In Haydn’s Anima del Filosofo at the Royal Opera House, Cecilia Bartoli and Roberto Saccà were the perfect pair of lovers for both the eyes and the ears. As an actor and singer, Roberto Saccà is every bit her equal.
On this evening, Roberto Saccà proved himself to be an outstanding interpreter of Mozart, including some especially fine moments in the duets. Thanks to his dark, masculine timbre, we were spared the typical, sickly-sweet interpretations one is usually served with such roles.
Alongside Dohnanyi, Roberto Saccà as Henry could be considered the performance’s biggest trump. With a commanding, charismatic tenor cantilena, his portrayal of the inheritance-hungry nephew was dramatically and musically well nigh perfect. The ravishing quality of his voice was ideally showcased in the magnificently sung, sweeping vocal lines.
Such a passionate and beautifully sung Almaviva as the Italian tenor Roberto Saccà is seldom to be seen or heard.
The more lyrical Roberto Saccà contrasted ideally as the innocent Leukippos.
Leukippos, Daphne’s devoted swain, got competent Strauss treatment from Roberto Saccà.
Roberto Saccà displayed in his controlled tone production, Mozartian style, and accomplished voice handling, a synthesis most likely unsurpassed in its perfection. No sentimentality mars this Don Ottavio; the musical lines never seem constricted, the singing always seamlessly homogeneous. Saccà is the perfect example of how steady, long-term development forms the basis of great endeavours.
Roberto Saccà as Tamino had a strong, supple, Heldentenor voice at his command. The handsome, black-haired prince emanated a kind of Mozartian elegance, injected the languishing lover with a shot of humour, and with his vocal stability fully justified this principal role.