Une vraie voix, somptueuse et respectant la musicalité du texte. Des nuances stupéfiantes et des aigus tenus. Chaque note est parfaite. Une des grandes actuelles.
Talk about a perfect master class at Carnegie Hall. She soars like a Dove, in the upper coloratura register with such ease and precision. She has mastered the bel canto style. Bravo!!!!!!!!
J etais hier soir à son concert à Rio de janeiro. Quelle grande voix, et pourtant si souple. Technique superbe . J ai eu l impression de revenir aux temps des grandes cantatrices enfin! Remarquable air des Puritains, lucia, la rondine.... En plus simple et sympathique!!! Bravo bravo
Ah! Mon Dieu, je l'avais déjà entendu chanter ceci comme les anges, et me voici à nouveau tombé à ses pieds, ébloui par l'élégance et perfection de cette interprétation... Je ferme les yeux et je crois entendre le gazouillement magique d'oiseaux au printemps...
She deserves the Richard Tucker award. She is the best of her generation and singing at all the world's greatest opera houses. She makes her debut at La Scala this summer. Also, she needs a recording contract asap.
@@savannahdillard476 Oh, I know! This week she also received the Beverly Sills Award from the Met. I hope a major recording contract is on the horizon.
And now she has announced that she has a major recording contract (a FIVE year contract). She is recording an album of Mozart concert arias, right now, as I type this!
Lisette, vous parvenez à redonner vie à un opéra français bien oublié... je voudrais tant vous entendre dans Lazuli de l'Étoile, et aussi dans Minka du Roi malgré lui ! Vous y feriez merveille... et pourquoi pas, un jour, Mélisande ?
Oui, Minka, mais aussi Gwendoline, dont elle pourrait parfaitement maitriser la tessiture meurtriere qui va du colorature lyrique au presque soprano dramatique. Je crois que pour Mélisande, elle est bien au-dela des exigences du rôle. Elle est à mon sens, la seule depuis Sutherland a pouvoir prétendre aborder le rôle d'Esclarmonde (auquel même Fleming ne s'est jamais frotté).
Absolument splendide de bout en bout, de l'épanchement à la virtuosité de bravoure ! distinction du phrasé, justesse du ton, classe interprétative et scénique... Des trilles battus à l'envie, une vocalisation sans expédient et d'une merveilleuse souplesse aussi bien qu'n sens jamais gratuit des nuances, celles-ci toujours colorées, achèvent d'éblouir !!!
Delighted to find out answer to my question what the Met is doing for her ? is “ a lot “ She will be doing Traviata and Manon next Season as announced today. Brava Diva! Well deserved.
This is sensational singing! Lisette Oropesa is the world's premiere lyric coloratura. The MET needs to cast her and Lawrence Brownlee in LE COMTE ORY. It has ignored her for far too long.
FaustinaBordoni To be fair, I think it's just a matter of logistics. Both artists are booked years in advance. I would, however, love to see them in either Lucia or Comte Ory.
Yeah that's true. Met gives her the same roles. Two years Traviata and without a broadcast. They will do Lucia and Lisette is not in the cast. Met has to recognize her talent and give her Amina, Elvira, Adèle, Lucia e.t.c.
Just exquisite. It’s unfair to compare to singers who have departed. We don’t compare Justin Bieber to Elvis Presley. I’m very interested to see the roles she will take on as she gets older. Her trills are accurate. Her expression is beautiful. She engages a dark chest sound in the lower register fearlessly (very rare in today’s singers!). She is deservedly an international star ⭐️ 👸 🎶 😍
@bablatoss It's a different kind of voice. Her way of singing, her musicianship, and her phrasing remind me a lot more of Callas than Sutherland. I often think of her as Callas's prettier daughter. Whereas Callas was like a rich oil painting, Lisette is like a gorgeous watercolor.
You obviously do not know who and what Callas and Sutherland were. Though very good, Oropesa is nothing like those two giants. For one thing, she does not have even a small fraction of the voices Callas and Sutherland had - much less the historic and epic virtuosity and musicianship of the two. Callas was one of the great musicians of the 20th century on any instrument. Oropesa - very nice, just not remotely in the same category.
Spero che i vedovi della Devia si siano accorti che c'e' n'e' una meglio. Bel colore di voce, tecnica, estensione, interprete, simpatia, sorridente, impeccabile, trilli a tutte le altezze, perfetta dizione, sopracuti belli e timbrati, charme da vendere. ATTRICE per davvero. Cara Lisette, il futuro e' tuo.
C'est ravissant ! Elle chante avec beaucoup d'élégance et de finesse cet air redoutable de Marguerite de Valois .On ne peut pas la comparer à Sutherland qui a une voix beaucoup plus corsée .Ni même à Sills qui fait preuve d'un abattage étourdissant dans cet air .Donc elle a son style à elle ,elle chante très bien et c'est assez équilibré au niveau de l'ornementation : ni trop ,ni trop peu ! C'est très bien comme cela .
Je ne suis pas certain que Sutherland, en salle, ait eu une voix "beaucoup plus corsée" (mais je ne l'ai jamais entendue live, hélas). Ce n'était pas une "grosse" voix, mais extremement bien "focusée". Et les enregistrements au disque, avec des volumes et des équilibres "trafiqués" ne peuvent donner une idée exacte de ce que pouvait donner la voix en salle. Lisette a un registre grave plus corsé que celui de Sutherland, et une aisance particuliere pour monter et descendre sur TOUT le registre avec une facilité quasiment unique.
superbe réelle grande interprétation de cet air souvent coupé de moitié ! le Da Capo est juste parfait d'intonation de technique et d'implication dramatique dans les couleurs de voix ! avec une cadence sur en Ut filé décrescendo juste un rêve ! Amazing great rendition !
Her singing is so spectacular it makes me forget the horrible production and costumes that in no way( except in the mind of the designer) reflect Meyebeer's opera.
Though I am not the greatest fan of Meyerbeer, or for that matter the French Language and French Opera, I just *love* Ms. Oropesa's performance here! Such Silk, Subtlety. She is truly in the Bel Canto lineage, with intent or unawares. Can we all say Lily Pons???
Oh my God, I loved this! Beautiful costumes, scenery; but Lisette Oropesa is just brilliant. I'm probably an opera idiot or something, but I did not know her. I will follow her now. Another thought: Meyerbeer knew what he was doing. I have seen several of his operas and sort of thought of them as melodic, but deeply old-fashioned. Staged right, like this, I think they might be still very appealing. Still, I imagine there are few singers who can manage what Lisette Oropesa has brought to this scene.
Where was this production? What is the set supposed to represent? A garden, or a forest perhaps? She certainly is magnificent, and at such a seemingly young age!!
This is from Opera de Bastille 2018 production. The set is garden of the Château de Chenonceau in Loire valley. Marguerite de Valois awaits there her wedding to Henry Of Navarre future Henry IV of France. www.operadeparis.fr/en/season-18-19/opera/les-huguenots
In order to fully appreciate Lisette Oropesa's magnificence and splendor one must go back to the performance of La Stupeda, Joan Sutherland, in the 1962 La Scala production of Les Huguenots. The two sopranos are simply brilliant in their performances. Sutherland's voice is bigger and heavier than Oropesa's. However, Oropesa is Sutherland's equal. What a find after sixty years!?
The only one who can compare today with the exceptional rendition of this opera by Joan Sutherland ! Technique, style, volume, musicianship ! A glorious career ahead of her !
@@SoLNaTaL555 I know Nadine Sierra doesn't sing this rôle ; I just compare their vocal technique. I think they are both imperfect, but Lisette sings much better than Nadine. This comparison is not useless because their vocal types are similar and they share some rôles.
Yup. Sometimes she She Presses the voice too forward in the middle / upper middle and then the top lacks correct space and chiaroscuro for the top and she has to squeeze because her vocal cords are stuck in too narrow a position and not relaxed enough to stretch.
I am so unimpressed with this instrument. It is very strident at the top sometimes and the registers are not uniform. There is also a labored quality to the fiotura. I'm not sure why people are so into it.
You’re unimpressed with Lisette’s instrument because your understanding of good singing is warped. I don’t know you, so I can’t help you fix that. Besides, you’re entitled to have poor taste. And you don’t have to watch Lisette’s videos. If you don’t like her, don’t watch her. But forsake the enterprise of trying to turn knowledgeable fans of great singing against her. You will fail. Because we know great art. Toodles!
I have been spoiled. Has not anyone heard of Montserrat Caballe? Once again, Caballe sets the aria to an untouched level. This lovely soprano wobbles in her vibrato that is unattractive. And without color there is no dimension as is likened to another soprano. Opera houses 'cost saving' contemporization for sets and costumes are boring to distill the flavor of the given original libretti intent. Frankly, this set looks like a 1960s network broadcast for The Judy Garland Show.
What absolutely terrifying neck/muscle tension in her singing. A true sight to behold. I really hope young singers do not aspire to the overdeveloped muscle straining seen here. And must the vibrato CONSTANTLY change speed? Must each vowel constantly spread? Must the soft palate drop and the larynx rise for every single high note?
Thank God you’re not teaching voice in a conservatory, Alandro. Ms Oropesa has a beautiful voice but neck tension is neck tension and incorrect singing somewhere technically.
One of the most ugly and ridiculous productions I've ever seen. And this version of this aria is too long. It may be the original one, but the first part is traditionally abridged for good reasons. Her voice in itself is nice though.