Woman and man’s voice, the Brazilian singer, who has just released a magnificent album entitled “Roma Travestita”, will be in concert in Versailles and Rouen, before performing, in January 2023, at the Théâtre des Champs-Elysées, in Paris.
by Marie-Aude Roux
Bruno of his combines two evidences: a woman’s voice and a man’s body. Jast hair, beard and mustache, sparkling look and dancing look, the Brazilian sopranist amazed the lyrical world when an internet video appears. He sings Bellini there, the famous Cavatine “sees Romeo ts a Figlio”, taken from I Capuleti e I Montecchi, extract from a televised recital broadcast on the Cultura channel, in 2018, in Sao Paulo. Impossible to know, closed eyes, that this liquid gold voice, these beautifully vibrated and projected stratospheric acute, this agility and this expressiveness are not those of a coloracy, but of a barely thirty -year -old man.
“The song has always been part of my life”, notes the musician, whose family, practicing, assiduously frequenting the benches and choirs of the church in Santo André, in the suburbs of Sao Paulo, where he is Born, November 29, 1989. “I was 2 years old, and I remember asked to sing, too. Not in the choirs, but as a soloist. My mother put me on a chair to reach the microphone. C ‘was one of those songs of Protestant tradition, something like I would be Faithful, but in Portuguese. Since then, I have never stopped singing at the church at home. “
Becoming a musician has not imposed himself. The piano, started at 7 years old, immediately hated, is quickly abandoned – “I learned pretty well, but cried by going to the music school” – for the benefit of the flute (which he will practice four years in the university orchestra) and clarinet. In children’s choirs, little Bruno climbs higher than girls, sings his first solo at 9 years old and feasts his family of the counterta fisheries of the Queen of the Night in the Enchanted Flute, of Mozart. But it is in puberty that the incredible becomes clearer. The teenager does not turn. At most, he feels the need for greater muscle support in the treble.
“A special voice”
“It is much later, when I was already at university, that my parents realized that I had a special voice, he sums up. They wondered I had to continue. No doubt to protect myself. A lot of people wondered that I did not sing like a man. “The question of gender was immediately invited in the course of Bruno de SA. The Brazilian indeed has a natural soprano, not the voice of counter-tenor with a wide ambitus that a Philippe Jaroussky or a Max Emanuel Cencic, sopranists in their early days, advertise, go through a range of mezzo, then D ‘Alto.
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