Camilla Tilling

"... singing with tonal refinement, musical intelligence, and that more elusive generosity of spirit that ­Mahler’s so-called Wunderhorn symphonies ask of their vocal soloists." (Boston Globe, April 2013)

"Each register of Tilling’s vocal range had colour and character...Berg’s Seven Early songs also showed great refinement, but it was in the songs of Grieg that Tilling seemed to radiate a particular warmth. The last one in the group deservedly brought the audience to their feet." (Belfast Telegraph, October 2012)

"Camilla Tilling’s desperate Fiordiligi, her rondo "Per pieta, ben mio" is one of the evening’s most poignant moments." (Cosi fan tutte - Fiordiligi - Théâtre des Champs-Elysées, Telerama, June 2012)

"The Swedish soprano Camilla Tilling succeeded in her great arias, such as the highly-anticipated "Come scoglio" with grace and lightness." (Cosi fan tutte - Fiordiligi - Théâtre des Champs-Elysées, Webthea, June 2012)

“Soprano Camilla Tilling masterfully sang the enigmatic Mélisande, imbuing bright, shimmering tones with the skating lilt and sag of ennui." (Pelléas et Mélisande - Mélisande - Teatro Real, Madrid - Wall Street Journal, November 2011)

“Camilla Tilling - playing both roles and making the transformation from seductive sphinx to pampered princess with effortless ease. Her soprano grows ever rounder and juicier.” (L’enfant et les sortilèges / Der Zwerg - Bayerische Staatsoper - Opera Magazine, October 2011)

"Swedish soprano Camilla Tilling was an ideal interpreter of the Angel. Her voice and her singing were literally angelical. Angels should sound like her." (Seen and Heard International, July 2011)

"The Trojan princess, Ilia, was sung by the Swedish soprano Camilla Tilling, and hers was a matchless performance. Mozart had been itching to write this opera seria, outmoded as the form was in his day — and the entry he gives to Ilia propels the drama in one of the most compelling openings in all opera. Tilling seized it, focusing lament and inner passion within a thrillingly concentrated presence." (The Times, June 2011)

"Of the outstanding line-up of vocal soloists, the strongest contributions came from the soprano Camilla Tilling and mezzo-soprano Magdalena Kozena. Tilling, in radiant voice, sang with a magically repressed fervour, especially when exploring the theme of betrayal and denial in a heartbreaking account of 'Blute nur'." (The Independent, March 2010)

"Camilla Tilling struck me as outstanding. She gave what I would be inclined to describe as a perfect performance of Ilia, launching the opera in full and flawless voice with a most heartfelt “Padre, germani” and repeating the experience at the start of Act III was a no less exquisite “Zeffiretti, lusinghieri.” (Opera Britannia, May 2011)

"The delightful Swedish soprano Camilla Tilling reveals herself as an outstanding interpret of Strauss's songs...Tilling takes her place among the leading Strauss sopranos of the day" (The Sunday Times, April 2009)

"The sense of simple purity and wide-eyed awe that Tilling projects seemingly so effortlessly can be spellbinding. It's a beautifully judged recital this, from beginning to end... in a recording that does nothing to rub the shine off this beautifully projected instrument, or the immediacy of the piano playing" (BBC Radio 3 CD Review, April 2009)

"The choice in Strauss lieder is big voice or perfectly formed. Myself, I prefer the exquisite phrasing of Swedish soprano Camilla Tilling (Recently Gretel to Alice Coote's Hansel at Covent Garden) over many a big belter" (Norman Lebrecht, March 2009)

"If you’re choosing an Angel, you can’t improve on the lightness and charm of the soprano Camilla Tilling. Without pushing her technique in our faces she dazzled us with her opening aria, gaily and crisply articulated..." (The Times, April 2009)