Organization

Bayreuth Baroque Opera Festival

Singer

Soprano

Bruno de Sá

Conductor

Fransesco Corti

BRUNO DE SÁ Roma Travestita

Bayreuth

Germany

Alessandro Scarlatti (1660-1725)
Sinfonia de Telemaco (1718)
Dì che sogno, o che deliro (air by Griselda from Griselda (1721))

Antonio Vivaldi (1678-1741)
Senza l'amato ben (air by Leocasta from Il Giustino ( 1724))
Per noi soave e bella (aria by Arianna from Il Giustino (1724))

Arcangelo Corelli (1653–1713)
Sonata in trio op. 3 No. 5 in D minor
The tomb. Andante – Allegro – Largo – Allegro

Arena Giuseppe (1713–1784)
Del sen gl'ardori nessun mi vanti (air from Deidamia d'Achille à Sciro (1738))

Nicolas Antonio Porpora (1686–1768)
Vorresti a me sul ciglio (Aria by Giuditta by Carlo il Calvo (1738))

Giacchino Cocchi (1712–1796)
Timida pastorella (air from Adelaide by Adelaide (1743))

Johann Adolf Hasse (1699–1783)
Non mi chiamar rawle (air from Sestia by Cajo Fabricio (1732))

Baldassare Galuppi (1706-1785)
Concerto a quattro n° 3 in D major
Maestoso – Allegro – Andantino

Gaetano Latilla (1711-1788)
Vanne barbaro alle selve (air from Ersilia by Romolo (1739))

Antonio Vivaldi
Sinfonia de Il Giustino
Allegro – Andante – Allegro

Niccolò Piccinni (1728–1800)
Furie di donna irata (air of Marchesa Lucinda from La buona figliuola (1760))

Roma Travestita: Concert Various

Public

Concert

Approved

The soprano voice of the Brazilian singer Bruno de Sá doesn’t only soar to astonishing heights but also avails of such flexibility and limberness that he can dance gaily through the most daredevil scores and, thanks to its profoundly expressive potential, lends emotional depth to every aria. His powerful and yet mellow voice paired with extraordinary intensity and musicality make Bruno de Sá into a unique phenomenon on the stages of our world.

In the programme Roma Travestita, the young singer focuses on Roman opera between the years 1720 and 1760. Since women at this time in the Papal States were prohibited from appearing in public as actresses or singers, nevertheless, audiences had no desire to be deprived of the enjoyment of operatic performances; castrati had to slip into the female costumes. In this guise many a castrato had the heads of their male public spinning. Montesquieu, for example, reports of his visit to Rome: “A young Englishman who thought one of these castrati to be a woman was inflamed with violent love for him and was left languishing in this fit of passion for more than a whole month.” Many of the pre-eminent composers of this time didn’t wish to miss the chance of writing “female” arias about love and jealousy, joy and pain for the throats of these adulated male singers. Together with the ensemble Il Pomo d’Oro under Francesco Corti, Bruna de Sá lends his radiant and poignant soprano voice to the stage heroines of Alessandro Scarlatti, Antonio Vivaldi, Giuseppe Arena, and more.

English

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