Violetta Valery
Ne risulta un ritratto completo dell’evoluzione del personaggio di Violetta, sicuramente una delle più efficaci nella lunga storia di questo allestimento. Nel primo atto, Oropesa mostra una bella padronanza tecnica dello strumento con un buon controllo del fiato e senza nessuno sforzo nel dispiegare le fioriture di “Un dì felice, etera”, così come le agilità della cabaletta “Sempre libera” dove centra il Mi bemolle sopracuto, mentre in “Follie! Follie! Delirio vano” Oropesa trasmette quella frenesia e quel turbamento latente che agitano il personaggio. Lasciatasi alle spalle le difficoltà tecniche del primo atto, la voce inizia ad acquisire maggior colore e spessore interpretativo. Dopo il confronto con Germont, Oropesa esordisce in “Ah, dite alla giovine” con una lunga e sostenuta mezzavoce in piano dal legato curatissimo (uno dei momenti musicali più belli della serata), a cui si oppone poi la disperazione di “Morrò! Morrò!”, enfatizzata da un battito di pugni sul tavolo.
Allen voran die mitreißend singende wie auch darstellerisch berührende Lisette Oropesa in der Titelrolle. Die kubanisch-amerikanische Sopranistin bringt alles mit, was für diese Rolle essenziell ist: Eine wunderschöne Stimme, gerade groß genug, hell und fein timbriert, ausdrucksstark und technisch so versiert, dass sie mit eleganter Leichtigkeit anmutig und geradezu schwerelos durch die Kadenzen schweben kann. Sie ist zu zartestem Pianissimo fähig, aber auch in kraftvolle Sequenzen wie in „Sempre lbera“ sattelfest. Bewundernswert, wie sich Oropesa in den sich ändernden Gefühlswelten verwandeln kann, von verliebter Glückseligkeit im ersten Akt bis zur erschütternden Verzweiflung in „Addio del passato“ und dem letzten Aufflackern des Lebens- und Liebenswillen angesichts des Todes. Darstellerisch überzeugt sie mit ehrlicher, liebenswerter Aufrichtigkeit, nicht mit großen Gesten.
La traviata
con la Violetta di Lisette Oropesa – squisita per eleganza del canto, precisione nel virtuosismo, sensibilità espressiva, toccante in particolare nell’ ultimo atto
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.
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.
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.
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.
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. .
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.
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.
La seconda recita della Traviata areniana ha presentato un ottimo cast capitanato dal soprano americano Lisette Oropesa che aveva già fatto il suo debutto trionfale nell’opera verdiana riscuotendo un successo folgorante: non c’era alcun dubbio che lo avrebbe confermato. Sarebbe banale se non noioso descrivere le sue doti di cantante e attrice; Oropesa è nata per interpretare il mitico ruolo e “condannata” a portare il pubblico ad un felice delirio: e così è stato ieri sera. Il fisico perfetto per Violetta, la naturalezza disarmante d’attrice, la voce dal vibrato caratteristico ma ben timbrata e dotata di una lucentezza particolare, la tecnica impeccabile hanno riscosso un grande successo; numerose chiamate a scena aperta e espressioni infinite d’ammirazione per lo stupefacente soprano statunitense.
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.
Lisette Oropesa als Violetta endlich auch in Wien zu erleben ist. Oropesa verwandelt mit ihrem leuchtend-blühenden Sopran die gefürchteten Koloraturen von „È strano“ gekonnt in überschwänglichen Ausdruck, genauso wie sie mit „Addio del passato“ zwischen letztem Sehnen und zartem Verzweifeln zu Tränen rührt.
In der kühl-kuriosen Instagram-Inszenierung von Simon Stone siedelte Oropesa die Violetta Valéry stimmlich auf der kräftigen Seite an, selbst im Angesicht des nahenden Bühnentods. Wie zielsichere Pfeile die Spitzentöne der US-Amerikanerin, routiniert ihre Koloraturakrobatik.
Lisette Oropesa beweist sich an der Staatsoper als eine der Diven unserer Zeit. Juan Diego Floréz als Alfredo gefällt mit Gefühl.
a tut es wohl, wenn man eine subtil agierende Darstellerin wie Lisette Oropesa hat, die dem besonders elegant entspricht. Sie macht die Fotos mehr nebenbei, locker aus dem Handgelenk. Das nimmt dem Plakativen des ersten Akts nicht die Wirkung, ist aber weniger aufdringlich als bei Vorgängerinnen.
Warmes Timbre, brillante Spitzen
Generell ist Oropesa wohl eine der besten Violettas, die man derzeit hören und sehen kann. Wie sie unter der Forderung von Alfredos Vater, auf diesen zu verzichten, förmlich zerbricht, wie sie sich fragil gegen die fortschreitende Krankheit wehrt, wie die Liebe zu Alfredo sich nicht ersticken lässt – das war ganz starkes Singschauspiel. Vor allem aber ließ die gesangliche Gestaltung keine Wünsche offen: Warm timbriert, mit exakten Koloraturen und Phrasierungen sowie brillanten Spitzentönen bewies sie sich als eine der Diven unserer Zeit. Herausragend, mit welcher Qualität sie sowohl die Leuchtkraft für den ersten Akt als auch die Lyrismen für das Folgende aufbringt.
Violetta è interpretata in modo superbo dal soprano Lisette Oropesa che ha dato anima, voce e corpo questo film.
La complessita della protagonista viene esaltata dal canto recitato di Lisette Oropesa
Lisette Oropesa, statunitense di origini cubane, é una Violetta da manuale: recita con il canto. Le sfaccettature di un personaggio complesso prendono vita momento per momento.
Lisette Oropesa ist mit ihrem lyrischen Koloratursopran, der sowohl zarte Lyrismen als auch dramatische Ausbrüche mühelos bewältigt, eine ideale Interpretin der Violetta Valéry, die in der Inszenierung von Simon Stone ja keine Kurtisane im Paris des 19. Jahrhunderts ist, sondern eine Influencerin der Gegenwart. Oropesa überzeugt sogar mehr als ihre Vorgängerin in der Premiere dieser Produktion. Man nimmt ihr sowohl die ausgelassene Lebensfreude zu Beginn als auch die Resignation und Verzweiflung über die fortschreitende Krebserkrankung ab.
Lisette Oropesa suspend le souffle du public chaque fois qu'elle ouvre la bouche et l'assistance aurait visiblement souhaité un bis pour "Sempre libera". Le contrôle des aigus et suraigus parachève celui de la ligne vocale au point de ne plus sembler surprendre. Mais ce rôle permet aussi d'apprécier le registre grave mélodieux de la soprano. Les deux rôles chantés par Oropesa cette saison à Covent Garden (Violetta et Gilda) ont en commun d'opérer une transition au cours de la soirée entre les qualités virtuoses et une concentration vocale à l'intensité du drame, moins brillante et plus tragique.
W roli Traviaty wystąpiła Lisette Oropesa. Śpiewaczka robi ogromne wrażenie w scenach kameralnych, takich jak rozmowa z ojcem Alfreda czy finałowa scena śmierci, gdzie słychać delikatną, melancholijną barwę głosu i bajeczne piana. W pierwszym akcie słynna „E strano!…Ah, fors’è lui…Sempre libera” była popisem technicznej biegłości i koloraturowej sprawności, szkoda jednak że przerwana została w środku przez owacje publiczności, co zakłóciło stopniowe budowanie przez artystkę napięcia.
Accanto a lui Lisette Oropesa è una Violetta delicata, diremmo quasi angelicata. Il soprano mette in luce le sue carte migliori nel canto lirico di “Ah, fors’è lui” e del duetto con Germont del II atto. Convince in ogni caso anche nel virtuosismo del primo atto, “Sempre libera”, coronata da un preciso Mib. Il personaggio risulta ben delineato in tutte le sue sfaccettature, anche se nell’ultimo atto un velo di stanchezza metteva alla prova la cantante. Sicuramente con le prossime recite la sua interpretazione crescerà, prendendo più confidenza con l’imponenza del palco e di questo spettacolo.
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.
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!
Lisette Oropesa als Violeta Valéry setzt neue Maßstäbe für Simon Stones La Traviata
Oropesas eher lyrischer als dramatischer Sopran beeindruckt mit schimmernder Schönheit, ist technisch perfekt und ermöglicht ihr ein müheloses Legato und präzise himmlische Koloraturen, auch in höchster Stimmlage. Das duftig leichte Timbre und ihr feines Vibrato verleihen ihrer Stimme einen pochenden, eindringlichen Klang. Wunderbar gestaltet sie das „Sempre libera“ und die Triller in „Ah, fors‘ è lui“ im dritten Akt. Wehmütig und gleichzeitig doch auch lebensfroh. Bei der Gestaltung der Rolle kommt Oropesa ihr untrügliches Gespür für Charaktere zugute. Im ersten Akt wirkt ihre Violetta noch etwas gekünstelt, narzisstisch und kapriziös. Die Entdeckung der wahren Liebe mit Alfredo verwandelt sie im zweiten Akt in eine verantwortungsbewusste, liebende, sorgende Frau, wozu auch das Gespräch mit Alfredos Vater beiträgt. Im dritten ist sie dann von der tödlichen Krankheit schwer gezeichnet, schwankend zwischen totaler Verzweiflung und aufkeimender Lebenslust, was sie auch stimmlich hören lässt. Dazu gehört Mut. Oropesas Gestaltung der Sterbeszene kann ergreifender nicht sein, auch wenn ihr von der Regie auferlegte stetes Voranschreiten auf der Drehbühne in krassem Widerspruch zu ihrer elenden körperlichen Verfassung steht. Aber wenn die Traviata dann im hell gleißenden Spalt verschwindet, ist das ein effektvoller, kaum zu überbietender Abgang.
Reste Lisette Oropesa. Nous suivons depuis très longtemps cette chanteuse éblouissante et de nouveau elle fascine par la facilité technique, par l’éclat d’une voix d’une fraicheur insolente sans aucune faille. Nous avions déjà admiré sa Violetta bien plus traditionnelle à Vérone. Dans cette production et avec cette direction elle est au rendez-vous en adaptant la manière de chanter à la vision du personnage. Son chant illumine toute la représentation : le premier acte éperdu et haletant, le deuxième désespéré, y compris musicalement car Gatti refuse de se complaire dans le lyrisme insistant mais plutôt le "précipité" (au sens chimique) du drame : elle est dépassée, presque empêchée de chanter « comme on l’attend » et c’est aussi déchirant. Les plus désespérés sont les chants les plus beaux2…
Son troisième acte est absolument exemplaire dans son rôle de jeune femme massacrée par la vie, la voix a une fraicheur tragique, et du coup presque inutile – de cette voix cristalline il ne sortira que la mort et le désespoir. Elle sait aussi se plier à une nouvelle approche, moins démonstrative et plus « vécue », plus réaliste que d’habitude.
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.
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.
Erst recht, wenn die „Traviata“ unserer Tage auf der Bühne steh: Lisette Oropesa ist mit ihrem herrlich leuchtenden Zaubersopran und ihrem intensiven Spiel einfach eine Wucht zwischen Koloraturfreuden und zu Tränen rührendem Sichen und Sterben.
Lisette Oropesa besitzt eine wunderschön timbrierte, mit einem kleinen Vibrato behaftete Stimme, die immer gut trägt und niemals forciert geführt wird. Ihre Technik dürfte brillant sein, die Stimme strahlt und glänzt und blüht in der Höhe voll auf, kann aber auch ganz wunderbar zurückgenommen werden. Sie hat auch keinerlei Probleme mit dem hohen Es in der Arie im 1. Akt und in den großen Tableaus hebt sich ihre Stimme mühelos über das ganze Ensemble. Darstellerisch nimmt man ihr die an Krebs erkrankte Influencerin ab, vielleicht auch deshalb, weil sie zu jener Sängergeneration gehört, die ihre Fans via Social Media an ihrer Karriere und an ihrem Privatleben teilhaben lässt. Die Sterbeszene gelang ihr ganz besonders berührend.
Mais Violetta Valéry, en ce dimanche après-midi, n'est nulle autre que Lisette Oropesa, triomphale de puissance mélodieuse tout en incarnant parfaitement la séductrice assumée. Son jeu et sa voix dynamique élargissent l'espace scénique et acoustique, sachant percer le mur d'orchestre et des c(h)œurs par ses accents, sans négliger les grands moments de douceurs et la claire déclamation du texte.
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.
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).
Lisette Oropesa, una de las mejores Violetta del momento, puso al público en pie en esta velada, con su interpretación que apoyada en una notable técnica le permitió expresar sin fisuras todas las facetas del personaje: alegría despreocupada e impulso apasionado, fragilidad del cuerpo y del corazón, enfermedad y miseria, renuncia y grandeza moral, desesperación y agonía. La compleja paleta emocional de la Traviata está magistralmente representada. Lisette Oropesa fue la reina indiscutible de la noche.
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.
Lugar y fecha: Gran Teatre del Liceu (15/XII/2020) Seductora y carismática, así fue la Violetta Valéry de la estadounidense Lisette Oropesa, éxito personal y ovación en el Liceu. Recuperadas las funciones de La Traviata tras ampliar el tope de 500 espectadores a 1.000, faltaba disfrutar de la tercera de las cuatro Violetta en discordia, vistas ya Kristina Mkhitaryan y Pretty Yende, y a falta de Ermonela Jaho en la última función. Lisette, la más ligera, sorprendió, pues más allá de un primer acto brillante, donde desplegó su instrumento a piacere, Mi bemol al nal del “Sempre libera!” , agudos fáciles, luminosos y timbrados, creció con el desarrollo de la partitura. En su dúo con Germont padre coloreó, buscó expresión y matices, siempre sul ato, con un fraseo detallado, articulando cada frase con una escuela belcantista de primera. En su aria nal “Addio del passato” , la más aplaudida, controló el vibrato, aportó drama y acabó con un pianissimo volátil inolvidable. Brava la Oropesa!
Riferimento attuale per il ruolo è il soprano Lisette Oropesa che ci regala una esecuzione ricca di trasporto emotivo che non perde mai di vista né il fraseggio né l’intonazione risultando fluente e cristallina nell’emissione. Ha piena consapevolezza anche della teatralità del movimento che le permette di portare in scena una Violetta credibilissima.
Applausi per tutto il cast, con ovazioni per Meli e vera e propria standing ovation per la Oropesa, concludono questa riuscita serata.
Chi rivela una crescita artistica e interpretativa formidabile è Lisette Oropesa nei panni della protagonista. Quando sentimmo per la prima volta il soprano in questo ruolo avevamo previsto un ulteriore sviluppo e ne abbiamo la prova: la sua Violetta ora è completa, dal virtuosismo del I atto al liricismo del II, fino al canto drammatico del III. L’interprete è anche cresciuta sotto il punto di vista attoriale, gestendo benissimo anche la maturazione scenica di questo iconico personaggio.
Ascoltare una tale sapienza nel tratteggiare il personaggio di Germont è una rarità che non pone comunque in ombra l’ammirazione per la Violetta di Lisette Oropesa. Canta bene, non forza mai l’emissione, che suona naturale, duttile, capace di esprimere una sincera partecipazione e un palpito personale anche nell’incalzare suggerito da Gatti. Anzi, proprio il fatto che non ci sia spazio per effetti e abitudini, che tutto si asciughi, pone in evidenza la fragilità iniziale, quella vibrazione nervosa che poi si fa sempre più intensa, consapevole, determinata e dolorosa anche nella recitazione, franca ed efficace. Alla frenesia degli eccessi segue il trasporto sincero senza artificio, mentre il trucco, le luci e la fotografia mettono bene in evidenza le espressioni del volto, tutt’uno col canto.
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.
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.
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.
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.
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.
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.
Lisette Oropesa tiene el phisique du rôle y viste perfectamente a su Violetta; su técnica vocal es inmaculada y, si se puede detectar en ella alguna ligera vacilación, ello es debido a las continuas repeticiones o interrupciones impuestas por el propio rodaje que obstaculiza el mantenimiento de la necesaria concentración. Fundamentalmente se trata de una soprano lírico-ligera que sin embargo consigue afrontar los momentos más dramáticos con una interpretación basada más en lo sutiles matices psicológicos que en los grandes efectos dramáticos.
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.
...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.
No es nada fácil describir con palabras su voz y su arte. Cuando se alcanzan tales alturas interpretativas toda reseña resulta torpe. Lisette Oropesa posee un instrumento verdaderamente excepcional. Belleza tímbrica, riqueza armónica, aterciopelada redondez, generoso fiato, gran extensión y volumen, una impostación impecable y una estupenda proyección son algunos de los factores que contribuyen a la altísima calidad de su voz. Pero estos aspectos no bastan para explicar el efecto que produce en el oyente. Hay algo más, algo indefinible que otorga a ciertas voces una irresistible fuerza de seducción.
Lisette Oropesa était Violetta, un rôle qu’elle chanta il y a quelques années et qu’elle a interprété l’espace d’un soir à Athènes quelques jours avant, histoire de se le remettre en voix. Ce qui étonne toujours chez Oropesa et qui ravit, c’est d’abord son phrasé italien quasi parfait, son sens de la couleur, l’impeccable contrôle de la voix et la tenue du souffle. On lui a reproché quelquefois une sorte de supériorité de la technique sur l’émotion ; on a au contraire ici l’union d’une technique impeccable et le sens donné à chaque mot, le poids de l’expression (quel deuxième acte ! quelle intensité dans amami Alfredo !) et l’intériorité, un mot étrange dans une représentation devant 15000 personnes, où elle est une petite tache blanche sur l’immensité de la scène. Lisette Oropesa, aux origines cubaines, a une évidente familiarité avec un phrasé latin, et une vraie sensibilité, outre une technique de fer acquise dans la formation américaine. C’est d’emblée une Violetta avec laquelle il va falloir compter, car m’est avis qu’elle va les multiplier. Son Addio del passato est exemplaire, et même sa lecture de la lettre, si claire. Et en plus elle a les notes qu’il faut, dans les agilités (ses gioir du premier acte) comme dans les moments plus lyriques du deuxième (dite alla giovine bouleversant et sans doute aussi décuplé par l’émotion distillée par son partenaire Domingo).
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.
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.
Lisette Oropesa sang die Violetta einerseits virtuos, andererseits auch mit tiefer Emotion. Ihre dunkel gefärbte, klangvolle, metallische, aber dennoch runde und weiche Stimme ist etwas Besonderes, und man hörte ihr den ganzen Abend gebannt zu. Auch schauspielerisch konnte sie überzeugen, am meisten im dritten Akt, in dem sie die Zuschauer mit ihrem innigen Rollenporträt tief berührte.
Violetta é interpretata in modo superbo dal soprano Lisette Oropesa che ha dato anima, voce e corpo questo film.
US-Sängerin Lisette Oropesa begeistert in Simon Stones Inszenierung an der Staatsoper.
Diese aber geraten in den Hintergrund, wenn eine Sängerin wie Lisette Oropesa als Violetta Valéry auf der Bühne steht: Sie verkörpert glaubwürdig diese junge, heutige Frau, die schicke Partys feiert, per SMS kommuniziert und dabei betört sie mit ihrer famosen Stimme. Denn sie verfügt über einen lyrischen Koloratursopran. Fulminante Ausbrüche sind bei ihr genauso möglich wie atemberaubende Lyrismen, feines, zartes Vibrato. Zuweilen erinnert die in New Orleans geborene Amerikanerin an Ileana Cotrubas.
Wenn sie nach dem Fest im ersten Akt durch Stones Paris wandelt, und ihr „Sempre libera“ intoniert, ist das von einzigartiger Wahrhaftigkeit. Mit ihrer brillanten Technik changiert sie mit Eleganz zwischen Ausdruck und betörendem Seelengesang.
Dabei wird es wohl schwierig sein, die makellose Leistung von Lisette Oropesa zu übertreffen. Die amerikanische Sopranistin ist ein Phänomen, Publikumsliebling und eine der großen Verdi-Sängerinnen der Gegenwart. Dies konnte sie bereits vor einigen Wochen als Gilda in Rigoletto beeindruckend demonstrieren.
Was zeichnet ihre Violetta aus? Eine atemberaubende Klarheit in der Höhe, technische Perfektion und die Fähigkeit, die Partie bis in die kleinsten psychologischen Verästelungen auszudeuten. Von der fliederhaften Leichtigkeit des Duetts „Un dì, felice, eterea“ bis zum letzten, schmerzhaften Aufbäumen im letzten Akt („Addio del Passato“) gelingt es ihr, Höhen und Tiefen ihrer Figur perfekt darzustellen.
Nel ruolo della sfortunata protagonista c’era una straordinaria Lisette Oropesa, voce bella e sostenuta da un’invidiabile tecnica che le ha consentito di superare il nodo “delle tre Violette” che, come noto, richiede altrettante tipologie di soprano (leggero, lirico e drammatico), che sottolineano con lo svolgersi della vicenda il declino della donna e l’incedere inesorabile della malattia. Una bella linea di canto la sua, con legati espressivi e un pieno controllo del suono.
Rimpasto nel cast della serata che vede nel ruolo di Violetta per la seconda recita in Arena Lisette Oropesa che disegna una ragazza particolarmente fragile sin dall’inizio nel suo desiderio effimero di evadere dal suo destino, dalla voce tecnicamente malleabile e parecchio efficacie nelle note più alte del suo registro, capace di rifinire un suono delicatissimo fino all’impercettibile, sempre con grande precisione.
Im Mittelpunkt des Bühnengeschehens (Bühnengestaltung Andreas Reinhardt) stand fraglos die Gesangsleistung der von Lisette Oropesa verkörperten Violetta. Die enorm schwierige Partie wurde von ihr bis in die Höhen und das Letzte an Ausdruck und künstlerischer Kraft Fordernde hinein auf zuweilen geradezu ergreifende Weise bewältigt. Der emphatische Beifall am Schluss galt vor allem ihr und war vollauf verdient.
Bei Lisette Oropesa, Wiens gefeierter neuer Traviata, besitzt die Kantilene zwar auch einen dramatischen Unterton, ist aber noch nobler, geschmeidiger eingebunden in den Gesamtverlauf der wehmütigen Arie, die sie in makellos geflutetem Pianissimo abschließt.
Man muss ein gehöriges Stück zurückblättern in den Annalen der Staatsoper, bis man auf eine Traviata von ähnlicher Souveränität stößt. Gewöhnlich teilen sich die Sopranistinnen bei dieser Partie ja in zwei Felder: Die einen können die Brillanz für den ersten Akt aufbringen, die anderen besitzen eher die Lyrismen und die jugendlich-dramatische Spannkraft für den Rest. Oropesa, hierzulande bereits als Konstanze, Gilda und Lucia bestens eingeführt, beeindruckt dagegen in allen drei Sparten, weiß aber alle technischen Fähigkeiten in Ausdruck zu verwandeln. Und das mit einem Timbre, in dem immer wieder Ähnlichkeiten mit Angela Gheorghiu und Ileana Cotrubas aufblitzen.
Erst in der Vorwoche hatte Lisette Oropesa ihr Rollendebüt als Violetta im Haus am Ring gegeben – und sie erweist sich als exzellente Besetzung. Nicht nur verfügt sie über raumgreifendes Volumen, bewegliche Koloraturen und leuchtende Höhen, auch darstellerisch geht sie voll in der Partie auf: Mit natürlicher Glaubwürdigkeit durchschreitet sie die emotionalen Wellentäler zwischen ausgelassener Lebensfreude im hervorragend gesungenen „Sempre libera“ und depressiver Resignation, die Verzweiflung steht ihr mit tragisch fortschreitendem Verlauf der Geschichte ins Gesicht geschrieben, mit ergreifender Intensität schüttet sie ihr leidendes Herz aus, bevor sie die Welt durch visuell wirkungsvoll verblassende Erinnerungen an frühere glückliche Tage verlässt.
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.
Lisette Oropesa, statunitense diorigine cubana, é l’incarnazione di Violetta. Vocemagnifica, aderisce totalmente al personaggio, élibera di muoversi, di danzare. La sua Violetta é disperata, carnale, gigante. L’amante a cui dedica quell’“amami Alfredo”, che commuove fino alle lacrime chi ascolta.
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.
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.
Oropesa a conçu Violetta Valéry précisément sur la base solide de la tradition belcantiste, en déployant un chant d'une rare pureté, d'une perfection vertigineuse, d'un équilibre admirable. Elle a un formidable contrôle de la respiration, ce qui lui permet au deuxième acte une exquise énonciation de Dite alla giovine, un moment de rare concentration, dans lequel elle rend le théâtre muet devant la qualité de l’expression, comme absorbée, rêveuse, obtenue grâce à la généreuse amplitude de la tenue de souffle. Et comme on pouvait s'y attendre de la part d'une chanteuse qui maîtrise si bien les ressources de son instrument, la fin du premier acte est admirable pour la limpidité et la précision de la colorature.