All greed, wit and wide, sexy eyes, with a sweet, fast vibrato, trills as neat as pinking shears and a prodigious appetite for the texture and flavour of the Italian language, Oropesa holds the performance. This was a prima donna performance in every sense, and the foot-stamping accolades Oropesa received were totally deserved.
Vocally, Oropesa was well ahead of the pack. Her command of phrasing of the coloratura is exceptional: she can accelerate into a run and shape the dynamic as she leads up to a high note which she duly nails in the middle, with no vibrato needed to mask any possible inaccuracy. It was a properly starry prima donna performance. The Cuban-American soprano was equal to all her character's skittish bel canto demands. Hilarious, endearing and blest with immaculate timing, she made the cruel challenges of her Act 1 cavatina seem like throwaway lines and single-handedly gave the evening its class.
De rol van Gilda was bij Lisette Oropesa, een Amerikaanse coloratuursopraan met schitterende topnoten, in goede, tedere handen. Van een andere wereld! Alleen al om Lisette Oropesa is deze Rigoletto de moeite van het bezoeken waard. Een fonkelende parel! Slender and graceful, soprano Lisette Oropesa was simply world-class as Gilda, with flawless emission and generous top notes, crystalline up to high E. Even more stunning than her bravura was the melting glow at the centre of her voice, her morbidezza softness.
Lisette Oropesa een Gilda die een in voorkomen en timbre meisjesachtige vertolking combineerde met een volwassen artistieke allure. Haar licht gekruide lyrische sopraan met een mooi natuurlijk vibrato gaat geen zee te hoog, maar excelleert tegelijk in lyriek en vocale finesses.
Aan het slot van een exemplarisch 'Caro nome ' wordt dat alles bekroond met een triller zoals ik die al veel jaren niet meer heb gehoord. Oropesa was een fantastische Gilda. Met een stem zo breekbaar als glas, transparant en sterk tegelijk, is ze een ideale vertolkster voor deze rol. Making the most of her role was the raven haired Spanish lady Konstanze sung by Lisette Oropesa notable for her creamy tone.
For someone with the slight build of a marathon runner she is one, and apparently a very good one, too , Oropesa gives an impression of having limitless resources of vocal power, which, wisely, she managed to keep under wraps for this program while never sounding reined in. It was a gutsy move, and Oropesa easily filled the smaller venue with sound.
The accuracy during runs was striking, as were the highest notes, all produced with facility. Her tone turned especially limpid on the little cadenza. Pianist Vlad Iftinca, who was a consummate musical partner throughout the program, gave vitality to the long introduction to the piece. Quelle artiste! Face au couple si assorti et si accompli le reste de la distribution tient parfaitement.
Frissons garantis! Quelle extraordinaire sensation. Oropesas Koloraturen sind frei und von lyrischer Reinheit, ihr sotto voce ist engelsgleich. Al fianco di tale Rigoletto, l'ottima Gilda di Lisette Oropesa. Si becca un applausone a scena aperta dopo un notevole Caro nome, avvalorato dal lavoro di orchestra e direttore, e insieme a Salsi porta a casa il finale da incorniciare.
The role of Marie encompasses both light-hearted coloratura fireworks and highly emotional legato passages.
Oropesa navigated the challenging role brilliantly. That aria, whose descending melodies seem to foreshadow later masterpieces of Giuseppe Verdi, the younger composer whom Donizetti mentored, was performed with exquisite sensibility and style. Oropesa sings Maria with a bright, almost carefree lyrical approach, expertly shaping each line for effect but doing so in a natural way.
She sang flawless runs and coloratura, acted in the humorous tradition of Carol Burnett, moved like a prima ballerina, and used vocal coloring for best emotional effect.
Thus, while Niccol6 Pisano may be ranked as archaistic, Giotto and his school are classic and not archaic, as also the Van Eycks and their followers, the French sculptors of the thirteenth century, and the Chinese and Japanese artists since many centuries. The Quattrocento painters of Verona betray two fairly distinct tendencies. This is the moment in the decline of art when it necessarily produces prettiness hence, by the way, the attractiveness of the first-fruits of a decline ; and prettiness, being what it is, is, for the reasons already given, necessarily in- ferior. But the Antique, in order to produce this effect, must be accessible in sufficient examples of its best work, and it must encounter men of such vigorous inde- pendence that its masterpieces will not lure them into imitation. An error has occurred. Check-out date. First there are the leads.
Her pianissimo, crescendo and decrescendo were breathtaking. Clearly, Oropesa is a rising star of opera. The role of Marie is a coloratura soprano's dream and Oropesa makes the role look super fun and easy despite being the busiest presence onstage. Oropesa demonstrates impressive vocal control and agility. Possessed of a bright smile and prolific comedic talent, she is the highlight of the opera. First there are the leads. Grabbing every scene by the short and curlies is an insuppressible Lisette Oropesa, singing her Marie with technical fabulousness and beautifully-toned buoyancy.
If she veers a tad close to the chronically-cheerful tradition of Julie Andrews, she offsets it with some great physical comedy. Oropesa does not have a big sound, but her limpid tone and elegant phrasing pay dividends.
This is especially true in "Il faut partir," Marie's Act 1 aria of farewell to Tonio after learning that she must leave him and the regiment to follow her new-found aunt. The opera is performed in the original French; Ginsburg said her lines in English. The soprano is a natural comic actress, too. She has particular fun in the second act, when Marie, pushed to hone high-society ways, makes a mess of singing and dancing lessons.
The joy that this character feels, while exhibiting her nationalistic pride, is pervasive throughout the opera. Oropesa possesses a thrilling soprano voice of infinite variety and an ethereal purity of tone. All the vocal performances impress, but none more so than Lisette Oropesa as Marie, the title character. Oropesa is in complete command throughout. Her coloratura is both delicate and precise, and equally as impressive, she makes the high notes demanded by the role seem easy.
And her virtuosity is matched only by the joy she brings to the role with her acting and movement. Lisette Oropesa gave a simply dazzling performance as tomboy-turned-lady, Marie. From the graceful, ardent first notes sung off stage to the glorious finale on the shoulders of the regiment, she was seemingly born to play the part.
ncof.co.uk/map103.php It was a consummate performance, sung with notable facility. All of the things I love about her singing were in abounding evidence tonight: the distinctive colour, the mastery of dynamics, the magical turns of phrase, the imaginative way with words. Kalish was a most valuable fellow sorcerer. Three familiar songs by Mendelssohn himself followed. A delighted audience rewarded the pair with vigorous applause. Soprano soloist Lisette Oropesa has a rich, complexly timbred voice that works well for this music. As Countess Almaviva's strong-willed servant who must battle the advances of the Count while preparing to marry Figaro, Oropesa brings out the nuances of character with clarity, whether she is flirting with her intended or standing her ground against the Count.
Her voice also rings true with clear tone and supple beauty, especially in her playful rendition of "Deh vieni, non tardar. Lisette Oropesa may not have had the same size of voice as others on the big Kennedy Center stage, but her Susanna was effervescent and charming. In her duets, both with Figaro in Act I and gorgeously with the Countess in the second half of the production, the voices blended beautifully. More important to this audience member, she acted the part with such verisimilitude that I was rooting for her all the way. Regarding Ms. Oropesa made this notable role her very own, deftly and intelligently adapting to every negative plot twist with a fine sense of theater and with a bright, sunny soprano that matched the positive attitude of Mr.
A special word for Lisette Oropesa, whose character, Mater Gloriosa, is supposed to appear out of the sky. The top tier of Verizon Hall was perfectly suitable, with her in a white gown and voice sounding, well, gloriosa. Making her debut with the orchestra, soprano Lisette Oropesa spun out a radiant sound that communicated every hopeful, calming word in the fifth movement. Oropesa and Mr. Churchwell brought uncommon freshness to this music, which somehow hovers on the divide between breathless desire and spiritual calm.
Oropesa combined vocal refinement with articulate delivery of the texts. Oropesa herself. Clearly, she involves herself deeply in the words she sings. To judge from her first attempt at the role heard Oct. Her quicksilver tone aptly combined appealing girlish purity with lightly charged sensuality. It will be remembered as a 'were you there the night' soprano Lisette Oropesa made her debut as Violetta in "La Traviata.
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. In fact, Ms. Singing from the heart, the entire ensemble was at its thespian best. Bass-baritones Sly and Pisaroni, both tall and handsome, engaged in convincing combat, and sopranos Sierra and Oropesa were beauteous and appealing. As the center of most everything that happens in the opera, a Susanna must convey wit, intelligence and spark.
Lisette Oropesa is a charming Susanna. Her voice has a gorgeous delicate quality to it but still has volume.