In soprano Sarah Cambidge and tenor Kyle van Schoonhoven, the program boasts not just one but two singers with the stamina, muscle and sheer lung power to undertake the demanding music of Wagner and Strauss...Cambidge and van Schoonhoven distinguished themselves first individually – in excerpts from Strauss’ rarely heard “Die Ägyptische Helena” and Wagner’s “Parsifal,” respectively – and then together, bringing the evening to a close with a sumptuous traversal of the love duet from Act 2 of Wagner’s “Tristan und Isolde.” The path to Wagnerian mastery is long and arduous, and these two are clearly well on their way.”
...presented by the San Francisco Opera Center, when Cambidge and van Schoonhoven found their musical destiny in the love duet, "Soll ich lauschen?', from Wagner's Tristan und Isolde. The kiss was replayed - and then some - by these two powerhouse singers... Well before the evening's Wagner finale, Cambidge had already given a dynamic, lustrous account of an aria from Strauss's Die Ägyptische Helena and pitched in on a Rossini chorus from Il Viaggio a Reims... Cambidge's soaring and searing mezzo, especially in the Strauss, stood out for this listener.
Soprano Sarah Cambidge (Vancouver, B.C. Can.) is a second-year AF also destined for fame. Her liquid, pur voice is rich enough for Richard Strauss, and her aria from "Die Agyptische Helen" proved it. She also has some Wagner on the horizon, maybe Sieglinde? Or even Isolde? She ended the concert paired with robust second-year tenor Kyle van Schoonhoven (Lockport, NY) in a magnificent love duet from "Tristan und Isolde" that made it seem a strong possibility.
The concert closed with the final love duet from Wagner's "Tristan and Isolde." Soprano Sarah Cambidge's performance was filled with perfect tone and clarity of diction. Her partner, tenor Kyle van Schoonhoven, sang in a bright yet strongly supported voice that surely indicated many more memorable performances to come.
The quartet of top-ranking Angels First Class (Sarah Cambidge, Ashley Dixon, Amitai Pati, and Christian Pursell) performed admirably in mid-air, suspended by wire harnesses; Heggie wrote some of his best music for them, and the singers blend exquisitely in full-bodied, hymnal harmonies.
SF Opera Adler Fellow Sarah Cambidge was a cutting and powerful Third Norn, dropping down to a stirring undertone as she predicted that 'eternal night will fall upon the gods.
Zambello’s Norns (Ronnita Miller, Jamie Barton and Sarah Cambidge) are the hapless ghosts in this machine and they couldn’t be better sung. Impeccable diction and voices of real substance get the opera off to a tremendously powerful start.
Götterdämmerung, the long denouement of the Ring, began Sunday afternoon with the three Norns, mezzo-sopranos Miller and Barton and soprano Sarah Cambidge, luminously recapitulating events amid greenery and a jumble of rubber cables.
The prelude is pure early 2000s cyberpunk. The Norns... sing their knowledge – Ronnita Miller with huge access of sound, Jamie Barton with a chesty middle register, and Sarah Cambidge with resounding top notes – until the node for the cables falls in a shower of sparks.
The two female trios that frame “Götterdämmerung” with ostentatious symmetry were both splendidly delivered — first the all-seeing Norns (Ronnita Miller, Jamie Barton and Sarah Cambidge)...
Miller (First Norn) and the very promising Sarah Cambidge (Third Norn) also offered a high vocal standard.
All three Norns (Ronnita Miller, Jamie Barton, and Adler fellow Sarah Cambidge) have marvelous voices and technique..."
The three Norns (Ronnita Miller, Jamie Barton, and Sarah Cambidge) sang with distinction as they attempted to deal with a massive strand of cables.
Joined by current Adler Fellow Sarah Cambidge, Barton and Miller returned as Norns in a seamlessly done first scene in Götterdämmerung.
Lyric soprano Sarah Cambidge is debuting at LVO [Livermore Valley Opera] in her role as Amelia...In “Ma dall’arido stelo divulsa,” the first of Cambidge’s two big arias, she invokes God’s help with high B-flats and a high C ... In Act III, she has to tame those emotions in her aria “Morro, ma prima in grazia” where Amelia somberly pleads with her husband to let her see her son one last time. In both arias, Cambidge jumps almost three octaves, deserving a standing ovation in its own right, which the LVO audience delivered in rousing fashion.
Amelia’s soliloquy showcases the remarkably powerful yet mellifluous voice of Sarah Cambidge. The soprano pulls out all stops in her mournful aria “Ma dall’arido stelo divulsa” as she prays to overcome her conflict.
The audience favorites were surely the largest voices. Soprano Sarah Cambidge's 'Morrò, ma prima in grazia' (Un Ballo in Maschera) rang through the house. The aria highlighted her sweeter, softer tones as well as her resounding loud notes, and it gave her a chance to prove that she carries her vocal power throughout her range.
Sarah Cambidge and Brad Walker shone in a duet from Verdi’s The Masked Ball, and Cambidge sang memorably the title role in a duet from Strauss’ Arabella against Andrew Manea’s Mandryka.
Soprano Sarah Cambidge and heldentenor Kyle van Schoonhoven were a commanding Elsa and Lohengrin; she is a fully fledged Wagnerian, a Brünnhilde-in-waiting.
Arguably, the biggest guns were brought out for ... the second half of the bill, Canadian soprano Sarah Cambidge (Elsa) and tenor Kyle van Schoonhoven (Lohengrin) from Lockport, NY filled their taxing responsibilities with apparent ease … he thrilled with his full-throated and sweet tone. Cambidge matched him with a bright voice, free of shrillness and charged with emotion.
She gave a versatile and commanding performance with her depiction ranging from that of a vulnerable buoyant girl to a woman disillusioned by the wrongdoings of society. Her powerful and agile soprano voice carried her through the range of songs with ease and passion.