Diesen Auftritt wird die Mezzosopranistin Camilla Bull sicherlich nicht so schnell vergessen: Bei der Arie „Nacqui all’affanno“ aus La Cenerentola spielen Blitz und Donner eine Rolle. Prompt öffnete Petrus seine Schleusen und sorgte genau für die gleiche Stimmung. Daher musste das Publikum in den Roten Saal flüchten. Dort zeigte Bull nochmals herrliche Koloraturen und wurde mit tosendem Beifall und Bravo-Rufen belohnt.

Hersbrucker Zeitung Konzertabend Schloss Henfenfeld, Angelina

Sie mimt sowohl die Mutter als auch die böse Hexe mit schauspielerischer Leichtigkeit und großem stimmlichen Können.

Karin Wunsam, Rosenheimer Land Hänsel und Gretel, die Mutter und die Hexe

Camilla’s Dorabella likes to smash things and create a big mess. She also met the challenges of her role, singing beautifully…(it sounded so good, I had to close my eyes)

Mary Nguyen, trendfem Cosi fan tutte, Dorabella

…as a resourceful Isabella had a fine time doing a kind of Showgirls routine while singing a very creditable proportion of the notes

Robert Thickness, Opera Now magazine Oct. 2015 L’Italiana in Algeri, Isabella

Camilla Bull was the jolly-hockeysticks Dorabella and a hysterical food junkie

Robert Thickness, Opera Now magazine April 2016 L’Italiana in Algeri, Isabella

…and Camilla Bull (no doubt a star in the making) as his [Taddeo’s] vivacious ex-squeeze Isabella

Francesca Wickers, L’Italiana in Algeri, Isabella

…the cast’s four women in particular would grace any operatic stage. Camilla Bull turned Mercédès into something approaching a major character.

Mark Valencia, What’s on Stage, Carmen, Mercedes

…a fine example of that new breed of opera performer who can not only carry their voice in whatever acoustics they find themselves in, but finely balances their musicianship with conscientious acting.

Francesca Wickers, Carmen, Mercedes

…is riveting in the ‘trouser role’, of the lovesick Cherubino. Her rich voice is immaculately controlled and she is a totally convincing actor with her intense dark eyes.

Nicola Klein (Sardines review) The Marriage of Figaro, Cherubino

…that of playing a male convincingly and singing one of opera’s best known arias…Camilla was fully up to the challenge in every respect and gave a moving performance worthy of any opera house. The fiendish colaratura [aria at end of Act 1 -Paris version] was not only sang with assurance but expressively; enhancing her characterisation.

Angela Goodall, Music and Words Orpheus and Eurydice, Orpheus





Recording 2015: Stephen Svanholm