“Swedish soprano Camilla Tilling proved to be a superb advocate for these gorgeous songs [Mahler’s
Rückert Lieder]. Her warm but clear tone, vocal agility and sheer musicality was a constant delight.”

“Camilla Tilling is on ravishing form in this beautifully paced album of Romantic and Expressionist songs” [Jugendstil; BIS records]

“It’s difficult to resist the purity of her sound, the loveliness of her pearly, bright tone…Tilling bringing beguiling tone and unfailing musicality…”

“Tilling… was rapturous in her ecstatic evocation of ​‘death, the reviver of beauty’”

“her voice has expanded in its range of colours without losing the precision of the line or technique. [Tilling] gives us musical purity without ever sacrificing the text…she gives us superb recitative and dynamic mastery…A rare find.”

“Ilia is one of Tilling’s favourite roles and she sings two of the arias, ​‘Padre, germani, addio’ and ​‘Zeffiretti lusinghieri’, with a silvery grace, enlivened by the occasional hint of a fast vibrato. Her Susanna and Countess are nicely differentiated, the latter’s ​‘Dove sono’ touchingly inward at the reprise…’Come scoglio’ is where this disc takes off with a newly urgent sense of drama, and ​‘Per pietà’ makes a virtue of her lightness of voice…Of the Gluck, the most engaging is the intensely felt ​‘Che fiero momento’ of Eurydice, a role Tilling has portrayed notably on stage. It is good to have Armide’s Act 2 aria, ​‘Ah! Si la liberté’, and she is deeply affecting in it…Everything here is well judged and sympathetically sung’

“It says something — not especially complimentary — about the classical record industry that this great Mozart soprano features on no complete audio recordings of Idomeneo, Le nozze di Figaro or Così fan tutte. Her accounts of Ilia’s arias from Acts I and III, Susanna’s Deh vieni, the Countess’s Dove sono and both of Fiordiligi’s arias are superior by some distance to any of those by the sopranos cast in recent complete sets. Tilling sounds at the height of her powers, her voice still limpid, fresh and youthful, her interpretative skills those of a mature artist. She sings long ​“instrumental” lines unbroken by breaths, yet her textual inflections — the word ​“Invan” (In vain), in the preceding recit to Fiordiligi’s Come scoglio, bristles with outraged indignation; the climax of the Countess’s E Susanna non vien thrills the ear with her affronted pride – illuminate character. Thirty years ago, her voice might have been considered small for Fiordiligi and Gluck’s Armide and Iphigénie, but, today, with a period-instrument orchestra, it is perfectly attuned to their dramatic accents. The two excerpts from Armide, rare on recital discs, and O malheureuse Iphigénie are special gems from a captivating disc.”

“Camilla Tilling is a silvery voiced Mélisande.”

“Camilla Tilling’s singing had some moments of breathtaking purity of tone, and she presented a passive, ethereal Mélisande.”

“Among the most touching moments was clear-voiced soprano Camilla Tilling’s duet on ​‘Aus liebe will mein Heiland sterben’ with [the flautist], their voices exquisitely blended and balanced.”

“The Swedish soprano Camilla Tilling is a sparky and vocally secure Susanna, with a beautifully floated Deh vieni non tadar.”