Roberto Saccà

Tenor

Reviews 2002

Anima del filosofo, Royal Opera House Covent Garden

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.

Orpheus,
Zauberflöte, Teatro de la Maestranza Sevilla

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.

Andalucia 24 horas,
Die Schweigsame Frau - R. Strauss, Opernhaus Zürich

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.

Opernglas,
Il Barbiere di Sevilla, Opéra de la Bastille - Paris

Such a passionate and beautifully sung Almaviva as the Italian tenor Roberto Saccà is seldom to be seen or heard.

Le Figaro,
Daphne, Royal Opera House Covent Garden

The more lyrical Roberto Saccà contrasted ideally as the innocent Leukippos.

Sunday Times,
Daphne, Royal Opera House Covent Garden

Leukippos, Daphne’s devoted swain, got competent Strauss treatment from Roberto Saccà.

Opera News,
"Don Giovanni" CD-Produktion, Opernhaus Zürich

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.

Opernglas,
Zauberflöte, Wiener Staatsoper

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.

Der Neue Merker,

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