesa possesses a beautifully timbred voice with a slight vibrato, which always carries well and is never forced. Her technique must be brilliant; the voice radiates, shines, and blossoms in the higher registers, yet can also be wonderfully restrained. She also has no issues with the high E-flat in the aria in the first act, and in the grand…

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Lisette Oropesa possesses a beautifully timbred voice with a slight vibrato, which always carries well and is never forced. Her technique must be brilliant; the voice radiates, shines, and blossoms in the higher registers, yet can also be wonderfully restrained. She also has no issues with the high E-flat in the aria in the first act, and in the grand tableaus, her voice effortlessly rises above the entire ensemble. In terms of acting, she convincingly portrays the influencer suffering from cancer, perhaps because she belongs to that generation of singers who share their careers and personal lives with their fans via social media. The death scene, in particular, was executed with profound touch.

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Wiener Staatsoper

— Online Merker, October 2023

Lisette Oropesa, in the role of the protagonist, showcases an incredible artistic and interpretive growth. When we first heard the soprano in this role, we predicted further development, and now have proof: her Violetta is now complete, from the virtuosity of Act I to the lyricism of Act II, concluding with the dramatic singing of Act III. The artist has…

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Lisette Oropesa, in the role of the protagonist, showcases an incredible artistic and interpretive growth. When we first heard the soprano in this role, we predicted further development, and now have proof: her Violetta is now complete, from the virtuosity of Act I to the lyricism of Act II, concluding with the dramatic singing of Act III. The artist has also grown in her acting abilities, superbly handling the stage development of this iconic character.

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Arena di Verona

— Ieri Oggi Domaini Opera, August 2022

...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.

...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.

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Opera Philadelphia

— phindie, October 2015

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

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

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Royal Opera House

— The Spectator, November 2021

Beside him, Lisette Oropesa is a delicate Violetta, one might say almost angelic. The soprano highlights her best attributes in the lyrical singing of "Ah, perhaps he is the one" and the duet with Germont from act II. She convincingly settles into the virtuosity of the first act, "Forever Free," culminating in a precise E flat. Her character is well…

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Beside him, Lisette Oropesa is a delicate Violetta, one might say almost angelic. The soprano highlights her best attributes in the lyrical singing of "Ah, perhaps he is the one" and the duet with Germont from act II. She convincingly settles into the virtuosity of the first act, "Forever Free," culminating in a precise E flat. Her character is well outlined in all its facets, even if in the last act a veil of fatigue put the singer to the test. Surely, with future performances, her interpretation will grow, gaining more confidence with the grandeur of the stage and this show.

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Arena di Verona

— Ieri Oggi Domaini Opera, August 2019

On the opening day of La Traviata at the Roman Opera House, Lisette Oropesa, who played the heroine, showed the Japanese audience that she is the goddess of opera and the ultimate Violetta. She has a pretty appearance and looks great in Valentino's costumes, and even in the long aria of the first act, she did not lose her composure,…

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On the opening day of La Traviata at the Roman Opera House, Lisette Oropesa, who played the heroine, showed the Japanese audience that she is the goddess of opera and the ultimate Violetta. She has a pretty appearance and looks great in Valentino's costumes, and even in the long aria of the first act, she did not lose her composure, and she did not hesitate to use her ultra-high notes to resonate bravely. Her emotional expression is rich, but the reason it never becomes tedious is probably because there is a mysterious mystique in her voice. There are singers who play this role in a verismo style and end up with a dull voice, but Oropesa's emotional expression is musical and elegant, and the high level that she aims for in her opera. No matter how much you listen to her, she has a voice that makes you want to hear more, and some of her sounds reminded me of golden-era Maria Callas recordings (even though her physique was completely different!) ). There is a faint classical elegance to it, and above all, the tragic nature of the story is conveyed in a very true manner.

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Teatro dell'Opera di Roma

— NBS, September 2023

Lisette Oropesa, one of the best Violettas of the moment, had the audience on their feet this evening, with her performance supported by exceptional technique that allowed her to flawlessly express all facets of the character: carefree joy and passionate impulse, physical and emotional fragility, illness and poverty, renunciation and moral grandeur, despair and agony. The complex emotional palette of…

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Lisette Oropesa, one of the best Violettas of the moment, had the audience on their feet this evening, with her performance supported by exceptional technique that allowed her to flawlessly express all facets of the character: carefree joy and passionate impulse, physical and emotional fragility, illness and poverty, renunciation and moral grandeur, despair and agony. The complex emotional palette of La Traviata is masterfully depicted. Lisette Oropesa was the undisputed queen of the night.

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Bayerische Staatsoper

— Opera World, June 2022

The complexity of the protagonist is highlighted by the sung recitation of Lisette Oropesa Lisette Oropesa, an American of Cuban descent, is a textbook Violetta: she acts through singing. The facets of a complex character come to life moment by moment.

The complexity of the protagonist is highlighted by the sung recitation of Lisette Oropesa Lisette Oropesa, an American of Cuban descent, is a textbook Violetta: she acts through singing. The facets of a complex character come to life moment by moment.

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Teatro dell'Opera di Roma

— Il Manifesto, April 2021

This results in a complete portrait of the character evolution of Violetta, certainly one of the most effective in the long history of this production. In the first act, Oropesa demonstrates beautiful technical mastery of her instrument with good breath control and effortlessly unfurls the embellishments of "Un dì felice, eterna," as well as the agility of the cabaletta "Sempre…

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This results in a complete portrait of the character evolution of Violetta, certainly one of the most effective in the long history of this production. In the first act, Oropesa demonstrates beautiful technical mastery of her instrument with good breath control and effortlessly unfurls the embellishments of "Un dì felice, eterna," as well as the agility of the cabaletta "Sempre libera" where she hits the high E-flat, while in "Follie! Follie! Delirio vano," Oropesa conveys the frenzy and latent turmoil stirring in the character. Having left the technical difficulties of the first act behind, the voice begins to acquire greater color and interpretive depth. After the confrontation with Germont, Oropesa makes her entrance in "Ah, dite alla giovine" with a long and sustained mezza voce in a delicate legato (one of the most beautiful musical moments of the evening), which is then opposed by the despair of "Morrò! Morrò!" emphasized by a fist pounding on the table.

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Royal Opera House

— Conessi all'Opera, November 2021

From then on there was greater warmth, emotion, passion, heartbreak and despair as Oropesa’s commitment to the character became evident and she totally won over the audience to deserve the standing and cheering there was at her curtain call. Her ‘Alfredo, Alfredo, di questo core non-puoi comprendere tutto l’amore’ at the end of Act II was dignified and deeply affecting.…

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

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Royal Opera House

— Seen and Heard International, October 2021

It is not at all easy to describe her voice and artistry with words. When such interpretive heights are reached, any review seems clumsy. Lisette Oropesa possesses a truly exceptional instrument. Timbral beauty, harmonic richness, velvety roundness, generous breath support, great range and volume, impeccable placement, and magnificent projection are some of the factors contributing to the extremely high quality…

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It is not at all easy to describe her voice and artistry with words. When such interpretive heights are reached, any review seems clumsy. Lisette Oropesa possesses a truly exceptional instrument. Timbral beauty, harmonic richness, velvety roundness, generous breath support, great range and volume, impeccable placement, and magnificent projection are some of the factors contributing to the extremely high quality of her voice. But these aspects alone are not enough to explain the effect it has on the listener. There is something more, something indefinable, that gives certain voices an irresistible power of seduction.

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Bayerische Staatsoper

— Mundo Classico, July 2022

Lisette Oropesa possesses the ideal physique and fits perfectly into her role as Violetta; her vocal technique is immaculate, and if one can detect any slight hesitation in her performance, it is due to the continuous repetitions or interruptions imposed by the filming process, which hinders the maintenance of necessary concentration. Essentially, she is a lyric coloratura soprano who, nevertheless,…

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Lisette Oropesa possesses the ideal physique and fits perfectly into her role as Violetta; her vocal technique is immaculate, and if one can detect any slight hesitation in her performance, it is due to the continuous repetitions or interruptions imposed by the filming process, which hinders the maintenance of necessary concentration. Essentially, she is a lyric coloratura soprano who, nevertheless, manages to face the most dramatic moments with an interpretation based more on subtle psychological nuances than on grand dramatic effects.

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Teatro dell'Opera di Roma

— Opera Actual, April 2021

US singer Lisette Oropesa dazzles in Simon Stone's production at the State Opera. Yet, these fade into the background when a singer like Lisette Oropesa stands on stage as Violetta Valéry: She credibly embodies this modern, young woman who throws chic parties, communicates via text messages, and captivates with her fabulous voice. For she possesses a lyrical coloratura soprano. Explosive…

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US singer Lisette Oropesa dazzles in Simon Stone's production at the State Opera. Yet, these fade into the background when a singer like Lisette Oropesa stands on stage as Violetta Valéry: She credibly embodies this modern, young woman who throws chic parties, communicates via text messages, and captivates with her fabulous voice. For she possesses a lyrical coloratura soprano. Explosive outbursts are just as possible for her as breathtaking lyrical passages, delicate, gentle vibrato. At times, the New Orleans-born American reminds one of Ileana Cotrubas. When she wanders through Stone's Paris after the party in the first act, and intones her "Sempre libera," it is of a unique authenticity. With her brilliant technique, she elegantly fluctuates between expression and enchanting soulful singing.

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Wiener Staatsoper

— Kurier, September 2024

Listening to such wisdom in sketching the character of Germont is a rarity, but in no way overshadows the admiration for Lisette Oropesa's Violetta. She sings well, never forcing her delivery, which sounds natural, flexible, capable of expressing sincere participation and a personal palpitation even when urged by Gatti. Indeed, the very fact that there is no room for effects…

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Listening to such wisdom in sketching the character of Germont is a rarity, but in no way overshadows the admiration for Lisette Oropesa's Violetta. She sings well, never forcing her delivery, which sounds natural, flexible, capable of expressing sincere participation and a personal palpitation even when urged by Gatti. Indeed, the very fact that there is no room for effects and habits, that everything is distilled, highlights the initial fragility, that nervous vibration which then becomes increasingly intense, aware, determined and painful, also in the frank and effective acting. The frenzy of excesses is followed by sincere transport without artifice, while the makeup, lights, and photography effectively highlight the expressions on the face, which become one with the singing.

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Teatro dell'Opera di Roma

— L'ape musicale, April 2021

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

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

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

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Metropolitan Opera

— New York Times, February 2020

But if this particular performance is memorable, it is because of the magnificent performance by Lisette Oropesa. The memories of her Lucia from last summer still alive in this very place, the American soprano (and now Spanish nationalized) offers a dramatically overwhelming and vocally very own portrait of the protagonist. If we look at the cliché of Violeta's three voices…

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

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Teatro Real

— Bachtrack, July 2020

At the center of the stage action (stage design by Andreas Reinhardt) was undoubtedly the vocal performance by Lisette Oropesa as Violetta. The extremely challenging role was mastered by her in an often deeply moving manner, down to the heights and the utmost in expression and artistic power demanded. The emphatic applause at the end was primarily for her and…

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At the center of the stage action (stage design by Andreas Reinhardt) was undoubtedly the vocal performance by Lisette Oropesa as Violetta. The extremely challenging role was mastered by her in an often deeply moving manner, down to the heights and the utmost in expression and artistic power demanded. The emphatic applause at the end was primarily for her and was fully deserved.

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Bayerische Staatsoper

— Ioco, July 2022