EIN EHEMANN VOR DER TÜR (OFFENBACH) - WILHELMINA FEST DER KÜNSTE, aUGUST 2021
Christina Campsall (Susanne) with a mezzo-soprano full of character.
- Christian Berzins, Tagblatt Aargauer Kultur, (original in German)
THE FAIRY QUEEN (PURCELL) - fESTIVAL DE gRANADA, jULY 2021
Then there are the voices... the public could be astonished successively with their interventions.
But they not only stood out in the vocal; They were also revealed as great actors, very precise in their movements and stage actions, always very careful: you have to be very good to sing with such elegance and mastery.
- Jose Manuel Ruiz Martinez, Scherzo, (original in Spanish)
I Capuleti e i Montecchi (Bellini) - Teatro Comunale di Bologna, May 2018
The mezzo soprano Christina Campsall has conquered the scene, both for singing ability and presence, interpreting Romeo worthily.
- Ciro Scannapieco, Oltrecultura, (original in Italian)
From the musical point of view, however, undoubtedly stands out the Canadian mezzo-soprano Christina Campsall, with a healthy voice, powerful, easily driven to the contralto register, but at ease even in the highest areas, a real discovery.
- William Giuseppe Costabile Cisco, GBOpera Magazine (original in Italian)
Good and expressive the Canadian Christina Campsall: her Romeo, of good timbre, demonstrates the mastery of the singing line.
- Giulia Vannoni, Il Ponte (original in Italian)
Christina Campsall (Romeo) makes the most of the game. The voice, powerful and particularly easy in the high register, dons contralto shimmering in the bass. That leaves a lot of good jobs in the future for this Canadian mezzo.
Christina Campsall, a voice with good vocal color, more homogeneous... tends to draw a more lyrical Romeo than that of the Italian colleague and in the most poetic elegiac passages.
- Silvano Capecchi, Opera Click (original in Italian)
I was also pleased with Christina Campsall in the role en travesti of Romeo... overall the voice is homogeneous and used with distinct expressivity.
- Ruben Vernazza, Connessi all'Opera (original in Italian)
Christina Campsall is a splendid Romeo, with a smooth, caressing voice both in the high peaks and in the deepest notes that underline the drama of the words of the young lover.
Christina has been able to be a tender Romeo, sweet in the few kisses stolen from Juliet before the consummation of the tragedy and also a fierce Romeo, ready for anything for his love, able to challenge, in enemy territory, Tebaldo.
- Simona Sagone, Radio Città Fujiko (original in Italian)
Morphology of Desire (Recital) - The Glenn Gould School, May 2016
Dark, brooding texts, dark, brooding music and a dark, brooding voice with plenty of power.... That said, her high notes are all there and there seems to be plenty of power all through the registers... So, if you haven’t figured it out by now, I love Christina’s voice and I admire her artistry and musicianship. She’s very well suited to dark, dramatic roles as she showed in the recent The Rape of Lucretia but she can also do comedy.
The Rape of Lucretia (Britten) - MYOpera, May 2016
As Lucretia, mezzo Christina Campsall etched a riveting arc from stability and confidence in her own fidelity to complete physical and mental breakdown after her rape.
Mezzo-soprano Christina Campsall stuns us (once again) as Lucretia. With a maturity and sensitivity we saw, through a very exposed lens, the destruction of a woman whose only crime was not cheating on her husband. Her morning-after aria still has me in chills. Her portrayal of Lucretia's breakdown in the second act was tasteful and complete. We saw a woman who didn't fall from grace, but was pushed from it. Campsall's colourful voice and mastery of a wide register made her Lucretia a shining musical point in this production.
I suspect there would be no staging if not for Christina Campsall, offering one of the most remarkable portrayals I’ve seen in a long time, particularly considering that MY Opera have a mandate to offer performing opportunities to young singers. Campsall would not be out of place in any professional production, looking and sounding wonderful particularly after violation, her lowest notes eloquently evoking her profound suffering.
I suppose, pride of place must go to Christina Campsall’s Lucretia. The role sits pretty low. It was written for Kathleen Ferrier after all and it really suits Campsall’s dark lower register. She also invested the part with real intensity. It’s not easy to make a character whose only claim to fame is “virtue” come alive but she did.
Christina Campsall’s Lucretia felt right in just about every way. She was apprehensive and troubled from the get go, dignified in angst and (later) devastation and just a dash of glamorous throughout. Hers is a pretty mezzo that you wouldn’t exactly call either light or dark in timbre, doing both as needed. It’ll be interesting to see where she goes next (she’s sung Ruggiero and Offenbach’s Hélène at the GGS of Opera in recent years).
- Lydia Perovic, Definitely the Opera
Alcina (Händel) - The Glenn Gould School, March 2016
As the spellbound Ruggiero, mezzo Christina Campsall reminded us why she's one of our favourites. Her dark rich tone and remarkable range married beautifully in a pants role. Her mastery of the coloratura was a surprise to me and I can't wait to hear more of this repertoire from her. Her manliness shone through in all her actions and we're all aware there's an amazing future ahead of her.
Christina Campsall’s gorgeous mezzo voice gave the needed gravitas to her portrayal of Ruggiero.
The standouts, as expected, were Meghan Jamieson as Alcina and Christina Campsall as Ruggiero... Campsall (first time I’ve seen her in a pants role) was also rather good. Her body language is curiously reminiscent of Joyce DiDonato and the voice is rich and easy on the ear.
Vocal Showcase Concert - The Glenn Gould School, January 2016
Mezzo Christina Campsall nailed a fierce Parto, parto. I’m really looking forward to her in Rape of Lucretia at MYO in a few months.
La voix humaine (Poulenc) - The Glenn Gould School, January 2016
Campsall has a rich, expressive mezzo voice with a clean soprano like upward extension which is pretty much ideal for this role (think Felicity Lott). She also showed herself most capable of effectively negotiating the emotional roller coaster.
Folksongs (Berio) - The Glenn Gould School, November 2016
I was particularly thrilled to hear Christina Campsall in this kind of singing; she sounds noticeably different from even the last time I really heard her (in last season's La belle Hélène). Her sound is focused and rich, and her top is really thrilling especially for a mezzo with a middle voice like hers.
La belle Hélène (Offenbach) - The Glenn Gould School, March 2015
The standout was Christina Campsall’s Hélène. She combined a beautiful, dark-toned mezzo with great acting and movement skills.
- John Gilks, Opera Canada
Mezzo-soprano Christina Campsall sings the title role, and I loved her sound; it's been a while since I really heard Christina, but she had a really rich mezzo colour that got beautifully bright and metallic up top.
I was impressed with the Helene of Christina Campsall, who sang with a rich low mezzo and acted with flair.
She has a lovely voice and navigated her difficult music well. She has the looks to get away with playing the “most beautiful woman in the world” and the moves to go with it. She was also not afraid to be sexy. She was very impressive.
Gloriana (Britten) - Voicebox: Opera in Concert, November 2013
Mezzo Christina Campsall as Frances is a moving figure of pure opposing goodness.