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Winter Newsletter

Italian Opera, Paris, The Met, Munich, plus a few extras!

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Welcome to my first newsletter of 2020!  It’s winter and I’m in lovely Paris, France debuting Rosina in IL BARBIERE DI SIVIGLIA at the Opéra National de Paris, singing in the Bastille.  This role I sang in college when I was a sophomore, and this installment in Paris is the first time I’ve ever sung Rosina professionally!  So I’m very excited to add another beautiful bel canto role to my repertoire.  This is the only new role I will be singing all year, which is a major change from past years, so I’m embracing it.  

This February and March you can join me at the Metropolitan Opera for 6 performances of LA TRAVIATA, and a few exciting surprises which I’ll announce in due course.  I’m also singing a small house concert for the Hamlen-Palm Series, which supports AIDS research and funding for artists who struggle with it.  

Then I head to Munich to sing 3 performances of LUCIA DI LAMMERMOOR at the end of March.  It’s my first bel canto role at the Bayerische Staatsoper! 

Upcoming Performances

Il barbiere di Siviglia

Opéra national de Paris

In creating this ebullient opera buffa, Rossini captured all the fiery spirit of the comedy by Beaumarchais that inspired it. A native of Venice, birthplace of commedia dell’arte, Damiano Michieletto is highly sensitive to the burlesque vein in Rossini’s music. He transposes the action of this Useless Precaution to a modern-day Seville inspired by the cinema of Almodóvar. Bartolo’s monumental building, where Figaro’s free spirit whirls and twirls, allows this director to give free rein to his off‑beat imagination.

January 11, 14, 17, 20, 22, 26, 29
February 01, 04, 07, 09, 12
Opéra Bastille
Paris, FR

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La traviata

The Metropolitan OPera
Violetta Valery

Michael Mayer’s sumptuous staging, a highlight of the 2018–19 season, returns with two casts of bright stars. Sopranos Aleksandra Kurzak and Lisette Oropesa share the role of Violetta, the opera’s tragic heroine, opposite tenors Dmytro Popov and Vittorio Grigolo as her ardent lover, Alfredo, and baritones Quinn Kelsey and Luca Salsi as Alfredo’s stern father, Germont. Karel Mark Chichon and Bertrand de Billy conduct one of opera’s greatest scores.

February 26, 29
March 05, 09, 13, 19
Metropolitan Opera
New York, NY

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Classical Action / Hamlen Palm Series

The series honors two of Classical Action’s most ardent supporters. Charles Hamlen was the founding director of Classical Action, a visionary in the world of classical music management as the co-founder of what would become IMG Artists, and artistic adviser to the Orchestra of St. Luke’s. Hamlen passed away from leukemia on August 1, 2018.

March 02
Private Venue, New York City

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Lucia di Lammermoor

The Bayerische Staatsoper

“When great emotions cannot be truthfully expressed, they explode with the power of an atom bomb” (Barbara Wysocka). Donizetti’s LUCIA DI LAMMERMOOR - the ROMEO AND JULIET of the Scottish Lowlands so to speak - is far from being a private tragic love story. Rather, it is above all a political tale, which shows how a totalitarian system distorts human relationships at their very core and finally consumes them. The development and extinguishing of unrequited love has provided Donizetti with his most haunting music. Revenge is bloody; madness deadly. And the agony of emotions - according to the Director - “destroys everything and everyone.”

March 28, 31  and  April 03
Bayerische Staatsoper
München, GE

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I had the wonderful opportunity to give a bunch of really great interviews during these past few months. Here are just some of them:

Associated Press (English)
Revista Arcadia (Spanish)
Opera Life Magazine (Italian)
Opera Diva Series Podcast (English)
The Opera Queen (English)
France Musique Podcast (French)

Mahler Symphony No 8 - Deutsche Grammophon Recording


The Philadelphia Symphony released our performance of Mahler 8 on CD and Digital media! You can find all of the available sources below

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2019 year-end accolades


Best Of 2019: OperaWire’s Top 11 Singers Of The Year

3.Lisette Oropesa
“She moved effortlessly between nimble, fluttering coloratura and arching lyrical phrases” – OperaWire

Last year, Oropesa scored some of the biggest successes of her career, elevating her international status. And this year she became a bonafide star winning the Beverly Sills Award and Richard Tucker Award for which she headlined a starry gala at Carnegie Hall.

Best classical concerts - Pittsburgh Post Gazette

Honorable mention to soprano Lisette Oropesa for her impeccable vocal work in the Pittsburgh Opera’s April production of “Don Pasquale.”

Best Classical Concerts 2019 - WQXR

Among singers, Lisette Oropesa was a vocal dream in the title role of Massenet’sMANON.

Most Innnovative Soprano - Classical Post Awards

Described as “one of those exceptional things that appears, like a Haley comment, once every 10 years” (NOTODO), Lisette Oropesa is one of the world’s most demanded presences in lyric coloraturas in our modern-day. With several successes and debuts in this current season alone—Opera National de Paris, Teatro alla Scala, the Teatro Real Madrid, and more—Lisette’s “endless supply of golden-age trills” (OPERA NEWS)and “brightly crystalline and arrestingly powerful” voice (NEW YORK TIMES)have made this Cuban-American soprano a must-witness performer, turning everything she touches into gold (PLACE DE L’OPERA).

Best Performances of the year - OperaWire

“Manon” may be my most loved opera so there was zero possibility I’d miss it from the Met starring Lisette Oropesa. To hear a leading lady with a true lyric-coloratura soprano in the role was a joy and Oropesa proved an ideal match for this passionate coquette, looking and sounding sublime at every moment.

Top ten performances of 2019 - Washington Classical Review

Lisette Oropesa’s stunning coloratura exploits made for an affecting portrait of the madness of Ophelia.

Los mejores espectáculos escénicos del 2019 - El Periodico


La ópera barroca de Händel brilló con una interesante propuesta del Claus Guth, director escénico de este montaje interpretado a la perfección por un reparto donde destacaron el contratenor Bejun Mehta y la soprano Lisette Oropesa. El buen trabajo de Josep Pons con su orquesta, la Sinfònica del Liceu, contribuyó a esta maravillosa creación.

Opera for Peace


This year, Lisette became a founding ambassador for a new initiative called Opera for Peace. 

The special status and position of an artist gives them the opportunity to communicate their convictions about the most serious concerns humanity faces, topics outlined by the World Economic Forum: climate change, security, inequality, poverty and civil rights, as well as mental health and body positivity.

We provide a platform for our artists and partners to speak about the essential social issues facing our world and society today. We also give special support to artists from disadvantaged backgrounds, and promote social justice and equality.

More Information »



En direct de New-York, la consécration de Lisette Oropesa

Oct. 27, 2019

Lisette Oropesa finally is the great triumphant of the evening, She takes on the character of Manon with disarming ease. Her shy appearance in the first act, with her innocent look, evokes the young Adjani in L’Ecole des femmes. She sings "I am still dizzy" with a pure and crystalline timbre. At II, she offers a "Little table" full of emotion contained before appearing, at the beginning of the third act, in her femininity, disturbing and provocative. Her voice becomes sensual from the first notes of "Am I kind like this?" "And adorns himself with nostalgic accents in the gavotte. Finally, his final scene is particularly poignant, both on the scenic level with his exhausted gait and his pale face, as well as vocal. This Manon immediately rose to the level of the best performers of the role.

—  Christian Peter  •  Forum Opera



Lisette Oropesa y Michael Fabiano brillan en la Manon del Met

Oct. 21, 2019

Manon of Lisette Oropesa stood out for the naturalness of the projection and the dramatic effectiveness that the character was able to print. The technique of the Cuban-American soprano is well above the vocal difficulties of Massenet's heroine. This allowed her to focus on psychologically profiling a reference Manon, as delicate as torrential, as innocent as it was sensual. The energy displayed by the soprano on stage is unheard of, an artistic surge that refreshes the character and makes us rediscover it again. The voice, with a vibrato always at the limit, maintains the flexibility that has made it famous, but lyrical meanders are already guessed which, if widened, can lead to a more settled vocal typology, which is hardly guessed today. Oropesa will sing this season Violetta in Madrid and New York, Rosina in Paris and Lucia in Munich.

—  Carlos J Lopez  •  Opera World




Oct. 29, 2019

Oropesa first. A noted bel canto singer – who has, by the way, also run six marathons! – she’s adept in both the long legato line and coloratura, but as her Manon showed, she’s also a lyric soprano who brings a dramatic intensity to everything she sings. Her two solos were well chosen. Amenaide’s lively Come dolce all’alma mia from Rossini’s underrated Tancredi was a gift, her flexible, open-throated, and especially open-hearted approach connecting singer with audience from the get-go. Hurling herself at the top notes with joyous abandon, it displayed the evenness of a voice that can also dip low with never a hint of ugliness. Elvira in I Puritani is a tricky role, especially launching in mid-mad scene, but Oropesa’s Qui la voce and subsequent cabaletta were stylish, fluent, and demonstrated her ease in the upper register. The Richard Tucker Award is intended to acknowledge a singer on the threshold of a major international career. Tick.

—  Clive Paget  •  Limelight Magazine


WCO’s superlative casting lights a fire amid the gloom of Thomas’s “Hamlet”

Nov. 25, 2019

Exemplary in this demanding coloratura role was soprano Lisette Oropesa, whose voice seems to grow richer and more refined with each appearance. She has sung the role on stage before, and the sense of a specialist’s knowledge came through from her love duet in Act I and Act II scene onward.

Oropesa’s coloratura exploits, especially in the show-stopping mad scene that encompasses all of Act IV, revealed consummate control and grace. Incendiary high notes floated, chromatic runs slid downward with clarity, and trills glimmered. Particularly convincing were the runs that rocketed upward, ending abruptly as high as the E off the staff, incarnating the character’s mad outbursts.

—  Charles T. Downey  •  Washington Classical Review



Gstaad in majesty

Jan. 6, 2020

One of the highlights of the 2019-2020 edition of the Gstaad New Year Music Festival was the recital of the American soprano Lisette Oropesa. In rehearsal in Paris for Le Barbier de Seville, the singer did not hesitate to make a quick return trip to Gstaad, despite the strikes in France and their share of suppressed trains, to offer a memorable evening. The program was particularly varied and eclectic, alternating opera and lieder tunes, in four different languages. Unmistakable charisma, clear and luminous voice, ample and majestic, healthy and homogeneous over the whole range, with brilliant highs and perfectly assured vocalizations, Lisette Oropesa has everything to make a good career, and besides the biggest stages are jumping on her. At Gstaad, she was able above all to highlight her musicality, her impeccable diction, whatever the language sung, and her sense of expressiveness, playing on each word, each sentence, each inflection of the score, whether in melancholy and sad compositions or in flamboyant and brilliant pages. She was accompanied on the piano with finesse and tact by Natalia Morozova, a follower of Gstaad since she has performed there for ten years.

—  Claudio Poloni  •  Concerto Net



Last year was so incredibly wonderful for me, it’ll be hard to top it.  But what all the accolades and positive feedback gave me more than anything was a chance to reflect on my journey up to this point, and take the lesson wrapped up in it.  

It’s never over.  There are peaks and valleys.  

Not every year is going to be glittered with accomplishments.  But the accomplishments aren’t the body of a career.  A career is a path, a journey that carries on through the good and the bad.  

I’m happy that I can make music for a living; that has always been my goal and I will never lose sight of that.  As my journey continues on through the years, I hope to always keep that my ever constant resolution.   

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