Reviews

The Long Christmas Dinner

AMERICAN SYMPHONY ORCHESTRA

“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

Pygmalion

ON SITE OPERA

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

SUEÑOS DE ESPAÑA

SARASOTA ARTISTS SERIES

“Camille Zamora wielded her vocal gifts and technique like a brilliant torch, bringing light and magic to everything she sang. She was given ample opportunity to display her technical strength and musical artistry… 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.”
– The Herald Tribune

I Capuleti E I Montecchi

OPERA IN THE HEIGHTS

“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, 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, The Houston Chronicle

“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, Houston Press

Anna Bolena

OPERA IN THE HEIGHTS

“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.” (Read the full review here)
The Houston Chronicle

“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.” (Read the full review here)
Houston Press

La Voix Humaine

AUCKLAND OPERA

“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, New Zealand Herald

Idomeneo

BOSTON LYRIC OPERA

“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.”
– Boston Theater Review

“As Ilia, a Trojan prisoner in love with Idamante, Camille Zamora projected warmth and sensitivity.”
– Opera News

Twin Spirits: Robert & Clara Schumann

LINCOLN CENTER

“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).”
– The New York Times

“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.”
– The Wall Street Journal

Luisa Fernanda

LOS ANGELES OPERA

“Camille Zamora as Rosita, a saucy seamstress, was notable in voice and presence.”
– Hollywood Reporter

“Camille Zamora was a creamy-voiced Rosita.”
– Music and Vision

Concerto per la Notte di Natale

CONTINUUM

“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.”
– New Music Connoisseur