Camille Ortiz
SOPRANO
Reviews
"...Her voice sparkles, the high notes are pure and lovely, and she excels in the poignant moments; her act-one aria "I must leave you” is a show highlight, her voice shimmering with sadness."
-Orlando Sentinel, Matthew J. Palm, April 2023 on Opera Orlando's The Daughter of the Regiment
"The evening’s vocal outstanding contribution came from soprano Camille Ortiz, the lovely toned and agile-voiced Hélène; her solo scene anticpating her disapproving father-in-law’s advent (“Il va venir… Vaine apparence!”) was also among the score’s most characterful numbers."
-Opera News, David Shengold, September 2022 on Opera Lafayette's Silvain
"The cast was highly impressive: Anthony Roth Costanzo (Amadigi), Amanda Forsythe (Melissa), Camille Ortiz (Oriana) and Daniela Mack (Dardano)...Ortiz brought a shimmering lyric sound and good musical manners to the gentler Oriana."
-Opera Magazine, London, David Shengold, July 2022 on Boston Baroque's Amadigi
"As Hélène, Camille Ortiz’s intense soprano rang out with dignity and beauty, making “Il va venir, je dois l’attendre,” the character’s unusual accompanied recitative sung as she awaits the first encounter with her father-in-law, into a dramatic tour de force."
-Washington Classical Review, Charles Downey, June 2022 on Opera Lafayette's Silvain
"Leaping ahead again two centuries—and into another galaxy stylistically—soprano Ortiz stopped the show with a brilliant Italian-style aria, “La Mariposa” (The Butterfly). Composer José Durán turbocharged the poetic text about a butterfly flying too close to a flame with Handel-like melismas and climactic high notes, and added an energetic violin obbligato for good measure. Ortiz and violinist Noori rendered it all with gusto."
-NY Classical Review, David Wright, December 2021 on Ars Lyrica's Crossing Borders
"Among soloists, Camille Ortiz is the stand-out, as innocent as she is imperious playing first a shepherdess, then a Roman warrior."
- BBC Music Magazine, October 2018 on PBO's newly released recording
"No one contributed more to the evening’s success than soprano Camille Ortiz... Performing without a score, her face alight with smiles and expressive nuance, Ortiz deployed her vibrant tone and lush tremolo to striking effect. Even as the score exacted its demands for precision runs, leaps, and languid trills, the singer seemed at ease. Everything arrived without any sense of effort or exertion. The Alleluia glittered with light and liquid ornamentation."
- San Francisco Classical Voice, Philharmonia Baroque, Mozart, October 2018
"...She sang with an energy, gleam and pointedness that enabled Poppea’s magnetism to shine through in the music.
-Texas Classical Review, Ars Lyrica Houston, Agrippina, November 2018
"The lighter, more lyrical voice of Puerto Rico-born soprano Camille Ortiz-Lafont provided welcome contrast and many charming moments."
- Seen and Heard International, PBO's Le Temple de la Gloire, May 2017
"Camille Ortiz-Lafont wowed with her agile trills and runs..."
- Bachtrack on PBO's Le Temple de la Gloire, April 2017
"Soprano Camille Ortiz-Lafont was an alluring Érigone."
- The Mercury News on PBO's Le Temple de la Gloire, April 2017
"...Camille Ortiz-Lafont, whose dark and beautiful mezzo [vocal color] lent considerable character to Act 2."
- Lisa Hirsch's Iron Tongue of Midnight on PBO's Temple, April 2017
"Vocal standouts were the sopranos Popova, Camille Ortiz-Lafont and Rebecca Beasley."
- Dallas News on Dallas Bach Society's Les arts florissants, October 2016
"Then, as if from heaven, she followed with two songs by the Spanish Catalan composer Xavier Montsalvatge from his Cinco Canciones Negras...Ms. Ortiz-Lafont favored the room with the delicious encore Del cabello más sutil by Fernando Obradors."
- NY Concert Review on Música de Cámara's Recital, February 2014
"Her voice is sublime, neat...Camille sings 'Madrugada' with text by poet Luis Lloréns Torres and the music flows without the need of ever stopping; without anything to correct or redo."
- El Diario NY, July 2013
"Ms. Ortiz herself provided some delightful singing..."
- Meche Kroop for The Opera Insider on Opera Hispánica's Soneto de Amor y Muerte, NY, 2011
"...Ms. Ortiz showed us what a fine singer she is. She produces lovely sounds in all parts of her range...These performances were characterized by brilliant high notes, lots of vocal colors, and close attention to the meaning of the words."
- NY Concert Review for Música de Cámara's Recital, 2009