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Spring Newsletter
Wiener Staatsoper, Opernhaus Zürich, Bayerische Staatsoper, La traviata CD release!
Click here for the video!
Hello friends and welcome to my Spring 2022 Newsletter! These next few months are ripe with exciting bel canto performances and a house debut that I’m particularly looking forward to.
In April we have 4 performances of Lucia di Lammermoor at the Wiener Staatsoper, followed by 5 performances in May-June at the gorgeous Opernhaus Zürich, a house debut I’ve been looking forward to with great anticipation! Immediately after, I head to Munich for 2 performances of La traviata!
I’m happy to be spending the most beautiful time of year in three gorgeous cities, surrounded by (or very close to!) the mountains! I love to get out into nature and explore any time of year, but getting to spend April, May, June in Austria, Switzerland, and Bavaria is as good as it gets!
Hope to see you and greet you at one of the Lucia or Traviata shows.
In addition to live performances, our studio recording of La traviata will be released officially at the end of May! This project was a joy to be a part of, especially during the challenging times we were facing in the winter of 2021. I’m happy that this labor of love will finally see the light of day and be available to audiences worldwide.
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Upcoming Performances
Lucia di Lammermoor
Wiener Staatsoper
Lucia
Lisette stars in Lucia di Lammermoor at the Wiener Staatsoper
April 16, 19, 24, 29
Wiener Staatsoper
Wien, AT
Lucia di Lammermoor
Opernhaus Zürich
Lucia
Lisette debuts in the Opernhaus Zürich in Lucia di Lammermoor
May 22, 26, 29 and June 04, 12
Opernhaus Zürich
Zürich, CH
 
La traviata
Bayerische Staatsoper
Violetta Valery
Lisette brings her iconic Violetta Valery to the Bayerische Staatsoper
June 28 and July 01
Bayerische Staatsoper
München, DE
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Features
La traviata is to be released in May!
Announcement
RELEASE MAY 2022 (April 2022 exclusively on pentatonemusic.com) This album will be released as 2 SACDs and in digital formats for streaming and high-resolution downloads.
DIGITAL WORLDWIDE RELEASE DATE: 27 MAY 2022
Audio Resolution for digital files: DSD64, 96/24 PCM surround, 96/24 PCM Stereo and 44.1k/16 PCM Stereo
SXSW Panelist
Feature
Lisette was a virtual panelist at the SXSW conference this year, joined by Austin Opera's Olivia Newcomb, Timothy Meyers, and Annie Burridge. They had a very interesting conversation based on the topic of performing during the time of Covid and what kinds of struggles and opportunities were presented.
You can find the entire conference on facebook here.
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Reviews
It is hard to imagine two singers more suited to the roles of Giulietta and Romeo than Lisette Oropesa and Marianne Crebassa. Oropesa’s soprano was silvery, with splendid, phosphorescent high and super-high notes, while Crebassa’s mezzo had a spectacular warm and bronzed timbre, with remarkable uniformity in all registers, and beautiful, round high notes. They showed great commitment to the roles and good chemistry among them. Oropesa’s Giulietta was convincingly torn between her love for Romeo and loyalty to her father, with a lyrical delivery, full of pathos. Her “No, non poss’io partire” in the second act was a miracle of filati and variations, with spotless high notes.
— Laura Servidei • Bachtrack
The singing company is illuminated by Lisette Oropesa's Juliet. The American soprano hovers over Bellini's melodies with ineffable lightness, caressing them with a radiant mother-of-pearl tone that seems to illuminate everything around him. Her masterful breath control allows her to create mezzevoci of silky delicacy while her vocal body remains compact and homogeneous throughout the range, with a medium-low quality combined with a radiant and very easy high register. On the expressive level of her, her Juliet is of a spontaneity that she cannot fail to move, a character rich in nuances, not limited to a liliale sadness.
— Giordano Cavagnino • GB Opera Magazine
The soprano was full of means from the first of the pieces, LA STELLA by Mercadante: the voice spread easily through the room and its attractive timbre filled every corner of the theater. In the pieces by Schubert and Schumann she showed the enormous interest that this repertoire arouses in her, since she performed them without score. She shows, then, that she has worked a lot on this repertoire and, although she is fundamentally an operatic singer, she defends herself in this field without problems thanks to her innate musicality.
— César RUS • Opera Actual
With her slender, flexible soprano voice, Oropesa manages to sensitively fathom the moods and images evoked in the songs she has chosen.
— Manfred A. Schmid • Online Merker
Virtuosic, as Lisette Oropesa sings in the bravura aria Martern of All Kinds, competing with the voices of the orchestra
— Der Standard • Der Standard
Oropesa's soprano didn't bestow just cool virtuosity on Gilda, instead she wore her heart on her sleeve. Her voice, in the softly bedded middle register, hinted at a gentle melancholy reminiscent of operatic times long gone. The singer played the character without exaggeration, infusing it with heartwarming naivety and youthfulness
— Dominik Troger • Online Merker
From his opera Les Martyrs premiered in Paris in 1840, probably one of his least known or performed, Oropesa performed a dark aria "O ma mère, ma mère...Qu'ici ta main glacée bénisse ton enfant", of a belcantismo to the limit , as well as suitable for displaying talents for high registers and extraordinary agility that require not only technique or efficiency, but a kind of gift. Yes, hard work.
— Alicia Huerta • Republica
Staging part III until the end of the mad scene, we were able to enjoy the delicacy of Lisette Oropesa, who presented us with the complete psychology and vocality of the famous mad scene. A scene in crescendo that Oropesa knew how to cope with a mixture of madness and sweetness that dazzled the audience. After the famous aria, the audience went wild with applause and other cheers to praise the great job she had just done on stage. She, visibly shocked by the respectable's reaction, had to bow down, something that the public applauded even more, leading Oropesa to fall on her knees in sincere gratitude for the reaction she was experiencing. Brava!
— Norman Marsà • En Platea
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Reflections
With every passing month, I feel more and more grateful that theatres are open and welcoming audiences, who are delighting in our performances. Even though there is still turmoil and great suffering in the world, and it’s affecting me every day, I turn to hope; music and art are important tools by which healing can occur for all of us.
Being an artist in dark times is not an easy task. Anyone can sing and dance when things are good. But when they’re not, it takes a massive amount of energy and commitment to keep moving forward, stepping out onstage, and being a vessel for emotional communication with your fellow human beings.
Singing is so much more than technique, acting is more than pretending, and performing is more than just getting up in front of people without fear. With this art form, you must be all in, heart, mind, body, and spirit. So sometimes it can be a lot to handle! However, it is truly a gift, a blessing, to be able to communicate and to reach people in this way.
I give thanks every day for the fortune I am blessed with, and I so appreciate the generosity of the public that is open to receiving the outpouring of all artists’ work.
Thank you for being part of that special exchange.
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Contact Info:
Email:
newsletter@lisetteoropesa.com
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