- Completely Updated & Revised Fifth Edition
- IAUUnder One Sky | EVENTS
- Pero Un Especial Salon En El Firmamento (Spanish, Paperback)
Lisette Oropesa, making her Royal Opera debut, is a revelation as Lucia. She acts with conviction, hits the notes dead centre and controls the dynamics. But all ears as well as eyes are on Lisette Oropesa. Lucia is her first Royal Opera role, and the Cuban-American soprano is sensationally good. She makes the stratospheric vocal fireworks of her mad scene — accompanied by flute this time, not glass harmonica — sound easy; indeed, her every note is part of a convincing portrayal of a complex character.
Lisette Oropesa makes an exciting house debut. Her mad scene is beautifully judged, full of nuance and changes of pace — deeply disturbing rather than tragic — and her tender relationship with Alisa superbly acted by Rachel Lloyd is the most honest in this ghastly story. Having rescued Glyndebourne's Don Pasquale from mediocrity this summer, the Cuban-American soprano now elevates another Donizetti opera to the heights. Oropesa's subtle vibrato, fast, light and allied to a silvery-bright timbre, was a constant delight, and her account of the mad scene accompanied this time by a solo flute rather than glass harmonica obbligato had a transcendent beauty.
As Lucia in this handsome and intelligent production, the birdlike American-Cuban soprano Lisette Oropesa, bubbly and light-hearted in Glyndebourne Festival Opera's Don Pasquale this summer, now conveys both aching fragility and determination, powering up to those famous high notes with the accuracy of a swift.
The whole performance is shot through with a passion that makes Lucia capable of a calculating and overwhelmingly violent attack on her new husband. Lucia is sung by Lisette Oropesa, here making her house debut. She has excellent support for the long fioratura lines, and ideal agility for the runs and ornaments. Her Mad Scene flutes here, no glass harmonica is more about dramatic conviction than vocal acrobatics, but is no less impressive for it.
Whilst every singer was good in their part, Lisette Oropesa who played Norina was nothing short of a revelation. The stand out performance of the evening was Lisette Oropesa in the role of Norina. Her Norina was a cool customer, ready to use her looks in order to secure financial stability and social respectability and with a contemptuous attitude towards the elderly Pasquale. The decorative vocal lines flowed with a mellifluous ease and she brought wonderful tone colouring to the vocal line and thrilling top notes.
Norina Lisette Oropesa dozes at her writing desk. Did her husband die of natural causes? It seems unlikely. 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. Her pianissimo, crescendo and decrescendo were breathtaking.
Clearly, Oropesa is a rising star of opera.
Completely Updated & Revised Fifth Edition
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.
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.back2test.barrica94.cl/gocir-golf-variante.php
IAUUnder One Sky | EVENTS
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. Her "Deh vieni, non tardar" was unstrained and she managed to do a perfect martial arts flip of Figaro when she loses her temper with him later in the act.
Soprano Lisette Oropesa was a superb Susanna, singing with both delicacy and quick-witted allure. Her duet with the Count at the beginning of Act 3, in which Susanna pretends to be willing to accept his advances, was a particular high point. With solid high notes, accurate coloratura and an endless supply of golden-age trills I stopped counting after five , this endearing artist ran a vocal marathon that might have paralleled the physical feat she was preparing to run in Pittsburgh Marathon the next morning.
Of the singers, natural inclination leads us first to Lisette Oropesa , the silvery-voiced Marie, a world-renowned young soprano who already has over performances with the Metropolitan Opera under her belt, and who last night presented more than adequate proof of her well-earned reputation. Lithe, lovely and agile, she was a delight throughout - vocally, visually, and histrionically. In addition to a remarkable voice of thrilling loveliness, she possesses outstanding talent as a comedienne. In the pretty arias and ensemble numbers alike, her astonishing flights of coloratura were charmingly delightful.
For a brief moment at the beginning of Act One, it seemed as if she might have a slight bit of difficulty in smoothly gliding down from her more florid flights, but this quickly disappeared, and she went on to create quite a sensation which was tumultuously approved by the audience at every opportunity.
Soprano Lisette Oropesa's Marie was a triumph at the Benedum Center, utterly winning in both the role's vocal challenges and the physical demands of Curran's staging. Her voice is wonderfully suited to the role, warm and rounded in tone but also pure, and sparkling in coloratura. Oropesa proved a master of physical comedy throughout, especially in a dance lesson Curran interpolates during the orchestra entr'acte after intermission. In the first act, we meet Tonio, Marie's guy, who joins the regiment to be with her.
The second act takes place at the castle of the Marquise, who is providing Marie with lessons to add refinement appropriate for an arranged aristocratic marriage. The choreography for the four dancers gives Marie klutzy moves right out of a routine by Les Ballets Trockadero de Monte Carlo. Oropesa offered a perfect lesson in comic gestures and timing. Soprano Lisette Oropesa returned home to sing the role of Susanna, bringing an alluring lyricism to the stage. Her rendition of "Deh vieni, non tardar" was especially sweet. Oropesa also is a fine comic actress, capable of raising the buffoonery of it all a notch or two.
She executes slapstick with the skill of Charlie Chaplin and keeps the audience laughing so hard that the music occasionally feels like lagniappe. Kudos must be given the blocking in the work. Being in nearly every scene of a long opera can pose a serious challenge to a singer, but Oropesa rose to it.
In her arias as well as in duets and ensemble pieces, Oropesa offered a fine display of vocal versatility, from the lilting coloratura of a young woman in love to the confusion and anger of the object of the lascivious intentions of her overlord, Count Almaviva. The arias sung at the start and close of this part introduce the soprano and tenor voices.
Her voice blended well with the double flute accompaniment. Lisette Oropesa brought her limpid, plaintively expressive voice to the two soprano arias. Lisette Oropesa was a ravishing Gilda, her silvery tones and beautiful high range perfectly suited for the role of the young innocent girl. When the performance resumed, Ms Oropesa sang the aria with elegant phrasing, top notes ringing to the rafters and exquisitely executed trills with which she has deservedly brought down the house.
In haar stemgeluid lagen zowel een warme laagte als een glanzende hoogte besloten, en haar vocale acrobatiek was indrukwekkend. Ze eindigde de aria met een prachtige triller waar maar geen eind aan leek te komen. Oropesa is a rising star with a sweet soprano that shines. With svelte phrases and gleaming high notes, the American soprano Lisette Oropesa introduced a primly earnest Rosalba, a writer looking to pen a book on the diva. Lisette Oropesa ist eine sehr koloratursichere, innig zarte Gilda, welche die Kantilenen gleichsam mit dem Silberstift zeichnet.
The American soprano is a superb coloratura with ringing top notes. She displayed a strong sense of line which she used to convey all the sides of her character. Her evolution from an innocent young girl to a resolute woman was credible and moving. She brought the house down and deserved every second of it. Un sommet du genre. His Susanna was the attractive American soprano Lisette Oropesa, who deftly captured the sparkle and intelligence of that lovely character.
Oropeso is graceful beyond telling, moving like a dancer, shining in every scene. Lisette Oropesa is a natural on stage. Her lovely, light soprano fit Susanna perfectly. Hers is the standard to which all opera acting should aspire. The combination of his John Relyea big but expressive bass-baritone and her Lisette Oropesa lithe, silvery soprano was enchanting. Moving with the elegance of a ballerina, Oropesa flitted easily between outraged innocence and wily cynicism.
Lisette Oropesa, als jonge bakvis Nannetta uithuilend bij een bak ijs, klinkt puur en zuiver. Lisette Oropesa is more than a soubrette Sophie, bringing strong presence to the painful scene between the sisters. Professionalmente ineccepibile la compagnia di canto nel suo insieme , su cui spicca sicuramente la fresca voce di Lisette Oropesa nella parte della sorella Sophie. Her beaming smile and sparkling voice lit up the stage every time she came on. She sang with bright, playful innocence throughout, and was wonderfully endearing when she flirted with the gloomy Werther. The vocal highlight of the evening was - as expected - Lisette Oropesa's spun-moonlight rendering of Nannetta's enchanting aria "Sul fin d'un soffio etesio" where the soprano was lovingly supported by the conductor.
Lisette Oropesa played Nannetta as an adorable young teenybopper, comfortable at home in pedal pushers, while poised and pert in public, and spinning sustained high notes with gossamer beauty. By the end of their scene in the first act, she delivered an ethereal sustained high A-flat that was sung almost pianissimo and emphasized the purity of Nannetta's love for Fenton.
She sang with utmost delicacy throughout the "Sul fil d'un soffio etesio," her voice reaching a breathtaking climax on a sustained high-A on the phrase "Carmi e malie" that included the most subtle of swells in the middle of the note. She, for her part used her light, clear sound effectively, with no signs of strain up to high D in the climactic passage. Lisette Oropesa achieved total triumph as Amalia, the trill-filled part created for Jenny Lind.
She sang with passion, technical aplomb, delicacy, and lovely timbre within her lyric-coloratura means. If there was a leader in the pack, it was Lisette Oropesa, whose Susanna was a potent combination of charm and beautifully articulated wit, with telling touches of peasant common sense. Lisette Oropesa is an up-and-coming soprano who has established an excellent reputation for singing with luminous tones and precise coloratura. Her Susanna was flirty, saucy and passionate.
Soprano Lisette Oropesa creates a very young, but wise beyond her years, Suzanna. We see her evaluate, and then approve, the ideas as the conspirators hatch the harebrained scheme to give the Count his comeuppance. I was thoroughly impressed with Lisette Oropesa's Susanna. She had great stage presence, comic flair, good timing in her stage movements, vivid chemistry with both her Figaro and Countess Almaviva, and sang beautifully this Mozart music that suits her voice so well.
She sang naturally throughout the evening, with never a strained note. What a charming Susanna! His Susanna, Lisette Oropesa, makes an incandescent debut. Lisette Oropesa, also from the Metropolitan Opera, employs her clear and appealing soprano to the myriad emotions of the complex young woman — cajoling, frustration, jealousy and ultimate satisfaction.
Pero Un Especial Salon En El Firmamento (Spanish, Paperback)
Lisette Oropesa, who made everyone fall in love with her right from the outset in her company debut. Lisette Oropesa brought a sweet soprano as the forest bird and sang with ease throughout the role's difficult arching passages. Lisette Oropesa was a compelling Gilda, with beautiful coloratura and purity of tone. Her '"Caro nome" was exquisite, a perfectly lovely arc of tonal radiance and dynamic nuance, climaxing with an incredible trill.
All evening the soprano produced one beautiful phrase after another, with impeccable musicianship and with the character's vulnerability and ultimate resolve finely delineated in both the words and the colours of the voice. And Lisette Oropesa was a Gilda who invited tenderness. Her pure, smooth soprano and alert presence were both endearing.
Oropesa also has, perhaps more noticably for some, a pure light lyric soprano that is as balanced and classically expressive as recent decades have seen. Pamina was sung by the Louisiana-born Cuban-American soprano Lisette Oropesa, and she sang beautifully. Her acting was believable and sincere, and she looked delectable in her blue cocktail dress, platinum-blond wig and pink shoes. But most of all, you wanted to hear her sing some more. Her voice had the lushness in the lower and mid-ranges, but floated lightly and nimbly through the upper range.
Most of the applause at the curtain went to soprano Lisette Oropesa, making her FGO debut as the dewy Pamina, recognizing her passionate declamations of love and heartbreak. Even more impressive, and affecting, is soprano Lisette Oropesa as the harried young heroine, Pamina. Oropesa was beyond fantastic in her portrayal of Pamina. She has a lovely, large and clear soprano voice.
Everything she sang during the performance was note perfect and beautiful. The soprano Lisette Oropesa made a fresh-faced and innocent Pamina. Oropesa is an elegant and magnetizing leading lady. Her portrayal of Cleopatra is strong and confident — everything you expect the queen to be. Consta de dos dormitorios, uno con cama de matrimonio de y otro con literas. Ajardinadas zonas comunes y parking comunitario. Dispone de parking cubierto.
Duplex en Baiona. Apartamento reformado en casco antiguo de Baiona. A m hay un gran supermecado, bares, restaurantes, farmacia Dispone de garage. Senda peatonal y ciclista a m. Encantador apartamento a m de la playa. Nevera con bebidas. Entorno rural con posibilidad de visita guiada a la huerta y toma de contacto con ovejas, conejos, gallinas, etc. Mapas con itinerarios disponibles por la zona. Casa Beninaus. Bonita casa moderna,totalmente equipada a diez minutos de.
Casa moderna en un entorno natural. Se alquila julio y agosto, por semanas 7 noches , quincenas 14 noches o mes 29 noches. Apartamento de de 40m2 con una terraza de 5m2. Apartamento Playa Ladeira-Baiona A metros de la playa. Se encuentra muy bien ubicado, a 2 minutos andando de la playa la Playa Santa Marta cuenta con bandera azul y a 10 minutos del casco viejo zona de vinos y tapas. El piso cuenta con tres dormitorios.
Uno de ellos con cama de matrimonio, otro con una cama individual y el tercero con una cama individual y otra supletoria. Como zona anexa, existe una terraza donde se encuentra la lavadora y la zona de secado de la ropa. Inmueble familiar con bonitas vistas. Propiedad situada en el centro del pueblo, tienes los servicios a un paso, al igual que las playas Ribeira o la Concheira. Disfruta el verano con nosotros!!! Piso de Enva. Piso totalmente reformado recientemente y muy luminoso.
Cuenta con dos habitaciones de matrimonio y una con dos camas individuales. La cocina-comedor es amplia y cuenta con todas las comodidades. Se encuentra muy bien ubicado, a 2 minutos andando de la playa Playa Santa Marta y a 10 minutos del casco viejo de la villa zona de vinos y tapas. La zona es tranquila y residencial, a pocos minutos del centro del pueblo.
Casa Elevada 1 Hab. Cerca Playa. Casa en medio rural con estilo moderno. Bien integrada en el medio. Arboles frondosos. El interior tiene tres zonas diferenciadas, lo que permite intimidad en cada una de ellas al ser de tres niveles intermedios. Luminosa con ventanales grandes. Totalmente exterior. A 2 km todos los servicios sanitarios, compras, ocio,,,etc.
Casa de piedra y madera del siglo XIX recien reformada, tiene un amplio jardin con vistas al Valle de Belesar. A 5 km de la casa discurre el Camino de Santiago Portugues a 90 km de Santiago de compostela. Enclave rural y de playa. Excelente iluminacion natural. Esta muy bien comunicado, aeropuerto de Vigo a 20 min por autopista. No hay problemas de aparcamiento cerca de la vivienda. Cercano a supermercados carrefour a metros.
Restaurantes muy cerca y se llega andando al centro de Baiona en 15 minutos por el paseo de la playa. Playa de la Ladeira a metros 5 minutos andando de distancia del apartamento. Apartamento Individual en Baiona. Ubicado en calle semipeatonal en frente el Mercado Plaza de Abastos. El apartamento dispone de lavadora, secadora, microondas, menaje de cocina, lavavajillas, ropa de cama y toallas. Acogedor apartamento a pie de playa. Precioso estudio con todas la comodidades, a 50 metros de la playa, gran supermercado cerca, totalmente equipado. Alquiler estudio a pie de playa. Popular experiences in Other International.
Descubre Tesoros escondidos en Vigo. A Food Walk thru the streets of Vigo. Explore nearby. Porto km away. Santiago de Compostela 89 km away. Vila Nova de Gaia km away. Santa Susanna de Peralta km away.
Torrelodones km away. Villanueva km away.