In Conversation with Lisette Oropesa Part 1: "No matter how hard they try, they will never replace us with AI!"
07. January 2024
Rubrik Interviews
©Steven Harris
Lisette Oropesa is one of the most in-demand lyric coloratura sopranos today, who performs leading roles regularly at the most important opera houses around the world. With her latest album which she dedicated to French Belcanto Arias by Rossini and Donizetti, Lisette also proves to be utmost versatile within the French belcanto style repertoire. But apart from being versatile Lisette also knows how to conquer demanding roles such as Lucia di Lammermoor by pacing herself and knowing how to be efficient with her voice and energy.
Most professional the Cuban-American soprano even managed to get through a very bad allergy attack during one performance of Lucia di Lammermoor at the Vienna State Opera a couple of years ago.
That Lisette Oropesa is more than willing to give a helping hand soon becomes crystal clear, when the charismatic soprano talks about her masterclasses which she initiated during times of pandemic to support young singers in order to keep the good spirit and moral alive, when it was needed the most.
Also learn why Lisette Oropesa thinks that AI will never have a chance to substitute opera in it´s entireness and what makes Lied so special for the soprano.
Operaversum: First of all congratulations on the "International Opera Awards" you received for your latest album French Belcanto Arias by Rossini and Donizetti, which I heard was recorded at the Dresdner Philarharmonie?
Lisette Oropera: Thank you, Nicole! Actually both my last two albums "La Traviata" and "French Belcanto Arias" were recorded there, which was an amazing experience for me.
Operaversum: But how come, you decided for the French language works of Rossini and Donizetti? And does it make a big difference to perform and sing the French belcanto repertoire in comparison to the Italian equivalent?
Lisette Oropesa: Yes, there is certainly a difference. The French belcanto repertoire has other stylistic requirements since in France they were used to perform this kind of Grande Opera.
Even in Donizetti´s French version of "Lucia di Lammermoor" a different style of music is applied, particularly in the first act of the opera.
For example in the Italian version Lucia sings "Regnava nel silencio", which is absoutely beautiful. But in the French composition she does not sing that aria at all, not even anything silimar to it.
Donizetti also wrote the French version of the Opera in a different key.
So if you listen closely to French belcanto, you can hear that the Italian composers had a lot of respect for the French artform, as they did not try to force neither the Italian style, the Italian colour, the Italian pronounciation nor the accent on everyone.
In fact, they very much wrote for the French ear which I personally find very refreshing, because it also shows the genious of Rossini and Donizetti, who both were absolute masters of opera. It is a really wonderful style, which I enjoy singing and moreover feel absolutely comfortable with.
As a matter of fact Verdi did a lot of French opera as well. I even wanted to include one aria from "Les vêpres siciliennes" on my latest album.
But then we did not have the room for it, as we just wanted to keep the record traditional belcanto style and not start adding Verdi, because then it would go even further beyond the belcanto style.
Operaversum: Perhaps that could be included in a next album then?
Lisette Oropesa: Yes! Belcanto 2.0! (laughs)
©Fabrizio Sansoni
Operaversum: Talking of Lucia, which is a wonderful belcanto role: What is the secret recipe to conquer this tragic character from a singing technique point of view?
Lisette Oropesa: I think it is very easy to become obsessed with the Mad Scene, such that as a singer you save yourself the entire night for this "moment".
And many "Lucias" may tend to do that, especially if on a day of a performance they feel that their voice is not in such a great shape or perhaps they are a little tired.
So sometimes that can be the right approach. But I like to say, particularly if it comes to roles with a long arche "Run the mile you are on", which means to be in the present, finding your balance and pacing yourself, because if you oversing right at the beginning of the opera you will already be exhausted by the second act before you even get to the "Mad Scene".
And long before the "Mad Scene" you also have a huge duet with the tenor, a huge duet with the baritone, a duet with the bass, the wedding scene, the sextett and then the "Finale".
So when I am preparing for Lucia I have to engage very much how I am feeling on the day of the performance and try to be smart about being efficient with my voice and my energy, because it is a taxing role. Apparently all roles are like that. La Traviata and also "I Puritani" are like that.
For example I Puritani has a "Mad Scene" in the middle of the opera which is really difficult, as after that Elvira has to come out and sing another huge duet. So pacing yourself is very important and you must do it.
Operaversum: So could you compare that "pacing yourself" with climbing a mountain and knowing your energy?
Lisette Oropesa: Voilà! Yes you could compare it with hiking, as you have to know where the elevation is, where it is flat and where it is going downhill so that you can sing O.K.
So the bottom line is that you should not be rushing it too much because then you can get tired, but at the same time you should also not be too slow and heavy because then it would also tire you out.
Operaversum: Well, I would not be able to do that as in singing, but I got your point!
©Steven Harris
Operaversum: Dear Lisette, two new role debuts are coming up on your schedule. One of them is Mathilde in Guiliam Tell and the other one is Amina in "La Sonnambula".
How did you choose these two roles? Where they apparently chosen for you or are they a step further into your career?
Lisette Oropesa: Yes, they are a bit of a step further into my career. As for "La Sonnambula", I have been wanting to sing Amina for many, many years, but never really had a chance to.
It has just never come my way, no matter how much I have auditioned with the final aria „Ah! non credea mirarti“ or the first aria from La Sonnambula.
But I remember that during the pandemic I had one opportunity to sing it and it felt like there was this moment where I was so close to be doing it. But then for various reasons it eventually did not work out for me in the end.
So finally I will now be performing Amina in Rome, which is a big deal, because it is a debut of a belcanto role in Italy, which for me means a lot of pressure as Italians are very specific about their taste with belcanto.
But I feel that in Rome I have a great rapport with the public, plus this is a role I wanted to sing for a long time. And it will be my third Bellini part. So I feel comfortable debuting it this way.
Talking about Mathilde, I had already recorded the aria of Guilliam Tell, as you know, and I listened very much to the opera, which is so amazing.
So my first performance will be in Vienna, followed by other theatres, where I will be singing Mathilde again because this role is so amazing and the opera such a masterpiece.
So having a lot of repertoire can be both good and bad. Actually there is always more repertoire I want to sing.
At the moment I am also reworking "Giulio Cesare" in parallel to "I Puritani", as I will be going to Paris at the end of the month to start "Giulio Cesare" rehearsals, which I will be very much looking forward to as well.
©Steven Harris
Operaversum: So being versatile is part of your nature! Talking about versatility Lied also is a genre, which very much appeals to you, as you also recorded a Lied CD including a wonderful compilation of songs by Mendelssohn, Schubert, Obradors and Barber.
What draws you to Lied and do you have a favourite song or Lied composer?
Lisette Oropesa: Oh, yes I love Lied. In fact you have to sometimes stop me when I am planning a recital because I tend to include only Lied in the programme, whereas everybody wants to listen to arias. And I keep on asking "Why?
Why does everyone want arias, when I want to sing Lied. I want to sing Schubert, Schumann, Mozart and all the Lied composers.
I mean when I went to university at the age of 19, the teachers would not give me arias from "La Traviata" to study. They were giving me art songs because they were appropriate for my voice and my age.
So I learnt so much "Chanson" and German Lied that in the end a lot of my repertoire was consisting of art song because of the simply fact that this is how you learn to sing.
You are not learning how to sing by performing the most difficult belcanto arias in the first place.
Belcanto and Mozart arias are on your "singing schedule" after you master your technique. That is basically the next level forward.
Just imagine if you started to walk for the first time, you would not learn it by running a marathon, but by learning how to walk.
And then eventually you learn to run and become a marathon runner. But logically you do not go from there backwards.
So for me having had the opportunity to fully dive into that Lied repertoire was a real blessing for me. And I have to say I love it with all my heart.
As for the Brahms and Schumann repertoire I sometimes wish I was a Mezzo soprano so that I could sing more of their songs.
Well, I am sorry to say, but people have no choice, when I am giving a Vienna recital as I am going to bring this repertoire with me to perform.
Operaversum: That sounds absolutely promising. And for sure, Lied is always beautiful to listen to.
Be kindly invited to read part 2 of the interview with Lisette Oropesa 8th January 2024
Ein herzlicher Dank gilt der Dresdner Philharmonie, die das Interview mit Lisette Oropesa ermöglicht hat.
©Steven Harris
Lisette was born in New Orleans, Louisiana, to Cuban parents, and played the flute for 12 years and she began her studies in vocal performance at Louisiana State University.
After winning the Met Opera National Council Auditions, she entered the Lindemann Young Artist Development Program and moved to New York City.
She sang her first major role, Susanna in LE NOZZE DI FIGARO, at the Met at the age of 22, and has sung there in over 100 performances in many different roles since.
She has appeared in concert halls and opera stages all over the world since graduating from the young artist program in 2008, and has become one of the most celebrated singers of her generation, both for her singing and her inspiring personal story.
Lisette is a devoted runner who has completed 6 marathons and is an advocate for health and fitness.
©Steven Harris
Lisette began her career at the Metropolitan Opera, and has starred in various roles there, including Manon Lescaut in MANON, Violetta Valery in LA TRAVIATA, Nannetta in FALSTAFF, Gretel in HANSEL AND GRETEL, Gilda in RIGOLETTO, and Susanna in LE NOZZE DI FIGARO.
She has a strong relationship to Spanish theatres such as the Teatro Real and the Grand Theatre del Liceu where she has sung in LA TRAVIATA, LUCIA DI LAMMERMOOR and RIGOLETTO, and RODELINDA.
She has appeared many times with the Bayerische Staatsoper as Konstanze in DIE ENTFÜHRUNG AUS DEM SERAIL, a role she has also sung at the Opéra National de Paris.
Her most performed role is Gilda in RIGOLETTO, which she has sung at the Dutch National Opera, Teatro dell'opera di Roma, Los Angeles Opera, the Metropolitan Opera, Opéra National de Paris, and the Teatro Real. In the U.K., Lisette triumphed as Norina in DON PASQUALE at Glyndebourne, and as LUCIA DI LAMMERMOOR at the Royal Opera House, Covent Garden.
Other roles include Ophélie in HAMLET, Cleopatra in GIULIO CESARE, Leïla in LES PÊCHEURS DE PERLES, Marie in LA FILLE DU RÉGIMENT, Amalia in I MASNADIERI, Rosina in IL BARBIERE DI SIVIGLIA, and Adina in L'ELISIR D'AMORE.
In the U.S., Lisette has appeared at the Met, San Francisco Opera, Los Angeles Opera, Philadelphia Opera, and the Washington National Opera, among others.
Lisette's career also includes oratorio, recital, and concert repertoire. She has released two recital albums, titled WITHIN/WITHOUT, and AUX FILLES DU DÉSERT, and has performed recitals in New York City, Washington, DC, Los Angeles, and more.
She has a released a Mozart concert aria album called OMBRA COMPAGNA and in concert she has appeared with the Philadelphia Orchestra, the Chicago Symphony, the Cincinnati Symphony Orchestra, the Concertgebouw in Amsterdam, among others.
She has sung at Carnegie Hall, the Accademia Nazionale di Santa Cecilia in Rome, The Ravinia Festival, The Tanglewood Music Festival, The Chicago Bach Project, The Mostly Mozart Music Festival, and more. She has collaborated with many of the world's leading conductors, including Riccardo Muti, Yannick Nézet-Séguin, Anthony Pappano, Daniele Gatti, Fabio Luisi, Ivor Bolton, William Christie, and many more.
