"Carolina Lippo as Despina is the spearhead of the cast, and achieves a remarkable performance in every respect."
"...fantastic stage presence and dramatic facial expressions, but above all a virtuoso bel canto performance."
"Lippo dominated the stage as Norina."
Opera in Wein
Carolina Lippo studied at the "Rodolfo Celletti" Belcanto Academy in Martina Franca in collaboration with the Itria Valley Festival under Lella Cuberli, Vittorio Terranova, Sonia Prina, Stefania Bonfadelli. She had previously graduated in Piano from the "G. Paisiello” in Taranto and in Singing and Scenic Art at the “G.B. Martini” of Bologna with flying colours and honours.
Carolina has worked in renowned Italian and international theaters and festivals, including the Teatro Regio di Torino, Festival della Valle d'Itria, Oper Köln, Glyndebourne Festival, Semperoper Dresden, Teatro La Fenice, Händel-Festspiele in Halle, Nevill Holt Opera, Grange Festival, Theater an der Wien, collaborating with some of the most prestigious conductors such as Fabio Luisi, Christophe Rousset, Omer Meir-Wellber, Laurence Cummings, Jukka-Pekka Saraste, David Parry, Michael Boder, and with leading directors such as Pier Luigi Pizzi, Calixto Bieito, Johannes Erath, Claus Guth, Mariame Clément, Barrie Kosky, Arturo Cirillo, Vittorio Sgarbi, Keith Warner, Peter Konwitschny.
Notable roles include Carolina Il matrimonio segreto and Adina L'elisir d'amore in Turin, Norina Don Pasquale in Vienna, Susanna The Marriage of Figaro in Dresden and Vicenza (the latter published on DVD by Velut Luna), Despina Così fan tutte on tour in the UK and in Vienna, Zerlina Don Giovanni in Fano, Italy, Merab Saul in Vienna and at Glyndebourne, Lisetta Le metamorfosi di Pasquale (released on CD with Dynamic), Susanna Nina, o sia La pazza per amore by Paisiello in Savona, Gnese Il campiello in Venice and Rovigo, Fiorina Don Checco in Martina Franca (published on CD with Dynamic), Seraph in Mendelssohn's Elias oratorio in Vienna, Adelaide in Pietro Generali's Adelaide di Burgundy in Rovigo, Cintia in Leonardo Leo's L'ambizione delusa in Martina Franca, Ifigenia in Handel's Oreste in Halle and Vienna, Sandrina in Mozart's La finta giardiniera in Hannover, Giulia La scala di seta by Rossini in Sassari, Semiramide in La Semiramide in villa by Paisiello (first performance in modern times, published on CD by Bongiovanni), Ernestina in Salieri's La scuola de’ gelosi in Cologne and Vienna, and Crobyle in Thaïs by Massenet in Vienna (forthcoming DVD release with Unitel).
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Rossini La Cenerentola (Clorinda)
The Grange Festival (June 2021)
Carolina Lippo and Maria Ostroukhova duly postured, clucked and pouted as the dreadful sisters, but - importantly - also had the vocal heft to sustain the upper lines in the ensembles.
Roger Parker, Opera Magazine
Lippo and Oustrokhova both created nicely contrasting personalities, funny and characterful, and both had a deft way with the music, giving us a lovely musical double act.
Robert Hugill, Planet Hugill****1/2
Carolina Lippo has a very elegant voice, well suited to Rossini's bel canto, and consistent across the range, with the power to dominate overall textures when needed.
Mark Everist, Olyrix
But it was Carolina Lippo who stood out with the best voice: round, bright, and excellently marked in squillo.
Agustín Blanco Bazán, Mundo Clasico
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
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
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.
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.
Carolina Lippo Concert Repertoire
Carolina Lippo Opera Repertoire
Amina (La sonnambula)
Fata Smeraldina (La donna serpente)
Fiorina (Don Checco)
Adina (L’elisir d’amore)
Gnese (Il campiello)
Title (Adelaide di Borgogna)
Valencienne (Die Lustige Witwe)
Despina (Cosí fan tutte)
Semiramide (La Semiramide in Villa)
Antiope (Arianna in Nasso)
The Fairy Queen
Giulia (La scala di seta)
Ernestina (La scuola de gelosi)
Lisetta (Le metamorfosi di Pasquale)
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