Tannhäuser (R. Wagner)- Mecklenburgisches Staatstheater Schwerin - DE

Camila Ribero-Souza was vocally and representationally successful in creating a seamless binding between Elisabeth's transcendent tones and a modern feminine figure who wants to bridge the gap to her Tannhäuser, inspite of the estrangement. (Opera Online)

The most important role for the meaning of this musical drama is that of Elisabeth, portrayed by Camila Ribero-Souza. She was the singer more strongly used by the mise-en-scène because she had to be a double Being. On one hand she should be a pure virgin and on the other hand the life-affirming mother of two children. It was admirable how she got through it. Her voice, a strong and dramatic soprano, showed no signs of strain.(Neue Musikzeitung Online)

Camila Ribero-Souza shaped in a multifaceted way the role of Elisabeth with her pleasant sounding dramatic soprano and showed herself also dramaticly committed to the tasks the production required of her.(IOCO Kultur im Netz)

Camila Ribero-Souza created and sang Elisabeth marvellously. Her gorgeous, strong Soprano voice stood up also in the soft bars and delighted all around. (Das Opernglas, November 2022)

Turandot (G. Puccini)- Theater Regensburg - DE

In the riddle-scene Camila Ribero-Souza clearly had the pants on and launched the high notes with primal power into the auditorium. She shaped the aria "In Questa Reggia" vocally with multi-facetted colours, turning it into a study on the character of an emotionally disabled woman. (Neue Musikzeitung Online)

The dark-coloured soprano of Camila Ribero-Souza, owner of protagonists' vibrato, has managed to drown out [the orchestra] in a different way. She does it superbly. The scenes in which the princess, suffering from hereditary trauma, unleashes her rage, are soaked in morbid Pathos. Ribero-Souza makes it vocally plausible what scene director Raab prioritises in her production. (Süddeutsche Zeitung)

Camila Ribero-Sousa sings and acts a Turandot who can show off her power just as well as her successful soft tones. (Oper Magazin)

Aida (G. Verdi)- Deutsches Nationaltheater Weimar - DE

A bit more down to earth and therefore more touching is Camila Ribero-Souza: as Aida, she radiates a moving integritry with her prohibited love, diplomatic communication and erotic self-confidence through and through. Ribero-Souza transports it vocally as well in an impressive way. Her warm soprano has opulence, earthing, warmth and articulated grief with flexible and heavenly high notes. (Die Deutsche Bühne)

The dramatic soprano Camila Ribero-Souza shone as Aida, in the beginning with a yellow-lavender frilled dress and later in jeans and a cardigan, with an enormous musical expression spectrum and exceptionally strong, she had more than grown in the role. (Das Opernglas)

Ariadne auf Naxos (R. Strauss)- "DER FAUST" Theaterpreis Winner - Deutsches Nationaltheater Weimar - DE

Camila Ribero-Souza, as Primadonna and Ariadne, whose small excerpt we have just listened, a wonderful singer who can be immensily funny as the Primadonna as then the despairing loving woman, who knows what each scene, each syllable is about and can do that with incredibly many colours. (Uwe Friedrich, MDR Fazit)

... of the serious heroine Ariadne, yearning for death, sung with a richly coloured soprano by Camila Ribero-Souza (Jan Kreyssig, Thüringische Landeszeitung)

For the vocal highlight of the very joyfull Ensemble was Camila Ribero-Souza responsible (she was yes a few years soloist in Meiningen) as Primadonna and Ariadne (...). (Joachim Lange, Meininger Tagesblatt)

Rienzi (R. Wagner) - Deutsche Oper Berlin - DE

(...) So a short-notice search for a "substitute-Irene" was started, what poses an extremely difficult endeavour, given that the piece is rarely performed and has many shortened variations. Camila Ribero-Souza arrived at the theatre two hours before the beginning of the performance. She had sung the role of Irene once eight years ago and that also in a completely different shortened version as the one done by the Deutsche Oper Berlin. Awkwardly and unfortunately placed at the side of the stage, the brave brazilian singer with blatant sight-singing abilities is equiped with a radiant young dramatic soprano voice. She has already sung both Venus and Elisabeth in one evening in Tannhäuser. In the love duet with Adriano in the first Act and in the big duet with Rienzi in the fifth Act she sets new standards, in which for this role such difficult splits must be done between becantest effortless ornaments and dramatic penetrating power. The same is true for the Ensembles, where a high C sharp once is due.(Dr. Ingobert Waltenberger for the Online Merker)

Aida (G.Verdi) - Plauen-Zwickau - DE

Camila Ribero-Souza, who as a guest sang the title-role in glowing notes with an outstanding voice, received lots of applause and bravos.(Lutz Behrens for Vogtland Anzeiger Zeitung)

Tosca (G.Puccini) - Weimar - DE

Cavaradossi can grasp for air only when Tosca is gone. 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.(

Dignity, devotion, style: ovations for Tosca - The brazilian soprano Camila Ribero-Souza is very much Diva as Tosca, and what a Diva! 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)

Don Giovanni (W.A. Mozart) - Weimar - DE

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... (Thüringer Allgemeine)

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.(Ingrid Freiberg für IOCO Kultur im Netz)

Un Ballo in Maschera (G. Verdi) - Weimar - DE

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. (

(...) while Camila Ribero-Souza (Amelia), obviously at the top of her game, presents the whole Ensemble with security through her somnambulistic sophistication. (Thüringer Allgemeine)

Tannhäuser (R. Wagner) - Weimar - DE

The Elisabeth in Weimar is acted and sung by the brazilian soprano Camila Ribero-Souza. She has a bright, radiant soprano that fits perfectly the vocal challenges posed by Elisabeth. In addition to that, she the appropriate volume and vocal scope to create the sound development demanded by Wagner. She presents outstandingly the full vocal spectrum of role with great dynamic. If the interaction with the other protagonists gets lost in a couple of places is obviously a wish of the stage director. In her entrance in the 2nd Act, "Dich, teure Halle, grüss' ich wieder, froh grüss' ich dich, geliebter Raum" and "Zurück von ihm!... Nicht ihr seid seine Richter... Grausame... Werft von euch das wilde Schwert und gebt Gehör der reinen Jungfrau Wort", she sings with great vocal intensity and differentiation, without pushing the hight notes and at the same time with full passion in vocally disclosing her intimate emotions. (Turgay Schmidt for

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. Her Ich fleh für ihn! - aria from the second act built together with her Death-aria Allmächt'ge Jungfrau, hör mein Flehen!, softly accompanied by the orchestra, are the peaks of her performance. One has rarely heard both of them better sung. (Frankfurter Allgemeine)

(...) so that the vocal character of both female characters cross one another. 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. (Concerti)

In Camila Ribero-Souza was Elisabeth (...) exactly in the right throat. (

With Camila Ribero-Souza (Elisabeth) and Sayaka Shigeshima (Venus) were both main female roles superbly cast. Both singers were also sovereign in their acting. During her greeting of the dear hall, Elisabeth let out her unbroken joy for a new life with dramatic fully felt breath of life; (...)(Thüringer Allgemeine)

Die Meistersinger von Nürnberg (R. Wagner) - Meiningen - DE

...but Camila Ribero-Souza's Eva was every bit as rich and fully felt as her Feldmarschallin. (Tom Suttcliffe for OPERA NOW)

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. (Crescendo)

Noteworthy: Camila Ribero-Souza as Eva, a soprano with pure sound. (Fuldaer Zeitung)

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. (Concerti)

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)

The Tales of Hoffmann (J. Offenbach) - Meiningen - DE

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)

Capriccio (R. Strauss) - Meiningen - DE

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.(Opernglas)

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.(OPERNWELT)

With her elegant Soprano, Camila Ribero-Souza gave form to the Countess Madeleine, who cannot decide herself between the Poet or the Composer. (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)

Countess Madeleine (velvety warm soprano: Camila Ribero-Souza). (

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.(

(...)the wonderful soprano Camila Ribero-Souza as the Countess, (...)(Main Post)

Camila Ribero-Souza is an enchanting Countess, musically sophisticated, constitutive of beauty of sound and expressiveness.(Online Musik Magazine)

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.(BR Klassik)

Neujahrskonzert AN DER SCHÖNEN BLAUEN MOLDAU - Meiningen - DE -

ASCENDING STAR SOPRANO - The singing part of the concert was performed by the ascending star soprano Camila Ribero-Souza. With Marie's Aria from the opera "Verkauften Braut", and even more pronounced in the "Song to the Moon" of Dvorák's"Rusalka", she has shown that her voice has gained even more warmth, has acquired even more volume in the low notes, and that even then, when it is widely opened, it exudes a magnificent strong radience. 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)

Katja Kabanova (L. Janacek) - Meiningen - DE

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.(Main Post)

The singer Camila Ribero-Souza shines in her main role at the Meiningen Theatre. (Thüringische Landeszeitung)

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. (Das Opernglas)

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. (Fuldaer Zeitung)

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

Strauss and Brahms Liederabend - Meiningen - DE

Unfortunately on Sunday the mezzo soprano XXXXXX was sick - the songs by Strauss were supposed to be sung by her -, so thankfully Camila Ribero-Souza took over the Strauss Songs in short notice, in addition to her Mahler Songs. 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. (...) The songs by Mahler - all composed on texts by Friedrich Rückert and therefore exuding the full quality romantic spirit - came very intimate in the musical language, also chaste, text-oriented, often only in Mezza Voce. The new change to Strauss allowed the soloist to show off all of the round power and considerable charisma of her voice with the songs "Cäcilie" and "Morgen". 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)

Gianni Schicchi (G. Puccini) - Meiningen - DE

(...) and his elegant wife La Ciesca, Camila Ribero-Souza, with a round, comfortable soprano. (Opernnetz)

Der Rosenkavalier (R. Strauss) - Meiningen - DE

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. (Opernnetz)

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. (Das Opernglas)

Camila Ribero-Souza's Feldmarschallin was fleshed out with wide-ranging intelligence and affection, growing and altering before one's eyes. This is a voice of colour and skill to be really enjoyed. (Opera Now)

VERDI Messa da Requiem - Schweinfurt - DE

But the most beautiful place was given by soprano Camila Ribero-Souza at the closing number "Libera Me". Especially then, when Soprano and Choir get together, without the orchestra accompaniment, and the soloist soars up to a high B four times pianissimo (PPPP). Ribero-Souza sings the moving passage with severe smoothness, a crystal clear and extraordinarily beautiful sound, without any shrillness whatsoever. (Main Post Schweinfurt)

VERDI Messa da Requiem - Meiningen - DE

...just as well as Camila Ribero-Souza who is capable not only of the full crescendos, but also of the soft floating singing at the A Capella part. One sings this Requiem even more intensily, finally intertwoven in the last part of "Libera me", the intercession where the dead ask for personal salvation. This part was presented with the best Verdian expressiveness. Thrilling. (Meininger Freieswort)

Tannhäuser (Wagner) - Wartburgschloss/Eisenach - DE

The Brazilian Camila Ribero-Souza, also with her slender figure, created an absolutely exhilarating part as Elisabeth. With a strong lyric soprano she greeted the Hall [Dich, teure Halle], at the meeting with Tannhäuser rather silken sounds, and then highly drammatic against the maddened society that was about to strike her down. Her request for Tannhäuser's salvation then fell into tender pleading sounds built up to a poignant (second) prayer of Elizabeth [Allmächt'ge Jungfrau]. What a versatile and adaptable voice! And in every situation a compelling gesture and facial expression. (We will certainly be hearing more about her in the future.)(Hans-Hermann Trost for Die Opernfreunde)

BRAHMS Foyerkonzert - Das Meininger Theater Foyer - DE

Camila Ribero-Souza (soprano) and Ettore Prandi (piano) have chosen, for this morning's concert, less known songs by Brahms from different song cycles. Mostly deep and melancholic in expression, occasionally steering near the spoken sing, they are proved exemplars of the typical German Song. The singer, with her beautiful dark coloured voice, very much bound by the Italian School of Singing, and Prandi as well comes from that southern land. Hence it was fascinating to see how they dealt with these songs. They have sunken themselves into Brahms with lots of empathy. With the dramatic "Hochgetürmte Rimaflut" and, above all others, with their rendering of "Todessehnen" they have achieved a very remarkable performance.(Meininger Tageblatt)

Abai (Schubanow & Hamidi) - Meiningen - DE

Camila Ribero-Souza with shiny, flawless soprano as Ažar. (Thüringer Allgemeine)

Camila Ribero-Souza portrayed Ažar in a very touching way with comfortable vocal richness right up to the top high notes, flexible singing and intense acting, showing how Ažar's life, dominated by her love for Ajdar, couldn't be intimidated by any threatening consequences. (Opernglas)

Very sympathetic were the lovers Ajdár and Ažar. (...) she [was sung] by the beautiful Brazilian soprano Camila Ribero-Souza with a bright luminous voice. (Der Neue Merker)

The Rape of Lucretia (B. Britten) - Meiningen - DE

(...) and Camila Ribero-Souza with a bewitching Mezza Voce. (Freies Wort Meininger Tageblatt)

(...) and Camila Ribero-Souza, a soprano with radiant and light high notes. (Fuldär Zeitung)

Die Csárdásfürstin (E. Kálmán) - Meiningen - DE

Between these two spheres wander the young prince Edwing (elegant Rodrigo Porras Garulo), who is hopelessly in love with Csárdásfürstin Sylva Varescu (passionately performed by Camila Ribero-Souza). (Meininger Tageblatt)

Camila Ribero-Souza wins her status of star as Sylva Varescu through her voluminous, blooming soprano voice through the whole range. (Thüringer Allgemeine)

So, Camila Ribero-Souza can also vocally be pointed out as the leading artist, for she has very dominantly shaped the role of Sylva Varescu with lyric fire, radiant bright high notes and very well grounded low notes. (OperaPoint)

From the singers, Camila Ribero-Souza stands out for my ears. A beautiful soft voice, very flexible and therefore extremely smooth. (Lautsplitter Opern -und Konzertbetrachtungen Blog)

Camila Ribero-Souza is a passionate Sylva Varescu, thirsty for love and recognition. She sings and acts the Princess of Csárdás with great intensity. She mastered the passionate outbursts with ease, and her warm middle register produces the sensuality with which Edwin has fallen for. (OpernNetz)

Das Liebesverbot (R. Wagner) - Meiningen - DE

Under the same hatlike folded serviette as Isabella, Camila Ribero-Souza portraited the novice Mariana with bewitching soprano. (

With a seducing smooth quality of voice Camila Ribero-Souza sings Mariana, coming from the monastry, to her husband but most of all into the hearts of the audience. (Meininger Tageblatt)

Camila Ribero-Souza was heart-touching with the aria of Mariana. (Main Post)

Camila Ribero-Souza uses the presentation of Mariana, the outrageously abandoned wife, for a moving passage in messa di voce. (

Essentially considered only a secondary role, Camila Ribero-Souza, as Mariana, becomes musically the main character: an intimate and indescribably beautiful sound, inspired with spotlessly clean coloratura. (Online Musik Magazin)

Camila Ribero-Souza, whom with lyric fire and radiant bright height, lays out Mariana as Isabella's vocal sister. (Opera Point)

Next to him [Friedrich] the most beautiful voice was undoubtedly Camila Ribero-Souza's as Mariana, even if the role does not have too much to offer in scenic presence. (Der Neue Merker)

(...)Camila Ribero-Souza shone as Mariana. (Welt Online)

Camila Ribero-Souza, as the novice Mariana, unfolded a heart-touching intimacy. (Das Opernglas)

The other novice Mariana shines as Camila Ribero-Souza allows her dark-timbered voice to soar. (Der Neue Merker)

And in highlight Camila Ribero-Souza - unfortunately only in a small role - whose Aria as well today was the measure of all things on phrasing and expression. (LautsplitterOpern- und Konzertbetrachtungen)

Die Hochzeit des Figaro (W.A. Mozart) - Meiningen - DE

Lascivious on the Sofa - The latter [Camila Ribero-Souza] controls like a diva probably the musical and emotional high point of the evening: her wonderful lament over the unfaithful husband at the beginning of the second act is sung by her seductively, lying lasciviously on a small sofa. (Meininger Tageblatt)

Camila Ribero-Souza performed the Countess, a primadonna with a voluminous soprano. (Thueringer Allgemeine)

The Countess, sung by Camila Ribero-Souza, troubled by all the trials of psychological depth, crafted with elegance the ariosi moments of pause. (

Camila Ribero-Souza equipped her Countess, who irrevocably loves her fence-jumping husband, with a generous lustruous soprano. Respectable were her quiet resignation in supplication to the God of love as well as her intimacy in the huge act three aria about her lost love. (Fuldaer Zeitung)

Camila Ribero-Souza performed mainly majestically and shaped her role with strong vigour, confidence, and not overly sentimental. (Leporello)

Her [Susanna's] soprano colleague is the Countess Camila Ribero-Souza, whose fine timbred singing expands. (Der Neue Werker)

Rienzi (R. Wagner) - Meiningen - DE

The newcomer Camila Ribero-Souza portraits the role of Rienzi's sister Irene, all in white and with a much eloquent and flexible soprano opposite her lover Adriano. She convinced with her immense variety of colours. (inSuedthueringen Feuilleton)

Camila Ribero-Souza has done justice to Irene's coloratura and drama. (NMZ)

At Schager's side, Camila Ribero-Souza, as Irene, has proved herself a vibrating soprano. (Fuldaer Zeitung)

With a penetratingly powerful soprano and unobtrusive dramatic talent, Camila Ribero-Souza incarnated Rienzi's sister, Irene. (Ostthueringer Zeitung)

His [Adriano's] beloved Camila Ribero-Souza is gifted with a bright, easy and flexible soprano that, where duly challenged, can also turn up the heat. (Der Neue Werker)

Kat'a Kabanova (L. Janacek) - Manchester - UK

Camila Ribero-Souza brought an air of bewildered vulnerability to Kat'a, demonstrating a musical intelligence in her two scenes, surely among the most moving episodes in opera. She was as eloquent in the first, travelling from childhood innocence to adult longing, as she was distraught in the devastating second when, after her confession of adultery, she concludes that 'not even God's own sunlight gives her pleasure any more'. (Opera Now)

The title role is a great challenge to any singer, and I felt Camila Ribero-Souza had musical distinction and a very clear concept of the mentally unstable Katya of the end of the story (...). (Greater Manchester's CityLife)