A lighter-voiced Violetta than many, leaning more towards the lyric than the dramatic, she sings with a consistent, shimmering beauty, effortless legato and an endearing sense of character...There are many competing interpretations, many by classic casts of the past, but do find space in your collection for this new Traviata – and witness the blossoming of a soprano who is possibly the Violetta of our day.

Oropesa is a superb Violetta...what one remembers above all about her Violetta is how beautifully sung it is. Oropesa is in complete command of the coloratura in “Sempre libera,” including a brilliant high E♭ to cap it off. Most impressive is her ability to balance dramatic expression with a beautiful legato, as in “Dite alla giovine” and “Addio del passato.”...one of the most satisfying portrayals in years.

Oropesa represents a break from the Violettas of decades past with her clean vocalism and way of inhabiting the role from within, minus a lot of external emotional signalling.

The passion and pathos of Oropesa's vivid, truly three-dimensional Violetta registers just as keenly on this studio-recording as it does on stage, and the sheer gorgeousness of her singing (from the manic pyrotechnics which close Act One to the exquisite floated top A at the end of 'Addio del passato') is the worth the price of the set alone. Barbera's elegant, if rather light-voiced Alfredo is an ideal foil, and Lynch matches her emotional investment to the hilt in their great confrontation-scene.