Carolina Lippo


"Carolina Lippo as Despina is the spearhead of the cast, and achieves a remarkable performance in every respect."

Weiner Zeitung

"...fantastic stage presence and dramatic facial expressions, but above all a virtuoso bel canto performance."

Klassik Begeistert

"Lippo dominated the stage as Norina."

Opera in Wein

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Carolina Lippo graduated in Piano and Singing at the Conservatory Giovanni Battista Martini in Bologna before joining the Young Artist Programme at the Theater an der Wien. In 2018, she won the Semperoper Dresden Debut Prize at the Stella Maris International Vocal Competition.

Her recent and upcoming engagements include Despina Così fan tutte for Nevill Holt Opera, Merab Saul (cover) for Glyndebourne Festival Opera, Lisetta Le Metamorfosi di Pasquale at the "Pergolesi-Spontini" Festival, Adina L’elisir D'Amore and Carolina Il matrimonio segreto at Teatro Regio di Torino, Susanna Le nozze di Figaro at Semperoper Dresden, and her debut at The Grange Festival singing Clorinda La Cenerentola.

Carolina's engagements at the Theater an der Wien include Crobyle in Massenet’s Thais, Merab Saul in a new production by Claus Guth conducted by Laurence Cummings; a new production by Mariame Clément's of Purcell’s The Fairy Queen conducted by Christophe Rousset; Seraph in Mendelssohn's Elias; Keith Warner's production of Gottfried von Einem’s Der Besuch der alten Dame conducted by Michael Boder; Sergej Morozov’s production of Porpora’s Arianna in Nasso conducted by Markellos Chryssicos; Marcos Darbyshire’s production of Don Pasquale conducted by Tscho Theissing; Despina Così fan tutte conducted by Stefan Vladar; Jean Renshaw's new production of Sallieri’s La scuola de' gelosi conducted by Stefan Gottfried; and Kay Link's new production of Handel’s Oreste conducted by Rubén Dubrovsky.

This biography is for information only and should not be reproduced.

​Spontini Le Metamorfosi di Pasquale, Orchestra Sinfonica G. Rossini

CDS7836 (August 2019)

Carolina Lippo is characterful and agile as Lisetta.

Mark Pullinger, Gramophone

As Constanza's maid Lisetta, Carolina Lippo... offers plenty of personality and is allotted the loveliest aria in the piece.

George Hall, Opera Magazine

Mozart Cosi fan tutte (Despina), Nevill Holt Opera

(June 2018)

Carolina Lippo was terrific as a dissolute Despina.

Ashutosh Khandekar, Opera Now

At the epicentre of the intrigue are Carolina Lippo’s hard-bitten Despina and John Molloy’s lounge-lizard old professor Don Alfonso.

George Hall, The Stage

Carolina Lippo fully embraces the soubrette role of Despina, making the maid a particularly manipulative figure as her philosophy of following her own desires equates far more to making money than it does to enjoying love. Not only does she ensure big payments from Don Alfonso both towards the start and at the end, but she sings ‘Una donna a quindici anni’ while running rings around a sleeping party-goer as she smears lipstick on his face and steals money from his jacket.

Sam Smith, Music OMH

Carolina Lippo showed good comic talent in her portrayal of Alfonso's ally, the housemaid Despina

William Hartston, The Daily Express​

Stealing the limelight is the sister’s chattering maid Despina (Carolina Lippo) whose use of an egg whisk in teaching the unfaithful sisters a lesson they will never forget is very frightening! ...As leaders of deception, John Malloy and Carolina Lippo will have few equals.

Clive Peacock, Harborough Mail

Pietro Generali Adelaide di Borgogna (extracts), Teatro Sociale, Rovigo

(April 2019)

Carolina Lippo, an interpreter devoted mainly to the 18th century repertoire, gives depth and credibility to the character, with perfect diction, sensitivity in capturing her character’s intentions and affections, and an unwavering vocal style, founded on a clear and secure voice in all registers.

Daniela Goldoni, OperaClick

Mozart Cosi fan tutte (Despina)

Theater an der Wien (2018)

Carolina Lippo as Despina is the spearhead of the cast, and achieves a remarkable performance in every respect.

Weiner Zeitung

Carolina Lippo, who plays Despina, shows her great acting talent, with flashes of sarcasm in her eyes, nonchalance and ease both vocally and in her acting.

Die Presse

Händel Oreste (Ifigenia)

Händel-Festspiele Halle (2018)

Carolina Lippo (soprano) gave a wonderful interpretation of Ifigenia. In this ambiguous role, she highlighted the loving character and at the same time the darkness of the character, in a clear and pure voice with a very attractive and fine grain.


Carolina Lippo in the Cecilia Young role of Ifigenia carried off the role of executioner-with-a heart quite successfully, also contributing an attractive voice.


The central role of Ifigenia may be less demanding, but the Italian soprano Carolina Lippo brought a wonderful lightness of touch to it with her clarion voice, right from the gentle opening continuo aria Bella calma (from an early Italian cantata) as she first spots Oreste crumpled at the front of the stage. Her two simile arias give a hint of her final siciliano from Siroe Mi lagnerò, tacendo (I silent will bemoan my cruel fate), as she prepares the execution of Oreste, masks the extent of her inner turmoil. Ms. Lippo's controlled elegance was a great asset here".

Opera con Brio

Händel Saul (Merab)

Theater an der Wien (2018)

Merab was excellently performed by the understudy Carollina Lippo.

Kurt Bayer’s Commentary

…the warm temperament of an excellent last-minute substitute, Carolina Lippo.

L’Ape Musicale

Donizetti Don Pasquale (Norina)

Theater an der Wien (2017)

Carolina Lippo, whose Norina wiped the floor with her three easily-manipulated male stage partners, singing with rich, sizeable tone not unlike that of Mirella Freni in this role.

Opera Canada

Thoroughly humorous were the actors - especially the Italian soprano Carolina Lippo as a malicious, almost vicious Norina … with her fantastic stage presence and her grotesque-comic facial expressions, but above all with her virtuoso bel canto performance.

Klassik Begeistert 

…the Italian soprano has all the top tones and coloraturas required by Donizetti, but also has a very fine wit. This Norina sets the tone in every way.


Carolina Lippo is Norina not only in the staging, but she also vocally dominates the scene.

Radio Klassik Stephansdom 

Carolina Lippo has the personality for this type of Norina

Der Neue Merker 

If the voice is also a bit metallic, it still convinces with a fine and powerful soprano, with all top notes and necessary coloratura.

Orf News

Carolina Lippo is a refreshingly cheeky Norina … and masters the game brilliantly with her secure soprano.

Der Standard

Lippo dominated the stage as Norina. With her moving, but somewhat metallic-sounding soprano she showed Don Pasquale who the "Domina" is in the house.

Opera in Wein

Carolina Lippo Concert Repertoire


Stabat Mater


Stabat Mater





Carolina Lippo Opera Repertoire


Amina (La sonnambula)


Fata Smeraldina (La donna serpente)

De Giosa

Fiorina (Don Checco)


Adina (L’elisir d’amore)
Norina (Don Pasquale)

E. Wolf-Ferrari

Gnese (Il campiello)


Title (Adelaide di Borgogna)


Merab (Saul)
Ifigenia (Oreste)


Valencienne (Die Lustige Witwe)


Seraph (Elias)


Despina (Cosí fan tutte)
Ilia (Idomeneo)
Pamina (Die Zauberflöte)
Sandrina (La finta giardiniera)
Susanna (Le nozze di Figaro)
Zerlina (Don Giovanni)


Semiramide (La Semiramide in Villa)
Susanna (Nina pazza per amore)


Antiope (Arianna in Nasso)


The Fairy Queen


Giulia (La scala di seta)


Ernestina (La scuola de gelosi)


Lisetta (Le metamorfosi di Pasquale)


Gilda (Rigoletto)
Nannetta (Falstaff)
Oscar (Un ballo in maschera)

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