Micaela oeste sopranos cast

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Opera Santa Barbara Studio Artist Alum, Micaele Oeste recently earned rave reviews for her portrayal of Créuse in Marc-Antoine Charpentier’s rarely heard “Médée” at Chicago Opera Theater – Brava, Mica!

•  Créuse, Micaela Oeste also made an impressive Chicago debut. The Arkansas native has a bright and flexible soprano and she sang with technical ease and vocal gleam. She also brought a charismatic presence and consistent engagement to Medea’s rival with the genuine pathos of her death scene offering the most compelling moment of the evening. (Lawrence A. Johnson | Chicago Classical Review)

• Oeste is irresistible to Jason and the audience.  Her spirited singing enthralls in lively flirtations and deadly lamenting with her betrothed. It’s a sparkler affair that dazzles. (By Katy Walsh | The Fourth Walsh)

• Soprano Micaela Oeste’s tangy-voiced Creuse sang like a dream, most notably in her character’s anguished death scene. (John von Rhein | Chicago Tribune)

• Oeste’s portrait of the spoiled Princess Créuse was deftly drawn. Her red hair falling in Veronica Lake-waves, the American singer was as dangerously seductive and naive as any film noir dame. (Wynne Delacoma | Musical America)

The Limburger, July 1st 2023. By Ronald Colee.Soprano Micaëla Oeste of the Johann Strauss Orchestra.On the recommendation of Plácido Domingo, Micaëla Oeste was allowed to audition with André Rieu: 'The best moment is when you can hear a pin drop on the Vrijthof'Soprano Micaëla Oeste is part of the Johann Strauss Orchestra for the second year in a row. The singer, born in Pforzheim in Germany, is very much looking forward to the Vrijthof concerts. “Under that blue sky at that setting sun, something magical happens.”With a father and mother who were opera singers, it was clear that music would be the common thread in Micaëla Oeste's life. Very early in fact. “When I was born, I was given the name Micaëla. Without h. Just like in my mother's favorite aria from Carmen.”She was six years old when she first took piano lessons, followed four years later by the Waldhorn. “That has always been my main instrument until my father once conducted La Bohème and there was a shortage of singers for the choir. From that moment on I knew: this is it. That stage, those sets, those costumes, that light and then that story in that foreign language that you get to convey to the audience in three hours. That is different from sitting with your horn in the orchestra pit. Although I still think