Camilla Harris delivered a remarkably mature Musetta for a soprano so young; confident, feisty and convincingly spirited. Her ‘Quando m’en vo’ was wonderfully coquettish, whilst her lines in the final act were delivered with suitable solemnity. She has a beautifully nuanced soprano voice, and I would love to hear her when she has further enriched her palette with more colours.

The four young lovers are enthusiastically interpreted and very well sung by Caspar Singh, Stephanie Wake-Edwards, Camilla Harris and James Newby.

The quartet of lovers — Caspar Singh’s Lysander, Camilla Harris’s Helena, James Newby’s Demetrius and Stephanie Wake-Edwards’s Hermia — are superb.

…the women [sang] radiantly… Leech’s Dorabella will have made her friends, as will the Fiordiligi of Camilla Harris, a young soprano who stepped up from the chorus to assume a role she had been booked only to cover. Harris, too, is a talent to be reckoned with… a singer fully deserving of her place in the sun. Together their voices blended with rapt euphony, while their big individual moments, from Leech’s ‘È amore un Ladroncello’ to Harris’s ‘Come Scoglio’, were thrilling and full of import.

Camilla Harris is an impressively steadfast Fiordiligi, only rarely breaking into smiles. Her ‘Come scoglio’ really sounded as if ‘this lady’s not for turning’, confidently dispatching the aria’s demanding leaps and rising admirably to the challenge of ‘Per pietà’.

Camilla Harris’s commandingly sung Fiordiligi — remarkably, her stage debut with a major company.

Singing Fiordiligi with infinite grace, the soprano Camilla Harris becomes the beating heart of this sparkling production…

Camilla Harris sings Fiordiligi’s “Come scoglio” with a secure command of its perilous leaps of register, and crucially without putting on airs of eternal chastity.

…the ladies were a triumphant trio. Camilla Harris had been the understudy for Fiordiligi … she took over with sensational results. Dignified in manner, elegant in presence and scrupulously musical in interpretation, her arias were high points, fearlessly negotiating the challenges yet producing beautifully soft tone when required.

…the superb lyricism of Camilla Harris’s Countess, her two big numbers the epitome of Mozartean charm and emotional depth. Obviously a young Countess, her voice has real command; and she was able to bring a light touch to the role at times, too.