Bruno de Sá … astounding … with a high register of soprano purity.(…) A true male soprano able to command thrillingly ringing tones … capable of exquisite cantabile incorporating a ravishing mezza voce.’
[Opéra magazine]
Brazilian-born male soprano Bruno de Sá first attracted national attention for his remarkable vocal range and stage presence in leading Mozart, Britten and Bellini roles at São Paulo’s Teatro São Pedro and the Festival Amazonas de Ópera, before rapidly establishing himself as one of the most distinctive voices of his generation on the international stage.
Bruno de Sá made his European debut in 2019 as Aci in Bononcini’s Polifemo under the baton of Dorothee Oberlinger at the Musikfestspiele Potsdam Sanssouci. Soon afterwards, he joined the Young Artist Programme at Theater Basel, performing Die Kleine Meerjungfrau in Bischoff’s Andersens Erzählungen and Barbarina in Mozart’s Le nozze di Figaro. His early European engagements also included Sesto in Handel’s Giulio Cesare at Oper Halle and Isacio in Hasse’s Irene with the Helsinki Baroque Orchestra at Musiikkitalo Helsinki and Theater an der Wien. He subsequently made his Bayreuth Baroque Opera Festival debut as Berardo in Porpora’s Carlo il Calvo, directed by Max Emanuel Cenčić, before appearing as Abel in Scarlatti’s Il Primo Omicidio under Philippe Jaroussky at the Opéra de Montpellier and the Salzburg Whitsun Festival. Further acclaimed performances followed as Volusio in Hasse’s Cajo Fabricio with {oh!} Orkiestra in Gliwice and Vienna, Nerone in Handel’s Agrippina at Drottningholm under Francesco Corti, Cleopatra in Hasse’s Marc’Antonio e Cleopatra with {oh!} Orkiestra and Martyna Pastuszka, and Farnaspe in Graun’s Adriano in Siria under Dorothee Oberlinger, later presented at the Schlosstheater Sanssouci in Potsdam. Among his recents highlights are his role debuts as Orfeo in Gluck’s Orfeo ed Euridice and Sesto in Mozart’s La clemenza di Tito at the Gluck Festival under Michael Hofstetter, Stephano in Gounod’s Roméo et Juliette at the Opéra de Rouen Normandie under Pierre Dumoussaud, and Cleofide in Vinci’s Alessandro nell’Indie at the Bayreuth Baroque Opera Festival under the musical direction of Martyna Pastuszka.
The 2024/25 season opened with Grain of the Voice, a contemporary pasticcio staged by Ligiana Costa at São Paulo’s Theatro São Pedro. Bruno de Sá then made his role debut as Oberto in Handel’s Alcina with Francesco Corti and il pomo d’oro, touring to the Théâtre des Champs-Élysées
in Paris, Teatro Real in Madrid, and Theater an der Wien in Vienna. Another major milestone was his house debut at the Komische Oper Berlin as Donna Elvira in Mozart’s Don Giovanni, in a new production by Kirill Serebrennikov conducted by James Gaffigan.
Beyond the opera stage, Bruno de Sá has become a sought-after concert soloist, performing across Europe with ensembles including il pomo d’oro (Francesco Corti), Les Accents (Thibault Noally), and Ensemble 1700 (Dorothee Oberlinger). Recent highlights include his acclaimed performance of Marias do Brasil at the Théâtre du Châtelet in Paris, appearances at the Essen Philharmonie under Rubén Dubrovsky, and a gala evening at the Vienna State Opera alongside Cecilia Bartoli and Max Emanuel Cenčić.
During the 2025/26 season, Bruno de Sá made his role debut as Achille in Handel’s Deidamia at Wexford Festival Opera in a new production directed and conducted by George Petrou. He returned to the Komische Oper Berlin as Donna Elvira and appeared as Cleofide in Vinci’s Alessandro nell’Indie at Theater an der Wien. He was featured at Le Concert de Paris on Bastille Day, performing Villa-Lobos’s Bachianas Brasileiras No. 5 with the Orchestre National de France under Cristian Măcelaru—a landmark performance broadcast live to an audience of millions in more than seventy countries. He also made his house debut at Opernhaus Zürich as Aci in Handel’s Aci, Galatea e Polifemo under Philippe Jaroussky. Concert engagements included a European tour of Handel’s Aminta e Fillide with the Kammerorchester Basel under Christoph Dangel, with performances in Paris, Halle, Ludwigsburg and Lörrach, as well as Handel’s La Resurrezione, singing the role of Angelo at the Vienna Musikverein and the Lehár Festival Bad Ischl under Martin Haselböck.
The 2026/27 season includes Bruno de Sá’s return to the Bayreuth Baroque Opera Festival and the Händel Festspiele Karlsruhe as Timante in Handel’s Floridante, in Max Emanuel Cenčić’s acclaimed production under the baton of Markellos Chryssicos. He also embarks on a concert tour of Spain with Harmonia del Parnàs under Marian Rosa Montagut, and performs Alessandro Scarlatti’s Cantata di Natale with Les Accents and Thibault Noally at the Théâtre des Champs-Élysées in Paris, the Berliner Philharmonie and Dortmund. Further concert highlights include Gluck’s La clemenza di Tito in Kraków, Vivaldi’s La Griselda at the Théâtre des Champs-Élysées in Paris, and Hasse’s Marc’Antonio e Cleopatra.
Bruno de Sá distinguished himself receiving the OPER! Award 2020 and the ForumOpéra trophy 2022 in the category “Best Newcomer of the Year”. In 2024, he also received the Austrian Music Theatre Prize for his performance of Aminta in Innsbruck Early Music Festival’s production of Vivaldi’s L’Olimpiade conducted by Alessandro de Marcchi. An exclusive artist of Erato / Warner Classics, Bruno de Sá released his first solo album Roma Travestita in 2022 to worldwide critical acclaim, performing the programme with great success in major venues from Versailles and Rouen to São Paulo and Buenos Aires. His second album, Mille Affetti — dedicated to Mozart and his contemporaries and recorded with Jarek Thiel and the Wrocław Baroque Orchestra — appeared in 2024, followed by an extensive European tour including Florence, Rouen, Versailles, Budapest, and Bayreuth.
In October 2026, Warner Classics and Erato release Bruno de Sá’s third solo album, Uyaras, recorded with the Opéra de Rouen Normandie under Pierre Dumoussaud. Inspired by the mythology of the mermaid and the enduring fascination with the irresistible power of the voice, the album weaves together a richly imaginative programme spanning Villa-Lobos, Alberto Nepomuceno, Ravel, Richard Strauss, Proch, Rachmaninoff, Granados, Saint-Saëns and Gershwin. Conceived as a musical exploration of enchantment, seduction and transformation, Uyaras reflects Bruno de Sá’s distinctive artistic vision. By presenting, for the first time, this repertoire through the voice of a male soprano, the album offers a unique perspective on celebrated masterpieces alongside rarely performed works, creating a programme that transcends stylistic, geographical and historical boundaries.
(2026_27. Please use this CV exclusively.)
