"Faust-Szenen" Ludwigsburger Schlossfestspiele:

On stage...the dazzling tenor Roberto Saccà.

Tenor Roberto Saccà brings Faust with italian timbre back into his maze-like cel.

Roberto Saccà a metal-light Titus.

Roberto Saccà interprets the wisdom of Titus with a carefully leaded tenor.

Roberto Saccà sings an expressivly shimmering kaiser.

Roberto Saccà 's Titus didn't feel sorry for himself but radiated trenchantly.

Roberto Saccà (Bacchus) surprised: The Mozart-Tenor already sung Puccini, but now for the first time the difficult Bacchus. When usually heavy tenors shout over the ocean, this time it is an elegant sir, who knows to differnciate: Saccàs timbre withstands even in fortissimo, stays precise and understandable.

An evening, which the tenor Roberto Saccà (Bacchus) ends in dramatic tension.

Bacchus as alter ego of the composer agrees with Ariadne to be the god of death, as he is searching the last trueth, too. Roberto Saccà's unusual lyrical, but messmerising tenor fits perfectly.

Impeccable play and singing: Roberto Saccà's Bacchus is lyrical, and is at the same time brilliant in the high tones - emmediately convincing.

Roberto Saccà as Bacchus less heroic than usual fits the character very well. But he convinces as well with brilliance and preciseness.

The roaring waves of the final scenes, mastered by Roberto Saccà with wonderfully brilliant tenor.

Roberto Saccà, actually one of the best lyric tenors, in the role of the sympathic Damon convinced with brilliant high notes and controlled force. He earned and deserved the biggest applause.

Among the the harmonic ensemble exceptionally impressive: the tenor Roberto Saccà (Damon) and the soprano Ha Young Lee (Badiat).

Henze wrote the most fantastic role for the Damon. Roberto Saccà fills it with exciting life and was therefore highly acclaimed.

The ensemble, in particular Roberto Saccà as Damon, convinced.

Roberto Saccà with his napoleonic statue, his hedonistice joy to act and his furious singing-attacks is the ideal cast for this emotionally roller coaster-driving man of force.

Vocally nobel: Roberto Saccà.

Robert Saccà being a male tyrannical hero.

Roberto Saccà in the titel-role of the 'macho'-tyrannical leader brings with his flexible, baraton timbred tenor colour into the play.

Roberto Saccà gives the finally for his rectification betrayed dictator furiosly, which gives nevertheless an idea of dangerous incalculability of the tyrannical leader .

Roberto Saccà is a noble Mozart-tenor and great actor.

Robert Saccà sang the titel-role with souverainity, his tenor knew to accentuate the recitatifs.

One only could feel sorry that Mozart composed only two arias for Roberto Saccà's powerful tenor.

Roberto Saccà in the titel-role, sharp his tenor, wild with his emotional outbreaks.

When Silla (Robert Saccà) tries to win Giuna (Annick Massis) with power and highly emotional, the music triumphes.

Robert Saccà in the titel-role as heroic dictator with brilliant tenor.

Lucio Silla - brilliant tenor with metallic timbre: Roberto Saccà.

Roberto Saccà is a powerful and tenor with elastic voice, he interpretates Lucio Silla with doubtful colors.

Robert Saccà is a heroic Silla.

Roberto Saccà as a macho hero spices up the play with his elastic and barton-timbred tenor and his red trousers.

The german Roberto Saccà with italian roots gives the bloody dictator the latin colors with his brilliant voice.

Lucio Silla entrusted to the heroic tenor Roberto Saccà, with vigorous timbre and crude agressivity.

The vocal stars are Roberto Saccà as the prince Tamino,. Mr. Saccà sings gorgeously, with a telling range of vocal colour and texture and a caressing way with phrases.

Also fine were the bright-voiced tenor Roberto Saccà as Leukippos.

Another tenor was a German with the interesting name Roberto Saccà. He sang Leukippos and did so boldly and juicily.

Roberto Saccà sang the high lyric tenor role of Leukippos smoothly, effortlessly, his voice clear and finely produced. It was a most synmpathetic interpretation.

Highly acclaimed as one of Europe’s rising lyric tenors, Roberto Saccà, is an effective interpreter whose voice is sincere, gentle, and with a likeable timbre. In the “Brindisi” Saccà sings effortlessly, as well as in Act II “De’ miei bollenti spiriti/My passionate spirit...” and “Oh mio rimorso/Oh! My remorse!” and with vigor when necessary as in “Questa donna conoscete/Do you know this woman?” Saccà is also a good actor and, in spite of some of the awkward stage directions, he easily followed the story line: at times infatuated and immature, at times in love, at times hurt and vengeful, and in general portraying Alfredo as the young man he is, in reality.

Roberto Saccà archieves to establish a sovereign and gushing character. Not a ‚Latin-Lover', but a mature and a little reckless man, who doesn't shrink back from adding powerful nuances to his belcanto.

Only Roberto Saccà the Italian tenor, raised up in Germany, as Leukippos ,could dominate radiantly and without any difficulties the big orchestra with more than ninety musicians.

Great Roberto Saccà, as passionate Leukippos, with warm voice, compelling high and clear diction.

Leukippos, a part written for a lyric dramatic tenor, was sung very heroically by Roberto Saccà.

Roberto Saccà as tragic king of Crete demonstrated again being one of the leading lyric tenors , who’s singing of Mozart roles is exemplary. His versatile voice of dark and smooth colour and differentiating phrasing, guarantee an exemplary interpretation.

The great Mozart-tenor Roberto Saccà is singing Idomeneo. You can only admire his art of singing, which is technically and stylistically impeccable. Without any noticeable efforts, he crows over the various difficulties of this part and makes a compelling and touching portrait of Idomeneo.

Excellent Roberto Saccà's lyrical, heroic Idomeneo.

Highlight Roberto Saccà in the title part. He has a smooth, expressive tenor with perfect coloraturas.

Roberto Saccà as Idomeneo, prototype of an Italian lyric tenor with brilliant timbre, perfect messa di voce, expressive voice, an ideal Mozart singer.

Roberto Saccà in the title part, singing the famous aria „ Fuor del mar” in the coloratura version, impressed with his strong and flexible tenor.

Roberto Saccà as a burned out military man with no presence and future. He absolutely convinced in this delicate part, singing with aplomb, elegant coloraturas and showing all his lyric qualities.

Delightful the magnificent singing and interpretation of Edith Lienbacher and Roberto Saccà as the serious couple in this recording.

Roberto Saccà’s voice is ideal also for operetta, which proves his interpretation of the part of Laczi in this recording.

At her side brave men, Roberto Saccà (Leukippos) cuts a dazzling figure, mastering his difficult part competent and flawless.

The up-coming primadonna Anna Netrebko und the tenor Roberto Saccà transformed the Congress Center in a concert hall. Her arias had been supported by opera-highlights from the lyric tenor Roberto Saccà , who's timbre fit perfect together in the duets with her. Also Lehár's famous and sentimental operatic aria "'You are my heart's delight" he sang with such a dignity and beauty , as it would have been a big opera masterpiece.

The audience in the sold out Gewandhaus-auditorium in Leipzig, was particularly thrilled by three duets with the Italian tenor Roberto Saccà.

"Sexy La Traviata" - Venice celebrates re-opening of La Fenice Opera-House
Most acclaimed conductor Lorin Maazel, the italian Soprano Patrizia Ciofi as courtesan Violetta and Roberto Saccà as her lover Alfredo.

The smooth Alfredo of the convincing german-born italian tenor Roberto Saccá was powerful and of high class.

Roberto Saccà fits perfectly and with highly agile tenor in this mesalliance of venal love.

Roberto Saccà convincing with self-confidence in his voice as Alfredo. Especially convincing his tragedian talent.

The tenor Roberto Saccà fascinated with dazzling voice and strong, almost veristic expressivity.

Roberto Saccà prooved himself a challenging, impetuous Alfredo with brilliant voice.

The tenor Roberto Saccà complies with the concept of the director. He is an Alfredo, dominated by his father, acting intentionally with superficial carelessness on stage. His voice of veristic character emphasizes the impetuous and very communicative accent.

Luckily the cast is impeccable. Alfredo is fotografer, Roberto Saccà acts convincing, his voice is brilliant.

Absolutely convincing Roberto Saccà as Alfredo. His voice is brilliant. His Alfredo is not adorizing and feeble, but a potent man, powerful and with juvenile spirit. He sings impeccable belcanto, lyrical, but dramatic at the ball-scene.

Roberto Saccà´s strong relation to the part of Tamino is evident. You really believe into what this prince sings and feels. He is not only a good-looking Tamino, but he comes along with the correct style for Mozart, too.

Roberto Saccà proves himself as a great tenor, with a convincing interpretation and a big voice.

In Tokyo Bunka Kaikan was the last performance of Mo. Ozawa's "Ongaku-juku Opera Projekt" "LA BOHEME" (staging R.Carsen), which was shown very successfully in Hamamatsu, Kyoto, Nagoya and Yokohama before. For his first "Bohéme" Mo. Ozawa has chosen a young cast full of enthusiasm. Roberto Saccà captured fascinating all the different colours of Rodolfo and had a beautiful high C. A greatly acclaimed "La Bohéme"!

Lyrical and well rounded performance. Roberto Saccà sang the aria of Rodolfo and the duet very beautifully. In the second act, Rodolfo and Mimi, Marcello and Musetta sang a contrasting quartet.

The cast was world-class, and Robert Saccà sang Rodolfo with a beautiful voice.

The couple of lovers is magnificent with the Italians Patrizia Ciofi, an irresistible Lauretta, and Roberto Saccà, a dream Rinuccio. Bravo!

Patrizia Ciofi and Roberto Saccà made an alluring pair of young lovers as Lauretta and Rinuccio.

A triumph of pure Puccini - style by the gorgeous singing of Patrizia Ciofi as Lauretta and the excellent Roberto Saccà as Rinuccio.

As Rinuccio Roberto Saccà was launching beautiful Puccini accents with a lot of authority and artistry.

Roberto Saccà has all the qualities to be an excellent Rinuccio, easy and brilliant hights, and homogeneity in his voice.

Traviata with Netrebko, Saccà and Gavanelli - a real gala-performance!
Of equal quality is Roberto Saccà as one of the best Alfredos in Munich ever sung.

Beside A.Netrebko, Roberto Saccà as a bright and powerfull Alfredo.

With great variety and splendid voice, Roberto Saccà was her convincing partner as Alfredo.

The cast included also Roberto Saccà, one of the world-best Tamino of our times.

"Cosi fan tutte" Opéra de la Bastille, Paris:

Recently as Almaviva in "Barbiere", Roberto Saccà sang a perfect Ferrando.

"L'heure espagnole" und "Gianni Schicchi" new production, Tokyo:

The singing of Rinuccio, sung by Roberto Saccà was very charming with his full and strong voice.

Gonzalve and Rinuccio sung by Roberto Saccà with a radiating and beautiful voice.

"Die Entführung aus dem Serail" Bayerische Staatsoper München:

Roberto Saccà was a competent Belmonte. His coloratura was exemplary, his style more than satisfactory.

Genuine class has only the versatile bright tenor of Roberto Saccà as Belmonte.

Applause only for Roberto Saccá' s extremely noble Belmonte.

Roberto Saccàs marvellous sounding Belmonte.

Roberto Saccà put on the Belmonte lyrically sensitively.

Roberto Saccà is of course a gloss flowing Belmonte.

Arte Nova: "Roberto Saccà - Portrait" CD:

The Italian, born in Germany, Roberto Saccà presents himself on this CD of the lyrical dramatic Belcanto-repertory, as a tenore lirico and shows vocal and emotional highlights from Donzetti's La Fille to L'Aresiana from Cilea. The booklet describes him as the ideal of an attractive youthfully and stormy lover. I can only confirm this from his vocal qualities and it seems that Saccà together with the Slowakian RSO Bratislava under the conductor I. Anguélov inspire and animate each other to a contagious enthusiasm. Roberto Saccà demonstrates a beautiful certainty of pitch, expressive directness and expert musicianship allowes him to give a new sparkle to some of the most familiar cantilenas in this repertory ; the basis for great tasks. A tenor like him is very rare and demanded..

In the last two years the German of Italian origin expanded his mainly Mozart and Rossini repertory carefully to Verdi. In this recital of Arte Nova, Saccà goes even another step further to verismo. The youthfully vigorous voice with timbre preserving height swings himself successfully with impetus in Puccini's (Rinuccio and Rudolfo) and Cilea's (Federico) melos. It is astonishing, how flexible Saccà's tenor-voice addresses the high testitura in the two Verdi parts Alfredo and Duca (here all solo parts include the cabalettas). Also in Rossini's Almaviva, in Donizetti's Nemorino, Tonio and Edgardo primarily the natural bravura convinces.

"The magic flute" Vienna State-Opera:

Roberto Saccà as Tamino had a strong, supple, dramatic tenor. The pretty, black-lured prince radiated even such a thing like Mozart beauty, revalued with a shot humor the daring lover and fitted well with stable tenor his voice-leading role.

"Don Giovanni" DVD from Opera Zurich:

Roberto Saccà offers a synthesis from controlled tone production, unequalled in its perfection, to stylistic Mozart singing. No larmoyancy disturbs this Don Ottavio, the voice becomes never tight and demonstrates expressive palette, awareness of phrasing and formal structure. Saccà gives the best example for wise long-term development that forms the basis for great tasks.

"Daphne" Royal Opera House Covent Garden:

The more lyrical Roberto Saccà contrasted ideally as the innocent Leukippos.

Roberto Saccà as Leukippos was also very impressive. He has a sweeter, lighter voice than Botha, but was still able to defeat the traditionally thick Strauss orchestration. His high C was well attacked and tightly focused.

Leukippos Daphne’s devoted swain, got competent Strauss treatment from Roberto Saccà.

"Il Barbiere di Sevilla" new production, Paris/Opera de la Bastille:

One rarely saw and heard an Almaviva as passionate and beautifully singing as the Italian tenor Roberto Saccà. With its class he dominates the Figaro.

The Conte d'Almaviva of the Italian tenor Roberto Saccà, been inflamed in love and passion to Rosina, delivered a string of scintillating Rossini-coloraturas. With his elegance and noblesse he gave the Almaviva alive and pleasantly.

"The magic flute" new production, Teatro de la Maestranza Sevilla:

Roberto Saccà, an international star, possesses a beautiful and strong voice, is secure in stile. His performance was admirablly, particularly its security and its expressive bravery, a remarkable Tamino.

Roberto Saccà proofed himself as an outstanding Mozart-singer with slashing moments. His viril and dark timbred voice made forget the typical kitch-interpretations of many other lyric tenors in this role.

Triumphe for Salla and Saccà
The absolute winners of the evening were Sala and Saccà as the leading couple. The italian tenor Roberto Saccà was a convincing Tamino, perfect in singing and stylistics, exactly what Mozart demands from this character.

"Die schweigsame Frau" new production, Opera Zurich:

Besides von Dóhnanyi Roberto Saccà's Henry was the biggest trump of the evening. With his dazzling and radiant tenor he was a perfect Henry in singing and acting. The amazing lyric qualities of his voice were demonstrated in extraordinary beautifully sung Strauss-cantilenas.

The way the nephew leads his exhausted uncle into the bedroom - Roberto Sacca sings the part with a supple, brilliant tenor voice - is very touching.

As Henry, Roberto Saccà managed to hold his own with his radiant voice and elegant appearance.

Roberto Saccà, as Henry, lets his tenor voice resound in the highest registers with apparent ease, a real Strauss bel canto.

Roberto Saccà as the nephew Henry illuminated the evening with his beautiful tenor voice.

"Orfeo" new production, Royal Opera House Covent Garden:

Orpheus has a savage-breast-calming aria with harp - as in Gluck - which the tenor Roberto Saccà sang most gracefully, and he was eloquent in his major-minor aria of grief.

As the hapless Orfeo Roberto Saccà displayed a well focused sweet-toned and securely musical tenor.

"Rigoletto" new production, Opera Cologne:

Roberto Saccà sang the Duke with high grace. His verve with the high notes was always closely integrated into the natural course of the melody. His entry into "Parmi veder le lagrime" was gentle, perfect the mix of precision and lyrical flow. Here a noble seducer was singing. He might even have been able to pass for a man of honour. Lusting smilingly he denies himself any introversion.

In contrast, it was unadulterated Verdi culture that came to the fore in Roberto Saccà's interpretation of the Duke. A robustly lean timbre, a fascinating phrasing technique and a sure feeling for dynamic graduation distinguish him as a Verdi singer par excellence. He even managed to fill out the negative role of the Duca, the sonny boy, whose image speaks for itself irrespective of the medium, with touching and highly sentimental nuances in addition to the overbearing attack and haughty charm and rounded off this vain and egocentric character with a human component in "Parmi veder le lagrime" at the beginning of Act 2.

Roberto Saccà made a thoroughly successful debut in the role of the Duke, and his lyrical and virile tenor appears to be absolutely ideal with its wealth of bel canto experience for middle-period Verdi particularly in view of the fact that he also has an exceptional stage presence.

Gala 40 Years Deutsche Oper Berlin "Don Giovanni":

Roberto Saccà presented the linear beauty of the two Ottavio arias with supreme good taste and artistic accomplishment.

"Operetten-Gala" Festival KlangBogen, Theater an der Wien:

With vocal charm Roberto Sacca, as Adam, this Italian-born tenor even managed to show off with rustic local colour.

The singers stood in the centre: Roberto Saccà delighted with the beautiful timbre of his voice as Barinkay ("Gipsy Baron"), with the "Maxim" song ("Merry Widow") or with "Grüß mir mein Wien" ("Gräfin Mariza"). Everything was just perfect!

"L'Elisir d'Amore" revival, San Francisco Opera:

Opera's 'Elisir' has the right ingredients indeed, Netrebko and her Nemorino, Roberto Saccà, may be the cutest couple since Annette and Frankie. The pair surfed their way through this sentimental comedy with a charm that brought to this revival a logic and credibility egregiously lacking in last fall's performances.

"The magic flute" revival, San Francisco Opera:

Roberto Saccà as Tamino , gave a performance marked by ardor and vivid stage presence. Saccà displayed both affecting lyricism (especially in “Dies Bildnis”, when he first falls in love with Pamina’s portrait) and forthright heroism.

"Cosí fan tutte" new production, Opera Zurich :

Roberto Saccà is ideal for the role of Ferrando: his singing is clear, rich in contrast and nuances, and his perfectly placed high notes melt every heart.

As Ferrando Roberto Saccà relies upon his impeccably controlled, mellow tenor voice - and he may well have conquered a great many female hearts particularly with his magisterial rendering of the aria "Un' aura amorosa".

As Ferrando, Roberto Saccà pulls out all the seductive stops in his tenor register with lyrical mellowness.

Quite simply perfect is Roberto Saccà as Ferrando with his brilliant tenor voice and Neapolitan flair.

"La Traviata" new production, Opera Cologne:

Oasis of good fortune: With the Russian soprano and with Roberto Saccà (Alfredo) protagonists are appearing in Cologne for Verdi's "Traviata", who do not have to fight to win the credibility of young people by artistic ability but can do it by means of an experience of song. Roberto Saccà is a slim youth, impassioned, charming, adorable, but also short-tempered and full of anger, he sings with a supple voice, sure on the high notes, gives forth on happiness and despondency, on love and suffering with the effervescence of a heart rich in emotion.

The casting of the two main characters for this production can be classed as a stroke of luck: Roberto Saccà in his debut in the role of Alfredo Germont gives a performance which, without lacking in good technique in any way, has a completely different effect on the audience. His pleasant tenor voice, which sounds so natural, trained in singing Mozart, Donizetti, Rossini and in voice, emphasises the freshness of the "newcomer in the Fête Club" just arrived in Paris from the provinces who is able to sing his way into Violetta's heart (and that of the audience) not only with his mischievous balancing act but also primarily through his innocence and sincerity.

"Don Giovanni" new production, Oper Baltimore:

Some of the finest work of the evening came from the Don Ottavio of Roberto Saccà. Few tenors have the energy, gallantry and heroisme the role needs - Saccà has all three.

"Daphne" new production, Deutsche Oper Berlin:

Roberto Saccà as Daphne's unhappy friend impressed not only with the superior technique of a singer that has been trained with Rossini parts, but also with his youthful vigour. One might almost call him the ideal casting for that particular role, also because his text could be understood at any stage.

Classic Open Air - Gala, Berlin:

With Roberto Saccà's appearance the brilliance of his dreamlike voice irradiated allunpleasantness of the evening. This striking lyric tenor knows to model musical characters - the languishing Nemorino, the seductive duke, the tender Alfredo and a Tonio, whose ardent desire for the regiment's daughter takes the hurdle of the high c nine times without any efforts.

"Don Giovanni" new production, Opera Zurich:

The highlight: Roberto Saccà, a simply opulent tenor, renders the part of Don Ottavio without the slightest trace of difficulties, saved the honour of the whole performance.

At her side Don Ottavio, performed by Roberto Saccà with one of the most beautifull lyric tenor-voices - his coloraturas are immaculate, the tranquillity and his pianos of the first aria are mesmerizing. Flimm doesn't characterize him as palish weakling, but as artist and intellectual, who faces the very different world of Giovanni in his intellectual way.

"Cosi fan tutte" new production, Glyndebourne Festival:

There is fine singing, with acting to match, from Barbara Frittoli and Katerina Karnéus as Fiordiligi and Dorabella, plus exceptionally elegant phrasing and tone from Roberto Sacca as Ferrando.

"L'elisir d'amore" new production, Grand Théâtre de Genève:

Not only is Roberto Saccà in possession of a smooth and brilliant timbre in every voice register, but he also steers clear of ostentatious special effects: his "furtiva lagrima" is a good example of this. His easiness, the youthful aspect of his performance and his vivacity also go well with the exigencies of the production.

"Der Reigen" world-premiere, Théâtre de la Monnaie:

Roberto Saccà, loved and admired, gives us a lesson in being charming. Under his curls of an aging Pasolini-hero is hidden a great tenor, who did not record yet much, but the dazzling memory of his Junger Herr in Boesman's Reigen will not fade.