Roberto Saccà

Tenor

Reviews 2001

L'Elisir d'amore, 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,
Rigoletto - Giuseppe Verdi, Oper Köln

Roberto Saccà sang a sublime Duke. His verve in the higher registers was always in keeping with the natural contours of the melody. The opening of ²Parmi veder le lagrime² was gentle, a perfect mixture of precision and flowing lyricism. Such a noble seducer could easily be taken for an honest man. With a hearty laugh, he declines to look inside his soul.

Opernwelt,
Anima del filosofo, 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,
Anima del filosofo, Royal Opera House Covent Garden

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

Daily Telegraph,
Die Schweigsame Frau - R. Strauss, Opernhaus Zürich

Roberto Saccà as Henry sang seemingly effortlessly in the highest tenor registers, a real Strauss belcanto.

Zürich Express,
Die Schweigsame Frau - R. Strauss, Opernhaus Zürich

It was touching how the nephew – sung by Roberto Sacca with lithe and lustrous tenor timbre – brings his exhausted uncle to bed.

Neue Zürcher Zeitung,

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