Reviews

As for mezzo Fiona Campbell as friend of the bride: no bearer of bad news has ever sung so beautifully. Her voluptuous tone, fluid yet thoughtful ornamentation, and commanding stage presence as she tells Orfeo of Eurydice’s death had me holding back tears. She was equally riveting as Proserpina, the queen of the underworld, moved by Orfeo’s plight and devotion.

Limelight Magazine Sept 2012

Fiona Campbell in the mezzo role of Erisbe is ravishing - a beautiful young queen trapped in a loveless marr iage to Ariadeno, then devastated by Cupid's dart and hopelessly in love with Ormindo. A magnificent performance. The extended 'death' duet in Act 3 for Ormindo and Erisbe is melting, moving and lyrical.

ArtsHub | December 04, 2009


The music allows the singers endless opportunity to display their vocal and theatrical talents. In the role of Queen Erisbe, Fiona Campbell shines like a jewel with her warm mezzo-soprano voice which floats effortlessly over the orchestra. She skillfully changes between straight, pianissimo tones and more dramatic ones and her acting is always convincing. Dressed in a beautiful turquoise gown with large splits up the side, her legs appear to be in as good shape as her voice

 
Australian Stage December 2009

Fiona Campbell (Erisbe, Queen of Morocco and Fez) is an alluring and curiously loveable adultress, the flexibility and idiomatic ease of her singing underpinned by radiant, individualised tone. She's a convincing actor both vocally and physically, bringing sincerity both to Erisbe's desperation and to her amorous entanglements.

The Opera Critic 2 December 2009

A strong cast is led by by a stunning performance from mezzo-soprano Fiona Campbell. Often cast as a bloke (a common fate of mezzos), here she gets a chance to revel in glamour, in a low cut blue tunic with slit sides revealing endless leg. Campbell has a remarkably bright tone for a mezzo, and sang with unfailing golden tone. She displayed a very nice comic touch in the opening scenes (verging here on the vulgar in a graphic depiction of the failings of an old husband) and in the denouement, but really came into her own in the serious core of the opera. In realizing her love for Ormindo (“Che semina in un petto volubile”), she filled the auditorium with heartfelt glorious singing, and again in the (apparent) death scene, “Di te mi duole” was gorgeously plaintive.

Opera Britannia 5 December 2009

Fiona Campbell (Erisbe) has a strong, brilliant and at times thrilling sound.

Sydney Morning Herald December 5, 2009

Pinchgut regular and mezzo-soprano Fiona Campbell sings the role of Erisbe with richly coloured, full-voiced power.

The Australian December 04, 2009

“Finest of all was Fiona Campbell – Mezzo Soprano - her two solos were richly coloured and beautifully shaped.”

The Australian Sydney May 2009 ABO Tour

“Emotionally charged…Campbell’s abandoned nymph had passages of exquisite, almost painful, beauty.”

The West Australian - August 2008

“Fiona Campbell, a thrilling Vagaus, gave a subtle and touching portrait of unrequited love”

Opera April 2008 - Pinchgut Opera Juditha Triumphans

“Particular kudos must go to the phenomenal contribution of Mezzo Soprano Fiona Campbell…Idomeneo’s young son Idamante. Credibly slim of physique…she acted her heart out and sang splendidly – liberally seasoning her body language with hints of budding manhood…and infusing her sound with generous externalizations of the inner anguish”

Opera-Opera January 2007

“Fiona Campbell as Grimgerde, producing a stream of beautifully resonant tone.”

The West Australian March 2008 – with Lisa Gasteen in Die Walkurie

“The big revelation of the night was Fiona Campbell, best known as a mezzosoprano specializing in baroque repertoire. She walked on stage ….to deliver two sensational cabaret sets. She brought the power and control of her opera technique to the gripping and seductive lyrics of Costello, Sting and Bjork.” With the Brodsky Quartet at the Perth International Arts Festival

The West Australian February 2008

“Fiona Campbell, steals the show with her three arias.”

Sydney Morning Herald December 2007

“The bulk of the arias belong to the alto. Fiona Campbell sang with melting tone and was able to spin each long phrase with great emotional intensity. It was compelling singing, especially when she delicately combined with obligato instrumentalists. Here was an alto totally in command of the baroque oratorio style."

(Opera-Opera)

…beyond reproach; Fiona Campbell clothed each note in velvet, mellow tone, breathing life into some of the most reverent, compassionate music ever to be inspired by the Crucifixtion and it’s aftermath.

(The West Australian)

Campbell was perfectly cast, giving the performance of her life with a voice now at finest flower, beautifully controlled and projected.

(The West Australian)

…magnificent soloists…..Fiona Campbell’s rich sound was infinitely compassionate…….provided passages of infinite beauty.

(The Australian)

Estimable professional Fiona Campbell …..contributed a strongly etched character.

(The Times – London)

She is beautiful, graceful, blessed with a seductively warm voice……….she was the archetypal ‘Venus’ in voice and form.

(Opera-Opera)

But the most glorious voice was the mezzo soprano Fiona Campbell, who showed star quality.

(Daily Post – Wales)

Gorgeous young mezzo-soprano Fiona Campbell has returned from London to play Rosina and her journey is to our benefit. Pony-tailed and pretty in pink, she’s a willful flirt, whose strong , true voice is matched by great charm.

(Sunday Mail - Adelaide)

The very real pleasure derived from listening to Fiona Campbell’s voice – which is Maturing into an instrument of stunning range and quality………………the piece was made memorable by Campbell’s exceptional voice.

(The West Australian)

Fiona Campbell’s radiant ‘melanto’ also stand out in this wonderful cast.

(Opera)

…. Created a performance vocally and histrionically , that was a joy…….It was like a golden thread through the production. Her skilful harnessing of technique to emotion ensured a portrayal of distinction.

(The West Australian)

Here is a name to be watched……..she sings with an innate sense of style as well as beauty of tone. She is one of those singers who make pants roles believable because of her grasp of the dramatic cores of the characters.

(Opera Australasia)

…. A lovely agile mezzo, looks, personality and a ton of charm.

(Opera Australasia)

The outstanding voice was Fiona Campbell……..she had a radiant quality…….glowed both visually and vocally.

(Opera Australia)

Campbell has ‘Opera buffa’ style at her fingertips

(Opera Australia)