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  Sopranos: Rebecca von Lipinski - Reviews
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Idomeneo‚ Kilkenny Arts Festival
Opera Magazine (December 2016)


'...Rebecca Von Lipinski’s white-voiced‚ white-hot Elettra‚ piercing in the splendid isolation of her outer-act outbursts‚ yet able to rein in the horses sufficiently to encompass the simple sublimity of the Act 2 barcarolle. '

Idomeneo‚ Garsington Opera
Opera Magazine (August 2016)


'It also benefited from an excellent cast... Rebecca Von Lipinski’s Elettra broke the mould as a properly vampish creature‚ full of haughty disdain‚ and the Stuttgart-based soprano - Leonore in Garsington’s 2014 Fidelio revival - sang with impressive abandon.'

Idomeneo‚ Garsington Opera
BachTrack.com (June 2016)


'In fact‚ Rebecca von Lipinski’s exceptionally dramatic‚ angry and vulnerable Elettra was a treat to watch throughout the evening;...there was an indomitably vibrant energy to von Lipinski’s performance‚ and a wholehearted enthusiasm in her approach‚ which made Elettra’s final‚ cataclysmic psychological breakdown truly moving. As a defeated Elettra left the stage‚ weeping‚ the whole opera paused while her sobs echoed across the silence: a haunting moment.'

Idomeneo‚ Garsington Opera
Classical Source (June 2016)


'The singing is exceptionally strong‚ and the three female leads are superb. The portrayals of Louise Alder as Ilia‚ Caitlin Hulcup as Idamante and Rebecca von Lipinski as Elettra are all characterised by a purity of line...Elettra is not supposed to be a sympathetic character‚ but von Lipinski renders her lines with such flashy charm that in ‘ Idol mio’ we really want things to work out for her. Her exceptionally nuanced account of ‘ D’Oreste‚ d’Ajace ho in seno i tormenti’ is extremely powerful. '

Idomeneo‚ Garsington Opera
Culture Whisper (June 2016)


'Grief-stricken by losing Idamante to Ilia‚ Rebecca von Lipinski’s Elletra stunned the first-night audience into silence with her virtuosic breakdown aria. '

Idomeneo‚ Garsington Opera
MusicOMH (June 2016)


'After her superb Leonore in Garsington’s 2014 Fidelio‚ it was a joy to welcome back Rebecca von Lipinski‚ whose voice is ideal for Elettra since she is one of the few sopranos who can make near-hysterical despair sound beautiful – her arias were both eloquently sung and impressively characterized.
'

Idomeneo‚ Garsington Opera
Opera Today (June 2016)


'Rebecca von Lipinski’s Elettra was just the tour de force that one needs...'

Idomeneo‚ Garsington Opera
Planet Hugill (June 2016)


'Rebecca von Lipinski cut a tall and elegant figure as Elettra. Von Lipinski had the admirable skill of combining the technical and emotional demands of the role‚ so her highly focused voice was able to articulate the complex passagework yet could still imbue the music with the tragic intensity required. Her Act One aria was notable for the almost shocking searing intensity when she loses hope of gaining Idamante‚ and yet there were moments of great beauty in her Act Two aria when she feels more hope. Mozart cut Elettra’s final aria‚ in order to speed up the drama‚ but it is a terrific piece and in Rebecca von Lipinski’s astounding performance it never felt out of place.'

Idomeneo‚ Garsington Opera
Seen & Heard International (June 2016)


'Rebecca von Lipinski’s forceful‚ even hysterical portrayal of Elettra as she struggles to come to terms with her unrequited passion for Idamante. Von Lipinski conveyed the character’s deranged state of mind at the same time as maintaining superb control of the role’s taxing music.'

Idomeneo‚ Garsington Opera
The Arbuturian (June 2016)


'I well remember Lipinski’s Leonore in the 2014 Garsington Opera production of Beethoven’s Fidelio‚ and she made an equally strong impression on this occasion with slicked back blonde hair and a bright orange bustled skirt‚ while her voice was electrifying still as she sung arias bewailing the possibility of losing Idamante to Ilia. '

Idomeneo‚ Garsington Opera
The Independent (June 2016)


'Rebecca von Lipinski’s Elettra is sulphurously impressive; '

Idomeneo‚ Garsington Opera
The Times (June 2016)


'Truly devastating‚ though‚ was Rebecca von Lipinski’s Elettra. Dressed in muddy-hemmed peach silk — there are nods to the 18th century in this modern setting — she gave an utterly magnetic performance: venomous‚ insatiable‚ vulnerable‚ hopeful. Her final aria of bitter betrayal was searing‚ a knife to the heart of a joyful ending.'

Reigen‚ Staatsoper Stuttgart
schwaebische.de (April 2016)


'Besonders beeindruckend sind Rebecca von Lipinsky (junge Frau)...///Particularly impressive are Rebecca Von Lipinsky (Junge Frau)... '

Fidelio‚ Oper Stuttgart
BR Klassik.de (October 2015)


'Immerhin aber steht mit Rebecca von Lipinski eine stimmstarke Leonore aus dem Stuttgarter Ensemble zur Verfügung‚ die ihre Figur zu einer Art Cowboygirl mit Rettungsgen macht /// But after all is with Rebecca Lipinski of a vocal strength Leonore from the Stuttgart ensemble available‚ which makes her character into a kind Cowboy Girl with Salvation gene'

Fidelio‚ Oper Stuttgart
Klassik.com (October 2015)


'In der Titelpartie brilliert Rebecca von Lipinski. Bei einer stimmlich und schauspielerisch so überzeugenden Leistung stört da auch ihr britischer Akzent in den akustisch hervorgehobenen Dialogen nicht weiter /// In the title role Rebecca Lipinski excels. A vocally and theatrically convincing performance because not even her British accent in the acoustically highlighted dialogues disturbs'

Fidelio‚ BBC Philharmonic‚ Bridgewater Hall Manchester
Opera (July 2015)


'Rebecca von Lipinski was his Leonore‚ her silvery-toned agility allowing her to encompass the fast section of ’Abscheulicher’ without Mena having to slow the score‚ as some conductors are wont to do at this point'

Fidelio‚ BBC Philharmonic‚ Bridgewater Hall Manchester
Guardian (May 2015)


'Fidelio needn’t be belted out by Wagnerians in order to work‚ and Juanjo Mena opted for more lyrical singers than we sometimes encounter. Rebecca von Lipinski’s silver-toned‚ agile Leonore allowed us to hear the coloratura of Abscheulicher without all the tempo changes that some conductors introduce just to allow their sopranos to get the notes in'

Jenufa‚ Staatsoper Stuttgart
Seen & Heard International (March 2015)


'The role of Jenufa was sung here by British soprano Rebecca von Lipinski‚ who gave a convincing performance. She is an excellent actress with an appealing presence‚ and her voice is well-suited to Jenufa‚ not too rich in the middle and shining in the top notes'

Songbook‚ Birmingham Contemporary Music Group at CBSO Centre
polaroidsandpolarbears.co.uk (March 2015)


'Gillian Keith’s lighter and supple soprano was complemented by the darker tones of Rebecca von Lipinski‚ who excelled in Thomas Adès’s operatic setting of Tennessee Williams‚ as well as the typically idiosyncratic premiere from Irish composer Gerald Barry'

Jenufa‚ Staatsoper Stuttgart
Concerto.net (February 2015)


'Rebecca von Lipinski compose une touchante Jenufa‚ très à l’aise vocalement /// Rebecca von Lipinski made a touching Jenufa‚ very at ease vocally'

Jenufa‚ Staatsoper Stuttgart
Der Neue Merker (February 2015)


'Jenufa (mit famosem Rollendebüt: Rebecca von Lipinski)...Jenufas Arie “Gute Nacht‚ Mutter” gerät dank Rebecca von Lipinski zu einem wunderbar berührenden Zwischenspiel‚ denn hierbei erhält eine herbe und egozentrische Person plötzlich Wärme und Zärtlichkeit /// Jenufa (an excellent role debut: Rebecca von Lipinski)...her aria "Good Night‚ Mother" was a wonderfully touching interlude‚ thanks to Rebecca Lipinski‚ showing a bitter‚ self-centred person receiving sudden warmth and tenderness'

Jenufa‚ Staatsoper Stuttgart
GBopera.it (February 2015)


'Molto brava anche Rebecca von Lipinski nel ruolo della protagonista‚ cantato con accenti partecipi e commossi e una bella resa vocale‚ in particolare nella preghiera del secondo atto...Nel complesso‚ è stato un vero piacere rivedere questo spettacolo che appartiene alle cose migliori prodotte dalla Staatsoper Stuttgart in questi ultimi anni /// Huge congratulations‚ too‚ to Rebecca von Lipinski in the title role‚ who sang with committed and moving accents in a beautiful vocal performance especially in the prayer of the second act...Overall‚ it was a real pleasure to see this show which is one of the best things produced by the Staatsoper Stuttgart in recent years'

Jenufa‚ Staatsoper Stuttgart
Resmusica.com (February 2015)


'Rebecca von Lipinski‚ membre de la troupe de Stuttgart...livre une interprétation poignante et naturelle du rôle titre. La voix est brillante‚ mais l’incarnation scénique tout autant : la belle blonde libre et – malgré tout – gaie du premier acte devient après l’entracte une femme marquée par son destin‚ le visage sombre‚ le regard fixe /// Rebecca von Lipinski‚ a member of the Stuttgart company...delivers a poignant and natural interpretation of the title role. The voice is brilliant‚ but the stage incarnation equally so: the beautiful blonde and free – nevertheless - gay in the first act‚ after intermission a woman marked by her destiny‚ sombre faced‚ staring fixedly'

Songbook‚ Birmingham Contemporary Music Group at Wigmore Hall
BachTrack.com (February 2015)


'Performing this miscellany of songs required remarkable flexibility and technical brilliance...the undisputed star of the show‚ the truly sensational Rebecca von Lipinski‚ whose voice‚ musicality and stage presence were all supreme. It wasn’t a coincidence that she sang all of the most engaging songs of the evening: her performance was totally riveting...von Lipinski’s communicative brilliance'

Songbook‚ Birmingham Contemporary Music Group at Wigmore Hall
Guardian (February 2015)


'These contemporary works varied in style and quality but BCMG and sopranos Gillian Keith and Rebecca von Lipinski tackled them in style...the songs varied in quality‚ but the best were memorable‚ while the standard of performance – with sopranos Gillian Keith and Rebecca von Lipinski sharing the vocal honours was high...The latest contribution to The Songbook was entirely new: a characteristically capricious setting of Gerald Barry’s setting of Tennyson’s Crossing the Bar‚ which Von Lipinski spoke‚ sang and screamed (as specifically required by the composer)‚ firstly in English‚ and then in German...Von Lipinski successfully responded with Thomas Adès’s conversational Life Story‚ Sciarrino’s skeletal Due Risvegli e Il Vento‚ and three varied miniatures by Kurt Schwertsik'

Fidelio‚ Garsington
Opera (August 2014)


'What a difference four years can make to a young voice. The Leonore then‚ as now‚ was the English soprano Rebecca von Lipinski. She sang very well in 2009‚ but the intervening years with Oper Stuttgart have enabled her to develop into a mature and distinguished leading artist. Her lovely voice is bigger‚ and her German diction immaculate‚ and her interpretation intense and eventually tender. Why don’t we hear her with major British companies'

Fidelio‚ Garsington
Classical Source.com (June 2014)


'Rebecca von Lipinski’s Leonore/Fidelio was the centre of attention‚ rightly‚ aided by her clear and communicative diction. Hers was a caring and unforced characterisation‚ and she sounded glorious‚ whether in solo or ensemble: her dual role – Fidelio’s brave efforts or Leonore’s anxiety – was distinguished by her responsive singing and acting'

Fidelio‚ Garsington
Express on Sunday (June 2014)


'Rebecca von Lipinski gives an impassioned performance in the title role of Fidelio/Leonore'

Fidelio‚ Garsington
The Times (June 2014)


'Rebecca von Lipinski‚ singing with beautiful clarity and strength as an utterly plausible Leonore/Fidelio'

Fidelio‚ Garsington
What’s On Stage.com (June 2014)


'Returning to the title-role from the original production‚ Rebecca von Lipinski was an imposing and convincingly masculine presence‚ singing with clarion tone'

L’Écume des Jours‚ Staatsoper Stuttgart
GB opera.it (December 2012)


'Perfetta la prestazione della compagnia di canto‚ nella quale vanno lodati in particolare...la Chloé delicata e intensa di Rebecca von Lipinsky /// Perfect the performance of the company of singers‚ which are praised in particular...the delicate and intense Chloé Rebecca von Lipinsky'

L’Écume des Jours‚ Staatsoper Stuttgart
New York Times (December 2012)


'...the soprano Rebecca von Lipinski is a clear-voiced‚ touchingly vulnerable Chloé'

Osud‚ Staatsoper Stuttgart
Opera (August 2012)


'John Graham-Hall’s Zivny‚ forcefully articulated and sensitively played‚ had his softer moments radiantly reflected by Rebecca von Lipinski’s velvety‚ shimmering soprano...'

Don Giovanni‚ Staatsoper Stuttgart
Klassic.com (July 2012)


'Rebecca von Lipinski eine Donna Elvira‚ die stimmlich sowohl im Lyrischen als auch in den temperamentvollen Gefühlsausbrüchen zu Hause ist /// Rebecca von Lipinski a Donna Elvira‚ who vocally in both the lyrical and the temperamental outbursts of feeling at home'

Elektra‚ Staatsoper Stuttgart
GB Opera Magazine (Italy) (May 2012)


'Impeccabili anche tutte le parti di fianco‚ con una particolare menzione per il quintetto delle ancelle nella scena iniziale‚ formato da Diana Haller‚ Sylvia Rena Ziegler‚ Tina Hörhold‚ Yuko Kakuta e Rebecca von Lipinski /// Also clean all the parts side‚ with a special mention for the quintet of the maids in the opening scene‚ formed by Diana Haller‚ Sylvia Rena Ziegler‚ Tina Hörhold‚ Yuko Kakuta and Rebecca von Lipinski'

The Magic Flute‚ Garsington
Opera (August 2011)


'The Three Ladies‚ led by the accomplished Rebecca von Lipinski...'

The Magic Flute‚ Garsington
Express (June 2011)


'The three maidservants to the Queen of the Night‚ who come to Tamino’s aid at the very start of the opera‚ were also particularly impressive. Young‚ curvaceous and gutsy‚ they brought much more life than usual to the roles'

Fidelio‚ Garsington Opera
Sunday Express (January 2010)


'Garsington Opera’s Fidelio‚ directed by John Cox‚ was a triumph‚ with a vibrant Leonore in young Mansfield-born soprano Rebecca von Lipinski'

Szmanowski’s Stabat Mater‚ University of Nottingham Choir and Orchestra
Lakeside Arts (November 2009)


'Rebecca von Lipinski was simply outstanding in the high-lying soprano role .'

Fidelio‚ Garsington Opera
Opera (August 2009)


'(Leonore) ...was sung by Rebecca von Lipinski with richness and strength of tone‚ especially in ’Abscheulicher!’‚ and with rapturous intesity in the ’Namenlose Freude’ duet with Florestan. This was an outstanding performance of the great role by this young soprano‚ full of subtle touches which‚ as with other characters‚ showed how closely (John) Cox and the cast had worked together...but this was not only Cox’s and Lipinski’s triumph...'

Fidelio‚ Garsington Opera
Independent on Sunday (June 2009)


'As Leonore‚ Rebecca von Lipinski conveys the heroine’s fortitude and ardour in dark‚ gleaming tones'

Fidelio‚ Garsington Opera
Seen & Heard International (June 2009)


'The solo singing matched up to Garsington’s best with not a misplaced note anywhere and particularly fine performances from Ms Lipinski...this thoroughly enjoyable Fidelio received rapturous and well deserved applause from the audience'

Fidelio‚ Garsington Opera
Times (June 2009)


'There were similarly impressive surprises on stage. Rebecca von Lipinski — a northern English lass despite her name — had hardly registered on my radar‚ but she sang Leonore with a gloriously vibrant timbre‚ technically secure yet impassioned and touching. A star in the making'

The Bitter Tears of Petra von Kant‚ ENO
ConcertoNet.com (September 2005)


'Rebecca von Lipinski as the treacherous Karin had the looks for a late-1980s model‚ all legs‚ rather than the more vulnerable 1970s style implied by the clothes Petra has her model‚ but her singing and acting were superb'

The Bitter Tears of Petra von Kant‚ ENO
Independent (September 2005)


'Rebecca von Lipinski gave Karin the unwitting self-absorption of a child'

The Bitter Tears of Petra von Kant‚ ENO
Music & Vision.com (September 2005)


'As her lover Karen‚ Rebecca von Lipinski is memorable and looks very elegant in all the fashion creations that she has to wear'

The Bitter Tears of Petra von Kant‚ ENO
Observer (September 2005)


'...fine support from Rebecca von Lipinski as her cynical lover...'

The Bitter Tears of Petra von Kant‚ ENO
Seen & Heard International (September 2005)


'Karin Thimm‚ too‚ was portrayed by Rebecca von Lipinski with much more discreet intelligence than the feckless Lulu personality might merit. Ironically‚ Karin is “common”‚ as Petra’s daughter says‚ but in real life‚ von Lipinski has the pedigree!'

The Bitter Tears of Petra von Kant‚ ENO
Stage (September 2005)


'Rebecca von Lipinski’s leggy‚ faun-like Karin casually deploys killer instincts'

The Bitter Tears of Petra von Kant‚ ENO
Sunday Times (September 2005)


'Rebecca von Lipinski was an aptly lissom and callow Karin'

The Second Mrs Kong‚ BBC Symphony Orchestra‚ London Festival Hall
ConcertoNet.com (November 2004)


'Rebecca von Lipinski was pure of voice and heart as Pearl‚ an embodiment of the flash of anxious life in the painting. '

The Second Mrs Kong‚ BBC Symphony Orchestra‚ London Festival Hall
Observer (November 2004)


'As Pearl‚ the girl immortalised by Vermeer‚ soprano Rebecca von Lipinski achieved voice-threatening sonic miracles'

The Second Mrs Kong‚ BBC Symphony Orchestra‚ London Festival Hall
Seen & Heard International (November 2004)


'soprano Rebecca von Lipinski‚ pure-voiced‚ agile and innocent...The duet between Kong and Pearl was heartrendingly beautiful'

The Second Mrs Kong‚ BBC Symphony Orchestra‚ London Festival Hall
Times (November 2004)


'There is also a new generation of Birtwistle singers emerging‚ exemplified in the ethereal performances of Claire Booth and Amy Freston as the Mirrors. Above all‚ the brightly focused soprano Rebecca von Lipinski‚ who donned a blue and gold Vermeer scarf as Pearl‚ sang with outstanding assurance'