Bruno De Sá – Uyaras – The Enchanted Voice (2026)
FLAC (tracks) 24 bit/96 kHz | Time – 59:00 minutes | 1,03 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Warner Classics

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).

Tracklist:

1-1. Bruno De Sá – Bachianas brasileiras No. 5, W389: I. Ária. Cantilena (06:12)
1-2. Bruno De Sá – Bachianas brasileiras No. 5, W389: II. Dança. Martelo (04:45)
1-3. Bruno De Sá – Parysatis, Act 2: Le rossignol et la rose (03:29)
1-4. Bruno De Sá – Chants d’Auvergne, Vol. 4: No. 6, Lou coucut (01:57)
1-5. Bruno De Sá – 5 Lieder, Op. 48: No. 3, Kling! (Orch. Ripke) (01:26)
1-6. Bruno De Sá – Le carnaval des animaux: XIII. Le cygne (Orch. Ripke) (03:40)
1-7. Bruno De Sá – As Uyaras, Op. 15 (Orch. Lyra) (05:53)
1-8. Bruno De Sá – Chants d’Auvergne, Vol. 3: No. 5, Malurous qu’o uno fenno (01:30)
1-9. Bruno De Sá – The Lorelei (Orch. Ripke) (04:51)
1-10. Bruno De Sá – Vocalise-étude en forme de habanera, M. 51 (Orchestral Version) (02:59)
1-11. Bruno De Sá – Goyescas, Cuadro III: La maja y el ruiseñor. “Por qué entre sombras el ruiseñor” (06:19)
1-12. Bruno De Sá – Chants d’Auvergne, Vol. 3: No. 1, Lo fiolairé (02:47)
1-13. Bruno De Sá – 14 Romances, Op. 34: No. 14, Vocalise (Orchestral Version) (07:11)
1-14. Bruno De Sá – Aria and Variations on “Deh, torna mio bene”, Op. 164 (05:55)

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