BIO
Camila Provenzale, soprano ítalo-brasileira nascida em São Paulo e residente em Zurique, já se apresentou com grandes orquestras e em importantes salas de concerto e casas de ópera ao redor do mundo.
Camila foi uma das vencedoras do Concurso Internacional de Canto Neue Stimmen, na Alemanha, e conquistou o primeiro lugar no Concurso Maria Callas, no Brasil. Ela também foi vencedora do Concurso de Ópera de Paris, no Théâtre des Champs-Élysées, em Paris, premiada no Concurso Giusy Devinu, em Cagliari, Itália, e representou o Brasil como finalista no Concurso BBC Cardiff Singer of the World, no País de Gales.
Estreou-se na França em 2017 como Condessa Almaviva (As Bodas de Fígaro) na Ópera de Toulon , no mesmo ano em que cantou as Bachianas Brasileiras nº 5, de Villa-Lobos, no Teatro Real de Madri. Em 2018 e 2019, foi regularmente convidada para cantar com Plácido Domingo em concertos em Liubliana, Estrasburgo, Valência, Boston e Aarhus.
Desde então, Camila desempenhou vários papéis como Donna Anna (Don Giovanni) no Théâtre des Champs-Élysées, em Paris; Hanna Glawari (A Viúva Alegre) no Theatro Municipal de São Paulo; Micaela (Carmen) com Opera North em Leeds, Inglaterra; Mariana Alcoforado na estreia mundial da ópera monodrama Cartas Portuguesas de João Guilherme Ripper com a Orquestra Sinfônica do Estado de São Paulo (Osesp) na Sala São Paulo; Fiordiligi (Così fan tutte) no Garsington Opera Festival em Londres; e Bachianas nº 5 (Villa-Lobos) com o K Ensemble em Dubai para a Fundação Cartier, entre outros.
Camila também é reconhecida por sua musicalidade ímpar no repertório sinfônico, tendo cantado todas as sinfonias de Mahler, Carmina Burana e muitas obras de Beethoven, Mozart, Villa-Lobos, além de compositores contemporâneos.
Em 2022 e 2023, em comemoração aos 200 anos da independência do Brasil, Camila se apresentou nos projetos da Suíte Floresta Amazônica de Villa-Lobos com orquestras de prestígio em vários países, incluindo a Filarmônica de Paris, a Ópera de Zurique, a Orquestra Nacional da Espanha, a Ópera Nacional de Bordeaux e uma apresentação com a Osesp no Carnegie Hall, em Nova York.
Camila Provenzale
[soprano]
"... ela também possui presença de palco e uma bela voz... forte, com um timbre adorável, afinação segura e excelente projeção."
Les pêcheurs de perles - Leila
SIGA
TERRITÓRIO
América Latina - exclusivo
CRÍTICAS
".... she also possesses stage presence and a beautiful voice... strong, with a lovely tone, secure pitch, and excellent projection."
movimento.com 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."
Os Pescadores de Pérolas (Leila), Festival de Ópera do Teatro da Paz, Belém
Leonardo Marques, September 2015
"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
"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."
Os Pescadores de Pérolas (Leila), Festival de Ópera do Teatro da Paz, Belém.
Nelson Rubens Kunze, September 2015
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