Dramatically, she is at her best in the heart-rending final act, as Violetta in the final stages of consumption, clinging to the hope of a final meeting with her beloved Alfredo (Liparit Avetisyan). Oropesa shows total command of her vocal instrument, thrilling with her expansive dynamic and expressive range.
The Guardian La Traviata “Exhilarating performance by Lisette Oropesa” Oct. Suggesting fragile beauty on stage, she realises the breathlessness of tuberculosis – and, tellingly, the panic that accompanies it – with unsparing vividness, and throughout we really do believe in the intensity of her feelings for Alfredo and their power to transform and overwhelm her. Vocally, Violetta holds no terrors for her: the reckless coloratura of Act I is admirably secure and capped with a dazzling high E flat the lyricism with which she yields to the moral demands of Christian Gerhaher’s Germont is at once heartbreaking and exquisite and the emotional and physical anguish of the final scenes are all the more powerful for being etched with such unsentimental restraint. 
28, 2021Īs with her Gilda, Oropesa welds sound with sense to create a characterisation of great depth and subtlety.
The Times La Traviata review – Oropesa and Avetisyan are exceptional in impassioned Verdi Oct. The open warmth of her tone, lack of affectation and gentle half-voice allowed her to easily display unfettered hurt and vulnerability, much needed as the libretto carved from the Alexandre Dumas play La Dame aux camélias presses on. 
In Act I she vibrated with life and young innocence, hitting the coloratura heights in the climactic Sempre libera without the brilliance ever seeming forced. 28, 2021īob Crowley’s sets, famously marked by heavily architectural semi-circular structures choked with objects that get in the way (banquettes, a gambling table, hoop skirts), never seemed to pin Oropesa to the spot as it did with other performers.
La traviata review - a star shines in the Royal Opera’s Verdi revival Oct.
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