"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,
Around La Boheme at the Royal Albert Hall
"For a start, the central quartet - Jessica Rose Cambio as Mimi, etc. - were all excellent singers who wouldn't disgrace any opera stage in London."
— Intermezzo, London
Gran Gala Lirico all'Associazione Mario del Monaco di Modena
"L'Associazione M. Del Monaco ha offerto agli appassionati un concerto che ha visto avvicendarsi sul palco quattro giovani e già affermati artisti lirici, accompagnati al piano dalla nota M* Giuliana Panza. Il soprano Jessica Rose Cambio, perfezionatasi sotto la guida di Mirella Freni, timbro pieno e vibrante di schietto soprano lirico, si è esibita in brani di Charpentier, di Puccini, e della "Giovane Scuola", ottenendo caldi consensi, particolarmente in "Io son l'umile ancella" (A. Lecouvreur) e nella "Ballatella di Nedda" (Pagliacci)."
— La Gazzetta di Modena, Italia
Prandelli: È donna il futuro della lirica
"Piazza d’onore all’americana Jessica Cambio (cognome da ascendenza italiana), con un’eccellente «Mi chiamano Mimì» pucciniana ed una «Mercè, dilette amiche» da I Vespri siciliani di Verdi, aria che richiede doti canore non posticce, resa con maestria, tanto che tra il pubblico (secondo un sondaggino al volo all’uscita dal Grande) diversi spettatori l’avrebbero collocata al primo posto."
— Egidio Bonomi,
Giornale di Brescia, Italia
Die Ausstrahlung macht's
"Den dritten Preis erhielt die Amerikanerin Jessica Rose Cambio (30) für ihre Interpretation von Neddas «Qual fiamma/Stridono lassù» aus Leoncavallos «I Pagliacci» -- eine Stimme, absolut stil - und höhensicher, mit farabsattem Timbre und natürlicher messa di voce, die man sich auch ganz oben in der Preishierarchie hätte vorstellen können."
— Albrecht Thiemann,
Opernwelt Magazine, Germany
Leyla Gencer Voice Competition, Istanbul
"In contrast, the third prize winner, 30 year-old American soprano Jessica Rose Cambio, probably should have placed higher. She sang Nedda’s aria with rich, colorful tone, perfect style, a secure top, and a natural messa di voce."
— Opera Lively - Opernwelt Nov. 2012 Issue, Germany
Sur les pas de Leyla Gencer
"...et la troisième - Jessica Rose Cambio, qui après avoir bien caché son jeu durant les répétitions le matin-même, expose un joli timbre et un indéniable tempérament."
— Christophe Rizoud,
ForumOpera.com - Le Magazine de l'Opera et du Monde Lyrique
Leyla Gencer competition awards four sopranos
"And how will she spend her prize money? “Being a singer requires a lot of expenses,” she replied. “The cost of lessons, travel, hotels, wardrobe -- it adds up quickly.”
This reply was also echoed by American/Italian soprano Jessica Rose Cambio, whose brilliant account of “Stridono lassú” from Leoncavallo’s “I Pagliacci” won her the third prize of 3,500 euros. “I’ve sung in at least 50 competitions,” said Cambio, “and one prize just pays [all the expenses] for the next.”
— Alexandra Ivanoff,
Today's Zaman, Istanbul, Turkey
Sopranos leave their mark on Leyla Gencer Voice Competition
"The jury, headed by renowned Italian soprano Mirella Freni, also chose Italian-American soprano Jessica Rose Cambio as the third place winner."
— Today's Zaman, Istanbul, Turkey
X Factor della lirica? Ce l'hanno i coreani
"Come in ogni concorso come si deve non sono mancate disapprovazioni sul verdetto. Qualcuno avrebbe preferito una voce «italiana» come quella dell'interessante soprano Jessica Cambio, cimentatasi con credibilità nell'Addio del passato da Traviata."
— Giovanni Gavazzeni,
Il Giornale Online, Italia
Leicht und frei muss es klingen
"Auch im Klassenraum verlässt sich die Sopranistin, die einst Karajan zu Tränen rührte («Sie hat nicht gesungen, es hat aus ihr gesungen»), auf ihr Gehör und ihr Bauchgefühl. Von Lehrmethoden im Gesangsunterricht hält sie nichts. «Jede Stimme ist anders, einzigartig. Ich höre nur auf die individuelle Stimme. Und auf die individuellen Probleme.» Zwischen Oktober und Juni arbeitet sie jede zweite Woche mit ihren Studenten. Jeden Tag, mit jedem einzeln. Wer nicht dran ist, schaut und hört zu. Mirella Freni macht keine großen Worte. Sie macht vor, was sie erwartet. Wenn sie etwas erklärt, spricht sie eine Sprache, die jeder der aus bisher 42 Nationen angereisten Eleven sofort versteht. Alles kommt gerade heraus: «Ich glaube, das Singen sollte die normalste, natürlichste Sache der Welt sein. Die Stimme, der Klang müssen frei sein und leicht. Wir dürfen gar nicht daran denken, dass wir einen Klang erzeugen.» Manchmal unterbricht sie schon vor dem ersten Ton. «Weil wir falsch stehen. Weil wir falsch atmen. Weil wir den Mund falsch aufmachen», erzählt die amerikanische Sopranistin Jessica Rose Cambio. «Sie gibt die Richtung vor, aber wir müssen selbst laufen. Da hat nun mal jeder von uns einen anderen Gang.» Und den will Mirella Freni niemandem nehmen. Vielleicht hängen die Studenten ihr auch deshalb an den Lippen, weil sie diese persönliche Zuwendung spüren (siehe Statements). Die Gabe, jedem Einzelnen genau das zu vermitteln, was er braucht, um seinen Weg zu finden."
"Mirella Freni weiß ganz genau, was sie von uns will. Sie hat das Ohr einer Außerirdischen. Es gibt Dinge, die nur Mirella Freni hört. Das verschlägt einem manchmal die Sprache. Wir kommen mit sehr verschiedenen Erfahrungen und Techniken nach Modena. Mit ihrer Hilfe wollen wir verstehen lernen, wie man diesen schönen, natürlichen Klang erzeugt, der ihr vorschwebt. Dabei geht es vor allem um den richtigen Sitz der Stimme, um die Projektion des Klangs in der Maske, um den Kopf als Resonanzraum. Sie fordert alles, aber sie drängt uns nichts auf. Ich fühle mich absolut sicher bei ihr."
— Albrecht Thiemann,
Opernwelt Magazine, Germany
La Corea della Verdianità
"Che la critica e il pubblico non siano quasi mai stati d’accordo è consueto."
"Una sorprendente esclusione dal podio del soprano italoamericano Jessica Rose Cambio - Decisione della giuria rispettata ma assolutamente non condivisa. Da nessuno."
"Ma è stata l’assegnazione del primo posto a lasciare di sasso tutti i presenti, quando tutti pensavano a Jessica Rose Cambio, soprano americano che vive a Modena, voilà il coup du théâtre."
"Chi decisamente lo avrebbe meritato è stata Jessica Rose Cambio che ha dato letteralmente vita a Violetta in 'Addio del passato' trasmettendone tutta l’angoscia e la rassegnazione. Forse ha pagato il fatto che gli ultimi vincitori del Concorso sono stati quattro soprani."
— Paolo Zoppi,
Pramzanblog.com, Parma, Italia
50° Concorso Internazionale Voci Verdiane Città di Busseto
"Jessica Rose Cambio si presenta con 'Addio del Passato' da La traviata, eseguita molto bene, dall’intensa lettura della lettera, ai bei piani di cui è intrisa l’aria, esibendosi con una voce morbida e rotonda, ricca di colori e di accenti."
— William Fratti,
Operalibera - libera espressione d'opinioni, Verona, Italia
Concerto Finalisti Busseto - 50° Concorso Internazionale Voci Verdiane
"Il verdetto è francamente deludente. Considerata infatti la prova finale dei dieci concorrenti, a cui abbiamo assistito, si ritiene che si sarebbero potute fare scelte diverse valorizzando, magari, la buona esecuzione del soprano Jessica Rose Cambio che ha cantato Traviata."
— Patrizia Monteverdi,
Operaclick.com, Milano, Italia
I vincitori dell'edizione 2012 del Concorso Città di Bologna
"Il soprano italoamericano Jessica Rose Cambio è stata una davvero ottima Mimì pucciniana."
— Athos Tromboni,
Gli Amici della Musica Net, Bologna, Italia
La Città di Pienza - Concorso Internazionale di canto lirico "Benvenuto Franci"
"Mi ha colpito anche Jessica Rose Cambio, un'allieva della Freni dalla voce molto ben messa; anche lei può correggere un po' la coloratura di Violetta, ma il cantabile è assai bello e ricco d'armonici."
— Opera Free, Bologna, Italia
Opera during protest: A team of young singers animates the eternal 'La Boheme'
(translated from Hebrew)
"At the head of the singers is the excellent Jessica Rose Cambio (Mimi). Her sweet round voice has softness, and at the same time it is both well-placed and even somewhat penetrating. These qualities remind us somewhat of Mirella Freni, and there is no reason Cambio shouldn't have the distinguished career of that great soprano."
— Nick Shadow,
Tav-et.com, Tel Aviv, Israel
Cambio, Boccia, and Beyer make Verdi's 'La Traviata' sing
"As Violetta, soprano Jessica Rose Cambio emerged as a major voice, large and glamorous in timbre, understanding the sweeping Verdi style. She is also a natural actress."
— Stephen DeMaio,
The Italian Voice, Paterson, New Jersey
A Role to Relish: Jessica Rose Cambio to play Violetta in 'La Traviata'
"The tragic love story of a self-sacrificing courtesan, Verdi’s "La Traviata" is the ultimate in operatic romance — and for its central soprano, a vocal and emotional roller coaster with few peers. "Violetta is one of the greatest characters ever written," says Jessica Rose Cambio, who will sing the lead role with Opera at Florham on Sunday. The opera will be semi-staged with a small orchestra led by conductor Robert W. Butts.
The performance will be Cambio’s second time essaying the challenging but rewarding part, widely regarded as one of the canon’s richest leading ladies. "I think she stands for a lot of women," Cambio says. "Not that a lot of women are courtesans, of course, but her emotions are very real. The only sort of false thing about her is the pretense she puts on in front of her friends that she’s strong."
When the opera begins, Violetta, feeble with tuberculosis but experiencing a spate of better health, attends a raucous party. The guests sing the well-known "Libiamo" drinking song, with Violetta and her suitor Alfredo leading the crowd. "She starts off the opera in this vulnerable place," says Cambio. "She’s finally feeling better and the first thing she does is go to a party in order to feel loved and included. I think also not to be alone."
Alfredo captures her heart, even as she sings her soaring aria, "Sempre libera" ("Always free"), which she begins wounded, believing he has abandoned her, and ends joyously, as he appears. "She lets herself go to be with him," says Cambio. "You know how it is when you fall for someone — whether it’s good for you or not, it’s hard to stay away."
Violetta and Alfredo begin a life together, before his father Germont and then her illness intervene. In one of opera’s most touching final scenes, the lovers are reunited before Violetta’s death, and sing a gently rocking duet.
While extended operatic death scenes can seem unnatural, Cambio finds a link to reality in Violetta’s interspersed periods of weakness and vivacity by comparing them to those that she observed in her late grandmother’s final weeks. "People make fun of operas all the time because the tenor gets stabbed and 30 minutes later he dies, but it makes sense in the libretto and the context," she says.
Violetta is a career high point for many sopranos, and for Cambio to be on her second round at 28 is an impressive accomplishment. The three leads all have impressive credits. Tenor Luigi Boccia, a resident artist at the Academy of Vocal Arts in Philadelphia, will play Alfredo. Baritone Jonathan Beyer, who has recently been performing with the Opera Company of Philadelphia, will play Germont. Cambio, who is currently attending Mannes College the New School for Music, has distinguished herself with first prizes at the Licia Albanese Puccini Foundation Competition and the Gerda Lissner International Vocal Competition, among many other awards. She made her professional debut singing scenes from Puccini’s "La Bohème" with the Los Angeles Philharmonic. After completing degrees at the University of Rhode Island and the University of Southern California, she went on to AVA — but just for one year, before she won a competition and a contract in Rome. An Italian-American with dual citizenship, Cambio thrived in Italy and studied several roles with the venerable soprano and teacher Renata Scotto. "She’s like an encyclopedia of interpretation," Cambio says. "It was an honor. I hope that I can do her and Giuseppe Verdi some justice."
— Ronni Reich,
The Star Ledger, Madison, New Jersey