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Paris. Salle Gaveau. 20 – V-2021. Alessandro Scarlatti: Cantatibus organis, symphony of the oratory The Virgin of Sorrows,
quartet in D minor, excerpts from the oratorio La Santissima Annunziata (symphony and air Sommo Dio), sonata in F minor; Georg Friedrich Handel: Gloria HWV deest. Antonio Caldara: extracts from the oratorio Il Martirio di Santa Caterina (Ahi quanto cieca… Come foco alla sua sfera), extract from the oratorio Santa Francesca Romana (Miro che il fiumicello), extracts from the oratorio La Castità al Cimento Sinfonia et air Numi offesi di furor); Flavio Carlo Lanciani: excerpts from Il Martirio di Sant’Eustacchio (Ch’io tradisca lo sposo… Sdegnato mio cor). Bruno de Sá, soprano. Accents, violin and conducting: Thibault Noally
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To celebrate the opening of the Salle Gaveau after this year devoid of all concerts, the most angelic of programs is worn by the promising Bruno de Sá with a set of extracts from Roman oratorios from the beginning of the 18th century.
It is a real sopranist who gives himself to be heard: the range never ceases to surprise by its height of emission, the soaring aspect in the way of taking the sounds, with a timbre which approaches incredibly that of a woman, tinged with round and warm colors and endowed with an impressive volume. The concert format is kept short to allow spectators to respect the curfew, which only focuses attention on the vocal art forbidden that evening.
Scarlatti’s first cantata song played, allows you to combine the thrill of the voice and its natural vibrato with the aerial oboe. The valiant vocalizations are in no way imbued with the softness that is usually found in many singers using the falsetto. Dazzling Bruno de Sá in a set of extracts from Roman oratorios from the beginning of the 18th century. Gaveau room. continues to deploy its technical resources with the Gloria HWV deest of Handel where he invariably varies the sound he manages to swell and diminish without apparent effort, especially in the pain of the “Qui tollis peccata mundi.” But it is in the air “Sommo dio” of The Santissima Annunziata that he succeeds in making reign around him a revealing silence of the contemplation which he arouses in the spectator. His messa di voce is subtly exploited in “Miro il fiumicello” with great elegance in the handling of nuances. The Brazilian singer is in communion with the public, very expressive in the interaction with a room with minimal gauge.
The Les Accents ensemble led by Thibault Noally is a very compact workforce with a communicative energy offering a commendable setting for a singer whose qualities seem to destine him for a very high level career.
Photo credit: Bruno de Sá © STIG
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More details
Paris. Salle Gaveau. 20 – V-2021. Alessandro Scarlatti: Cantatibus organis, symphony of the oratory The Virgin of Sorrows,
quartet in D minor, excerpts from the oratorio La Santissima Annunziata (symphony and air Sommo Dio), sonata in F minor; Georg Friedrich Handel: Gloria HWV deest. Antonio Caldara: extracts from the oratorio Il Martirio di Santa Caterina (Ahi quanto cieca… Come foco alla sua sfera), extract from the oratorio Santa Francesca Romana (Miro che il fiumicello), extracts from the oratorio La Castità al Cimento Sinfonia et air Numi offesi di furor); Flavio Carlo Lanciani: excerpts from Il Martirio di Sant’Eustacchio (Ch’io tradisca lo sposo… Sdegnato mio cor). Bruno de Sá, soprano. Accents, violin and conducting: Thibault Noally
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