"Suli/Suzie is an excellent vehicle for Camille Rogers’ gossamer mezzo-soprano and there were many opportunities for their fast, fluttery vibrato to soar and shine."
Keira Grant, Mooney on Theatre
"Rebecca Grey and Camille Rogers are very touching as Cass/Cassia and Suzy/Suli… Camille has to pull off the difficult “tug of war” over Suzy scene between Cass and her family and manages it well. There’s some fine physical acting too..."
John Gilks, Opera Ramblings
(Left: photo by Dahlia Katz)
“As Lake, mezzo-soprano Camille Rogers sang their heart out. Their voice was even-keeled and grounded even in times of intense physicality.”
-Greg Finney, Schmopera
“Centering the proceedings with a particularly poignant rendering of Handel’s inexpressibly sorrowful duet, Son nata a lagrimar (“I was born to weep”), mezzo-soprano Camille Rogers and countertenor Ryan McDonald movingly encapsulated the suffering of a loving mother and son cruelly forced to part, their voices intertwining, pure, caring, gently physical.”
-Ian Ritchie, Opera Going Toronto
“I have a hunch that the production was built around Camille Rogers, whose intriguing looks and remarkable mezzo-soprano voice likely led the production team in their selection of repertoire. Without their confident strutting presence, the story falls apart. But whenever they came onstage, the Rossini comedy machine clicked into a higher gear.”
“Camille Rogers was a calculated, unafraid Isabella with striking clarity in their coloratura. Their gathered sound was a great foil to the blustering, wild Mustafà...”
“At the core is Camille Rogers as Isabella. Their light, very flexible mezzo sounds good... and they have tremendous stage presence and a real flair for comedy. As a rather knowing “flapper” they're very convincing.”
(Right: photo by Dahlia Katz)