Madama Butterfly – Baltimore Concert Opera
“Cameron Schutza as B. F. Pinkerton navigates the demanding role with professional aplomb. In his opening arias, he quickly establishes himself as a quintessential tenor, able to control the signature high notes of the role with color and nuance…he was outstanding, and his final scenes were so full of angst and remorse that it was heart wrenching to watch.”— Timoth David Copney, Maryland Theatre Guide.
Nixon in China – The Princeton Festival
“Cameron Schutza is the Heldentenor Adams imagined for Chairman Mao, a big voice with a ringing top, declaiming his endless aphorism-catalogue (“My business is philosophy”). He sang subtly for some witty exchanges and sweetly when reminiscing with his wife; he moved like an aging but still energetic man.”— Susan Gould, Bachtrack (bachtrack.com)
“…one of the primary breakthroughs among the Princeton cast members was Cameron Schutza as Mao….Schutza revealed the text as an ongoing game of ideological cat and mouse. As a supreme dictator, Mao would have convictions that would allow no argument — and here, you understood how his mind maneuvered.” — David Patrick Stearns, Arts Journal (artsjournal.com)
“…Cameron Schutza, whose plangent tenor brought unearthly beauty to Chairman Mao…” — David Fox, Parterre Box (parterre.com)
“Mao Tse-tung was sung by heldentenor Cameron Schutza, whose voice had endless power and presence throughout Act I.” — Opera Metro (operametro.com)
“Cameron Schutza deployed a ringing tenor in Chairman Mao’s unforgivingly high music, showing no sign of strain during the character’s first-act monologue.” — Cameron Kelsall, BroadStreetReview.com
“As Chairman Mao, tenor Cameron Schutza…soared through his character’s high tessitura, portraying Mao as a man bordering on old age and showing tremendous dynamic control while often pulling out the Wagnerian stops from a seated position.” — Nancy Plum, Town Topics (towntopics.com)
“Cameron Schutza possesses the freaky tessitura for the aging Mao’s philosophical reflections and double-tongued diplomatic barrages…he takes on Adams’s high ranges he truly seems the boy who knows no fear. His gentler phrasing in the final scene suggested many roles in which he could be valuable.”— John Yohalem, Parterre Box (parterre.com)
Norma – Sarasota Opera
“Texas tenor Cameron Schutza displayed the expressive spinto voice that is a prerequisite for performing the reckless proconsul Pollione. He sang the prophetic first act aria Meco all’altar di Venere with authority, was effective in the trio with Parisi’s Norma and Black’s Adalgisa, and affecting in his final duet with Norma, taking place before their immolation. The full range of Schutza’s vocal instrument was shown in the next evening’s Sarasota Opera Artists’ Concert, in which he sang Siegmund’s Winterstürme wichen dem Wonnemond from Wagner’s Die Walküre.” – operawarhorses.com
“As Pollione, tenor Cameron Schutza has a strong and virile sound. . .” – Edward Alley, Yourobserver.com
Cameron Schutza takes 3rd Prize in the 2017 Lauritz Melchior International Singing Competition
“. . . Cameron Schutza whose heldentenor in the role of Siegfried reminded some of the same ringing qualities as the blessed Lauritz Melchior’s highly praised voice.” — Nordjyske (Translated from Danish)
“. . . Cameron Schutza, who was quite effortless and embodied Tannhäuser’s story about his journey to the Pope in Rome.” — jcKlassisk (Translated from Danish)
Wagner Society of New York Awards Top Prize to Tenor
The Wagner Society of New York has awarded their top prize, the 2016 Robert Lauch Memorial Fund Endowment Award, to tenor Cameron Schutza
Salome – Orquesta Sinfònica Nacional
As Narraboth, Cameron Schutza sang with clarity of tone, ringing high notes and clear German diction. –Ingrid Haas, Opera Magazine December 2015
Fidelio – Michigan Opera Theatre
The MOT young artist apprentice Angela Theis, soprano, as Marcelline the jailer’s daughter, and her suitor Jaquino, American tenor Cameron Schutza, portrayed their characters well, even when the orchestra did not give them sufficient room in their opening pieces. -Susan Bowen, Schiller Institute, April 2013
The first act quartet, with Goerke, Nissen and young performers Cameron Schutza as Jacquino and Grosse Pointe native Angela Theis as Rocco’s daughter Marzellina, is a canon, each singing the same melody as they join in. It is lovely musicianship. – Encore Michigan, April 14, 2013
Carmen – Arizona Opera
Studio members Cameron Schutza and Kevin Wetzel were eminently praiseworthy as El Remendado and El Dancaïro. – Maria Nockin, Opera Today, November 19, 2010
Cameron Schutza (Remendado), Kevin Wetzel (Dancaïre/Moralès), Rebecca Sjöwall (Frasquita), and Stephanie Foley Davis (Mercédès) live up to the expectancies of the second act quintet “Nous avons en tête une affaire”, as well as in the third act duet “Mêlons, coupons,” while bass Peter Volpe receives a well deserved ovation for his Zuniga.
Salome – Arizona Opera
The five Jews: Doug Jones, Torrance Blaisdell, Barry Stein, Cameron Schutza and Jeremy Milner gave an excellent rendition of their ensemble, while Scott Sikon and Francisco Renteria were harmonious Nazarenes. – Maria Nockin, Music and Vision, November 19, 2009
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