With his extra­or­di­na­ry voice and bold artis­tic approach, Bra­zi­li­an coun­ter­te­nor Bru­no de Sá is set­ting new stan­dards on inter­na­tio­nal ope­ra stages. He gai­ned inter­na­tio­nal reco­gni­ti­on with his acclai­med War­ner recor­ding Roma Tra­ves­t­i­ta (2022), fol­lo­wed by Mil­le affet­ti (2024). He is a regu­lar guest at the Bay­reuth Baro­que Ope­ra Fes­ti­val, whe­re he has cele­bra­ted gre­at suc­ces­ses in Nico­la Anto­nio Por­pora’s Car­lo il Cal­vo (2020, 2021) and as Cle­ofi­de in Leo­nar­do Vin­ci’s Ales­san­dro nell’Indie (2022). In 2020, he was named Best Young Artist by the maga­zi­ne Oper!.

Bru­no de Sá’s impres­si­ve vocal ran­ge signi­fi­cant­ly expands the reper­toire of roles sui­ted to him. “My goal is to sing the most deman­ding fema­le roles – not only in Baro­que but also in the 19^th-cen­tu­ry reper­toire,” he says. “Ope­ra is an expres­si­on of human emo­ti­ons, and emo­ti­ons have no gen­der.” The South Ame­ri­can tenor will be fea­tured in a spe­cial role at the Komi­sche Oper Ber­lin: Don Elvi­ro (Don­na Elvi­ra) in the new pro­duc­tion of Don Giovanni/Requiem with music by Wolf­gang Ama­de­us Mozart. With this work, Kirill Ser­ebren­ni­kov com­ple­tes his Mozart-Da-Pon­te cycle at the venue.

Ophe­li­as Cul­tu­re PR sup­ports Bru­no de Sá through artist PR, which includes tra­di­tio­nal press work rela­ted to his enga­ge­ments and con­certs, as well as stra­te­gic con­sul­ting.