Review: Knoxville Opera’s ‘La Bohème’
"Jessica Rose Cambio made for an excellent Mimi, [their] romantic meeting engaging, romantic, and as believable as Puccini allows. Cambio sang Mimi with a lovely clarity and full high end, yet with a refined delicacy that was entrancing. Her Act III aria, 'Donde lieta usci', in which she asks Rodolfo to return her few possessions, was soft and poignant."
— Alan Sherrod,
Arts Knoxville, Tennessee
La Traviata, West Green House Opera
"The heroine, quite legitimately, was no shrinking camellia. Jessica Rose Cambio (an American pupil of Diana Soviero who has studied with Scotto and Freni) gave us a young woman who, before being driven to submission, seemed well able to look after herself: she certainly launched a decisive shot across Germont père's bows with 'Donna son io, signore, ed in mia casa'. In Act 3 her transformation into a terminal patient was achieved without histrionics, but with moving stillness and restraint (and make-up that simply drained her face of colour rather than transforming her into a zombie). Cambio possesses a rounded, flowing middle register--so important in Verdi--and a sure sense of style."
— Yehuda Shapiro,
Opera Magazine, London
CRÍTICA: NEW YORK CITY OPERA 'PAYASOS' DE LEONCAVALLO - DE SORPRESA EN SORPRESA
"Más interesante a todas luces la joven soprano de Providence, Jessica Rose Cambio, quien mostró una voz brillante y ágil en el agudo, aunque algo pequeña y que interpretó una Nedda coqueta y apasionada con Silvio, pero de fuerte carácter ante los insistentes escarceos de Tonio."
— Pedro J. Lapeña Rey,
CodaLaria.Com, La Revista de Música Clásica
Review: Signs of Rebirth at New York City Opera
"'Pagliacci' offers strong, if not exceptional, vocal performances in the leading roles. As Nedda, his straying wife, the soprano Jessica Rose Cambio sings with agile coloratura and shimmering sound."
— Anthony Tommasini,
New York Times, New York
NYC Opera's Double Bill: Stick Around After Intermission
"Jessica Rose Cambio sang Nedda with a full-bodied Italianate soprano while also navigating the character's repugnant pride and endearing longing."
— David Patrick Stearns,
WQXR Operavore, New York
In 'Aleko' and 'Pagliacci', New York City Opera finds its stride
"As Nedda, Jessica Rose Cambio also had satisfying theatrical instincts, especially toying with plates, glasses, a vase of flowers, and a bottle of wine as part of that “show within a show.” But her love scene with Silvio drew bravos from many in the audience."
— Bruce Hodges,
New York Classical Review, New York
Classical Music Rocks: NYCO Aleko & Pagliacci
"Versatile soprano Jessica Rose Cambio did not spare her ultra-flexible voice any acrobatics, but could also be tenderly emotional as well as fiercely self-protective as Nedda, the straying wife with the whip."
— Classical Music Rocks, New York
New York City Opera Presents a Historically Interesting Double-Bill
"Soprano Jessica Rose Cambio as Nedda is a rare talent, gifted both as a singer and an actress. Her “Stridono lassù” (bird song) was as full-voiced as I have ever heard, with a strong top and good use of covering her piano notes for additional vocal color."
— Jose Andrade,
The Huffington Post, New York
Aleko and Pagliacci double bill an auspicious start for New York City Opera
"Musically it was a solid, if not outstanding evening. Soprano Jessica Rose Cambio as Nedda balanced coquettishness with authentic despair."
— Edward Sava-Segal,
Bachtrack.com, New York
New York’s Second Opera Is Back
"The singing and acting of the love interest, Nedda (Jessica Rose Cambio), were beautiful and convincing."
— Nicholas Gallagher,
The American Interest, New York
Aleko/Pagliacci: A rather odd couple
"Jessica Rose Cambio sang Nedda with a sweet agile voice. As a young woman trapped in a loveless marriage, her “Stridono lassù” with its wistful singing about birds in flight, was poignant indeed."
— Arlene Judith Klotzko,
The Opera Critic, New York
Cuts like a Knife
"Jessica Rose Cambio struck a curious position as Nedda, ladylike but wary, overtly resentful of Canio’s possessiveness and of the life on the road. Her voice builds on an attractive core. The lower voice especially, shining in her duet with Silvio, was attractive."
— John Yohalem,
Parterre Box, New York
‘Aleko/Pagliacci’ Reviews: Musicians and Murder
"Jessica Rose Cambio was affecting as Nedda."
— Heidi Waleson,
The Wall Street Journal, New York
BWW Review: New York City Opera's PAG Ditches CAV for Rachmaninoff's ALEKO
"Soprano Jessica Rose Cambio did well as the wife, Nedda, with a well-sung, smartly acted turn."
— Richard Sasanow,
Broadway World, New York
New York City Opera Opens in the Rose Theatre
"Across the board the singing was delightful; Jessica Rose Cambio was a luscious Nedda."
— Susan Hall,
Berkshire Fine Arts, New York
Russian vs. Italian Crime Passionnel
"Soprano Jessica Rose Cambio as Nedda was a delight, mastering the role both vocally and acting-wise and ranging from loving and free spirited with her lover Silvio, to feisty with Tonio, to tragically splitting herself in the last scenes between the cheerful vaudeville role of Colombina and her final moments defying her violent husband."
— Allegri con fuoco, New York
Aleko & Pagliacci (New York City Opera)
"Soprano Jessica Rose Cambio as proud, flirtatious Nedda proved herself to be an excellent singer/actress."
— Victor Gluck,
Theater Scene, New York
Jessica Rose Cambio a superb Violetta for West Green House Opera
"Jessica Rose Cambio gave a superb Violetta with plenty of depth. Oozing sex appeal in the first act, her flashes of vulnerability were sudden and disarming; her development of the pathos of the character throughout the opera was impressive. Vocally, she was on top form, showing off a powerful soprano largely at ease at the top – though once or twice it felt like she was slipping into verismo – and with something spicy in the colour of the voice that made her genuinely exciting to hear."
— Dominic Lowe,
"As Parisina, we heard soprano Jessica Rose Cambio who invested the lyric passages with beautiful phrasing and firm sound. She has weight to her voice and an exciting upper register but more than enough flexibility for the fioritura; she was particularly remarkable in each cabaletta. She also had a lovely duet with her handmaiden Imelda and a touching love duet with Ugo in a melting minor key. Her lyrical phrasing was most evident in the aria in which she sings herself to sleep."
— Meche Kroop,
Voce di Meche, New York
A gorgeous and emotional staging of 'Bohème' opens Sarasota Opera's Fall Season
"In the lead roles, the two sopranos - Cambio as Mimi [and Musetta] -- give perhaps the most impressive performances. Cambio, in her debut with the Sarasota Opera, has a lovely voice that hits all the right emotional notes."
— Marty Clear,
Bradenton Herald, Florida
Stable soloist trio saves conventional La Traviata
(translated from Swedish)
"Jessica Rose Cambio let the audience know that she had a cold this week, but beyond that she never wavered any high notes. She can fully operate the voice thoroughly, and she especially excels in places with apparent intimacy, particularly that of the third act prolonged death scene."
— Jens Runnberg,
Eve Queler and Friends
"We were delighted to have the opportunity to hear soprano Jessica Rose Cambio who performed 'Non so le tetre immagini' from Verdi's Il Corsaro which she sang with great depth of feeling. Her voice opens up at the top like an umbrella and she trills like a canary. She also sang 'Tu del mio Carlo al seno' from Verdi's I Masnadieri, accompanied this time by the fine pianist Douglas Martin. The work has lovely arpeggios and a joyful staccato cabaletta."
— Meche Kroop,
Voce di Meche, New York
"A compelling worldclass lyric talent. [Cambio] has a beautiful instrument and has assembled the perfect range of skills to sing Belcanto as few can ever hope to. A consummate actress as well! What more can an audience member ask for?"
"A singing actress par excellence, and clearly fantastically talented and at home in the Italian Romantic repertoire."
— Dr. Anne Harley,
The American Prize, New York
Couture Culture - Bohème features hit after operatic hit and is a hit
"There is immediate chemistry with his Mimì, sung with clarity and emotion by Jessica Rose Cambio. Indeed, the strong cast throughout elevates this production to a higher level. An absolute must-see."
— Nick Hammond,
The Mayfair Magazine, London
La Bohème - Jessica Rose Cambio's Mimì offers a grandly expressive soprano
"It's back to the original Italian for Francesca Zambello's revived arena staging of Puccini's Parisian romance, which capitalises on the strengths of the venue."
"The cast I encountered was very worthwhile. Jessica Rose Cambio's Mimì offers a grandly expressive soprano and a physical consciousness of the character's mortal illness."
— George Hall,
The Guardian, London
Bohemian rhapsody that attacks from all angles
"It's refreshing to have a Mimi and a Rodolfo who are first ardent young lovers, and only second a diva and a divo. Jessica Rose Cambio's soprano is ripe, vivacious, affecting, and her presence entirely disarming."
"Francesca Zambello's in-the-round production of La Boheme has returned, and despite new competition from opera streamed live into cinemas, it still draws the masses. The Albert Hall was all but sold out."
"The rhythm and pacing of this Boheme provide plenty on which to reflect."
— Hilary Finch,
The London Times, London
La Bohème at the Royal Albert Hall
"Enter stage left, Mimi, played by Jessica Rose Cambio. If the audience had been wowed by Pannikar’s Rodolfo, they were now utterly floored by this expressive Italian-American soprano, with a velvety smooth voice that left no dark corner of the Albert Hall untouched. By the time they came to setting the scene for act two at Café Momus, the audience were in no doubt that they were witnessing a fantastic collaboration of artists at the very top of their game."
"Giacomo Puccini’s La Bohème makes a welcome return to the Royal Albert Hall in this magnificent Raymond Gubbay production, featuring some of the most exciting rising stars from the opera world."
"The last half of this electrifying opera raced by, and what had been a two-hour performance certainly felt much shorter due to the talented cast and the entertaining production design. This La bohème is a feast for the ears, a delight for the eyes, and a punch in the heart for romantics. Henri Murger and Giacomo Puccini would be most impressed."
— Ash J. Lipkin,
The Arbuturian, London
"The principal cast is vocally strong, and it is good to hear the opera sung in Italian for the first time in this production. On opening night, Jessica Rose Cambio captures Mimi’s prim cautiousness."
"All are into their stride by Act III - the lovers’ emotional quartet, on a deserted railway platform, is the musical and dramatic highlight."
"The thousands-strong audience packed into the RAH for this entertaining and moving experience."
— Graham Rogers,
The Stage, London
Francesca Zambello's Bohème Extravaganza a Brilliant Success
"A top price at the Royal Albert Hall allows you to experience a United Nations mix of singers of no less a calibre than patrons at Covent Garden or Glyndebourne could pay three times – and possibly more – to see."
"This La Bohème packed a musical punch, as well as, scenic and dramatic ones. It was a fine cast that brought a surprisingly subtle freshness to the very recognisable score."
"Jessica Rose Cambio was an attractive Mimì, frail of course, but having a great strength of spirit."
— Jim Pritchard,
Seen and Heard International, London
All the fun of the fair: A vibrant, busy La bohème at the Royal Albert Hall
"The singing was lovely. Jessica Rose Cambio (Mimì) negotiated her music with aplomb, and the love scenes had a touching, awkward innocence whenever [Mimì and Rodolfo] engaged each other dramatically."
— Charlotte Valori,