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Bruno De Sá – Roma Travestita (24/96 FLAC)

Bruno De Sá - Roma Travestita (24/96 FLAC)

Bruno De Sá – Roma Travestita (24/96 FLAC)

Composer: Giuseppe Arena, Rinaldo Capua, Gioacchino Cocchi, Niccolo Conforto, Francisco Javier García Fajer, Baldassare Galuppi, Niccolò Piccinni, Alessandro Scarlatti, Leonardo Vinci, Antonio Vivaldi
Performer: Bruno de , Il Pomo d’Oro
Conductor: Francesco Corti
Format: FLAC (tracks)
Label: Erato
Catalogue: 9029661980
Release: 2022
Size: 1.31 GB
Recovery: +3%
Scan: yes

01. Scarlatti A: Dì che sogno, o che deliro (from Griselda)
02. Scarlatti A: Mi rivedi, o selva ombrosa (from Griselda)
03. Vinci: Lascierò d’essere spietata (from Il Farnace)
04. Vivaldi: Per noi soave e bella (from Il Giustino)
05. Vivaldi: Senza l’amato ben (from Il Giustino)
06. Capua: Nell’orror di notte oscura (from Vologeso, re de’ Parti)
07. Arena: Del sen gl’ardori nessun mi vanti (from Achille in Sciro)
08. Galuppi: Qual pellegrino errante (from Evergete)
09. Cocchi: Timida pastorella (from Adelaide)
10. Cocchi: Nobil onda (from Adelaide)
11. Conforto: Padre, germano…Vadasi pure a morte (from Livia Claudia Vestale)
12. Fajer: Grato oblio, soave pace (from Pompeo Magno in Armenia)
13. Piccinni: Furie di donna irata (from La Buona figluola)

Bruno de Sá’s Erato debut, Roma travestita, could hardly be more striking. The young Brazilian singer – a rare example of a male soprano – explores a period when women were banned from the public stages of Rome and men assumed female operatic roles. Moreover, eight of the 13 arias on the album are receiving their world premiere recording. Opera magazine has described Bruno de Sá as “astounding … with a high register of soprano purity. A true male soprano able to command thrillingly ringing tones …” In partnership with Il Pomo d’Oro and conductor Francesco Corti he performs arias from the 18th century: by Vivaldi, Alessandro Scarlatti, Vinci, Galuppi and Piccinni, and by the rarely heard Capua, Arena, Cocchi, Conforto and Garcìa Fajer. On stage, Bruno de Sá has already sung such roles as Sesto in both Handel’s Giulio Cesare and Mozart’s La clemenza di Tito, Barbarina in Mozart’s Le nozze di Figaro, and the Little Mermaid in a new Hans Christian Andersen opera by Jherek Bischoff. “My goal is to sing what my voice allows me to sing,” he says. “It doesn’t matter which boxes it ticks or which gender it is.”

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