HOUSTON GRAND OPERA

“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.'”
– Opera News

“The performances certainly dazzle. Top to bottom – literally, from Amore (Camille Zamora) descending from the sky on wires, to Susan Graham (Poppea) and William Burden (Nerone) sinking into a trap while prone on a chaise lounge – the singing is excellent.”
– Houston Chronicle

“Houston Grand Opera’s publicity department speaks the truth: this is a dream team of singing actors; top to bottom, the best-cast production in recent memory. When Amore (a sprightly Camille Zamora) descends from the flies on wires as a dues ex machine, he’s a little blond sailor boy in Bermuda shorts and kneesocks.”
– Houston Chronicle

“Houston Grand Opera has assembled a near-dream cast for Claudio Monteverdi’s The Coronation of Poppea in the first American staging of a provocative, visually stunning production from Bologna… a trove of talent, most notably… soprano Camille Zamora as an irrepressible Page and a flying Amore.”
– The Express News

GLIMMERGLASS FESTIVAL

“Friday’s Così evinced some fine singing… The show’s real star is Camille Zamora as a spunky Despina, her soprano a fine focus of heat and light.”
– Dallas Morning News

“This splendid production makes sense where many do not… Sanford Sylvan is an Alfonso of exquisite refinement… He finds an equally wry accomplice in Camille Zamora as the maid-of-some-work.”
– The Financial Times

“Camille Zamora plays the comic maid Despina with zest and true, firm tone and artful technique.”
– The Record

“…the maid Despina, deliciously played by soprano Camille Zamora…”
– The Daily Dispatch

“Soprano Camille Zamora sang a fine account of a somewhat hard-edged Despina, the sisters’ teen-age maid. Both her first and second act aria were very well performed, especially “Una donna a quindici anni” in which she amusingly imparted the experience of her youth to her naïve elders. And in both disguises, first as a quack doctor summoned to revive the poisoned men with magnets, then as a notary called to “wed” the re-matched couples in mongrel Latin, she was entirely credible in both appearance and manner.”
– The Ithaca Times

“An exquisitely controlled and exuberant production… Zamora sang well and showed good versatility and a nice comic flair with her acting, which included playing the parts of a doctor and a lawyer – part of the plot’s deception.”
– The Daily Gazette

“The point at which the production becomes fun comes with the arrival of Despina in the saucy person of Camille Zamora.”
– The Syracuse Post Standard

“As the couple in charge, Camille Zamora’s bossy Despina stood up to every assignment from Sanford Sylvan… As an ensemble, this sextet walked the tightrope over the gap between passion and reason, which is why Così qualifies as a comedy of manners.”
– Opera News

SPOLETO FESTIVAL

“Soprano Camille Zamora and mezzo Jossie Perez possess clear, powerful voices with perhaps three-octave ranges, intoning velvet quietude, then bursting forth with brilliant cries…”
– The Post and Courrier

GLIMMERGLASS FESTIVAL

“A name to note was that of another Juilliard student, the soprano Camille Zamora, a singer blessed with intense communicative ability who blazed with passion in Schumann (Robert and Clara) and in Rakhmaninov, and held our attention through 13 minutes of Stephen Hartke’s setting of a grim Lorca ballad. She has sung the Governess at Juilliard, and I would have loved to have heard her.”
– Michael Kennedy, Opera Magazine

“I shall look for all these names again but most of all for the soprano Camille Zamora, a singer with intense communicative gifts, who sang Schumann and Rachmaninoff with blazing passion, held our interest in a long Lorca setting (in Spanish) by Stephen Hartke and finished with some splendid Weill. She has sung major roles at Juilliard Opera and there are bound to be more.”
– Michael Kennedy, Sunday Telegraph

LINCOLN CENTER FESTIVAL

“The work danced freely between Mr. Sheng’s two worlds with Western harmonic moves underpinning themes with a Chinese tint… Camille Zamora gave dramatic, nuanced readings of the vocal pieces.”
– Allan Kozinn, New York Times

LINCOLN CENTER

“In Petrel Seascapes, a setting of five acidic poems by David Bengree-Jones, Mr. Franke adheres to some of the stylistic conventions that took root over the last century, including Sprechtstimme… He captured the shifting moods of Mr. Bengree-Jones’s poetry, and Camille Zamora, a soprano, brought the texts to life in her firm account of the vocal line.”
– Allan Kozinn, New York Times

AMERICAN BALLET THEATER

“Another highlight was Robert Hill’s Reverie, a pièce d’occasion set to Schubert, performed onstage by soprano Camille Zamora and by company conductor David LaMarche”
– Jennifer Dunning, New York Times

“One of the best received moments of the evening was no firecracker but a quiet, monumentally serene trio, danced to Schubert art songs, beautifully rendered by soprano Camille Zamora.”
– Clive Barnes, New York Post

ORCHESTRA X

“The cast, all young Americans with strong training and good voices, adjusted very well to the setting… Camille Zamora was a very impassioned Micaela…”
– Charles Ward, Houston Daily Cougar

“Most of the singers were adequate but not spectacular, with the exception of Camille Zamora as Micaela, who stole the show with a single solo.”
– S.L. Allen, Houston Daily Cougar

JARVIS ZARZUELA COMPANY

“Camille Zamora sings Chapí’s famous heroine Mari-Pepa touchingly, and her duet with the Felipe of Diego García is the rightful highlight of the set.”
– Christopher Webber, Zarzuela Magazine

TEATRO DE LA PAZ

“Camille Zamora, a rich toned soprano, with an uncommon voice augmented by her fine technique, performed arias by Mozart, Rossini, and Moreno-Torroba… a magnificent voice and impeccable technique… She won over the public not only with her richly colored soprano, but also with her grace and beauty.”
– Christopher Webber, Diaro San Louis