Uyaras: The Enchanted Voice
Bruno de Sá, Comunicantus Choir, Opéra Orchestre Normandie Rouen, , Pierre Dumoussaud- HEITOR VILLA-LOBOS - Bachianas brasileiras n°5, W389-391, Ária
- HEITOR VILLA-LOBOS - Bachianas brasileiras n°5, W389-391, Dança
- CAMILLE SAINT-SAËNS - Parysatis Act II, Le Rossignol et la rose
- JOSEPH CANTELOUBE - Chants d'Auvergne, Lou Coucut
- RICHARD STRAUSS - Kling Op. 48 n°3
- CAMILLE SAINT-SAËNS - Le Cygne
- ALBERTO NEPOMUCENO - As Uyaras
- JOSEPH CANTELOUBE - Chants d'Auvergne, Malurous q'o uno Fenno
- GEORGE GERSHWIN - The Lorelei
- MAURICE RAVEL - Vocalise-étude en forme de habanera M51
- ENRIQUE GRANADOS - Goyescas, Cuadro III, La Maja y el Ruiseñor. "Porqué Entre Sombras el Ruiseñor"
- JOSEPH CANTELOUBE - Chants d'Auvergne, Lo Fiolaire
- SERGEI RACHMANINOFF - Vocalise Op. 34 n°14
- HEINRICH PROCH - Deh! Torna mio bene Op. 164
Uyaras centers on the shape-shifting water spirits of Amazonian mermaids whose songs are as beautiful as they are fatal. For pioneering male sopranist Bruno de Sá, the project is both a cultural homecoming and a groundbreaking artistic leap. Moving beyond Baroque roles, de Sá tackles Romantic repertoire, wordless vocalises, and Latin American masterworks. The project bridges gendered vocal boundaries, classical and folk traditions, and raw emotion. Bruno de Sá is the first male singer in history to record full Bel Canto showpieces historically reserved for iconic prima donnas (e.g., Heinrich Proch’s Deh! Torna mio bene). Cultural Authenticity: Highlights core Brazilian classical repertoire (Villa-Lobos, Nepomuceno’s As Uyaras) alongside European siren lore (Gershwin, Canteloube).