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<strong>Matteo Lippi</strong> is one of the most highly-regarded tenors of his generation.

He was born in Genoa in 1984, trained under mezzosoprano Laura Bulian and in 2007 began working at the Teatro Alfa in Turin, performing as Herzog in <em>Eine nacht in Venedig</em> by Johann Strauss, Falke in <em>Die Fledermaus</em> and Fra Diavolo in the opera of the same name by Daniel Auber. In 2011 he won a scholarship to study at the Cubec Accademia di Belcanto in Modena and began studying under soprano Mirella Freni. In 2013 he won the Toti dal Monte International Competition and made his debut as Rodolfo in <em>La Bohème</em> at theatres in Treviso, Ferrara, Jesi and Fermo. In 2014 he was engaged in two important new productions of <em>La Bohème</em>, at Teatro La Fenice in Venice and at the Bolshoi in Moscow.

Recent engagements include: Alfredo in <em>La Traviata</em> at La Fenice, his return to the Bolshoi again as Rodolfo in <em>La Bohème</em>, a role in which he has also performed at the San Carlo Theatre in Naples, at Terme di Caracalla for the Rome Opera summer season, in Brescia, Reggio Emilia, Athens and Cagliari. He was again Alfredo at the Maggio Musicale Fiorentino conducted by  Maestro Fabio Luisi, Pinkerton in <em>Madame Butterfly</em> at Glyndebourne and then in Tel Aviv, conducted by Daniel Oren, Valencia and Firenze. Following this he was Ruggero in <em>La Rondine</em> at London’s Holland Park Theatre and Alfredo at Den Norske Opera &amp; Ballet in Oslo. In 2018 he made his debut as Roberto in <em>Le Villi</em> at the Teatro Comunale Luciano Pavarotti in Modena. In 2019 he debuted as Gustavo in <em>Un Ballo in maschera</em> at the Holland Park Theatre and as the Duke of Manua at the Glyndebourne Festival, singing as Rodolfo at La Fenice in Venice and the Carlo Felice in Genoa and as Pinkerton in Florence. At the beginning of 2020, before the closure of theatres around the world, he was Rodolfo in <em>La Bohème</em> at the New National Theatre in Tokyo.

In autumn 2020 he was Alfredo in <em>La Traviata</em> at La Fenice in Venice, Teatro Luciano Pavarotti in Modena and at the Bolshoj Theatre in Moscow. At the beginning of 2021 he performed again at the Bolshoj, this time as Rodolfo in <em>La Bohème</em>. Following this, he recorded Mercadante’s <em>Messa Solenne</em> for soloists and male chorus at the Teatro Carlo Felice in Genoa (CD soon available) before returning to the Bolshoj Theatre to sing as Alfredo in <em>La Traviata</em>. In summer 2021 he made a very successful debut as Fritz in <em>L’amico Fritz</em> directed by Julia Burbach and conducted by Beatrice Venezi at Opera Holland Park.

In December 2021 he was Gustavo in <em>Un ballo in Maschera </em>at the Royal Danish Opera in Copenhagen under conductor Paolo Carignani and Rodolfo again at the Bolshoj Theatre.

His upcoming engagements include <em>La Bohème</em> at the Teatro Regio in Turin and Royal Danish Opera in Copenhagen, his debut in the title role of <em>Ernani </em>at the LNOBT (Lithuanian National Opera and Ballet Theatre) in Vilnius and the Verdi <em>Requiem </em>at Amare in The Hague.

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<strong>Reviews</strong>

“Matteo Lippi’s soaring Italianate tenor gave us a Fritz who was alarmed at his own passion; the suavity of his opening lines giving way to a more ardent and unrestrained performance.”
(Dominic Lowe, Bachtrack)

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“Matteo Lippi, who sang in OHP’s 2017 production of Puccini’s <em>La Rondine</em>, brought superb maturity and a fully rounded sense of character to the role of Gustavo. This was a strong, well integrated performance and Lippi’s lithe yet flexible voice was shown to its best advantage. The character of Gustavo can seem somewhat skittish, but Lippi gave a well anchored and sympathetic performance, someone struggling with his emotions. His scene with Anne Sophie Duprels’ Amelia in Act Two was perhaps powerful rather than incendiary, yet by the end of the evening I found I rather admired this man. “ (Robert Hugill, Planet Hugill)

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“But for me the star of the evening was Matteo Lippi, the power-hungry Duke of Mantua. His rippling tenor, and the equally sumptuous tones of Nikoloz Lagvilava as Rigoletto blaze brilliantly.” (Susan King, Sussex Express)

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“Matteo Lippi (who sang Pinkerton with Glyndebourne in 2016) made a delightfully sympathetic Ruggero, emphasising the character’s small-town naivety, this was really brought over in his delightful Act One solo. Throughout Lippi sang with a lovely rich, bronzed sound which also helped imbue Ruggero with sympathy. He and Llewellyn made a wonderfully balanced pairing, with Lippi including just the right combination of bravura solo and supportive partnering, matching Llewellyn in beauty of tone.” (Robert Hugill, Opera Toay)