Press

Daza…proved perfect foil for the secure, brightly eloquent tenor Javier Camarena, also from Mexico, making his company debut. Their duet, which opens the opera and is its best-known number, left a remarkable aftertaste of bitterness under its irresistible lyric sweetness, brilliantly setting the stage for the drama.

- Mark Swed, LA Times

Camarena and Daza sang the opera’s most famous piece, the duet ‘Au fond du temple saint,’ (‘Deep in the holy temple’) with beautifully blended robust tones. At the same time, they gave the audience a real sense of the friendship between the two characters that was destroyed when they fell in love with the same woman, Leila.

- Maria Nockin, Broadway World

The main trio was completed by Javier Camarena’s Nadir whose charming manner and thrilling lyric tenor…made Zurga’s jealousy and Leïla’s attraction totally understandable.

- Laurence Vittes, Bachtrack

So Javier Camarena sang three encores at the Metropolitan Opera. Big deal. In Chicago, the brilliant Mexican tenor favored the delirious crowd with four — count ’em, four — encores at his triumphant recital debut Wednesday night at the Harris Theater for Music and Dance. And the wildly clapping, cheering audience would gladly have stayed for more had he not waved them a cheery good night then and there.

- John von Rhein, Chicago Tribune

Oops, he did it again. The dazzling Mexican bel canto tenor Javier Camarena earned another rare encore at the Metropolitan Opera during Saturday afternoon’s performance of Donizetti’s “Don Pasquale,” which was broadcast live on the radio.

- Michael Cooper, New York Times

The Mexican tenor Javier Camarena confirmed his reputation as opera’s new superstar with a scintillating performance at the Royal Opera House.

- William Hartston, Express

Mr. Camarena excitingly sang the elaborate bel canto aria “E se fia che ad altro oggetto,” capped by a fearless high D flat. As Mr. Camarena’s Ernesto rushed offstage, having vowed to seek solace from heartbreak in faraway lands, the audience broke into such a frenzied ovation that I thought he just might return for an encore performance.

- Anthony Tommasini, New York Times

Every note he sings rings like a silver bell, and there is at least one high C, in his second-act aria that begins “Povero Enrico” and segues into the reflective “Cerchero lontana terra,” to send chills down the spine.

- Wilborn Hampton, Huffington Post

[I]n a piece like Bellini’s “La Sonnambula,” in which Mr. Camarena caused a sensation at the Met in 2014, he has few if any equals, guiding phrases with a poise that never feels artificial or mannered.

- Zachary Woolfe, The New York Times

Best of all is the young Mexican tenor Javier Camarena as Horace. No wonder he was only the third singer in the history of the Metropolitan Opera to perform an encore onstage during his debut in The Barber of Seville last year.

- Christopher Cook, Classical Music
Opera News

Camarena Gold

...

JAVIER CAMARENA had a career-making hit during his last engagement at the Met, in 2014. This season, the tenor phenom returns to New York as Ernesto in Don Pasquale.

Opera News

Opera’s Next Wave

...

Javier Camarena’s Met debut last season gave New York audiences a chance to hear a tenor who has been attracting a healthy amount of attention in Europe (and on YouTube) in recent seasons. In Zurich, Paris, Vienna and other cities, Camarena has been admired for the beauty of his performances in a repertory that has very few international-rank practitioners.

Camarena chose repertoire with which he just couldn’t have gone wrong, but he followed up expectation with perfect delivery. It’s no wonder that he holds rank along with Pavarotti and Flórez, as the third singer in 70 years to encore an aria at the Metropolitan Opera.

- Jenna Douglas, Schmopera

One often encounters a trace of an edge in voices of this type, but Camarena actually appears to gain heightened roundness and aural plush above the staff, which allows his intrinsically lightly textured sound to acquire a heroic ring.

- Nancy Malitz, Chicago on the Aisle

When he hit the D flat at the end, the audience went wild to the extent that Camarena came back for an encore–one of the few times in Met history that has occurred.

- Richard Sasanow, Broadway Opera World

The climactic note at the end of this aria is breath-taking, Camarena holding the high C through the orchestral coda.

- David Salazar, Latin Post

Best illustrated by an encore comprising La danza, Core ‘ngrato and a triumphant Nessun dorma, Camarena’s delivery is one of class in all colours of the spectrum.

- Stuart Boyland, The Upcoming

Mr. Camarena has proved beyond a doubt he is one of the most thrilling tenors performing today. The roaring, stomping ovation that greeted his act two aria “Si, ritrovarla io giuro” was the unmistakable sound of a star being born.

- James Jorden, The Observer

The most important conclusion, however, is that Bellini’s “Sonnambula” is worth seeing for Damrau and Camarena alone.

- David Salazar, Latinos Post

Camarena’s firm, flexible vocalism — and his ardent tone in the role’s serenades — earned him the biggest ovations of the night, particularly in the Count’s rarely-performed Act II aria, “Cessa di piu resistere.”

- Georgia Rowe, The Mercury News