"A new star of the cello is discovered. The young franco-belgian cellist, charming and generous, gave an extremely moving rendition of the Shostakovich Cello Concerto n°1."
Jens Rasmussen, DR Radio Denmark

"Tristan Pfaff accompagnait au piano l'exceptionnelle Camille Thomas dans une exploration virtuose du violoncelle, alliant la diversité des modes de jeu à un vibrato parfait au service d'écritures musicales très singulières, jouées pour cette unique occasion."

Émilien Moreau, Journal Zibeline

"[...] la violoncelliste Camille Thomas nous offrait un récital de violoncelle solo au programme d'une rare intelligence entièrement dévolu à la musique du XX° siècle. Par sa construction réfléchie comme par l'engagement du jeu de la violoncelliste, ce voyage dans l'Europe du XX° siècle [...] parlait autant au coeur qu'à l'esprit"

Jean-Claude Hulot, ResMusica

"One of the rising stars of the classical music"


"An impeccable technique, a complete and deep sound, an expression with a communicative romanticism, a true personality"

Simon Corley,

"Camille Thomas aroused enthusiasm with deep emotional sincerity, technical sovereignty and emotional maturity"

Allgemeine Zeitung

"Revelation 2010 of the ADAMI, who once again proved the high quality of the selection of their performers, the young, Franco-Belgian cellist born in 1988 is a refined musician, having studied with Philippe Muller in Paris and Stephen Forck in Berlin among others.
From the very beginning, the transcription for cello and piano of Tchaikosvky's Nocturne op. 19 no. 4, the harmonious profession and musical relationship of the artists was extremely clear. The Brahms Sonata no. 1 op. 38 showed the wide range of innovation in their stimulating dialogue.
Never being limited to the role of "accompanist", a true danger with this work, Florian Noack's piano made the entirety of the composition flourish and gave Camille Thomas the perfect sounding board for her fluid, intense, and very well-founded interpretation.
Equally, Shostakovitch's Cello Sonata op. 40 was wonderfully constructed in excellent taste by a lovely mixture of lyricism, mystery (the end of the first movement, strange and "subterranean", perfect!) and character.
A sparkling Pezzo Capriccioso from Tchaikovsky and an energetic Grand Tango from Piazzolla "aired out" marvellously this dense program.
The duo's first concert in Paris, Camillle Thomas and Florian Noack owe it to the scouting of the Talented Young Artists Association. Bravo!"

Alain Cochard,

"A young cellist to follow..."

Serge Martin, Le Soir

“For this concert, with a coherent programming, we heard two musicians who made us forget that the performers were young talents since they accomplished so entirely the goal of presenting mature, full works.(...) Dans les Trois Strophes sur le nom de Sacher de Dutilleux, Camile Thomas (born in 1988) showed a range of musical comprehension from a secure personal openness to contemporary music to a perfect sensitivity to Jewish liturgical music from Bloch. I truly enjoyed the transcriptions of Schubert Lieder for cello, the first on the program (Auf dem Wasser zu singen), the second (Ständchen), as an encore.” Referring to a concert at the Soubise hotel with Paloma Kouider

Benjamin Duvshani,

“Belgian Camille Thomas performed with heart, bravura, and sound. The orchestra honored her powerful tone with respectful support for the entirety of the Finale of Dvorak’s concerto. The young cellist received a very hearty applause”.

Isabel Herzfeld, Badener Tagblatt

“An emerging talent, French cellist Camille Thomas won over her audience with warmth and balance. Fascinating!”
About the Dvorak Concerto with the Philharmonie of Baden-Baden

Karl-Heinz Fischer, Badische neueste Nachrichten

« Camille Thomas et Beatrice Berrut, musicienne de grand talent, ont superbement interprété des ÂÂœuvres de Johannes Brahms, Rachmaninov et Piazzolla avant de boucler leur sur une sonate de Schubert. Elles ont fait valoir la richesse de la formation de haut niveau et la qualité dÂÂ’une relève artistique dans un domaine dÂÂ’une exigence totale. La qualité du dialogue entre les instruments et la capacité des deux artistes à en tirer le meilleur, à lÂÂ’image de Camille Thomas descendant dans la profondeur des graves, nÂÂ’ont pas échappé au public plus que jamais fidèle aux rendez-vous classiques du Festival estival. »

Gérard TUAL, Courrier de l'Ouest

"They are young, beautiful and play divinely well. The cellist Camille Thomas and pianist Beatrice Berrut kick off the fifth season of Musicales de Compesières with a programme devoted to Beethoven, Brahms and Ginastera. Two talents which we will hear a lot about."

La Tribune de Genève, Luca Sabbatini

"Camille Thomas exemplarily fulfilled the height claims of the music!"

Rhein-Hunrück Zeitung

"(...) the blonde pianist Beatrice Berrut, with fluid playing, shot through with magnificent bursts of colour and heady sounds created by a goldsmith perfection of the keyboard and the brunette cellist Camille Thomas, with a clear and simple musical language, often crossed by touches of virtuosity. Both have a superb power to amaze the audience. They have revealed an intense lyrical commitment of which the melodic is very quickly harmonized over the whole sound spectra. Superb ease and complicity in the difficult Sonata in E minor by Brahms, they brought it to life with strong and expressionistic play with well chosen tempi, the dark and virile beauty of these refined harmonies."


“Camille Thomas had pleasure in performing Boccherini’s Sonata in C Major with a bubbling virtuosity”.

Mathias Nofze, General Anzeiger, Bonn