Reviews

  • The Soul of Tango…

    The Soul of Tango concerts with Fort Worth Symphony Orchestra
    "The orchestra blazed and glided through a generous slate of tangos with the help of a quartet of impossibly limber dancers and a golden-throated soprano... Camille Zamora was there to remind us that many of these tangos have words as well as steps. Singing exclusively in Spanish, she sank deeply into every song and filled with the gap between the dancers and the orchestra with effortless elan. And she and (conductor Jeff) Tyzik did a super job of introducing and explaining the music without being too chatty or disrupting the flow of the concert."
    - Punch Shaw, The Star Telegram

    "Camille Zamora is an extraordinary singer. She has interesting things to say about what she’s performing, and her strong voice and stage presence that make it clear why she has been successful in everything from Monteverdi’s Poppea to Strauss’ Daphne. Friday evening, she was able to take full command, as in Guarder’s Volver, or recede in importance a little, as in Piazzola’s Vuelvo al Sur… pure poetry…"
    - Andrew Anderson, Theater Jones

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  • World Premiere Recording

    An AIDS Quilt Songbook: Sing for Hope
    “Yo-Yo Ma and Camille Zamora offered a luminous, transcendently lyrical performance that closed the recital.” - Opera News, Judith Malafronte

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  • Opera Columbus & The Columbus Symphony

    Double-bill of La Voix Humaine / I Pagliacci
    “Camille Zamora handled the vocal demands of the 45-minute solo work easily, performing with power and clarity throughout her range and with assurance in her character… Zamora’s Nedda was graceful and defiant – in a sense, the same character as Elle, completing the operatic circle as a woman who, in the end, places her integrity above all else.” - Columbus Dispatch, Lynn Green

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  • Review

    HINDEMITH'S LONG CHRISTMAS DINNER AT LINCOLN CENTER
    • “Camille Zamora brought dignity and glowing sound to the principal role of Lucia…”
      - Anthony Tommasini, The New York Times
    • The Long Christmas Dinner, Hindemith's last opera, is a subtle, wonderfully understated examination of changing relationships... The performance under Leon Botstein preserves that lightness and subtlety very carefully. All the performances gel, though Camille Zamora as the two Lucias, and Sara Murphy as Ermengarde, who ends the opera imagining the family continuing without her, are special.” - The Guardian (UK), Andrew Clements

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  • Review

    Rameau's Pygmalion
    • Camille Zamora brought a big, focused soprano to the Statue, and nicely captured the physical hesitations of her awakening.” - Wall Street Journal, Heidi Waleson 
    • “The Statue was sung by the beautifully poised soprano Camille Zamora. There was a nice contrast between Ms. Savoy’s vibrant yet vulnerable delivery and the gleam of metal in Ms. Zamora’s focused voice.” - The New York Times, Corinna da Fonseca-Wollheim 
    • “A gorgeous female figure captivating her maker... Camille Zamora brought the Statue to life with consummate physical control and a richly attractive voice.” - Opera News, Judith Malafronte 
    • “The stellar performance of the evening was Camille Zamora’s La Statue. To be clearly gifted as a singer is talent enough but to be a skilled mime as well is a rarity. Her gradual transformation from statue to human was riveting. As if she were singing a slow crescendo from pianissimo to fortissimo, her body broke out of her stone shell, not in a straight line but with a real sense of how it might be for a statue to become human, gaining two steps forward but losing one at the same time.” - Seen and Heard International, Stan Metzger 
    • “Another statue, beautiful and glamorously gowned, is wheeled in and unloaded, this one being a real girl -- superb soprano Camille Zamora, who was obliged to stand stock still for a very long time.” - Voce di Meche, Meche Kroop 
    • “Lovely Camille Zamora was wheeled onstage as Pygmalion’s beloved Galatea, upstaging (the statue of) Kim Kardashian, who remained blessedly inanimate and silent... Zamora has a beautiful stage face, an elegant figure, and a warm soprano with a mezzo coloration.” - Gay City News, Eli Jacobson 
    • “As La Statue and the newly prominent Céphise, sopranos Camille Zamora and Emalie Savoy respectively revealed opulent voices.” - Parterre, DeCaffarrelli

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  • Review

    Sarasota Herald Tribune
    “Camille Zamora wielded her vocal gifts and technique like a brilliant torch, bringing light and magic to everything she sang… In a set of Spanish-inspired songs by French composers Zamora was given ample opportunity to display her technical strength and musical artistry, from alluring in Massenet’s “Nuit d’Espagne” and Bizet’s “Adieux de l’hôtesse arabe,” to stunning control in a Habanera-styled "Vocalise" by Maurice Ravel. Well-controlled trills, ornaments and dramatic dynamic range had her painting at will with the colors of her voice. Zamora’s communication is the entire package from the voice, the language, and the body to the arresting eyes and finally, the megawatt smile. It’s hard to say who had more fun, the audience which was in obvious thrall, or Zamora who relished the music and the response to it.”
    - Gayle Williams (Sarasota Artists Series Concert; Lydia Brown, pianist)

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  • Review

    The Houston Chronicle
    “The production boasts two particularly potent star performances in mezzo-soprano Sarah Heltzel’s heroic Romeo and soprano Camille Zamora’s passionate Giulietta. They make a power couple to reckon with… Zamora's Giulietta combines gentility and emotional fire. Her fine, clean tone and supple phrasing readily encompass both the vocal and emotional range of her role, as evocative in transports of love as in tragic loss… Even by another name, this is Romeo and Giulietta's show all the way - especially when Heltzel and Zamora are unfurling Bellini's bel canto splendors.”
    - Everett Evans (I Capuleti e i Montecchi, Opera in the Heights)

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  • Review

    The Houston Chronicle
    “Camille Zamora‘s Giulietta is one of most well-acted and gorgeously sung roles of the season. Ms. Zamora’s colorful and powerful instrument soars to the heavens as she takes us on the final journey of this tragic tale emblematic of young lovers and doomed love. Her expressive acting is the stuff legends are made of. Ms. Zamora confidently takes us into the many a capella moments of the score and delivers us safely back to Bellini’s magnificent orchestrations with the exquisite blessing of a perfect ear and perfect pitch.”
    - Buzz Belmont (I Capuleti e i Montecchi, Opera in the Heights)

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  • Review

    The Houston Press
    “Camille Zamora’s soprano is appealingly dark and agile, with heft behind it, and she's a talented actress. Giulietta's famous romanza, ‘0 quante volte’ (a take on "Romeo, wherefore art thou") which begins over haunting harp and horn accompaniment, was rhapsodic. Her voice melded beautifully with Heltzel's in their duets - with those patented Bellini harmonic thirds - and their Death Scene was terrifically evocative.”
    - D. L. Groover (I Capuleti e i Montecchi, Opera in the Heights)

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  • Review

    The Houston Chronicle
    “Camille Zamora digs deep into Anna Bolena with the richness of her fabulously colorful and unwaveringly powerful soprano instrument, always emoting with perfect diction, placement, tone, and volume. The nuances and brilliant choices Ms. Zamora makes along Anne Boleyn’s path of painful epiphanies are profoundly astounding… Ms. Zamora is a consummate actress, whose ability to get completely inside of Anne Boleyn’s character and show us all of her subtleties and intricacies is phenomenal and inspiring. Anne’s mad scene is a stunning work of genius by Ms. Zamora, driven passionately with the ebbs and flows of the emotions of a woman who has lost her crown and whose life has been completely destroyed. As long as I live, I shall never forget the many times I wiped tears from my eyes as I experienced Ms. Zamora’s brilliant performance as Anna Bolena.” (To read the full review, please click here)
    - D.L. Groover (Anna Bolena, Opera in the Heights)

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