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sQ1[1]=new Array("bioengl.html","Biografy","","Biografy: Roberto Saccà's international breakthrough started as Orfeo in the new production Haydn's "ORFEO", partner of C. Bartoli, under Mo. Nikolaus Harnoncourt (dir. Jürgen Flimm) at the VIENNA FESTIVAL 1995. Roberto Francesco Saccà is Italien, born in Germany and studied singing at the university of Stuttgart at Mr.Prof. Abel and at the university of Karlsruhe at Mr. Prof. Baldin and at Mrs. Prof. Ambrosius von Bülow. Furtherof he studies with Nicolai Gedda and Ion Buzea. First commitments at the Staatstheater Wurzburg and at the Hessisches Staatstheater Wiesbaden. His international concert- and - opera-career started at the SCALA DI MILANO (Hans Werner Henze's "DAS VERRATENE MEER"), at the TEATRO MUNICIPAL DE RIO DE JANEIRO (Rinuccio in "GIANNI SCHICCHI" and Gonzalvo in "L'HEURE ESPAGNOL") and at the THEATRE ROYAL DE LA MONNAIE BRUXELLES (David in "DIE MEISTERSINGER VON NÜRNBERG" under Mo. Antonio Pappano and Rinuccio in "GIANNI SCHICCHI", under Mo.A.Pappano and as "Junger Herr" in Boesman's "DER REIGEN" under Mo. Silvain Cambreling). From 1993 until 2002 he was member of the OPERA ZURICH, where he performed with great success Lindoro in "L'ITALIANA IN ALGERI" (with Agnes Baltsa and V.Kazarova); Don Ramiro in "LA CENERENTOLA" (with Cecilia Bartoli); Almaviva in "IL BARBIERE DI SEVILLA" (with V. Kazarova and Leo Nucci under Mo.N.Santi); Tamino in "THE MAGIC FLUTE"; Ferrando in "COSÌ FAN TUTTE", Belmonte in "ENTFÜHRUNG AUS DEM SERAIL"; Oronte in "ALCINA" (new production under Mo.N. Harnoncourt); Orfeo in "ORFEO" (new production under Mo.N.Harnoncourt); and the main part in the first night of "SCHLAFES BRUDER". Today Roberto Saccà is singing in the main opera houses and at the main European FESTIVALS, such as SALISBURG (Debut 1993 as Eumaios in "ULISSE", followed by Le Pecheur in "LE ROSSIGNOL" under Mo.Pinkas Steinberg and Gala-Concerts with Furlanetto, Tomowa-Sintow and Kazarowa), VIENNA (Debut VIENNA FESTIVAL 1995 with "ORFEO", new production under Mo.N.Harnoncourt), ZURICH (Debut 1997 in "DIE SCHÖPFUNG" under Mo.N.Harnoncourt), GLYNDEBOURNE (Debut 1998 as Ferrando in "COSÌ FAN TUTTE", new production under Mo.A.Davis, dir. G.Vick), AIX EN PROVENCE (Debut 1999 as Don Ottavio in "DON GIOVANNI"; dir. Peter Brook), etc. Besides his opera-perfornances Mr. Saccà is a highly requested soloist in recitals: his debut in the VIENNA MUSIKVEREIN was 1994 with "PULCINELLA" under Mo.M.Gielen, followed by "IL RE PASTORE" under Mo.N.Harnoncourt (with CD-Recording TELDEC), which was performed as well in Rome and Paris. In the VIENNA MUSIKVEREIN followed 1997 "MOZARTARIEN" and "DER SCHAUSPIELDIREKTOR" under Mo.N.Harnoncourt, later a tour through Germany and Belgium. With the ORCHESTRE DE PARIS he performed successfully in Rossini's "STABAT MATER" under Mo.S.Bychkov. His special interest are recitals, especially songs by Beethoven, Brahms, Schubert, Schumann and Strauss. Mr. Saccà performed several solo-recitals in Germany, at the OPERA ZURICH and at the VIENNA MUSIKVEREIN. Chronology: 1994 Debut Deutsche Staatsoper Berlin: "THE MAGIC FLUTE" / Tamino Debut Wiener Musikverein: "PULCINELLA" (Mo.M.Gielen) 1995 Debut Wiener Festwochen: "ORFEO" / Orfeo (NP, Mo.N.Harnoncourt) Debut Chicago Opera: "DIE MEISTERSINGER VON NÜRNBERG" / David (Mo. Sir G. Solti) Debut Festival Styriarte: "DER SCHAUSPIELDIREKTOR" / M.Vogelsang (NP, Mo.N.Harnoncourt) 1996 Salzburger Festspiele: "FIDELIO" / Jaquino (NP, Mo. Sir Georg Solti) Debut Bayerische Staatsoper München: "IL BARBIERE DI SIVIGLIA" / Almaviva Wiener Festwochen: "SCHLAFES BRUDER" (UA) Debut Deutsche Oper Berlin: "L'ITALIANA IN ALGERI" / Lindoro (J.Larmore) Debut San Francisco Opera: "IL BARBIERE DI SIVIGLIA" / Almaviva (NP, Mo. Campanella) 1997 Debut Grand Théâtre de Genève: "L'ELISIR D'AMORE" / Nemorino (NP, Mo.Ch.Badea/dir. S.Lawless) Debut Staatsoper Hamburg: "IL BARBIERE DI SIVIGLIA" / Almaviva Wiener Festwochen: "ALCINA" / Oronte (MO:n:Harnoncourt/dir. J.Flimm) Debut Züricher Festspiele: "DIE SCHÖPFUNG" (Mo.N.Harnoncourt) BERLIN CLASSIC OPEN AIR GALA Debut Bregenzer Festspielhaus: "STABAT MATER" (Schubert) (Mo.F.Welser-Möst) Debut Schubertiade Feldkirch: "SCHUBERT ARIEN UND DUETTE" Debut Festival de Perelada: "DIE ENTFÜHRUNG AUS DEM SERAIL" / Belmonte (Mo.G.Rozhdestvensky/dir. Mario Gas) Wiener Musikverein: "MOZARTARIEN" and "DER SCHAUSPIELDIREKTOR" (Mo.N.Harnoncourt) Bayerische Staatsoper München: "DIE ZAUBERFLÖTE" / Tamino (Mo. Drewanz) Debut Oper Frankfurt: "L'ELISIR D'AMORE" / Nemorino (WA) 1998 Oper Zürich: "OBERON" (NP, Mo. Gardiner/dir. J.Schaaf) Bayerische Staatsoper München: "IL BARBIERE DI SIVIGLIA" / Almaviva (with E. Gruberova) Oper Zürich: "NINA"/Lindoro (NP, with C.Bartoli) Solo - Recital (Piano:G.Rumstadt) BRD Debut Glyndeborne Festival: "COSÌ FAN TUTTE" / Ferrando (NP, Mo.A.Davis/dir. G.Vick) Debut Semperoper Dresden: "COSÌ FAN TUTTE" / Ferrando (Mo.F.Layer) Debut Teatro Communali di Firenze: "FALSTAFF" / Fenton (NP, Mo. Pappano/dir. W.Decker) Debut Oper Helsinki: "IL BARBIERE DI SEVILLA"/Almaviva Debut Oper Köln: "THE MAGIC FLUTE"/Tamino 1999 Oper Zürich: "DON GIOVANNI" / Don Ottavio (NP, Mo.N.Harnoncourt/dir. J.Flimm) Oper Zürich: "COSI FAN TUTTE"/Ferrando (Mo.F.Welser-Möst) Oper Zürich: "RECITAL" (Piano:I.Gage) Wiener Musikverein: "RECITAL" (Piano:R.Jansen, Vienna Festival) Deutsche Oper Berlin: "DAPHNE" / Leukippos (NP, Mo.Ch.Thielemann) BERLIN CLASSIC OPEN AIR 1999 Debut Festival Aix en Provence: "DON GIOVANNI"/Don Ottavio (P.Brooks) Debut Baltimore Opera: "DON GIOVANNI"/Don Ottavio (NP, Mo. Badea, with J.Morris) Oper Köln: "LA TRAVIATA"/Alfredo (NP) Wiener Festwochen: "EIN FEST FÜR DREI STRÄUSSE" - OPENING-CONCERT (Wr.Symphoniker, Mo.M.Sieghart) Berlin: Gala Concert WIENER PHILHARMONIKER (Mo.N.Harnoncourt) 2000 Oper Zürich: "COSÌ FAN TUTTE"/Ferrando (NP) Oper Zürich: "ORFEO O L'ANIMA DEL FILOSOFO"/Orfeo St.Gallen: Gala "IL BARBIERE DI SEVILLA"/Almaviva Deutsche Oper Berlin: "THE MAGIC FLUTE"/Tamino Shanghai/guest-performance Oper Zürich: "THE MAGIC FLUTE"/Tamino Oper Zürich: "THE MAGIC FLUTE"/Tamino Grand Théatre Genève: "DIE ENTFÜHRUNG AUS DEM SERAIL"/Belmonte (NP, Mo.I.Bolton) San Francisco Opera: "THE MAGIC FLUTE"/Tamino (NP, Mo.D.Runnicles) Bayerische Staatsoper München: "LA TRAVIATA" /Alfredo 2001 San Francisco Opera: "L'ELISIR D'AMORE" /Nemorino (NP, Mo.M.Barbacini) Oper Zürich: "COSI FAN TUTTE" /Ferrando Oper Zürich: "LA CENERENTOLA" /Don Ramiro Teatro Lirico di Cagliari: "COSI FAN TUTTE" /Ferrando (NP) Oper Zürich: "DON GIOVANNI" /Don Ottavio (Mo.N.Hanoncourt) Wiener Festwochen : Opening-Concert with Wiener Symphonikern (Mo.G.Prêtre) Oper Köln: "RIGOLETTO" /Duca (NP, Mo.G.Jenkins) Festival Wiener Klangbogen/Theater an der Wien: GALA-CONCERT Deutsche Oper Berlin : "DON GIOVANNI" /Don Ottavio Gala "40 Years Deutsche Oper Berlin" (Mo.I.Bolton) London Royal Opera House : "ORFEO O L'ANIMA DEL FILOSOFO" /Orfeo (NP, Mo.Ch.Hogwood) Deutsche Oper Berlin : AIDS - GALA (Mo.M.Viotti, with tv) Oper Zürich: "DIE ENTFÜHRUNG AUS DEM SERAIL" /Belmonte Oper Zürich: "THE MAGIC FLUTE" /Tamino (Mo.F.Welser-Möst) Oper Zürich: "DIE SCHWEIGSAME FRAU" /Henry (NP, Mo.Ch.v.Dohnanyi, R: J.Miller) 2002 Teatro de la Maestranza Sevilla: "THE MAGIC FLUTE" /Tamino (NP) Wiener Staatsoper: "LA TRAVIATA"/Alfredo Paris/Opera de la Bastille: "IL BARBIERE DI SEVILLA"/Almaviva (NP, Mo.B.Campanella, with TV) Royal Opera House Covent Garden:"DAPHNE"/Leukippos (konz., Mo.St.Soltesz) Dresdner Musikfestspiele: "MOZART REQUIEM" Oper Zürich: "LA TRAVIATA"/Alfredo Wiener Staatsoper: "THE MAGIC FLUTE"/Tamino Tenerifa: Gala "RIGOLETTO"/Duca Bayerische Staatsoper München: "LA TRAVIATA"/Alfredo St.Anna-Kirche München: "X-MAS CONCERT" (Mo. Z. Mehta) Oper Zürich: "LA CENERENTOLA"/Don Ramiro (WA, with C.Bartoli) 2003 Bayerische Staatsoper München: "DIE ENTFÜHRUNG AUS DEM SERAIL"/Belmonte (NP, Mo.D.Harding) Bayerische Staatsoper München: " DON GIOVANNI"/Don Ottavio Tokyo: "GIANNI SCICCHI"/Rinuccio "L'HEURE ESPAGNOLE"/Gonzalvo (NP, Mo.S.Ozawa) Paris/Opera de la Bastille: "COSI FAN TUTTE"/Ferrando (Mo. Armin Jordan) Festival d’Opéra Avenches: "THE MAGIC FLUTE"/Tamino Bayerische Staatsoper München - Operafestival: "DIE ENTFÜHRUNG AUS DEM SERAIL"/Belmonte Menuhin Festival Gstaad: "THE MAGIC FLUTE" (conc.)/Tamino ARD - Competition München/Jury Deutsche Staatsoper Berlin: "DIE ENTFÜHRUNG AUS DEM SERAIL"/Belmonte (Mo.S.Weigle) Deutsche Staatsoper Berlin: "THE MAGIC FLUTE"/Tamino (Mo.S.Weigle) ARD: "KEIN SCHÖNER LAND"/special guest Konzert d. Bayerischen Rundfunks im Gasteig/München: "DER ZIGEUNERPRIMAS"(Mo.C.P.Flor) Bayerische Staatsoper München: "DON GIOVANNI"/Don Ottavio (Mo. I.Bolton) Bayerische Staatsoper München: "DIE ENTFÜHRUNG AUS DEM SERAIL"/Belmonte (Mo. D.Harding) Oper Helsinki: "LA TRAVIATA"/Alfredo Teatro La Fenice/Venedig: "Inauguration-Concert" (Mo.R.Muti) 2004 Bayerische Staatsoper München: "LA CENERENTOLA"/Don Ramiro Bayerische Staatsoper München: "LA TRAVIATA"/Alfredo (Mo. Z. Mehta) Paris/Opera de la Bastille: "GIANNI SCHICCHI"/Rinuccio (NP, Mo.S.Ozawa) Tokyo: "LA BOHEME"/Rodolfo (NP, Mo.S.Ozawa) Oper Zürich: "LA TRAVIATA"/Alfredo (Mo. M.Viotti) Berlin Gendarmenmarkt: CLASSIC OPEN AIR/special guest Sigulda Opera Festival/Litauen: GALA-CONCERT/special guest Teatro Nacional de Chile: "RIGOLETTO"/Duca (NP) Wiener Staatsoper: "THE MAGIC FLUTE"/Tamino Teatro La Fenice/Venedig: Inauguration "LA TRAVIATA"/Alfredo (NP, Mo. L.Maazel) Leipzig: "Gala-Concert with Anna Netrebko" Schloss Grafenegg: "X-mas Concert" Hamburg: "Gala-Concert with Anna Netrebko" 2005 Deutsche Oper Berlin: "DAPHNE"/Leukippos (WA, Mo.Ch.Thielemann) Oper Köln: "IDOMENEO"/Idomeneo (NP, Mo.M.Stenz) Kölner Philharmonie: "J.Haydn Harmony Messe" (Gürzenich Orchestra, Mo. M. Stenz) Alte Oper Frankfurt: "Gala-Concert with Anna Netrebko" Japan: Tournée Teatro La Fenice "LA TRAVIATA"/Alfredo (Mo. M.Benini) Teatro La Fenice/Venedig: "DAPHNE"/Leukippos (NP, Mo.A.Reck) Further commitments see "schedule". ALL");
sQ1[2]=new Array("kalengl.html","Schedule","","2005/2006: Wiener Staatsoper: "THE MAGIC FLUTE"/Tamino September 2005/1,3,6,9,12 Oper Zürich: "THE CREATION" (Mo. Ph.Jordan) September 2005/15 Einsiedel: "THE CREATION" (Mo. Ph.Jordan) September 2005/16 USA-Tour Orchestra WDR: "DAPHNE"/Leukippos (conc., Mo. S.Bychkov) October 2005/12 Ann Arbor - 15 Carnegie Hall - 18 Kennedy-Center Washington DC USA-Tour: Brahms-Recital "MAGELONE LIEDER"/with D.Turban-Maazel October 2005/23 Castleton, VA (Theatre House on the Maazels' farm) October 2005/26 New York, Deutsches Haus at New York University October 2005/28 New York, Florence Gould Hall Budapest: CONCERT with Andrea Rost November 2005/5 Prinzregenten-Theater München: GALA-CONCERT (Mukoviszidose-Stiftung) December 2005/4 Bayerische Staatsoper München: "DIE ENTFÜHRUNG AUS DEM SERAIL"/Belmonte December 2005/5,8 Teatro Nacional de Sao Carlos Lissabon: "DIE ENTFÜHRUNG AUS DEM SERAIL"/Belmonte (Ma.J.Jones) December 2005/17 Wiener Staatsoper: "COSI FAN TUTTE"/Ferrando (Ma.J.Jones) January 2006/10,12,14,16 Oper Zürich: "LA CLEMENZA DI TITO"/Titus (REV, Mo.A.Fischer) January 2006/25,27,29 Dallas Opera: "THE MAGIC FLUTE"/Tamino (NP, Mo.G.Jenkins) February 2006/17,19,22,25 Gran Teatro de Liceu (Barcelona): "IDOMENEO"/Idomeneo (NP, Mo.S.Weigle) March 2006 Teatro Regio di Torino: "DIE ENTFUEHRUNG AUS DEM SERAIL"/Belmonte (NP) May 2006/5,7,10,12,14 Teatro La Fenice/Venedig: "LUCIO SILLA"/Lucio Silla (NP, Mo.T.Netopil) June 2006 Bad Kissingen: CONCERT with Andrea Rost July 2006/6 Salzburger Festival: "LUCIO SILLA"/Lucio Silla (NP, Mo.T.Netopil) July 2006 2006/2007: Hamburgische Staatsoper: "L'UPUPA"/Daemon (NP, Ma.S.Young) September 2006/24,26 October 2006/3,10,13,15,18 Deutsche Oper Berlin: "IDOMENEO"/Idomeneo November 2006/5,8,15,18 Oper Leipzig: "VERDI-CONCERT" (Mo.M.Guidarini) February 2007/3,4 Wiener Staatsoper: "DAPHNE"/Leukippos April 2007/30 - May 2007/4,8,12 2007/2008: Teatro Regio di Torino: "RIGOLETTO"/Duca (NP, Mo.R.Palumbo) January 2008 Tokyo: "LA TRAVIATA"/Alfredo (RIV) June 2008/5,8,11,14,17 Festival du Avenches: "LA TRAVIATA"/Alfredo (NP) June 2008 - July 2008 ALL");
sQ1[3]=new Array("kritengl.html","Reviews","","Credits: "Daphne" USA-Tour: Also fine were the bright-voiced tenor Roberto Saccà as Leukippos. The New York Times, November 2005 Another tenor was a German with the interesting name Roberto Saccà. He sang Leukippos and did so boldly and juicily. The New York Sun, November 2005 Roberto Saccà sang the high lyric tenor role of Leukippos smoothly, effortlessly, his voice clear and finely produced. It was a most synmpathetic interpretation. San Francisco Classical Voice, November 2005 DVD "La Traviata" Teatro La Fenice, Venice: 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. Opera today, November 2005 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. Das Opernglas, November 2005 "Daphne" Teatro La Fenice, Venice: 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. Frankfurter Allgemeine Zeitung, June 2005 Great Roberto Saccà, as passionate Leukippos, with warm voice, compelling high and clear diction. operaclick.com , June 2005 Leukippos, a part written for a lyric dramatic tenor, was sung very heroically by Roberto Saccà. Il Gazzetino, June 2005 "Idomeneo" Oper Köln: 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. Opernglas, May 2005 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. ResMusica.com, March 2005 Excellent Roberto Saccà's lyrical, heroic Idomeneo. Financial Times, March 2005 Highlight Roberto Saccà in the title part. He has a smooth, expressive tenor with perfect coloraturas. NRZ, March 2005 Roberto Saccà as Idomeneo, prototype of an Italian lyric tenor with brilliant timbre, perfect messa di voce, expressive voice, an ideal Mozart singer. Aachener Nachrichten, March 2005 Roberto Saccà in the title part, singing the famous aria „ Fuor del mar” in the coloratura version, impressed with his strong and flexible tenor. Rheinische Post, March 2005 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. Kölner Stadtanzeiger, March 2005 "Der Zigeunerprimas" CD-Produktion/BR: Delightful the magnificent singing and interpretation of Edith Lienbacher and Roberto Saccà as the serious couple in this recording. Klassik Heute, April 2005 Roberto Saccà’s voice is ideal also for operetta, which proves his interpretation of the part of Laczi in this recording. Die Opernwelt, April 2005 "Daphne" Deutsche Oper Berlin: At her side brave men, Roberto Saccà (Leukippos) cuts a dazzling figure, mastering his difficult part competent and flawless. Die Presse, February 2005 Gala-Concerts with Anna Netrebko Leipzig and Hamburg: 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. Die Welt, December 2004 The audience in the sold out Gewandhaus-auditorium in Leipzig, was particularly thrilled by three duets with the Italian tenor Roberto Saccà. Hamburger Morgenpost; Süddeutsche Zeitung; Die Bunte, December 2004 "La Traviata" Teatro La Fenice/Venice: "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. Corriere della Sera, November 2004 The smooth Alfredo of the convincing german-born italian tenor Roberto Saccá was powerful and of high class. Die Welt, November 2004 Roberto Saccà fits perfectly and with highly agile tenor in this mesalliance of venal love. Frankfurter Allgemeine, November 2004 Roberto Saccà convincing with self-confidence in his voice as Alfredo. Especially convincing his tragedian talent. Il Messaggero, November 2004 The tenor Roberto Saccà fascinated with dazzling voice and strong, almost veristic expressivity. L'Arena, November 2004 Roberto Saccà prooved himself a challenging, impetuous Alfredo with brilliant voice. Il giornale della musica, November 2004 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. Il Gazzettino, November 2004 Luckily the cast is impeccable. Alfredo is fotografer, Roberto Saccà acts convincing, his voice is brilliant. Le Monde, November 2004 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. Der Neue Merker, November 2004 "The Magic Flute" Vienna State Opera: 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. Der Neue Merker, October 2004 "Rigoletto" Santiago de Chile/Teatro Municipal: Roberto Saccà proves himself as a great tenor, with a convincing interpretation and a big voice. El Mercurio, August 2004 Seiji Ozawa's "Ongaku-juku Opera Project" with LA BOHEME (Amsellem; Netrebko; Saccà) in Bunka Kaikan Tokyo May 11th 2004. Tokyo: 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"! Der neue Merker, May 2004 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. Chunichi Shimbun, May 2004 The cast was world-class, and Robert Saccà sang Rodolfo with a beautiful voice. Nihon Keizai Shimbun, May 2004 "Gianni Schicchi" Paris/Opéra de la Bastille: The couple of lovers is magnificent with the Italians Patrizia Ciofi, an irresistible Lauretta, and Roberto Saccà, a dream Rinuccio. Bravo! Le Figaro, March 2004 Patrizia Ciofi and Roberto Saccà made an alluring pair of young lovers as Lauretta and Rinuccio. Andante, April 2004 A triumph of pure Puccini - style by the gorgeous singing of Patrizia Ciofi as Lauretta and the excellent Roberto Saccà as Rinuccio. Altamusica.com, April 2004 As Rinuccio Roberto Saccà was launching beautiful Puccini accents with a lot of authority and artistry. Radio Notre Dame, March 2004 Roberto Saccà has all the qualities to be an excellent Rinuccio, easy and brilliant hights, and homogeneity in his voice. ConcertoNet, March 2004 "La Traviata" Bayerische Staatsoper München: 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. audience statement written on the homepage of the Munich State Opera, January 2004 Beside A.Netrebko, Roberto Saccà as a bright and powerfull Alfredo. Süddeutsche Zeitung, January 2004 With great variety and splendid voice, Roberto Saccà was her convincing partner as Alfredo. Merkur, January 2004 "The Magic Flute" Yehudi Menuhin - Festival, Gstaad: The cast included also Roberto Saccà, one of the world-best Tamino of our times. Der Bund, August 2003 "Cosi fan tutte" Opéra de la Bastille, Paris: Recently as Almaviva in "Barbiere", Roberto Saccà sang a perfect Ferrando. Concertonet, June 2003 "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. Mainichi Shinbun, April 2003 Gonzalve and Rinuccio sung by Roberto Saccà with a radiating and beautiful voice. Yomiuri Shinbun, April 2003 "Die Entführung aus dem Serail" Bayerische Staatsoper München: Roberto Saccà was a competent Belmonte. His coloratura was exemplary, his style more than satisfactory. Opera News, April 2003 Genuine class has only the versatile bright tenor of Roberto Saccà as Belmonte. Die Welt, January 2003 Applause only for Roberto Saccá' s extremely noble Belmonte. Nürnberger Nachrichten, January 2003 Roberto Saccàs marvellous sounding Belmonte. Frankfurter Allgemeine Zeitung, January 2003 Roberto Saccà put on the Belmonte lyrically sensitively. Frankfurter Rundschau, January 2003 Roberto Saccà is of course a gloss flowing Belmonte. Die Zeit, January 2003 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.. Applause, February 2003 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. Der Neue Merker, January 2003 "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. Der Neue Merker, September 2002 "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. Opernglas, June 2002 "Daphne" Royal Opera House Covent Garden: The more lyrical Roberto Saccà contrasted ideally as the innocent Leukippos. Sunday Times, May 2002 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. The Home for Opera at UGA, May 2002 Leukippos Daphne’s devoted swain, got competent Strauss treatment from Roberto Saccà. Opera, May 2002 "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. Le Figaro, April 2002 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. Radio Nôtre Dame, April 2002 "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. Filomusica, February 2002 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. Andalucia 24 horas, january 2002 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. ABC, january 2002 "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. Opernglas, february 2002 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. Neue Züricher Zeitung, december 2001 As Henry, Roberto Saccà managed to hold his own with his radiant voice and elegant appearance. Der neue Merker, january 2002 Roberto Saccà, as Henry, lets his tenor voice resound in the highest registers with apparent ease, a real Strauss bel canto. Züricher Express, december 2001 Roberto Saccà as the nephew Henry illuminated the evening with his beautiful tenor voice. Blick Zürich, december 2001 "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. The Times, october 2001 As the hapless Orfeo Roberto Saccà displayed a well focused sweet-toned and securely musical tenor. Daily Telegraph, october 2001 "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. Opernwelt, august 2001 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. Opernwelt, august 2001 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. Orpheus, september 2001 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. Die Welt, september 2001 "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. Die Presse, july 2001 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! Kronenzeitung, july 2001 "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. San Francisco Chronicle, 2000 "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. San Francisco Chronicle, december 2000 "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. L'Opera, march 2000 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". Die Südostschweiz, February 2000 As Ferrando, Roberto Saccà pulls out all the seductive stops in his tenor register with lyrical mellowness. Frankfurter Rundschau, February 2000 Quite simply perfect is Roberto Saccà as Ferrando with his brilliant tenor voice and Neapolitan flair. Berliner Tagesspiegel, February 2000 "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. Opernwelt, February 2000 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. Opernglas, February 2000 "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. The Sun, Oct. 1999 "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. Opernglas, Sept. 1999 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. Berliner Morgenpost, July 1999 "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. Neue Züricher Zeitung, February 1999 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. Schwäbische Zeitung, February 1999 "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. The Irish Times, Juni 1998 "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. Opéra, July 1997 "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. forumopera, 1993 ALL");
sQ1[4]=new Array("repengl.html","Repertory","","Repertory G.Donizetti: "L'elisir d'amore"/Nemorino "La fille du régiment"/Tonio W.A.Mozart: "Don Giovanni"/Don Ottavio "Cosí fan tutte"/Ferrando "Die Entführung aus dem Serail"/Belmonte "The Magic Flute"/Tamino "Il re pastore"/Alessandro "Idomeneo"/Idomeneo (2005) G.Puccini: "La Bohème"/Rodolfo (2004) "Gianni Schicchi"/Rinuccio G.Rossini: "La Cenerentola"/Don Ramiro R.Strauss: "Daphne"/Leukippos "Die schweigsame Frau"/Henry J.Strauß: "Die Fledermaus"/Alfred G.Verdi: "La Traviata"/Alfredo "Rigoletto"/Duca in preparation: V.Bellini: "La Sonnambula"/Elvino G.Donizetti: "Lucia di Lammermoor"/Edgardo Ch.W.Gluck: "Armide"/Renaud Ch.Gounod: "Faust"/Faust J.Massenet: "Manon"/Des Grieux R.Strauss: "Capriccio"/Flamand "Salome"/Narraboth ALL");
sQ1[5]=new Array("tvengl.html","tv/radio/cd/dvd","","CD's (to order please click on image)   Portrait   BMG Arte Nova   DER ZIGEUNERPRIMAS   Emmerich Kálmán   cpo 777 058-2   L'Amore   BMG Ariola   MOZART UND SALIERI   Rimsky-Korsakov   CANTERINO   DER REIGEN   Boesman   Mo.S.Cambreling   BELGACOM   CAPRICCIO   R.Strauss   Mo.U.Schirmer/Wiener Philharmoniker   DECCA   DIE MEISTERSINGER VON NÜRNBERG   R.Wagner   Mo.Sir G.Solti   Grammy Award   DECCA   IL RE PASTORE   Mozart   Mo.N.Harnoncourt   TELDEC   MESSIAH   Haendel   Mo.Helmuth Rilling   Hanssler Classic   PETITE MESSE SOLONNELLE   Rossini   Mo.Johannes Moesus   TACET   Freibeuter der Oper   BMG Ariola   Christmas-Classics with   favorit tenors and choirs   alphamusic DVD's & video: (to order please click on image)   LA TRAVIATA   VERDI   Mo.L.Maazel   with P.Ciofi   TEATRO LA FENICE   TDK   DON GIOVANNI   Mozart   Mo.N.Harnoncourt   with C.Bartoli   OPER ZÜRICH   ARTHAUS-MUSIK   Anna Netrebko   THE WOMAN - THE VOICE   LA TRAVIATA   Verdi   Mo.Z.Mehta   with ROBERTO SACCÀ   BAYERISCHE STAATSOPER   MÜNCHEN   DEUTSCHE GRAMMOPHON   COSI FAN TUTTE   Mozart   Mo.N.Harnoncourt   with A.Baltsa und C.Bartoli   OPER ZÜRICH   ARTHAUS-MUSIK   MESSIAH   Haendel   Mo.Helmuth Rilling   Hanssler Classic radio - broadcasts: PETITE MESSE SOLENELLE (Rossini)/ELIAS (Mendelssohn-Bartholdy)/MESSIAS (Händel) Mo.H.Rilling IL RE PASTORE (Mozart) Mo.N.Harnoncourt/Concentus Musicus LE ROSSIGNOL (Strawinsky) Mo.P.Steinberg L'ELISIR D'AMORE (Donizetti) Mo.Ch.Badea/GRAND THEATRE DE GENEVE COSI FAN TUTTE (Mozart) Mo.Sir A.Davies/GLYNDEBOURNE FESTIVAL RECITAL 1999 Piano: Rudolf Jansen/WIENER MUSIKVEREIN (ORF-Ö1) DAPHNE (R.Strauss) Mo.Ch.Thielemann/DEUTSCHE OPER BERLIN DIE ENTFÜHRUNG AUS DEM SERAIL (Mozart) Mo.D.Harding/BAYERISCHE STAATSOPER MÜNCHEN DER ZIGEUNERPRIMAS (Kalman) Mo.C.P.Flor/BAYERISCHER RUNDFUNK THAMOS (Mozart) Mo.H.Stein/Bamberger Symphoniker tv - broadcasts: FURTWÄNGLERS LIEBE Movie-Essay, Germany 2004, director: J. Schmidt-Garre (ZDF) GIANNI SCHICCHI (Puccini) Opéra de la Bastille/Paris 2004 (France 2) INAUGURATION CONCERT Teatro La Fenice/Venice 2003 (RAI 1) IL BARBIERE DI SEVILLA (Rossini) Opera de la Bastille/Paris 2002 (France 2) 50 Years Vienna Festival - 200 Years Theater an der Wien    Wiener Philharmoniker/G.Prêtre/Opening Night VIENNA FESTIVAL 2001 (ORF 3SAT) GALA CONCERT Wiener Philharmoniker/N.Harnoncourt/BERLIN 1999 (3SAT) Ein Fest für drei Sträusse Wiener Symphoniker/M.Sieghart/Opening Night VIENNA FESTIVAL 1999 (ORF 3SAT) DER REIGEN (Boesman) Mo.S.Cambreling/THEATRE ROYAL LA MONNAIE BRUXELLES SCHLAFES BRUDER (H.Willi) Mo.M.Honeck/VIENNA FESTIVAL (ORF 3SAT) ORFEO (Haydn) Mo.N.Harnoncourt/VIENNA FESTIVAL (ORF 3SAT) GIANNI SCHICCHI (Puccini) Mo.A.Pappano/THEATRE ROYAL LA MONNAIE BRUXELLES DON GIOVANNI (Mozart) Mo.N.Harnoncourt, with C.Bartoli/OPER ZÜRICH (DRS) DIE ENTFÜHRUNG AUS DEM SERAIL (Mozart) with N.Dessay/GRAND THEATRE DE GENEVE (DRS) COSI FAN TUTTE (Mozart) Mo.N.Harnoncourt, with A.Baltsa and C.Bartoli/OPER ZÜRICH (DRS) Various guest-appearences on ZDF and ORF. ALL");
sQ1[6]=new Array("interengl.html","Interview","","Opernwelt - Sängerporträt, November 2004: Kontrollierte Zügellosigkeit Roberto Saccà über seinen Weg zu Mozart und Verdi, über Gesangstechnik und den Sängermarkt Herr Saccà, Sie haben dreizehn Jahre in festen Ensembles gearbeitet, erst in Würzburg und Wiesbaden, dann sechs Jahre in Zürich und sind jetzt seit zwei Jahren freischaffend. Glauben Sie an das Ensemble-Theater? Unbedingt. Nur im Ensemble kann man wachsen, nur dort hat man die Möglichkeit zu reifen. Auch das unterschiedliche Umfeld, das verschiedene Häuser bieten, an denen man fest engagiert ist, kann hilfreich sein. Ich möchte diese Erfahrungen nicht missen. Irgendwann spürt man aber, dass man sich noch weiter entwickeln muss. Und die Anregungen dazu kann man sich oft nur außerhalb eines Ensembles, sozusagen "in der Fremde", holen. Wird man im deutschen Stadttheater verschlissen? Ich hatte das Glück, in Würzburg, wo ich ein Jahr engagiert war, kleine Partien singen zu dürfen: den Beppo im "Bajazzo" etwa oder den Gastone in der "Traviata". In Wiesbaden waren die Rollen dann schon größer, aber ich war Zweitbesetzung für Scott Weir, der ein sehr lieber Kollege ist, und konnte so allmählich reifen, ohne mich zu überfordern. Zürich war dann vor allem vom musikalischen Umfeld her die nächste Stufe. Es geht bei einem solchen Wachstumsprozess ja nicht nur um Stimmtraining. Die Stimme wächst im Kopf mit, wenn man sich Zeit nimmt, die Dinge innerlich zu verarbeiten. Vorausgesetzt natürlich, man hat eine Gesangstechnik, die das erlaubt. Können Sie die wichtigsten Faktoren dieser Technik beschreiben? Es gibt eine einfache Grundeinstellung des Singens. Die Stimme funktioniert wie ein Blasebalg. Man stellt also den Brustkorb auf, er ist dem Instrumentenkörper etwa eines Flügels vergleichbar. Darüber sollte man eine offene, lockere Kehle haben und eine geschmeidige, flachliegende Zunge. Die Zunge ist ganz wichtig, denn sie ist ja ein riesiges Organ, von dem man immer nur die Spitze sieht: Sie kann Luftröhre und Gaumen verdecken oder sogar verformen, wenn sie falsch eingesetzt wird. Das Kinn sollte 45 Grad zum Brustkorb einnehmen, also nicht nach oben tendieren. Interessant, dass alle Faktoren, die Sie erwähnen, unterhalb des Mundraumes liegen. Viele Sänger versuchen, genau das alles zu vergessen, und denken an Stirnhöhle oder Kieferhöhlen darüber, wenn sie ihre Töne produzieren. Das ist auch wichtig! Bei Nicolai Gedda habe ich zum Beispiel gelernt, wie wichtig die Backenknochen sind, nämlich geradezu existenziell, wenn man Töne leicht schwingen lassen will. Das geschieht durch die Vorstellung eines Lächelns. Ich habe festgestellt, dass eine Aktivierung der Backenknochen entscheidend dazu beiträgt, dass man die Stimme in der Höhe, aber auch in der Tiefe sauber fließen lassen kann. Auch die Zähne sind eine Körperpartie, die für das Singen wichtig ist. Je nach Physiognomie ergeben sich andere Schwerpunkte. Trotz aller Unterschiedlichkeit der Stimmen gibt es aber eine für alle Fächer und für beide Geschlechter ähnliche Grundeinstellung. Vielleicht müssen nur wir Tenöre besonders darüber nachdenken, weil wir ja in einer im Grunde unnatürlichen Lage singen und unsere Sprechstimme viel tiefer liegt als die Singstimme Sie sagten, eine Stimme wächst im Kopf. Können Sie das an einem Beispiel zeigen? Die "Bildnis"-Arie des Tamino aus der "Zauberflöte" ist eine der ersten Arien, die man als Tenor zu singen bekommt. Die Töne bleiben später dieselben, die Stimme im Grunde auch. Was sich im Laufe der Jahre verändert, ist das Zutrauen in die Tonfolgen, auch das Zutrauen in die eigenen Möglichkeiten, etwas ausdrücken zu können. Man denkt weniger technisch mit den Jahren, mehr an den Inhalt des Stückes und an die Adressaten, die man erreichen will. Als ich meine ersten Taminos sang, da habe ich natürlich Aufmerksamkeit erzielt, weil Typ und Stimme irgendwie zusammenpassten. Aber mit Inhalten oder dem ausgereiften Gefühl für diese Arie hatte das noch wenig zu tun. Es mag auch Sänger geben, bei denen ist das sehr schnell und früh da. Die sind dann schon mit 25 quasi fertig entwickelt. Es ist aber nicht selbstverständlich, dass eine solche Reife dann auch bleibt. Das Zutrauen, von dem ich spreche, kann auch wieder schwinden. Alte Sänger klagen oft: Wenn man weiß, wie das Singen wirklich geht, dann macht die Stimme nicht mehr mit... Stimme und Leben sind eng verknüpft. Im Kolorit einer Stimme macht sich etwa die menschliche Reife durchaus bemerkbar. Man muss auch mal warten können. Und hoffen, das man noch über stimmliche Frische gebietet, wenn die menschliche Reife da ist. Stimmt es, dass Sie als Bariton angefangen haben? Ja. In der Schule hat man meine Stimme so eingestuft. Ich begann mit den Arien des Papageno. So hat mich auch Bruce Abel, mein erster Lehrer, gehört. An der Stuttgarter Musikhochschule in seiner Gesangsklasse habe ich mich dann aber sehr schnell ins Tenor-Fach eingearbeitet. Von welchen Lehrern haben Sie nach Bruce Abel stimmlich profitiert? In der Karlsruher Hochschule war die Arbeit mit Aldo Baldin sehr wichtig für mich. Später konnte ich mit Frau Eva Ambrosius von Bülow und ab und zu mit dem schon erwähnten Nicolai Gedda arbeiten. Heute werde ich von dem rumänischen Tenor Ion Buzea betreut, der nie so bekannt geworden ist, wie er es verdient hätte, obwohl er mit Renata Tebaldi an der Met gesungen hat. Halten Sie Wettbewerbe beim Start einer Sängerkarriere für wichtig? Nicht unbedingt. Ein oder zwei Wettbewerbe mitzumachen, kann hilfreich sein, man kann sich bekannt machen. Für die künstlerische Entwicklung aber ist es viel wichtiger, dass man sich bei einer Konzerttätigkeit auf gutem lokalem Niveau ausprobiert. Ich habe zum Beispiel oft Bach-Kantaten oder Messen gesungen, auch morgens um neun Uhr in Gottesdiensten. Solche Erfahrungen, die oft vor einem kleinen, aber durchaus verständigen Publikum stattfinden, helfen weiter. Ihr internationaler Durchbruch gelang mit der Titelpartie in Haydns "Orfeo" unter Nikolaus Harnoncourt in Wien 1995. Eine extrem schwere Partie... Stimmt. Diese Partie beginnt mit einer schweren Koloraturarie und wird dann immer dramatischer. Wenn man den Vergleich mit Mozart zieht, würde die Palette vom Belmonte bis zum Idomeneo reichen. Das Spektrum, das Haydn fordert, ist enorm. Wie war die Zusammenarbeit mit Harnoncourt? Es war damals für mich eine tolle Möglichkeit, mich auszuprobieren und zu lernen. Von meinem jetzigen Erfahrungsstand könnte ich mit der Aufgabe natürlich ganz anders umgehen. Man braucht viel Erfahrung, um mit der "Nacktheit" der Begleitung bzw. mit diesem im ersten Moment nüchtern erscheinenden Gerüst umzugehen, das Harnoncourt liefert, man ist aber gezwungen, dafür eigene Formen einzubringen Jetzt singen Sie zur Wiedereröffnung des Fenice den Alfredo in "La traviata" und tendieren auch sonst zum italienischen Fach. Wie verlief Ihr Weg dorthin? Der Enthusiasmus und die Leidenschaft, solche Partien singen zu wollen, war bei mir schon früh da. Mit 18 oder 19 Jahren habe ich schon die Arien geschmettert. Ich bin glücklich, dass sie dann im Berufsleben nicht zu früh auf mich zukamen. Man braucht einen enormen technischen Background, um diese Partien zu bewältigen. Eine Partie muss sich auch setzen: Nachdem man sie erarbeitet hat, dauert es einige Jahre, bis sie wirklich gut wird. Meine erste "Traviata" fand vor vier Jahren in Köln statt. Daraufhin folgte mein Debüt als Alfredo in Wien. Wobei ich aber zugeben muss, dass sich diese Rolle erst in den letzten beiden Jahren zu meiner Glanzpartie entwickelt hat. Ich bin dann wieder zu Mozart zurückgegangen, und heute kann ich sagen, dass meine Arbeit an Mozart derjenigen an Verdi sehr zugute gekommen ist und umgekehrt. Es ist ein Wechselspiel. Und ich bin durch die Arbeit im italienischen Fach körperlich noch mehr aufgegangen beim Singen. Mozart ist allerdings mein wichtigster Komponist und wird es auch bleiben. Ich werde im März 2005 in Köln mein Debüt als Idomeneo geben und freue mich auf den Lucio Silla bei den Salzburger Festspielen 2006. Das sind Partien, die einen Tenor ein ganzes Sängerleben beschäftigen können. Sie haben einmal den Herzog in "Rigoletto" als Ihre Lieblingspartie bezeichnet. Natürlich ist das eine phantastische Aufgabe. Auch weil diese Rolle so viel in einem freisetzt. Man muss den Mut haben, stimmlich loslassen zu können, und hat gleichzeitig die Schwierigkeit, dass man die Stimme technisch im Zaum halten muss. Es rächt sich sofort, wenn man die Pferde durchgehen lässt. Ich nenne diesen Zustand, der von Verdi von der ersten bis zur letzten Note dieser Rolle gefordert wird, kontrollierte Zügellosigkeit. Inhaltlich ist dieser Herzog deswegen so faszinierend, weil er viele Züge hat, die dem Typ des heldischen Liebhabers sonst oft fehlen: seine Ausweglosigkeit, seine durchaus tiefen Gefühle. Darauf kommt es mir besonders an. Sie haben in Zürich "Schlafes Bruder" uraufgeführt, auch nicht gerade eine Partie, die sich mit den Klischees vom lyrischen Tenor deckt. Das war schauspielerisch und stimmlich ein Experiment. Es handelt sich ja um eine schizophrene Figur. Es werden Töne gefordert, die sonst im normalen Opernbetrieb nicht vorkommen. Ungestützte Laute etwa für gewisse Gefühle. Ich finde so etwas immer spannend, weil man dabei auch neue Seiten an sich selbst entdecken kann. Allerdings darf man es nicht zu oft machen, und man muss die Termine so legen, dass man nicht gleich danach eine "Traviata" oder eine "Zauberflöte" zu singen hat. Das wäre weder stimmlich noch von der Einstellung im Kopf her zu verantworten. Gerade im Fach des lyrischen Tenors ist Einspringen ja an der Tagesordnung. Und der Sängermarkt lässt es kaum zu, dass man sich solchen Aufgaben dauernd entzieht. Wie kommen Sie damit zurecht? Einspringen ist Glückssache. Ich habe es erlebt, dass eine Vorstellung, von der ich erst am Morgen desselben Tages erfahren habe, ganz toll wurde. Andererseits kommt es vor, dass man zwei Tage Probe hat, und dann bricht trotzdem bei der Aufführung alles auf einen nieder, weil sich im Vorfeld nicht unbedingt ankündigt, wo am Abend die Gefahren liegen. Gerade am Anfang einer Karriere denkt man oft, man könne ein bestimmtes Angebot nicht ablehnen, und springt ins kalte Wasser. Das kann aber auch völlig danebengehen! Schön ist das System nicht, aber es ist so, wie es ist. Man muss sich eben ein dickes Fell wachsen lassen. Welche Wunschpartien gibt es für Sie außerhalb des Mozart-Repertoires? Kürzlich habe ich in Tokio unter Seiji Ozawa meinen ersten Rodolfo in "La Bohème" gesungen. Das war, in einem großen Saal mit 3000 Plätzen und dem großen Puccini-Orchester, eine neue Erfahrung, ein erstes Herantasten. Das wäre ein Beispiel für eine Partie, die sich jetzt setzen muss und die in Europa für mich in drei bis vier Jahren sicher wichtig wird. Überhaupt sehe ich, neben manchen Verdi-Partien, auch bei Puccini Zukunft für mich. Neben Rinuccio, Rodolfo, Ruggiero (in "La Rondine") vielleicht einmal "Madama Butterfly". Aber es hängt immer sehr davon ab, mit wem man eine solche Partie singt, wer dirigiert und wie groß das Haus ist. Würden Sie einstimmen in die Sänger-Klage, dass immer weniger Dirigenten etwas von Stimmen verstehen? Es gibt positive Gegenbeispiele, wobei ich stellvertretend Zubin Mehta ("Traviata" in München) und Marcello Viotti ("Traviata" in Zürich) nennen möchte, die sehr viel vom Gesang verstehen und auf die Sänger eingehen. Ebenso war die Arbeit mit Armin Jordan bei "Così fan tutte" in Paris eine Offenbarung für mich. Obwohl ich den Ferrando oft vorher gesungen hatte, ergaben sich neue Dimensionen. Jordan zwang die Stimme nicht in ein Korsett, wie das bei Mozart oft praktiziert wird, damit der Dirigent bestimmte stilistische Dinge realisieren kann. Er ging auf das ein, was wir stimmlich anboten, und auf dieser Basis haben wir gefeilt. So kamen neue, wunderbare innere Freiheiten zustande. Ein großer Erfolg für Sie war der David in den "Meistersingern". Haben Sie die Partie aufgeben? Peter Schreier hatte sie ja ziemlich lange im Repertoire. Meinen ersten David habe ich in Wiesbaden gesungen. Später dann die schöne Produktion mit Antonio Pappano in Brüssel und José van Dam als Sachs. David ist eine sehr anspruchsvolle Partie, und ich habe sie gern gesungen. Mozarts "Entführung", eines ihrer Leib- und Magenstücke, wurde in letzter Zeit oft szenisch extrem gedeutet, etwa in Salzburg oder bei Calixto Bieito an der Komischen Oper Berlin. Wie stehen Sie zu solchen Experimenten? Es ist immer interessant, sich auch mal aus dem Fenster zu lehnen, sofern das zusammengeht mit den Gefühlen, die man braucht, um eine Partie wiederzugeben. Da gibt es Grenzen. Worin bestehen die? Ich habe die Pflicht, der Kunst über meine Stimme Entfaltung zu geben. Ich empfinde das wie ein Privileg: Wir Sänger "dürfen" das tun. Wenn ich durch Äußerlichkeiten daran gehemmt werde, ist etwas falsch. Das kann auf gesangstechnischer oder emotionaler Ebene vorkommen. Man kann aber natürlich durch eine ungewohnte Regie auch über sich hinauswachsen. Ich neige immer dazu, erst einmal alles zu versuchen, was verlangt wird. Die Münchner "Entführung" war zum Beispiel gut gedacht, aber für die Sänger sehr anstrengend. Es hat sich ohne Zweifel gelohnt, dieses Experiment mitzumachen, auch wenn es vielleicht letztlich keine Offenbarung war. Aber auch solche Erfahrungen bringen einen weiter Das Interview führte Stephan Mösch für die "Opernwelt" im November 2004   Das Opernglas, Jänner 2003: Roberto Saccà im Interview: Herr Saccà, Ihr Vater ist Italiener, Ihre Mutter Deutsche, Sie sind in Stuttgart aufgewachsen. Gerade die Mischung aus italienischen und deutschen Elementen ist in den Werken Mozarts sehr ausgeprägt. Könnte die Affinität zu diesem Komponisten auch mit Ihrer Herkunft zusammenhängen? Meine Stimme hat die Tendenz, eher italienisch gefärbt zu sein. Das ist nun mal so von Natur aus. Ich singe zwar auch deutsches Repertoire, etwa den Leukippos in »Daphne« oder den Henry in der »Schweigsamen Frau« und auch viele Lieder. Aber es ist doch ein italienlastiger Teil in mir und der verbindet sich gerade mit dem Mozartgesang sehr gut. Ich denke, meine Mozartpartien werden bereichert durch meine Ausflüge in die italienische Oper, und deshalb ist meine Verbindung zwischen Italien und Deutschland bei Mozart recht gut einzusetzen. Es ist aber auch eine Stilfrage. Neben dem italienischen gibt es auch den eher englischen Stil, Mozart zu interpretieren, und für die Neuinszenierung der »Entführung« hier in München haben wir eine komplett britische Crew. Der Regisseur ist Brite und auch der Dirigent Daniel Harding. Ich kann zwar meinen Stil variieren, aber mein Naturell und mein italienisches Timbre sind nun mal da, und ich bin gespannt, wie sich die Arbeit entwickeln wird. (...) Glauben Sie, dass Ihre Karriere in Italien anders verlaufen wäre als in Deutschland? In Italien hätte ich am Anfang sicher vor allem Rossini gesungen und wäre auch früher an die Partien herangegangen, die jetzt auf mich zukommen, »Traviata«, Herzog in »Rigoletto«... Mir ist es aber eigentlich ganz recht, dass diese Rollen nicht zu früh gekommen sind, denn das ist doch ein sehr gewichtiges Fach, in das man auch eine gewisse Erfahrung mitbringen sollte. Werden Sie im Verdi-Repertoire noch weitere Partien singen? Ich merke schon, dass meine Stimme gesetzter wird, sie wird reifer und auch dunkler in der Farbe. Wenn ich Verdi oder das schwerere Fach mit der gleichen Leichtigkeit und Lockerheit singen kann, wie beispielsweise Mozart, wird es sich mit der Zeit sicherlich ergeben, mir noch weiter das Repertoire des Lirico-Spinto zu erschließen. Bis jetzt gibt es da aber noch keine konkreten Pläne. Dagegen werde ich mir mit dem Idomeneo eine weitere Fassette des Mozart-Repertoires erarbeiten, den etwas schwereren, heroischen Mozart. Es erscheint allerdings Anfang 2003 eine CD, auf der ich auch Vorstöße in die bereits begonnene neue Richtung unternehme, neben Verdi etwa auch mit Arien von Puccini und Cilea. (...) Bevor Sie Ihre Ausbildung als Sänger absolvierten, haben Sie in Stuttgart den Abschluss als Gesangslehrer gemacht. Inwieweit kommt dieser pädagogische Hintergrund auch der Sängerkarriere zugute? Für die Karriere als Solist hilft die Ausbildung als Gesangslehrer nicht unbedingt. Dafür war dann eher das Opernstudio wichtig. Im September 2003 werde ich selbst in der Jury des ARD-Musikwettbewerbs in München sitzen, zusammen mit Francisco Araiza und Anna Tomowa-Sintow. Da mache ich dann auch Erfahrungen, um andere Stimmen, junge Stimmen einzuschätzen. Über die Rolle von Wettbewerben gehen die Meinungen sehr stark auseinander. Für wie wichtig halten Sie die Teilnahme an Wettbewerben? Eigentlich halte ich ganz wenig von Wettbewerben, um eine Karriere voranzubringen. Aus meiner eigenen Erfahrung - ich habe am Belvedere Wettbewerb und an einem Wettbewerb in Genf teilgenommen - weiß ich von sehr vielen tollen Sängerkollegen, von denen man später nie wieder etwas gehört hat. Es ist immer eine ganz besondere Spezies Mensch, die auf Wettbewerben absahnt. Es gibt wirklich große Sänger, die nie einen Wettbewerb gewonnen haben, andererseits haben manche Leute fünf oder sechs erste Preise gemacht, und man wird sie trotzdem nie kennen lernen. Mit dem Beruf an sich haben Wettbewerbe eigentlich nichts zu tun. Man wird zwar trainiert, auf den Punkt hin fit zu sein und seine Leistung abrufen zu können, die Nerven zu bewahren, das macht aber noch nicht den Opernsänger aus. Es kommen noch viele andere Dinge dazu, die man eher in einem Ensemble an einem kleineren Haus lernt. (...) Bis zur letzten Spielzeit waren Sie für viele Jahre im Ensemble des Zürcher Opernhauses. Jetzt haben Sie sich aber endgültig gegen eine feste Bindung an ein Theater entschieden. Mir ging es in Zürich sehr gut. Trotzdem war es einfach an der Zeit, diesen Schritt zu tun und freiberuflich zu sein. Ich kann den Kalender mehr nach meinen eigenen Wünschen ordnen, kann auch meine Freiräume besser organisieren, die wichtig sind, um mich zu erholen. Außerdem habe ich in Zürich in einem Fach begonnen, das ich jetzt so langsam verlassen werde. Die neue Entwicklung in ein anderes Fach, die ich mit »Traviata« und »Rigoletto« begonnen habe, muss ich jetzt auch außerhalb probieren, und so glaube ich, dass die Entscheidung, das Ensemble zu verlassen, richtig war. Das Interview führte F. Heurich für "Das Opernglas" im Dezember 2002   Der Neue Merker, January 2002: Roberto Saccà on Mozart and Verdi: Der Merker: Now comes your debut at the Vienna State Opera as Alfredo, which has been awaited with great pleasure. Saccà: In view of the fact that at this present moment in my career I am concentrating on the young Verdi with lyrical orientation (Alfredo, Duca) and Mozart (D.Ottavio, Tamino; Belmonte, Ferrando), the expressive, passionate Verdi cantilena, based massively on the vocal line, is in contrast with the disciplined, sometimes even somewhat introverted Mozart cantilena. With Verdi, you have to enrich the emotional level with personal impetus. The base has been prepared in musical terms by Verdi, e.g. "cantabile", "dolce" in "Lunge da lei" and "Parmi veder", but "Oh mio rimorso" and "Possente amor" as "espressivo/eroico". In Mozart this impetus is already written into the notes and the difficulty consists of enriching with one's own colouring the level of sentiment composed with such virtuosity. In Mozart, the musical corset is, of course, extremely tight, however, I really do believe that - for me - this discipline can be transferred to the Verdi parts, indeed it even supports and enriches me. Der Merker: You sang your first Alfredo as long ago as 1999 in Cologne with sensational success as well as now at the Deutsche Oper in Berlin. Saccà: Following on from Fenton, Alfredo was my second Verdi part and I am very happy to have worked on this role then with M° Allemandi and Günter Krämer. The basic idea was, of course, to play Alfredo as a fresh and loving young man but who runs aground in this "side-glance demi-monde" because of his middle-class, narrow-minded mentality. My Violetta was the wonderful Victoria Loukianetz, who, as I have heard, also celebrated triumphs here in Vienna. Following on from Vienna and Berlin, I shall be singing Alfredo amongst others under M° Mehta and with Gallardo-Domas at the Bavaraian State Opera and in Berlin. Der Merker: Has Alfredo become your favourite role? Saccà: Well, just look, Alfredo has wonderful duets above all, which have become unforgettable hits such as for example "Brindisi", "Un di felice", "Parigi o cara" and the aria "Lunge da lei" already mentioned" and I very much enjoy singing this part but my favourite role at present is the Duca di Mantova. Der Merker: Why? Saccà: For an Italian the Duca is assuredly song and Italian joie de vivre personified, i.e. this part demands all the facets of the art of singing. This ranges from lyrical moments in the duet with Gilda, from the grace and legerity of the flow of singing in "Questa o quella" and "La donna è mobile", through to the centrally located "Parmi veder" and the heroic Cabaletta which follows, to name but a very few examples. The voice has to reflect the character of the Duca, at one time connoisseur and man of power, then seducer, lover and sensual being. That is why it is such a great honour for me to have been invited by the Scala in Milan to sing this part in 2002. Anton Cupak met the tenor in Zurich ("Der Neue Merker" Jan. 2002)   Orpheus, September 1999: Roberto Saccà on his career: On stage, lyrical tenor Roberto Saccà is known as the ideal of an attractive, youthfully passionate Italian lover. However, this is only one of his many facets. When talking to him, I soon got to know the handsome Italian from an entirely different angle - as a conscious, deliberating, thoughtful artist. Intellectual on the one, emotional on the other hand - Roberto Saccà explains these very different aspects of his character with his origins: "My mother is German, I was born and raised in Germany, but I also have an Italian passport and I look quite Italian, I think - my father is from Sicily. Deep down, I feel a bit torn between the two identities. My 'German' side comes out when I tackle a problem or a challenge, and it really is quite convenient being able to rely on that certain 'German thoroughness' when you are in a situation that has you fall back on your own resources. But in other situations, it is better to show myself from my intuitive, emotional Italian side. It's not always easy juggling the two extremes, but I do not really see it is a problem. It gives me the chance to build my career using both sides. At present, my central composer is Mozart, and his music is characterised by a similar combination - Italian expression and passion on the one hand, absolute thoroughness and discipline on the other, which means that every note is most carefully and deliberately placed." However, Roberto Saccà's passion for music does not really stem from his father's side ("a great lover of Italian opera, like most Italians"). His musical career was initiated by his mother, who played the piano as a hobby. Roberto Saccà took his first steps as a singer as a choirboy in the Stuttgarter Hymnus Chor, but his voice broke early and he turned towards totally different things for a while, such as football. He became once again interested in music during opera performances at school, encouraged by his music teacher, Ms Berger-Jost. Bruce Abel, a singing teacher, noticed the young singer during one such performance and made it possible for Roberto Saccà to train as a singer on a professional basis at the Hochschule in Stuttgart. He also took extra lessons from Professor Ambrosius von Buelow. Considering the many Rossini parts in Roberto Saccà's repertory, so rich in high notes, it might seem surprising that after his voice had broken, the singer started out as a baritone and did not really consider high parts his future. "It is all a question of technique, the pitch is there, I can always rely on my high C and D, but this has nothing to do with being a tenor, there are also baritones who reach a high C. It all comes down to finding a middle pitch of voice that allows me to express myself comfortably. In my case, this pitch is not very high, and that gives me a big advantage for my new parts, Alfredo in 'La Traviata' and Duca in 'Rigoletto', also with Leukipos in 'Daphne'. The transition has changed a little, when I started out, it was quite high and I did feel comfortable with that at the time. Now my voice is more stable, more mature and fuller. For the new Verdi parts, it is an advantage that my pitch is not too tight, it gives me more space to fill it in with my body. But there is the danger of taking it too broadly. I am currently working at those things with Nicolai Gedda, he has always consciously evaded these dangers and it is a great experience for me to work at those problems together with him. Beside Gedda, Fritz Wunderlich is also one of my role models, especially as far as Lieder interpretations go. The recording of Wunderlich's Liederabend in Salzburg was the incentive for me to try and venture into that field. The successful transition to Lieder performances was very important for me; the Lied simply combines all facets. There are other great Lieder singers who I admire, but who I did not really have anything in common with. But Wunderlich made it easy for me with his musical, emotional style where yet every tone is so incredibly precise." Roberto Saccà completed his studies in Stuttgart and graduated as a singing teacher. "I do not have any ambitions for teaching as yet, but I think it is important to pass on your experiences later on in life." Then he transferred to the Musikhochschule in Karlsruhe, and only there did he decide to become a professional singer. "Being a teacher does not mean that you can just get up there and sing on stage as a professional. So I came to the Opernschule in Karlsruhe and studied with Aldo Baldin for five very important years. I owe him a technique that is reminiscent of Gedda, who he also adored and worshipped. Aldo Baldin forced me to find the pitch on which I can base my voice range. Once you've found that, coloratura comes along, too. Every lyrical tenor has to try and find this easiness inside himself first of all. The decision to include 'Traviata' and 'Rigoletto' in my repertory does not mean that I have changed over into a more difficult field, but simply that I have extended my original one. Many lyrical voice tenors take that road, but some of them go about it in a more abrupt sort of way, which of course is more dangerous, such as changing directly from buffo- or character parts to hero parts. Of course, voice colour also has to be considered, the timbre has to be just right." After completing the Opernschule in Karlsruhe, where he among other things studied "Gianni Schicchi" and "L'heure espagnole" with Professor Ackermann, Roberto Saccà got his first part in Würzburg, where first of all he sang smaller parts like Borsa in 'Rigoletto' and Ottokar in 'Zigeunerbaron'. After one year, he came to Wiesbaden where he started his work on Mozart's operas. Apart from singing the parts of Don Ottavio and Tamino (as a standby at first), he also sang operettas, such as Adam in 'Der Vogelhändler' or the Count in 'Wiener Blut', appeared as Almaviva in Rossini's 'Barbiere' (his first Rossini part), made his first contact with Verdi when he sang Cassio in 'Otello' and sang David in Wagner's 'Meistersinger', a part which also led him to Brussels where he appeared together with Josè van Dam in a performance conducted by Antonio Pappano. ("Especially with this part, I have always tried to maintain a lyrical quality in my voice (like Fritz Wunderlich) and to avoid strictly singing it in a character tenor manner".) Saccà stayed in Wiesbaden for six years and regards this time as a very important stage in his career. "The Ensembleschule was important for me as a young singer, it was good to learn how to integrate in a team, and especially when you are just starting out, it gives you a feeling of belonging somewhere. And if you are lucky, you work with a musical director that supports and appreciates you. At the beginning, you do get your fair share of crises. You have to learn to handle the pressure of having to be successful and get used to the rhythm of this particular job. The Ensembleschule is important in that respect, because otherwise you're usually completely on your own. In today's music world, you are very lucky if you meet people who tell you things that make you think and help you develop. Nikolaus Harnoncourt is such an exception. He is one of the very few that invest time into really working with singers. But the traditional father figures of conductors or musical directors, who mapped out a singer's careers over decades, have all but disappeared. And unfortunately, many of the decision-making people lack vision and imagination. You are, so to speak, labelled for a certain field and put in a certain drawer, and therefore it is difficult to extend your repertory." As far as this is concerned, Roberto Saccà is lucky to have found Kurt-Walther Schober, for him the ideal agent with whom he is able to not only discuss problems and visions but to also realise them. "Daphne" at the Deutsche Oper Berlin conducted by Christian Thielemann, "La Traviata" in the year 2000 and "Rigoletto" in 2001, both new productions at Cologne, but also Nicias in a new "Thais" which will be performed in Chicago together with Renèe Fleming in 2003, are the results of this co-operation. Other projects for the near future are Tamino in a new "Zauberflöte" in San Francisco, Rossini's "Barbiere" with Edita Gruberova in Munich, Haydn's "Orfeo" with Cecilia Bartoli in London, a new production, Nemorino in Donizetti's "L'elisir d'amore" in San Francisco and Tamino in Sevilla - and of course, again and again performances at the opera house in Zürich, where Roberto Saccà has been working since 1993. Here he sang Lindoro in "L'italiana in Algeri" with Agnes Baltsa and Vesselina Kasarova, Don Ramiro in "Cenerentola" with Cecilia Bartoli, Almaviva in "Barbiere" with Leo Nucci and Vesselina Kasarova, and the Mozart parts of Tamino, Belmonte, Ferrando and Don Ottavio, Oronte in Händel's "Alcina", a part which he also sang during the Zurich appearance at the Wiener Festwochen in 1997, and Oberon in Weber's opera. With Bartoli ("We get on really well, even off stage we just click") Roberto Saccà is going to appear again in Zurich during the next season in "La Cenerentola", in a new production of "Cosi fan tutte" conducted by Nikolaus Harnoncourt and Jürgen Flimm (Cecilia Bartoli is going to return to the part of Dorabella in this production), and in the revival of "Don Giovanni", where they won't be direct partners, and in Haydn's "Orfeo". The latter part was one of Saccà's great successes at the Wiener Festwochen 1995, in Salzburg in 1996 he sang Jaquino in Beethoven's "Fidelio" conducted by Solti, with whom he also sang in Wagner's "Meistersinger " in Chicago, a performance for the recording of which he won an award. At the Festival de Perelada in 1997 he sang Belmonte as his debut in Spain and in Glyndebourne in 1998, he sang Ferrando in "Cosi fan tutte". Beside his classical repertory ranging from baroque to late romanticism, Saccà has also sung contemporary music, such as the premiere of Willi's "Schlafes Bruder" in Zurich, Henze's "Das verratene Meer" at the Scala in Milan and Boesman's "Reigen" in Brussels. "I do not want to give too much space to my modern repertory, it is not really my line. But of course, despite all the difficulties, it is extremely interesting to sing in a premiere. You have no possibility of listening to the music beforehand, you tackle a part differently, because you actually create it. Normally, my approach to music is very varied, when I sing Lieder, I usually base it on the text and not so much on the music. I want to handle things in an honest way, according to my individual possibilities, that is my only strategy. As far as Lieder go, I just want to try and understand this world and thus bring it closer to the audience." Roberto Saccà gives the impression of being an uncomplicated singer and thus it is not surprising that he talks easily about directors, for many singers a sore point. "I have worked with Luc Bondy, Jürgen Flimm, Willy Dekker, Peter Brook, Johannes Schaaf - and I have had no problems communicating with any of them. It really depends on how the artist confronts a director, what he is prepared to give. You have to be open enough for things that, at first sight, you might not like at all. A good director will see whether there is room for development or whether the singer is closing himself off. I am very happy that in the summer, I will give my debut at the festival at Aix-en-Provence in the part of Don Ottavio, directed by Peter Brook." Is singing and being on stage more than just a job for Roberto Saccà? "When I haven't been on stage for two or three days, I quickly feel restless and want to get working again. I miss it - and this shows that it's not just a job, but also a vocation. What you need for such a job, of course, is strong support, and I get that from my family. They give me a feeling of safety and strength. But after a week's holiday, I suddenly miss the whole thing, the stage that I know so well. It's a sense of longing, almost - nobody has to force me to go back, I want it myself. Maybe that is yet another point where my two mentalities meet..." Michael Blees met the tenor in Vienna ("Orpheus", September 1999). ALL");
sQ1[7]=new Array("ton.html","video/sound","","Ton - Sound - Suono: (mp3-files - click for download) RIGOLETTO: Possente amor DIE ROSE VON STAMBUL: Ihr stillen süssen Frauen (Sweet Shy Ladies) LA BOHEME: Che gelida manina LA FILLE DU REGIMENT: Ah! mes amis L'ELISIR D'AMORE: Una furtiva lacrima live LA TRAVIATA: Parigi o cara (Violetta: Victoria Loukianetz) live DER ZIGEUNERBARON: Ja, das alles auf Ehr' live RIGOLETTO: Questa o quella Video: (Windows Media-files - click for download) L'ARLESIANA: L'amento di Federico Sigulda Opera Festival 2004, Latvia DIE ENTFÜHRUNG AUS DEM SERAIL: Ich baue... Grand Théâtre de Genève, Mo. I. Bolton DON GIOVANNI: Il mio tesoro Oper Zürich, Mo. N. Harnoncourt ORFEO: Duett Theater an der Wien/Wiener Festwochen, Euridice: C. Bartoli, Mo. N. Harnoncourt RIGOLETTO: La donna è mobile Arena di Verona DER ZIGEUNERBARON: Ja, das alles auf Ehr Wiener Festwochen/Wiener Symphoniker, Mo. M. Sieghart COSI FAN TUTTE: Duett Tra gli amplessi Fiordiligi: C. Bartoli, Oper Zürich, Mo. N. Harnoncourt DIE ZAUBERFLÖTE: Dies Bildnis ist bezaubernd schön Wiener Festwochen/Wiener Symphoniker, Mo. G. Prêtre ALL");
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if (!sQ7 && !sQ2) { sQ1[sQt][sQj+sQ1[sQt][sQg]] = sQ3 - 1;sQ1[sQt][sQg] ++; } sQy = sQy.substring(sQz+1,sQy.length);while( sQp(sQy.charAt(0)) && sQy.length > 0 ) { sQy = sQy.substring( 1, sQy.length ) ;sQ3 ++; } sQz = sQy.indexOf(sQ41[sQ42]); }
if( sQ1[sQt][sQg] == sQ44) { sQ43=false; } } }
if( (sQ45==2) && (sQ43==false) ) { sQ1[sQt][sQg]=0; } } function sQ4(sQt, sQv) { var sQu=-1, sQ5; sQ1[sQt][sQf]=-1;while( ++sQu <= sQe && sQ1[sQt][sQf]==-1 ) { sQ5 = sQu==0 ? sQc : (sQu==1 ? sQd : (sQu==2 ? sQb : sQe));if( ((sQ5 == sQc ) && ( sQ46 )) || ((sQ5 == sQd ) && ( sQ83 )) || ((sQ5 == sQb ) && ( sQ73 )) || ((sQ5 == sQe ) && ( sQ14 )) ) { sQr( sQt, sQ5, sQv ); }
else { sQ1[sQt][sQg]=0 } if ( sQ1[sQt][sQg] > 0 ) { sQ1[sQt][sQf] = sQ5; } } } function sQ6() { var sQt, sQu, sQ79, sQ8;for( sQt=1; sQt<sQ1.length; sQt++ ) { sQ1[sQt][sQi] = sQt; }
if( sQB ) {for( sQt=1; sQt<sQ1.length; sQt++ ) { if( sQ1[sQt][sQf] == sQc ) { sQ1[sQt][sQh] = (4-sQC) * 15000; }
else if( sQ1[sQt][sQf] == sQd ) { sQ1[sQt][sQh] = (4-sQE) * 15000; }
else if( sQ1[sQt][sQf] == sQb ) { sQ1[sQt][sQh] = (4-sQD) * 15000; }
else { sQ1[sQt][sQh] = (4-sQF) * 15000 + sQ1[sQt][sQg]; } } for( sQt=2; sQt<sQ1.length; sQt++ ) { sQ79 = sQ1[sQt][sQh]; sQ8 = sQ1[sQt][sQi];for( sQu=sQt; sQu>1 && sQ79 > sQ1[sQu-1][sQh]; sQu--) { sQ1[sQu][sQh] = sQ1[sQu-1][sQh];sQ1[sQu][sQi] = sQ1[sQu-1][sQi]; }sQ1[sQu][sQh] = sQ79;sQ1[sQu][sQi] = sQ8; } } } function sQ9(sQt) { var sQA = sQ1[sQt][sQg]==1 ? "match" : "matches";sQk += ""; sQk += "<font face=\"Tamoha\" size=\"2\" color=gray>";
if( sQ1[sQt][sQf]==sQc ) { sQk += " - matched title"; } else { if( sQ1[sQt][sQf]==sQd ) {sQk += " - matched description"; }
else { if( sQ1[sQt][sQf]==sQb ) { sQk += " - matched URL"; }
else { sQk += " - " + sQ1[sQt][sQg] + " " + sQA + "";  } } } sQk += "</font>"; sQk += ""; } function sQG(sQt, sQH) { var sQI;var sQJ;var sQK = false; var sQdL=sQ1[sQt][sQj + sQH - 1]; sQI = sQdL<35 ? sQI=0 : sQI=sQdL-35;sQJ = (sQdL+35 > sQ1[sQt][sQe].length) ? sQJ=sQ1[sQt][sQe].length : sQJ=sQdL+35;while ((sQI>=0) && !sQK) {
if(sQp(sQ1[sQt][sQe].charAt(sQI))) { sQI--; }
else { sQK=true; } } sQI++;sQK=false;while ((sQJ > sQdL) && !sQK) { if(sQp(sQ1[sQt][sQe].charAt(sQJ))) { sQJ--; }
else { sQK=true; } } sQk += "<BR><font face=\"Tamoha\" size=\"2\" color=darkslateblue>\".. "+sQ1[sQt][sQe].substring(sQI,sQdL); sQk += "<B>" + sQ1[sQt][sQe].substring(sQdL , sQdL + sQdl.length ) +"</B>";sQk += sQ1[sQt][sQe].substring(sQdL + sQdl.length ,sQJ) + " ..\"</font>"; } function sQN( sQt ) { if( sQP==false ) { var sQu=1; while ( (sQu < 4) && (sQu<=sQ1[sQt][sQg])) { sQG( sQt, sQu ); sQu++; } } } function sQR( sQy, sQdL ) { sQk += sQy.substring( 0, sQdL );sQk += "<B>" + sQy.substring( sQdL , sQdL + sQdl.length ) +"</B>";sQk += sQy.substring( sQdL + sQdl.length ,sQy.length ); } function sQU( sQt, sQT ) { sQk += "<p><font face=\"Tamoha\" size=\"2\" color=darkslateblue>" + sQT +".</font> ";sQk += "<a href=\""+sQ1[sQt][sQb]+"\"><font face=\"Tamoha\" size=\"4\" color=darkslateblue>"+sQ1[sQt][sQc]+"</font></a>";if (( sQ1[sQt][sQf]==sQe ) && (sQ45==0)) { sQN(sQt); }
else { sQk+=""; }
if( (sQ1[sQt][sQf]==sQd ) && (sQ45==0)) { sQk += "<br><font face=\"Tamoha\" size=\"2\" color=gray>Beschreibung:</font><font face=\"Tamoha\" size=\"2\" color=darkslateblue> "; sQk += "";sQR( sQ1[sQt][sQd], sQ1[sQt][sQj] ); sQk += "</font>"; }
else { if( sQ1[sQt][sQd].length > 0 ) { sQk += "<br><font face=\"Tamoha\" size=\"2\" color=gray>Beschreibung:</font></font><font face=\"Tamoha\" size=\"2\" color=darkslateblue> "; sQk += "" + sQ1[sQt][sQd]; }
else {  } } sQk += "</font>"; if( sQQ ) { sQ9( sQt ); } sQk += "<br>"; }; function sQV() { sQT = 0;if (! (sQn )) { for( var sQt=1; sQt<sQ1.length; sQt++ ) { if(( sQ1[sQ1[sQt][sQi]][sQg] > 0 ) && (( sQT < sQ90 ) || ( sQ90 == -1 ))) { sQU(sQ1[sQt][sQi], ++sQT); } }  }
else { if( sQm == -4 ) { sQk += "<BR><font face=\"Tamoha\" size=\"2\" color=darkslateblue>Error: asterix (*) has to be at the beginning or end!</font>"; } }  } function sQW() { sQk += "<html><head><title>You searched for \"" + sQ98 + "\"</title><link href=\"style.css\" type=text/css rel=stylesheet></head><body"; sQk += ">" ;sQk += "<font face=\"Tamoha\" size=\"3\" color=darkslateblue>";sQk += "<p>You searched for <b>" + sQ98 +".</b>"; sQk += "</font>" }; function sQY() { if(sQT==0) { sQk += "<p><font face=\"Tamoha\" size=\"3\" color=darkslateblue>no matches.&nbsp;&nbsp;</font>"; }
else { var sQA = sQT==1 ? "page." : "pages."; sQk += "<p><font face=\"Tamoha\" size=\"2\" color=darkslateblue>" + sQT + " " + sQA + "&nbsp;</font>"; } sQk += "<a href=\"javascript:history.go(-1)\"><font face=\"Tamoha\" size=\"3\"><b>new search</b></font></a></p>"; sQk += "</p></body></html>"; } function sQ11() { var sQ23 = sQk;document.open(); document.write(sQ23); document.close(); } function sQ03( sQy ) { var sQqh="";for( var sQt=0; sQt<sQy.length; sQt++) { if( sQy.charAt(sQt)=="<" ) { sQqh += "&lt;"; }
else if( sQy.charAt(sQt)==">" ) { sQqh += "&gt;"; }
else if( sQy.charAt(sQt)=="\"" ) { sQqh += "&quot;"; }
else { sQqh += sQy.charAt(sQt); } } return( sQqh ); } function sQ93() { sQm = sQdl.indexOf("*"); if( sQm == 0 ) { sQm = -2; sQn = false; }
else if (sQm == sQdl.length -1) { sQm = -3; sQn = false; }
else if (sQm > 0 ) { sQm = -4;sQn = true; }
else { sQn = false; }
if ( sQdl.indexOf("*") != sQdl.lastIndexOf("*") ) { if( sQm == -2 ) { if( sQdl.lastIndexOf("*") == sQdl.length - 1 ) { sQm = -5; }
else { sQm = -4; sQn = true; } } }if( ( sQm == -2 ) || (sQm == -5 )) { sQdl = sQdl.substring( 1, sQdl.length ); }
if( ( sQm == -3 ) || (sQm == -5 )) { sQdl = sQdl.substring( 0, sQdl.length - 1 ); } } function SMPStartSearch() { var sQv;sQdl=document.formSearch.txtSearch.value;if (( sQdl.length > 0 )&&( sQdl != "*" )) { sQk = "";sQ98 = sQdl; sQdl = sQ03(sQdl);sQ93();if( sQ17 ) { sQv = sQdl; }
else { sQv = sQdl.toUpperCase(); }if (sQ45 != 0) { sQ41=sQv.split(' '); }
else { sQ41=sQv.split(); }if ( !(sQn ) ) { for( var sQt=1; sQt<sQ1.length; sQt++ ) { sQ4( sQt, sQv ); } sQ6(); } sQW();sQV();sQY();sQ11(); } }