Because this woman knows exactly how to make the line disappear between the pure decency in front of the Madonna and a hot embrace. But the interpretation of brazilian Camila Ribero-Souza has much more to offer than a temperamental sweeping of the stage at the Deutsches Nationaltheater. Inbetween many other moments, the following moments are carved by her with perfectly focused soprano: the general pause before the famous solo "Vissi d'arte" is no pausing before a hit-song, but a second full of tension until the aroused rupture.
Also the following phrases and melodic arches are interrupted by caesures. Ribero-Souza's soprano glows and blossoms over and onwards, consciously and in best vocal form. It is clear, as soon as enters, that the stage belongs to her, but not because she vainly struts around and makes affected gestures, but because she incorporates in this role a singer overwhelmed by political manipulations. Ribero-Souza shows her vulnerability, her weakenesses, her desperation. Before stabbing the evil Scarpia, who wants to rape her, she solemnly removes her necklace with the cross pendant and after the murder grabs the white roses, flowers of the dead, spreading them around the body, because Tosca, the pious murderess, has certainly also killed herself in this moment.
For her there is no more life after such a deed. Her demeanor has dignity, devotion, style, a mixture that is possibly found more frequently in South America than in Europe. The ovations of the audience were in any case certainly for Camila Ribero-Souza. BR Klassik. Donna Elvira corageously hands-on: Camila Ribero-Souza has so tightly internalized that Don Giovanni will be her husband that she already shows up in a wedding dress and stays in it until the end of the piece. Assets under the singers remain alone the impulsive Camila Ribero-Souza, whose jealous wrath strongly disencourages anyone from standing in her way, and Camila Ribero-Souza sings Donna Elvira with an expression of tragedy, desperation, frustration, hope.
Her Mi tradi is one of the vocal high points of this evening. Camila Ribero-Souza presents Amelia's suffering soul with a very expressive voice. With a dramatic, well cared for and resonant soprano, she gains pertinent nuances in such a way that neither urgency nor passion lack in her singing. Der Neuer Merker Vienna.
In a contrasting bipolarity is Camila Ribero-Souza as Amelia, standing in the middle of the conflict between superficiality and its opposing forces. Camila Ribero-Souza reveals the whole palette of her imposingly strong and substantially rich middle register with cultivated pathos.
And she flees from the family dinner table with her distinguished husband and the depressed little son, who shoots a paper plane into the crippling silence. From the second act onwards, the greatest singing performance was dominated by Camila Ribero-Souza Elisabeth with her timbre both luminous and strong as well as smooth and flexible of the Virgin ready to sacrifice herself. One has rarely heard both of them better sung. Frankfurter Allgemeine. Because Camila Ribero-Souza, the new soprano in the ensemble, is here the dramatic caliber until Elisabeth's vital prayer, where she becomes Venus' thankful successor.
Both singers were also sovereign in their acting.
Aida (G.Verdi) - Plauen-Zwickau - DE
During her greeting of the dear hall, Elisabeth let out her unbroken joy for a new life with dramatic fully felt breath of life; Camila Ribero-Souza's Evchen is vocally and scenically intense, even when, during the Festivities, she lets herself go through the people and looks for the lips of the police officers. After a similar evaluation done in Erfurt and Weimar, in Meiningen one can also experience a self-confident Eva, who later - vocally and scenically intensivelly portrayed by Camila Ribero-Souza - finds herself in great existential agony between Sachs and Stolzing.
How she lets herself go in the turmoil of the festivities and embraces the police officers discloses a lot of a deep mental restlessness.
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Camila Ribero-Souza's Eva possesses, next to all the cheekiness of youth, an astonishing self-confidence, which she emphasises with her easy soprano. She knows what she wants, and asserts it.
Main Post. Camila Ribero-Souza sings a confident Eva, no innocent girl even if she often twists her dress on her lap with her fingers and shows wonderful colourful sounds and interpretative nuances, with the right dose of soul in her voice. Online Musik Magazine.
Camila Ribero-Souza as Eva must be mentioned first - an unstrained and present voice, luminous in the centre, maybe a bit too careful and because of that a little firm in the high notes, perfect diction, flexibly dynamic, capable of lyric intimacy and radiant climax. Der Neue Merker. Camila Ribero-Souza is the femme fatale in this production, in which she presents herself voluptuously alluring as a lascivious woman, as she manages not only to seduce a man like Hoffmann, but also to teach him to fear the female sexuality.
She demonstrates her power over men on her enslaved well proportioned bodybuilder Julian Soto-Dinarte , whom she uses as an erotic toy.
Das Opernglas. But this time Camila Ribero-Souza doesn't stand in front of her mirror to bid farewell, incapable of any decision, as the conclusion of this opera was supposed to be, but she faces "her" composer, who in turn looks wistfully at his creation This scene is so touching, her singing is so ravishing, one can understand this self-reflective monologue formidably well and the immortality of Richard Strauss becomes crystal clear in these moments of shimmering beautiful sound; Strauss leaves behind no interrogation marks with his Art.
From then on, she is ready to go back in the painting frame of the beginning of the opera. The Meininger Orchestra, under the baton of Philippe Bach, the soloists and chamber ensembles on the stage play with freshness and vivacity; the voices, especially those of Camila Ribero-Souza and Ernst Gastenauer, are excellent. To summarise: the Meiningen Theatre has enriched their repertoire with an intelligent, visually beautiful and touching production.
Fuldaer Zeitung. Camila Ribero-Souza was very charming as the young aristocratic widow, full of emotion and, especially in the last scene, a radiant, fully blown splendorous sound. Kerstin Voigt. The Meininger Hofkapelle played flawlessly, their warm sound was just as bewitching as Camila Ribero-Souza's voice, who rose to great standards after the Moonlight Music.
Camila Ribero-Souza is an enchanting Countess, musically sophisticated, constitutive of beauty of sound and expressiveness.
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The singers as well were predominantly up to their tasks, especially Camila Ribero-Souza in the main role of the Countess, who cannot decide herself neither between both men nor between word or music. She celebrated "Art is calling for me" in a brilliant and highly strongwilled way. The public cheered; Souza's entrances alone are worth the money for the ticket. Meininger Freieswort. One can experience in the title-role exactly her, Camila Ribero-Souza, who was nominated as "Singer of the Year" by a Brittish critic in the Poll of the "Opernwelt".
On the second hand is for sure because of the formidable singing and acting presence of the artists, where Camila Ribero-Souza takes of course the centre of the stage. Her clear smooth soprano touches the heart. Together with her artistic acting expressions, the singer allows Katja's character the whole time to come out as believable. It starts with Camila Ribero-Souza's Katja, ravishing and flourishing in suffering, but at the same time imposing and with a dramatic verve.
Meiningen Freies Wort. One rarely experiences opera singers who act so unaffectedly, who give their characters such a believable "Face", who win for their often rigid body language such natural movements that one believes to be in a theatrical play. Camila Ribero-Souza is in the middle of it as Katja, who was torn apart by real feelings and comformism and in the end was swallowed by the waters in a spectacular way.
She has shaped her role with bright colours and ready fantastic high notes in the dialogues as well as the subtle lingering moments of the monologue and because of that well appears so convincing, because one can immediately recognise that Boris' athletic physic no longer really appeals to her. The vocally and dramatically brilliantly presented Katja of Camila Ribero-Souza, in her white garments, was reminiscent of a shining light and a fallen angel. The soprano is the successful synthesis of musical expressiveness and physical expression - very powerfully especially in the superb self-incriminatory scene.
A young, submissive woman wobbling amongst obedience, despair and deliverance, escapes servitude, dares to do the unthinkable and sacrifices her life for a short happiness with an unworthy man. Soprano Camila Ribero-Souza was a stellar Katja with glowing colours in the upper register as well as in the subtle, reflective moments in her monologue.
Das Opernglas Forum. In this case, the songs were not in her vocal classification. But as soon as she started her singing with Strauss's "Zueignung", she impressed us: the voice immediately comfortably opened, from the beginning with a lot of volume present, she allowed the big Strauss Breath to exhale for the Festivities of his Birthday.
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And finally the soprano finishes her program as previously said with Mahler's "Um Mitternacht" and "Ich bin der Welt abhanden gekommen". With respect to the orientation of the senses, the singing was attuned, melancholic. The empathetic opera diva has fully diven in the singing of Songs, and the sensitive pianist on the piano - Camila Ribero-Souza and Ettore Prandi have created this afternoon in the Elisabethenburg an excellent artistic partnernship, worthy of Gustav Mahler and Richard Strauss. Meininger Tageblatt. And beside the young couple who goes out to life hand-in-hand is of course the Feldmarschallin, whose sacrifice for her young lover takes the centre of the stage, and whose reflections about Time, this odd thing, belong to the cleverest in live to be said on the stage.
The attractive naturalistic Camila Ribero-Souza comes out above all specially in the big trio, her female very calmly floating over the ramp. For her last entrance she is all dolled up, as if she were the younger sister of Catherine Deneuve. NMZ Online. For the three huge female roles are cast three outstanding singers, specially Camila Ribero-Souza as the savvy, sovereign Marschallin.
Even though she was made to look too old by the direction, the big, strong voice of the sympathetic soprano fits better and better in her challenging task. Her entrance was brilliant, as she painfully sacrifices her love for Octavian. Camila Ribero-Souza as the Marschallin was more impressive than the others for her big life-knowing monologue of her traditional environment, and if she sings about her starting old-age weariness in glorious purity and at the same time deep gestures, which are formally weaved with the typical warm soft dark lyricism of the poet's text, then silence rules in the theatre and in the music, even if it still resonates.