ORLANDO PHILHARMONIC ORCHESTRA

“A breezy Saturday afternoon was on music lovers’ minds as the Orlando Philharmonic Orchestra presented its ‘Havana Nights’ concert featuring the Mambo Kings and Camille Zamora… Zamora is a charming, engaging presence with an expressive voice; she’s full of personality, just like the music she was singing, and an outstanding communicator. If you didn’t understand the lyrics, sung in Spanish, you could just read her face. A particular highlight: ‘Tango de la Menegilda,’ full of drama as a tango should be in a tale of a country girl who finds city life not what she expected… Zamora joined the group for a particularly sultry ‘Bésame Mucho,’ and another highlight was ‘Danzón.’ Composer DeLaney has said he hopes it sounds “elegant.” It did, but that was almost too heavy a word for this graceful swirl of melody and rhythm that beautifully blended with the Mambo Kings’ sound and the orchestra.”
– Matthew J. Palm, The Orlando Sentinel

WORLD PREMIERE RECORDING

Billboard Classical Top Ten (#6)

“Soprano Camille Zamora, an American singer with Spanish roots and close ties with Mexico (she grew up dividing her time between her native Texas and Mexico City) has dedicated her career to the interpretation of genres ranging from the Baroque to the contemporary, inclusive of traditional folk song and zarzuela. Never renouncing her classic style and accent, Zamora conveys passion, understanding, and deep engagement with her texts, communicating the spirit inherent in each piece with clear, authentic tone that is never forced. This is the case even in the arabesques and cante jondo of her traditional Andalusian songs such as ‘Jaeneras,’ ‘Playera,’ ‘Hincarse de rodillas,’ ‘Sevillanas,’ ‘Todos las mañanitas,’ and the moving ‘Arrorró, my child, sleep,’ a traditional song from the Canary Islands.”
– Ramón Jacques, Pro Opera

“Throughout this impeccably engineered album, the two artists make magic with their honest, straightforward approach. With Zamora’s perfect diction in Castilian, Catalan, Gallego and Basque, and a supple, clear voice perfectly suited to this music, and Duruöz’s elegantly idiomatic playing, the two artists deliver musical gems.”
– Rafael de Acha, Music Notes

LONG BEACH SYMPHONY

“There was plenty of talent onstage Saturday. The soprano, Camille Zamora, has the kind of smoky, sensuous voice perfect for this music, and she sings with a ton of passion, and an equal amount of skill… And the orchestra! We know our symphony is very, very good, but on this night they surpassed themselves…. Of course, there was a standing ovation at the end …”

– Jim Ruggirello, Gazette Newspapers

St. Louis Symphony Orchestra

“The big difference this year was the vocal soloist. Usually it’s someone from the world of musical theatre like Doug LaBrecque, Nicole Parker, or Whitney Claire Kaufman. This year it was the captivating Spanish soprano Camille Zamora, who has a substantial classical and operatic background. Her powerful voice added to the impact of Jeff Tyzik’s inventive arrangements of traditional carols like “Silent Night” and “We Three Kings” (with its lively percussion line), as well as less familiar songs like “Tu scendi dalle stelle,” written in 1732 by Alphonsus Liguori… There was even a Rodgers and Hammerstein number I’d never heard before: “Happy Christmas, Little Friend,” performed with great warmth by Ms. Zamora.”
– Chuck Lavazzi, KDHX

WORLD PREMIERE RECORDING

Billboard Classical Top Ten (#7)

Opera News Critic’s Choice

American Record Guide Critic’s Choice

“A first-rate cast… Zabala partners beautifully with Zamora, their voices intertwining like flowers on a trellis…”

– Judith Malafronte, Opera News

“Viardot leads us irresistibly through a fairytale-world… In gracefully whirling lines, the daughter Stella, the soprano Camille Zamora, sings the praise of the raindrops that make her plants grow.” 

– Thea Derks, Contemporary Classical

WORLD PREMIERE RECORDING
New York Times Classical Playlist Choice
Opera News Recording of the Year

“Soprano Camille Zamora portrays both Lucia and, later, her own granddaughter (Lucia II); this serves nicely to encapsulate the cyclic nature of time’s generational flow. Zamora sings with an appealing sparkle that she sustains even as she assures her own daughter not to grieve upon her death; this quality also serves her well in Lucia II’s role as peacemaker. “
– Joshua Rosenblum, Opera News

“This artfully constructed one-act work is the jewel of Hindemith’s late output. Leon Botstein’s beautifully rendered English-language version was captured at a live performance at Lincoln Center’s Alice Tully Hall last year. In many ways this newcomer scores over Janowski’s studio recording, made in partnership with Berlin Radio. Camille Zamora as the Lucias is the equal of Ziesak for Wergo.”
– Guy Rickards, Gramophone 

“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. 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.”
– Andrew Clements, The Guardian (4 Stars)

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

WORLD PREMIERE RECORDING

“Yo-Yo Ma and Camille Zamora offered a luminous, transcendently lyrical performance that closed the recital.”
– Opera News, Judith Malafronte

OPERA COLUMBUS

“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