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Photo: Scallywag Fox

Kamilla Dunstan

Primary Skill:



British, New Zealander


United Kingdom

Languages (fluent):



Arminio (Handel)
Royal Opera House
Der Komponist
Ariadne auf Naxos (Strauss)
Opera North
The Valkyrie (Wagner)
English National Opera
La Forza del Destino (Verdi)
Regents Opera
Zweite Dame
Die Zauberflote (Mozart)
Suzy /Lolette
La Rondine (Puccini)
West Green
The Mask of Orpheus (Birtwistle)
English National Opera
Ariodante (Handel)
London Handel Festival
Faramondo (Handel)
London Handel Festival
Il Turco in Italia (Rossini)
Garsington Opera
Prince Orlofsky
Die Fledermaus (Strauss, J)
International Opera School Royal College of Music
Ruth (Phillip Hagemann)
Pegasus Opera
Hänsel und Gretel (Engelbert Humperdinck)
International Opera School Royal College of Music
Cosi fan tutte (Mozart)
Clonter Opera
Dark Lady of the Sonnets (Phillip Hagemann)
Pegasus Opera
Fanny Price
Mansfield Park (Dove)
Opera South
Zweite Dame
Die Zauberflöte (Mozart)
Glyndebourne Opera Festival


Solo Singer
Like Water For Chocolate (Joby Talbot)
Royal Opera House

Covered Covered & Performed Scenes Premiere of New Work Concert COVID-cancelled

Wagner Gerechter Gott

ABRSM Scholar (2017)

Help Musicians UK Tutton Award (2017)

ABRSM Scholar (2016)

ABRSM Scholar (2015)

Help Musicians UK Tutton Award (2015)

Wagner Stipendien (Wagner Society of Scotland) (2015)


2nd Place Lyra New York International Vocal Competition (Virtual) (2021)

Finalist Maureen Lehane Voice Competition (Wigmore Hall) (2018)

Finalist Bampton Opera Competition (2017)

As his beloved, Ramise, Kamilla Dunstan was feisty indeed. This Ramise was a passionate freedom-fighter who saw things in more black and white so her constant pressure on Peters' Sigismondo made sense. It helped that Dunstan brought a rich, characterful mezzo-soprano voice to bear on the role.- Planet Hugill, Robert Hugill (2023)

Kamilla Dunstan (Ramise) and Isabelle Peters (Sigismondo) both possess bright, articulate voices and had no trouble traversing all the roulades and scales Handel throws at them. They were also entirely credible dramatically as well – no mean feat under the circumstances.- music OHM- Keith McDonnell (2023)

Kamilla Dunstan and Josef Jeongmeen Ahn both give gloriously energetic performances, so it is all great though unbelievable fun.- Daily Express- William Hartston (2023)

Kamilla Dunstan as Ramise and, in particular, Isabelle Peters as Sigismondo bring obvious promise and secure techniques to Handel’s demanding writing…The Guardian, Martin Kettle (2023)

Kamilla Dunstan’s nervy, twitching rebel Ramise is a case in point. The mezzo is one of the best voices on the stage,... i Newspaper- Alexandra Coghlan (2023)

Kamilla Dunstan’s Ramise — Arminio’s much more capable sister — impresses with her fiery agility- The Times, Neil Fisher (2023)

Mezzo-soprano Kamilla Dunstan’s Ramise (daughter of Segismero and involved with Sigismondo) was brilliantly done. This was my first experience of Dunstan, and I hope for more (I note she is also a very un-Handelian Wagner Stipendium awardee of Bayreuth’s Richard Wagner Scholarship Foundation).- Seen & Heard International, Colin Clarke (2023)

The most compelling couple, though, proved to be Isabelle Peters’s nerdy but volatile Sigismondo, and Kamilla Dunstan’s fiery Ramise: a relationship full of grapples, tussles, hugs and thumps, as riven with conflict, physical and emotional, as the Germanian toffs themselves in the face of Roman might. Both voices had edge, passion and fervour aplenty, with an expressive depth and dramatic pulse that brought the parts alive. - The Arts Desk- Boyd Tonkin (2023)

"...the sensuously effervescent Kamilla Dunstan led the 16-strong chorus in a 'Rataplan' that was sung and choreographed with punch and precision"- Yehuda Shapiro, Opera Magazine. (2022)

"Kamilla Dunstan's deliciously characterful Preziosilla gave us something at the opposite end of the scale; she is a force of nature, with a presence that commands the stage. She revelled in every moment of her part and the chorus was on fine form around her."- Colin Clarke, Opera Now. (2022)

“Her Ladies – Carrie-ann Williams, Kamilla Dunstan, Erilys Myfanwy Davies – were a euphonious, witty trio…” The Magic Flute/Glyndebourne, Sunday Times, November 2020 (2020)

“…her on-stage presence as Austen’s protagonist was faithfully observant, and her voice mirrored the quiet power and influence Fanny has on the Bertram family.” Mansfield Park/Opera South, Guildford Dragon News, February 2019 (2019)

‘…..Kamilla Dunstan’s Faramondo has the flair and vocal energy to give the opera its focus.” Faramondo/Britten Theatre, Financial Times, March 2017 (2017)

“Dunstan (you may remember her as Ariodante from last year) once again cut a fine figure as the hero and put on a solid vocal performance, with some fine projection and elaborate fioriture…” Faramondo/Britten Theatre, dehggial, March 2017 (2017)

“The Ariodante in this cast was Kamilla Dunstan. There was sufficient weight to her voice for her to be able to project when singing from a position upstage. Whilst not perhaps quite as convincing in a trouser role as Sarah Connolly or Emilie Renard (yet,) Miss Dunstan has a lovely, rich, focused mezzo which is flexible enough for her to tackle such a taxing role with great aplomb.” Ariodante/Britten Theatre, Opera Britannia, March 2016 (2016)

“Kamilla Dunstan cut a dash as the extravagantly bored Prince Orlovsky, and her/his suitably ambiguous ‘Chacun à son goût’ was one of the evening’s highlights.” Die Fledermaus/Britten Theatre, Classical Source, March 2015 (2015)

International Opera School - Artistic Diploma
Royal College of Music
Masters in Music Performance
Royal Conservatoire of Scotland
Bachelor of Music (HONS)
Guildhall School of Music & Drama

Kamilla was born in Yorkshire and later emigrated to New Zealand before returning to the UK. Kamilla studied at the Royal College of Music International Opera School, Royal Conservatoire of Scotland and the Guildhall School of Music
& Drama. Kamilla studies with Soprano, Claire Rutter.

Kamilla made her Royal Opera House debut this April as Ramise (Arminio, Handel) and covered the role of the Komponist in Opera North's production of Ariadne auf Naxos (R. Strauss) (Feb, 2023).

Last summer Kamilla covered the Singer in the Royal Ballet’s new production of Like Water for Chocolate by Joby Talbot.

In November 2021 she made her English National Opera debut as Waltraute in Richard Jones's new production of
The Valkyrie (Wagner) and sang Second Lady in Glyndebourne’s semi-staged production of The Magic Flute in December 2020.

Preziosilla (La Forza del destino, Verdi- Regents Opera), Suzy/Lolette (La Rondine- West Green Opera House), Ariodante and Faramondo (London Handel Festival), Fanny Price (Mansfield Park, Jonathan Dove- Opera South), Dorabella (Cosí fan tutte, in English- Clonter Opera), Naomi (Ruth- Philip Hageman- Pegasus Opera) and at the Royal College of Music International Opera School, Ramiro (La finta giardiniera), Hänsel (Hänsel und Gretel) and Orlofsky (Die Fledermaus).

In 2019 Kamilla covered the lead, Eurydice Woman in English National Opera's production of Birtwistle's opera The Mask of Orpheus and covered Zweite Dame in Die Zauberflöte at the Glyndebourne Festival. Kamilla was also an Alvarez Young Artist in 2017 and covered the role of Zaida in Garsington Opera’s production of Il turco in Italia (Rossini).

​Concerts include Floßhilde in Das Rheingold with the Birmingham Philharmonic at the Birmingham Symphony Hall, Vaughan Williams’s Serenade to Music with the City of Birmingham Symphony Orchestra, also broadcast on BBC Radio 3 and a soloist in Te Deum & Jubilate (Handel) with the English Chamber Orchestra at St Paul’s Cathedral as part of the City of London Festival.

A 2nd Place winner at the Lyra New York International Vocal Competition (2021) and a finalist for the Maureen Lehane Singing Competition at Wigmore Hall (2018).

Kamilla was a Polonsky Fellow at the Aspen Music Festival & School (USA), a Wagner Stipendien at the 2015 Bayreuth
Festspiele and a Samling Artist in 2014.

Kamilla was an ABRSM Scholar and was kindly supported by a Help Musician’s Tutton Opera Award and the Josephine Baker Trust.

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