Reviews

  • Review

    The Houston Press
    “As wrongly accused Anna, soprano Camille Zamora tore up the intimate space with her drama-filled voice and subtle acting. One could easily be tempted to go overboard in this role, but Donizetti wisely gives everyone else a fair share of the spotlight, venting much of the pressure. Zamora knows when to kick back and when to let go, as when she must shuffle her emotions between her former lover, Lord Percy (tenor Lázaro Calderón), who has shown up unexpectedly at court, and her misplaced attentions toward Enrico (bass Erik Kroncke), with whom she has never fallen in love.” (To read the full review, please click here)
    - D.L. Groover (Anna Bolena, Opera in the Heights)

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  • Review

    New Zealand Herald
    "The composer asks a lot of his soprano, and Camille Zamora showed us just why she has such a high-powered CV. As Poulenc's Elle, Zamora effortlessly cast myriad evanescent emotions over the orchestral magic carpet beneath her. Elegant in a chic black slip, she balanced vulnerability and inner strength... from lush outbursts for memories of Sundays at Versailles, to fury when faced by the prospect of old age (not to mention the many ingenious renderings of telecommunication glitches)."
    - William Dart (La Voix Humaine, Auckland Opera)

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  • Review

    Boston Theater Review
    "The singers were fantastic. Camille Zamora as Ilia made a soaring starting point from which the opera lifted off. Her presentation was exciting, energetic, and anything but boring. Ilia is one character that can seem boring, self-deprecating, and daft, but Zamora infused power and motivation to create a journey that her character traveled throughout the piece."
    - J. Jacob Krause (Idomeneo, Boston Lyric Opera)

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  • Review

    Opera News
    "As Ilia, a Trojan prisoner in love with Idamante, Camille Zamora projected warmth and sensitivity.”
    - Kalen Ratzlaff (Idomeneo, Boston Lyric Opera)

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  • Review

    The New York Times
    "Camille Zamora, the soprano, accompanied by Natasha Paremski, gave a dramatic, shapely reading of ‘Er ist gekommen in Sturm und Regen,’ and Ms. Zamora and Nathan Gunn collaborated affectingly on a graceful performance of ‘Là ci darem la mano,’ from Mozart’s Don Giovanni (included because Robert gave Clara a copy of the score as a gift).”
    - Allan Kozinn (Twin Spirits, Lincoln Center)

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  • Review

    The Wall Street Journal
    "Camille Zamora, the evening's divine soprano, sang several duets with Nathan Gunn… The two shared the only moment during the 90-minute concert in which the crowd broke into spontaneous applause.”
    - Pia Catton (Twin Spirits, Lincoln Center)

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  • Review

    Hollywood Reporter
    "Camille Zamora as Rosita, a saucy seamstress, was notable in voice and presence."
    - Madelein Shaner (Luisa Fernanda, Los Angeles Opera)

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  • Review

    Music and Vision
    "Camille Zamora was a creamy-voiced Rosita."
    - Marilyn Nockin (Luisa Fernanda, Los Angeles Opera)

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  • Review

    New Music Connoisseur
    "One of Dallapiccola's most masterful chamber ensemble pieces is Concerto per la notte di Natale dell'anno (1956), a work that is very difficult to perform... Camille Zamora sang the two Hymns (“Audito e un canto” and “Amor, amore grida ”) very beautifully."
    - Barry O’Neal (Concerto per la Notte di Natale, Continuum Ensemble at Miller Theatre)

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  • Review

    Opera News
    "Camille Zamora as Cupid (suspended mid-air, like Peter Pan) and as Ottavia's page excelled in her rendition of seventeenth century style, as in Cupid's Act II aria 'O sciocchi, o frali.'"
    - Marcia J. Citron (L’Incoronazione di Poppea, Houston Grand Opera)

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