Acclaim
Osnabrück Falstaff

"An ihrer Seite als Alice ein weiterer Gast: die italo-amerikanische Sopranistin Jessica Rose Cambio, die schauspielerisch ein perfektes Spiel zeigte und mit gestochen scharfem Italienisch belcantistisch auf der Höhe war."

Maria Thomzik, Das Opernglas
Alles Gefoppte - Alle Gewinner

"Die Sänger wiederum setzen ihre temporeiche Personenführung mit Elan um, und wenn der Eindruck nicht täuscht, haben sie selbst noch knapp einen Monat nach der Premiere einen Riesenspaß dabei. Die Besetzung kommt ohne einen Ausfall daher, und [...] muss man doch attestieren, dass alle Sänger ihren Rollen gewaschen sind. Dem Spielwitz der Alice Ford wird Jessica Rose Cambio mit einem frei ausschwingenden Sopran gerecht. Ihre unforciete Stimme gibt ebenfalls eine schöne Oberstimme in den Ensembles."

Rebecca Hoffmann, O-Ton Kulturmagazin mit Charakter
Osnabrück Theater: FALSTAFF

"Mit Verdi's Spätwerk zeigt das Theater Osnabrück die Ensembleoper par excellence. Und das Haus kann einen hervorragenden Eindruck hinterlassen. Es fällt besonders bei den Damen die Spielfreude auf. Jessica Rose Cambio führt als Alice das Quartett entschlossen mit farbigem Sopran und feurigem Temperament an."

Damian Kern, Online Merker
Heitere Boulevardkomödie: „Falstaff“ in Osnabrück

"Als gesanglich starke und äußerst präsente Damenriege erweisen sich Jessica Rose Cambio [...] Mit ihrem vollen Sopran weiß Cambio als Alice Ford zu begeistern [...]"

Dominik Lapp, Kuturfeder.de
Alles auf Erden ist Spaß Verdi-Oper im Theater: Kraftvolle Inszenierung

"Sein Pech dabei ist nur, dass sich die beiden Angebeten - es handelt sich um die verheiratete Alice Ford (Jessica Rose Cambio) und ihre Freundin [...] untereinander kennen und den identischen Wortlaut von Falstaffs schmachtenden Liebesbriefen bemerken. Sie wollen es dem in die Jahre gekommenen Schürzenjäger heimzahlen und starten eine Intrige, die am Ende nicht nur Falstaff, sondern auch Alice Fords Gatte. Die Doppelbödigkeit macht diesen Stoff so interessant. Jessica Rose Cambio und [...] singen als Gäste, ein perfekter Intrigantenstadl."

Werner Hülsmann, Osnabrücker Nachrichten
Am Ende war alles ein großer Spaß

”Und genauso prima wie die Inszenierung ist auch der Gesang! Durchweg und ohne Ausnahme. [...] Da ist Jessica Rose Cambio als vornehme Alice Ford und […] tolle Rollenporträts mit großen Stimmen.”

Christoph Schulte im Walde, Theater: pur
Verdis Alterssünde

“Premierenzeit ist auf der Bühne gleich in mehrerlei Hinsicht: [...] stehen mehrere Gäste zum ersten Mal in Osnabrück auf der Bühne: Jessica Rose Cambio ist eine ausgelassene Rose, verfügt über einen in allen Lagen voluminösen Sopran und bringt zu ihrem Rollendebüt eine ansteckende Spielfreude mit, die auf das komplette Ensemble überzuspringen scheint.”

Jochen Rüth, Der Opernfreund
Die ganze Welt ist ein Spiel

“Die Frauenrollen in dieser Produktion sind mit größtenteils bei uns noch unbekannten Sängerinnen besetzt, Jessica Rose Cambio und [...] singen als Gäste [...] Als Intrigen spinnendes Trio sind die Damen jedenfalls spitze.”

Jan Kampmeier, Neue Osnabrücker Zeitung
In Verdis Opern-Komödie: Lehrstunden in Alterswiesheit

"Auch das Frauentrio Alice Ford (Jessica Rose Cambio) hat menschliche Tiefe. Dass sie Falstaff eine Abreibung verpassen, überspielt ihre Scham darüber, mit seinen Avancen kurzfristig kokettiert zu haben. Ihre Quartette [...] sind so hinreißend wie Alice als Köder für den selbstgefälligen Falstaff."

Hanns Butterhof, Westfälische Nachrichten
From Athens to Tulsa Opera, Turandot endures

"Jessica Rose Cambio and [Inoue] excelled in the roles of Liu, a slave girl, and Timur, a vanquished king, respectively, in Tulsa Opera debuts."

Glenda Rice Collins, News Features in various dimensions of the Arts world
Superb singing highlights Tulsa Opera's production of 'Turandot'

"As Liù, Jessica Rose Cambio nearly steals the show with exquisite performances of “Signore, ascolta!,” full of pathos and longing, and the defiant “Tu, che di gel sei cinta,” as she confronts Turandot over her own unrequited love for Calàf."

James D. Watts, Tulsa World
Review: Opera Association opens season with enjoyable 'Cav' and 'Pag'

"Canio’s wife, Nedda, sung by soprano Jessica Rose Cambio, was also in fine voice."

Dean Shapiro, The New Orleans Advocate
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, Bachtrack.com, London
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