[1] Her repertoire includes works from Gluck, Handel, Mozart, Rossini, Donizetti, Wagner, Verdi, Bizet, Massenet, Bellini and Puccini.

[14] In December 2011, she created the role of Miranda in the Met's baroque pastiche, The Enchanted Island, singing opposite Plácido Domingo, and conducted by William Christie.

[15] The end of the 2012–13 season culminated with her singing as Gilda in Rigoletto and as the Waldvogel in Siegfried where she was well received in both productions: "Her pure, smooth soprano and alert presence were both endearing"[16] "...including the bright yellow Forest Bird, beautifully sung from offstage by Lisette Oropesa".

[21] In 2019, she debuted in the title role of Manon, which was hailed by The New York Times: "Lisette Oropesa's performance in Massenet's opera at the Met is alone worth the price of admission.

Her performance was praised in The New York Times: "...combining exquisite singing, youthful allure, affecting vulnerability and, by the end, bleak intensity, Ms. Oropesa emerged on Wednesday as a major Violetta".

[23] On March 1, she hosted the Metropolitan Opera National Council Auditions and gave a donation of $25,000, ensuring each contestant received $20,000 and raising the prize money for the first time in over 20 years.

[32] In April and May 2012, Oropesa appeared with the Pittsburgh Opera as Konstanze in a production of Die Entführung aus dem Serail set on the Orient Express in the Pasha's private train car.

These included Haydn's The Creation in New York and in Cleveland;[42] the St Matthew Passion in Chicago;[43] Die Entführung aus dem Serail in Bellingham, Washington; and a reprise of her 2010 performance in The Marriage of Figaro at Ravinia Festival.

According to The New Orleans Advocate, she "offered a fine display of vocal versatility, from the lilting coloratura of a young woman in love to the confusion and anger of the object of the lascivious intentions of her overlord, Count Almaviva".

[54] She went onto another extremely successful debut in La traviata at the Philadelphia Opera "Oropesa manifested secure technical chops—trills, staccati, pinpoint dynamics and—most impressively—a long, sustained line that allowed her to hold the audience breathless in both "Dite alla giovine" and the party scene ensembles".

According to Arnold Saltzman, Oropesa "sang flawless runs and coloratura, acted in the humorous tradition of Carol Burnett, moved like a prima ballerina, and used vocal coloring for best emotional effect.

She then went on to perform a new production of Rigoletto at the Dutch National Opera directed by Damiano Michieletto, in this well-reviewed production, she was noted as being "Slender and graceful, soprano Lisette Oropesa was simply world-class as Gilda, with flawless emission and generous top notes, crystalline up to high E. The long trill at the end of "Caro nome" would have traced a perfect zigzag on a pitch visualiser.

"[71] In 2018, Oropesa returned to the Bavarian State Opera to perform her signature role as Konstanze in Die Entführung aus dem Serail for the fourth year in a row.

[76] She once again returned to the Los Angeles Opera to perform her signature role as Gilda in Rigoletto, "Her "Caro nome" was a veritable how-to manual on holding an audience enraptured".

[77] Oropesa then went to the Teatro Real in Madrid to perform in Lucia di Lammermoor where she received "enormous" standing ovations for her interpretation of the role.

"[83] The day after her final performance of Les Huguenots, she premiered another new role of Adina in L'elisir d'amore with a "Timbre ardent, projection homogène sur toute la tessiture, vocalises agiles, aigus scintillants.

[91][92] She then returned to the United States to perform in Don Pasquale with the Pittsburgh Opera to great acclaim, having a voice "So sublimely expressive that they stand out like a Michelangelo fresco in a black and white film.

"[95] In 2020, Oropesa was set to debut the role of Rosina in The Barber of Seville at the Paris Opera; however, six of her performances were cancelled due to the ongoing 2019–20 French pension reform strike.

[96] Once she was able to perform, she was rewarded in the press for a "brilliant voice, the treble easy, the vocalizations are perfectly executed and the line of song decorated with subtlety.

[99][100] On August 10, Oropesa announced the signing of a five-year contract with the San Francisco Classical Recording Company along with a Mozart concert aria album with Il Pomo d'Oro.

[101] On August 14, she returned to the Arena di Verona to perform in a socially distanced Rossini Concert where she was "a triumph of belcanto as an elegance of the line, in a coloratura of supreme abstraction and captivating precision".

[102] Oropesa returned to the Royal Opera House to perform in a benefit livestream concert that marked the reopening of the ROH for the first time in nearly seven months.

[104] At the Teatro alla Scala she was slated to open the season on December 7 in Lucia di Lammermoor, but the performances were canceled due to lockdowns in Italy.

[109] In April, she starred in a movie production of La traviata by the Teatro dell'Opera di Roma which was viewed by over a million people[110] when it was aired on primetime Rai 3 in Italy.

"[113] On September 13, she opened the season at the Royal Opera House in London with a new production of Rigoletto, which won rave reviews, The Guardian writing "Oropesa makes a matchless Gilda, singing with an extraordinary beauty of tone and understated depth of feeling: this really is one of the truly great performances.

"[120] She then reprised her role as Konstanze at the Vienna State Opera and also jumped in at the last minute as Gilda there with the Viennese press saying "Her voice, in the softly bedded middle register, hinted at a gentle melancholy reminiscent of operatic times long gone.

[127] In August, Oropesa returned to the Arena di Verona to perform as La traviata and sing a concert of Carmina Burana where she was in "full control of her instrument".

[129] Later in September, she made a double debut, one for I puritani and one at the Teatro di San Carlo with a "compendium of vocal technique, an essay on bel canto aesthetics".

[130] On September 30, she released her 5th album, Rossini & Donizetti: French Bel Canto Arias[131] According to Gramophone, "her sense of line often flawless, text, character and emotions exactingly conveyed".

[156] In October she opened the season in Valencia with Massenet's Manon where she was the "ideal interpreter" [157] She later released her 7th album, "Mis amores son las flores" on the EuroArts label which focuses on Spanish and Cuban Zarzuela.