Critics Hail (Different!) Countess

Mozart’s beloved “people’s opera” is actually just one of many settings of Beaumarchais’ beloved tale of clever servants, hapless nobles, and the mysteries of the human heart. As part of On Site Opera’s acclaimed Figaro Trilogy, Camille will (re)created the role of The Countess in the North American premiere of Marcos Portugal’s The Marriage of Figaro. The opera was written for Carnival season of 1800 at the Teatro San Benedetto, just 13 years after Mozart’s Figaro. On Site Opera, acclaimed by The New York Times as NYC’s “visionary opera company,” provided a rare opportunity to hear Portugal’s vibrant music in a fado-inspired re-orchestration by guitarist José Luis Iglésias and OSO’s Geoffrey McDonald, based on the new critical edition of the score edited by David Cranmer. The production’s New York run sold out within hours of tickets going on sale, and here’s what the critics had to say:

“A charming production, amazing in detail, as well as disarmingly acted and beautifully sung. The Countess, well acted and sung in the ensembles, was the velvety-voiced Rosina of Camille Zamora.”
– Richard Sasanow, BROADWAY WORLD

“The wonderful cast includes the charismatic tenor David Blalock as the count and the plush-voiced soprano Camille Zamora as the countess.”
– Anthony Tommasini, THE NEW YORK TIMES

“As Rosina, soprano Camille Zamora was a discovery, with a rich instrument and a regal presence. (One would like to hear this artist sing the two great arias from the Mozart version.)”

“Eric Einhorn’s marvelously detailed immersive production — performed with infectious sparkle by a superb cast — made it a worthwhile adventure Camille Zamora brought touching pathos to the Countess.”
– Christopher Corwin, PARTERRE

“This lively young cast was so irresistible that you wouldn’t ever want them to stop singing… As the noblewoman, Camille Zamora had only a brief lamenting aria to show off her tawny soprano before she plunged into the intrigue plot, but she got to show a bit of spunk, unlike the hapless victim the character so often seems in stagings of the Mozart opera.”
– James Jorden, THE OBSERVER

“As the beleaguered Countess Almaviva, soprano Camille Zamora was believable and sang with warmth and lovely tone.”
– Meche Kroop, VOCE DI MECHE

“Camille Zamora was gorgeous as the Countess Almaviva; she was believable as the aggrieved wife.”
– Elizabeth Frayer & Shawn E. Milnes, SCHLEPPY NABUCCOS

“Portugal’s Countess is just as lovelorn and lonely as her Mozartian counterpart. Soprano Camille Zamora sang her with great melancholic feeling and embodied beautifully the Countess’ elegance and heartache.”

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