YouTube starting Friday, October 11<\/a>.<\/p>\nOperaWire: <\/b>Bruno and Ligiana, thanks for the interview. My first question is for Bruno. How does your voice work<\/h3>\n
Bruno de S\u00e1: My voice works like any other human voice. The only difference is that it\u2019s a bit more uncommon. If you think of it as a masculine voice sounding in a feminine way\u2014a male body with a female voice\u2014but then we would get into a discussion of gender, and that\u2019s not the case here. I am a man with a soprano voice, period. My vocal breaks are the same as a soprano\u2019s (both in the lower and upper registers). Comparing me to a countertenor is also problematic. A countertenor, traditionally, is a tenor or baritone who developed his \u201chead register\u201d or falsetto. Let\u2019s say it\u2019s a \u201cmanufactured voice\u201d with all the quotation marks possible. In my case, I\u2019m neither a tenor nor a baritone. All the lower notes I sing are the result of my work to access my own \u201cchest register.\u201d So, I truly sound like a soprano. If you place me next to a female soprano, you\u2019ll notice some differences\u2014just as you would between Anna Netrebko and Diana Damrau. Thus, it\u2019s not a matter of gender, but of voice.<\/p>\n
Each voice is unique\u2014and I think this is exactly the point of \u201cThe Grain of the Voice.\u201d To highlight this specificity, this essence of each voice: the voice that sings, moves, and expresses.<\/p>\n
OW: <\/b>That\u2019s a very important point. You both decided to name the show \u201cThe Grain of the Voice\u201d\u2014 a clear reference to Roland Barthes\u2019s article in his book \u201cMusic-Image-Text.\u201d Despite the text\u2019s popularity, the term \u201cgrain\u201d is somewhat exotic when applied to voice. How did that come about?<\/h3>\n
Ligiana Costa: Obviously, Barthes was on my mind. However, when I first invited Bruno to create a concert with a series of pieces, I called it \u201cpastiche.\u201d But \u201cpastiche\u201d carries an expectation of linearity, and I believe our show is more of a poetic delirium\u2014we have much freedom, no narrative, no characters, just archetypes. After a while, we decided we needed a theme, and that theme would be the voice itself. Bruno loved it. I then began researching various philosophical reflections on voice, along with poetic quotations. We even invited my Amerindian friend, Carlos Pap\u00e1, to speak in Guarani about how the voice is nourished by the forest in order to exist: the voice needs the humidity of the Atlantic Forest to resonate; in essence, our singing comes from the forest. It was during this extensive research on voice that I returned to Barthes\u2019s essay. I particularly enjoyed the mystery he creates in trying to define what \u201cthe grain\u201d could be, and I wanted to preserve that in the show. It’s also important to highlight how collective the research process was. Many ideas originated from me, but a great deal came through collaboration with our artistic director, Renato Bolelli Rebou\u00e7as, and Sofia Boito, our dramaturgist and my general assistant.<\/p>\n
OW<\/b>: In this rich exploration of voice, it\u2019s fascinating how idiosyncratic Bruno\u2019s voice is. Unlike other singers who fit within a specific vocal tradition, Bruno, you come from Brazil, where there\u2019s no established school for sopranist singing\u2014perhaps not even anywhere in the world.<\/h3>\n
BDS: Am I an island? Laughs.<\/i> I\u2019m not trying to boast, but in this new generation of male singers who call themselves \u201csopranos,\u201d I might have been one of the first. I get the impression that now it\u2019s even becoming somewhat of a trend. But it\u2019s possible to establish some general standards for male sopranos. Not all sopranos, for instance, can sing the Queen of the Night; roles like Susanna, Despina, Zerlina, or Donna Elvira fall into a different category. Thinking about the male soprano: How does the voice sound in the high notes? Can he control his vibrato?<\/p>\n
It\u2019s part of an ongoing and evolving discussion about Fach<\/i> (voice classification). I still find myself explaining my vocal possibilities to casting directors\u2014and they need to grasp what\u2019s being done scenically: after all, it\u2019s a male body singing a female role. This phenomenon is influenced by hormonal and genetic factors, and it\u2019s uncommon and rare.<\/p>\n
LC: It is partially in this aspect of the rarity of Bruno\u2019s instrument\u2014in its grain\u2014that I think our show debates gender. It\u2019s inevitable. In this show, we \u201ctake a bow,\u201d as Madonna says, to Bruno\u2019s voice\u2014and to how our sensory experience revolves around it. Our entire artistic direction is addressing centuries of operatic tradition, but in a collage-like, sustainable way, stitching together these relationships between gender, voice, and repertoire.<\/p>\n
OW: <\/b>Also, this connection between Bruno and other voices seems to deconstruct the idea of him being a vocal island. Would he be more of a peninsula?<\/h3>\n
LC: Partially, yes. Whoever attends the show will also see a history of opera in S\u00e3o Paulo through his voice. However, the conceptualization of this concert also stems from Bruno\u2019s isolation in the Brazilian operatic scene. Bruno, should you explain?<\/p>\n
BDS: The show came about partly because I wasn\u2019t being booked to perform in Brazil. I had just signed with Warner\u2014the first Brazilian singer to do so\u2014and had released my first CD, but Ligiana was angry that nobody was booking me. I even told my agent I wanted to return to Brazil, to sing in my homeland\u2014I said I could perform in smaller towns, not just in the major symphony halls in S\u00e3o Paulo and Rio. But nothing happened; there was little interest. I even changed agents because of it. Then, Ligiana found a solution: she made me an \u201cartistic resident\u201d at the S\u00e3o Pedro Opera Theater. This show is part of that project.<\/p>\n
LC: Exactly. At the time, I was particularly inspired by Lisenka Heijboer Casta\u00f1on\u2019s \u201cFaust [working title]\u201d at the Dutch National Opera. I was struck by how she could create an operatic collage that was as meaningful as a full opera, while still being deeply contemporary. I talked to Bruno about it.<\/p>\n
BDS: Exactly, and she also encouraged me to expand the possibilities of my voice beyond the usual association with the Baroque repertoire. I don\u2019t have to be tied to just one style or one specific role\u2014it\u2019s about celebrating the voice and its possibilities. Wherever there is beauty, I want to be there.<\/p>\n
OW: <\/b>On a related note, you\u2019ve mentioned in previous interviews that you\u2019re looking to expand your repertoire into Romantic opera. You even provocatively mentioned singing Violetta in \u201cLa Traviata!\u201d<\/h3>\n
BDS: Exactly. I believe in the intimate relationship between opera and voice. Through voice, we narrate human emotions. In Baroque opera, the characters are often just archetypes\u2014genderless in a way. This is also reflected in our show. As for Romantic cross-gender roles, each \u201cRigoletto,\u201d each Gilda is different, and if I were invited, I would bring my own interpretation to the character.<\/p>\n
OW: <\/b>To clarify: will there ever be a \u201cTraviata\u201d with you starring in it?<\/h3>\n
BDS: \u201c<\/b>Traviata\u201d? I study Violetta just for my own enjoyment. Do I have it scheduled? No. But in April, I\u2019ll be singing Donna Elvira at the Komische Oper in Berlin, in a new production.<\/p>\nOW: <\/b>Do you know what your gender will be in this \u201cDon Giovanni?\u201d<\/h3>\n
BDS: I don\u2019t know anything yet. They briefly mentioned there might be some textual adaptations, but I can\u2019t tell you more because I don\u2019t know more myself.<\/p>\n
OW: <\/b>What fascinates me about you singing these major 18th and 19th century roles is the connection with opera\u2019s large LGBTQ+ fanbase. It would be interesting to see how those same love stories work when performed by homosexual couples\u2014especially in transgressive stories like \u201cTraviata.\u201d<\/h3>\n
BDS: I believe that when you stage such transgressive interpretations, there\u2019s a rupture in traditional imagery. What is the place of gay characters on the operatic stage? Why is there such a cult following for Callas? Because many gay men see something of themselves in Callas. \u201cShe has something I wish I could be, but I can\u2019t, because I\u2019m a man.\u201d When we start breaking these assumptions\u2014with artists like me\u2014there\u2019s a realization of new possibilities. I still remember when I sang \u201cThe Little Mermaid.\u201d Many gay men came up to me afterward and said I had no idea I was living a gay dream: I even had a tail!<\/p>\n
OW: <\/b>Indeed, but there\u2019s also a cost to breaking so many barriers…<\/h3>\n
BDS: Definitely, because my existence is transgressive in the face of misogyny. When you deviate from the traditional masculine point of view, you become unacceptable to some people. That\u2019s why there\u2019s far more acceptance of women playing trouser roles than the reverse.<\/p>\n
LC: It\u2019s interesting how these reactions reveal a lack of understanding of opera\u2019s gender-bending past, which was so common for centuries.<\/p>\n
BDS: Ligiana, I\u2019ve heard all sorts of comments, from critiques about the shoes I wore to my fake eyelashes and makeup. I even read an online comment once saying it was a shame that a man sounded like a woman.<\/p>\n
LC: That\u2019s misogyny in action!<\/p>\n
BDS: Exactly!<\/p>\n
LC: It\u2019s important to note that our concert doesn\u2019t provide a conclusive stance on gender and voice. We don\u2019t pretend to have all the answers. We\u2019ve thrown many ideas into the mix. In our cast, we also have a baritone singer who is a trans woman and still retains her baritone voice. She was selected for her voice, but it\u2019s fascinating how she also embodies my vision of \u201cthe grain,\u201d going beyond assumptions about image and voice. It\u2019s amazing to picture the grain as something light, levitating until it blossoms into a sunflower.<\/p>\n
OW<\/b>: It\u2019s interesting that the show opens with one of the most vocally driven melodies ever composed: Bellini\u2019s \u201cCasta <\/i>Diva\u201d from \u201cNorma,\u201d the epitome of a soaring aria.<\/h3>\n
LC: Exactly. It\u2019s almost an aria about the art of singing. But I\u2019m very calm. I know Bruno will nail it!<\/p>\n
OW: <\/b>Thank you very much for your time and availability!<\/h3>\n","protected":false},"excerpt":{"rendered":"
(Photo: \u00cdris Zanetti) Bruno de S\u00e1 is a star. As the first Brazilian singer to sign a contract with a major record label, he has every reason to be the pride of a nation. However, it was not until recently that he received the proper honors in Brazil. As part of his artistic residency at S\u00e3o Paulo\u2019s Teatro S\u00e3o Pedro, {…}<\/p>\n","protected":false},"author":74,"featured_media":93067,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[254],"tags":[9630,24098,24099],"class_list":["post-93066","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-bruno-de-sa","tag-ligiana-costa","tag-the-grain-of-the-voice"],"acf":[],"yoast_head":"\n
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