Camila Provenzale
soprano
".... she also possesses stage presence and a beautiful voice... strong, with a lovely tone, secure pitch, and excellent projection."
Les pêcheurs de perles - Leila
Concerto Magazine
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TERRITORY
Latin America - exclusive
BIO
Camila Provenzale, an Italo-Brazilian soprano born in São Paulo and residing in Zurich, has performed with major orchestras and in significant concert halls and opera houses around the world.
Camila was one of the winners of the Neue Stimmen International Singing Competition in Germany and won first prize at the Maria Callas Competition in Brazil. She was also a winner at the Paris Opera Competition at the Théâtre des Champs-Élysées in Paris, awarded at the Giusy Devinu Competition in Cagliari, Italy, and represented Brazil as a finalist at the BBC Cardiff Singer of the World Competition in Wales.
She made her French debut in 2017 as Countess Almaviva (The Marriage of Figaro) at the Toulon Opera, the same year she sang Bachianas Brasileiras No. 5 by Villa-Lobos at the Teatro Real in Madrid. In 2018 and 2019, she was regularly invited to sing with Plácido Domingo in concerts in Ljubljana, Strasbourg, Valencia, Boston, and Aarhus.
Since then, Camila has performed various roles such as Donna Anna (Don Giovanni) at the Théâtre des Champs-Élysées, Paris; Hanna Glawari (The Merry Widow) at the Theatro Municipal de São Paulo; Micaëla (Carmen) with Opera North in Leeds, England; Mariana Alcoforado in the world premiere of the monodrama opera Cartas Portuguesas by João Guilherme Ripper with the São Paulo State Symphony Orchestra (Osesp) at Sala São Paulo; Fiordiligi (Così fan tutte) at the Garsington Opera Festival in London; and Bachianas No. 5 (Villa-Lobos) with the K Ensemble in Dubai for the Cartier Foundation, among others.
Camila is also recognized for her unique musicality in the symphonic repertoire, having sung all the symphonies of Mahler, Carmina Burana, and many works by Beethoven, Mozart, Villa-Lobos, as well as contemporary composers.
In 2022 and 2023, in celebration of the 200th anniversary of Brazil's independence, Camila performed with Villa-Lobos' Amazon Forest Suite projects with prestigious orchestras in various countries, including the Philharmonie de Paris, Zurich Opernhaus, National Orchestra of Spain, Opera National de Bordeaux, and a performance with the Osesp at Carnegie Hall in New York City.
REVIEWS
".... she also possesses stage presence and a beautiful voice... strong, with a lovely tone, secure pitch, and excellent projection."
Concerto Magazine
Fabiano Gonçalves, October 2015
"There are also striking turns from Camila Titinger, who brings real pathos to the part of Micaela—the woman abandoned by José in favour of Carmen."
British Theatre Guide
James Ballands, October 2021
"…. Micaela - a performance of infinite colour from soprano Camilla Titinger."
Ilkey Gazette
Geoffrey Mogridge, October 2021
"Her more conventional rival, Micaela – here pregnant with Don José’s child, though his interest in her is minimal – receives an impressively lyrical interpretation from Camila Titinger."
George Hall, October 2021
The Stage
"Throughout, he sets her upon an earnest mission to deliver sorrowful messages to Don José from his dying mother. She sings her arias most beautifully, with an almost Puccinian rapture, the stamp of unconfined lyricism marking her entire performance."
Leeds Living
Tom Tollet, October 2021
"...and Camila Titinger’s soft-toned Micaëla has power where it counts."
The Guardian
Erica Leal, October 2021
"Soprano Camila Titinger played Micaela with considerable force and subtlety, the pathos very apparent whenever she appeared."
Richard Wildocks, October 2021
Yorkshire Times
"Camila Titinger, the Italian-Brazilian soprano, has a lovely voice and succeeded well in being the spurned and heavily pregnant Micaela."
Bach Track
Richard Trinder, October 2021
Mature Times – The voice or our generation
"...Camila Titinger caresses her bump for extra pathos as she sings her main aria so beautifully!"
Eileen Caiger Gray, October 2021
"...firm, with a beautiful timbre, secure pitch, and excellent projection. Her second act aria, Comme autrefois, was beautifully interpreted, but her great moment was the following duet with the tenor: lyrical, vibrant, passionate. And there was also the great scene with Zurga in the first part of the final act (Je frémis, je chancelle), which the soprano faced with bravery. At the moment of applause, her gesture of kissing the stage was beautiful. Camila Titinger is an artist to be watched with great attention."
Les Pêcheurs de Perles (Leïla), Opera Festival of Teatro da Paz, BelémAsk ChatGPT
Leonardo Marques, September 2015
Concerto Magazine
"Lyrical soprano voice with seductive high notes and consistency throughout its range."
La Clemenza di Tito, Theatro São Pedro, São Paulo
Ali Hassan Ayache, February 2015
Movimento Website
"The young soprano Camila Titinger, who played the priestess Leila, displayed a beautiful voice and good presence. Titinger knew how to integrate well with the renowned Portari and Neiva, demonstrating personality and great artistic potential."
Les Pêcheurs de Perles (Leïla), Opera Festival of Teatro da Paz, BelémAsk ChatGPT
Nelson Rubens Kunze, September 2015
Concerto Magazine
Mozart’s terrifying opera buffa isn’t just playing it for laughs
"The Commendatore’s daughter, Donna Anna (Camila Titinger), sang elegantly, becoming stronger and more impassioned in her final two arias “Crudele? Ah! No mio bene” and “Non me dir”."
Maureen Idowu
Simone Menezes con la Orquesta Nacional de España por «A floresta do Amazonas»
"The soprano Camila Provenzale dazzled and pleasantly surprised. She was a discovery. This was not a score for a display of fireworks. Nevertheless, the characterization and the exoticism with which she colored her voice were prodigious, absolutely enveloped in the poetic image of the piece. There is in her art an underlying idea of warmth that is extremely difficult to achieve. After her first intervention halfway through the work, with a tender and innocent song that spoke of sailboats and the swaying of waves, the emotional audience interrupted the transition to the next movement with long and sincere applause. How beautiful."
Enrique Montesdeoca Lagares, October 16, 2023
"[...] renosing it into a more practical 45-minute symphonic suite with soprano (Camila Provenzale: dreamily wistful in Canção do amor)."
Amazônia
Claire Jackson, October 2023
Villa-Lobos: Suite Floresta do Amazonas review – a hymn to the abundance of the rainforest
"But even in this abridged version it is hard to resist the scope of the work and its moments of intense beauty particularly in the vocal movements, rapturously sung by Camila Provenzale – while stylistically it encapsulates much of the history of music in the first half of the 20th century in a very distinctive way."
Andrew Clements, September 2023
So notwendig und so schön
"Often, singing also came into play, offered by soprano Camila Provenzales with round volume and beautiful breadth."
Frankfurter Rundschau
Bernhard Uske, September 2024
Monumental und doch zerbrechlich
"The Brazilian conductor Simone Menezes, who in close collaboration with Salgado adapted the suite, shortened from 75 to just under 45 minutes for the project, also brought out many subtleties and more advanced elements with the excellently prepared hr-Sinfonieorchester and the soprano Camila Provenzale, who was required in three songs. The monumental sections at first perfectly complemented Salgado's often helicopter-shot wide-angle views, taken under dangerous weather conditions, with powerful cloud formations and reflections in the water, mountains, waterfalls."
Frankfurter Allgemeine Zeitung
Guido Holze, September 2024