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Roles Organizations Reviews Masterclasses. Bio Schedule Gallery Discography News Career Reviews Roles Organizations Contact. Bayerische Staatsoper - I Masnadieri Jul, Die einzige weibliche Rolle ist die Prima inter pares. Amalia wird von Lisette Oropesa einfach göttlich dargestellt.
Ihr Gesang ist von purer Schönheit, empfindsam, variantenreich, sonor in den Tiefen, teils sanft flirrend, glockenklar in den Höhen, kontrolliert und hochemotional. Die gefeierte Sopranistin veredelt jede Szene, in der sie auftritt — egal ob solo, im Duett, Quartett oder im Zusammenklang mit dem Chor — mit einem zusätzlichen Glanz.
The only female role is the Prima interpreter. Amalia is portrayed simply divine by Lisette Oropesa. Her singing is of pure beauty, sensitive, varied, resonant in the depths, partly gently trembling, bell-like in the highs, controlled and highly emotional. The celebrated soprano enriches every scene in which she appears - whether solo, in a duet, quartet, or in harmony with the choir - with an additional luster.
En consecuencia, el personaje de Amalia no suele formar parte del gran canon de las sopranos. Pese a ello, Oropesa supo dar a esta parte un relieve hasta ahora inusual. Now then, if anyone stood out in this exceptional cast, it was Lisette Oropesa. As a result, the character of Amalia is not typically part of the main soprano canon.
Despite this, Oropesa managed to give this role an impact that is, until now, quite unusual.
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Will she succeed in lifting Amalia and I masnadieri out of the relative obscurity in which they remain? It would be well deserved, as her performance was of exceptional beauty. First of all, one must mention the warmth of her timbre and, above all, the beautiful harmonics of her voice.
The volume is surprisingly large for a lyric soprano, even in the middle and lower registers, which were always clearly audible. The coloratura passages emerged naturally and effortlessly, and her phrasing and articulation were exemplary. Across her entire range, her singing was clean and free of strain.
As for the purely artistic aspects, her versatility in expressing a wide range of emotions deserves mention—without ever compromising the necessary vocal and stylistic consistency. But all of this pales in comparison to the indefinable allure, the charisma of her voice and her interpretive artistry, which utterly captivated the audience, who responded with frenzied and unending applause.
Lisette Oropesa may well be at the peak of her career: with a long path already behind her, giving her experience and wisdom, and still young enough to maintain the freshness of her voice and the credibility of her characters. May she remain at this summit for a long time to come.
Her interpretation of the aria was spot on, initially sad and then brilliantly joyous in the cabaletta, with clean coloratura and brilliant high notes. Los Angeles Opera - Rigoletto May, - Jun, The vocal part was very satisfying, starting with Lisette Oropesa's Gilda, who had already sung the same role here in , and whose presence was a pleasant surprise because she took the place left by Rosa Feola, initially announced in the role.
Oropesa moved and delighted with the virtuosic, secure, and crystalline handling of her voice. Every note and every phrase made sense in her interpretation, with the variety of colors and the way she reveled in the highest notes of her part.