Soloist - Soprano
Alma Sadé
Zitat einfügen oder Element löschenI think the Komische Oper is a truly special place.
There is a real explosion of creativity here at the moment.
When a family has been made up of actors and opera singers for generations, then the apple usually doesn’t fall too far from the tree. Although in her youth Alma Sadé didn’t have much to do with music, she was certainly interested in art. In her home city of Tel Aviv, she started out doing some work experience in the props department of the local opera house, going on to work as a stage manager. »I couldn’t read music and was always bored stiff when I went to the opera. But for my job, I had to learn operas by heart. And in the end, I grew to love these works, especially The Magic Flute and Rigoletto!«
Back then, like today, the situation was politically explosive, marked by the fear of war and terrorism. At some point, Alma Sadé went along with her aunt, a designer, to attend a fashion show in New York. »There, for the first time, I experienced a sense of freedom.« Alma Sadé stayed in the city that never sleeps, where she managed to scratch out a living. And eventually, in this new environment, she discovered her own voice. First in jazz, and later in classical singing. And even though she came to singing comparably late, she never let herself be discouraged on her journey. »Back then I thought: it’s okay if my voice isn’t perfect yet. I’m still young!« For four years, she studied at the prestigious Mannes College in New York, and was then offered a position at the Deutsche Oper am Rhein in Düsseldorf/Duisburg. In her first weeks, she sat in rehearsals and didn’t understand a word. Nowadays, her German is outstanding.
When she went to visit her friend and former ensemble colleague Theresa Kronthaler in Berlin, one of the things they ended up doing was going to the Komische Oper: »We painted Berlin red, danced, laughed, and went to see Ball at the Savoy at the Komische Oper. The performance really moved me, and I knew that I wanted to sing in this city, at this house!« Soon enough, an opportunity arose, when a Zerlina was being sought for Peter Konwitschny’s production of Don Giovanni. Barrie Kosky heard her and invited her to trial for the role. For three years now, she has been a permanent member of the Ensemble of the Komische Oper Berlin, about which she says: »I think the Komische Oper is a truly special place. There is a real explosion of creativity here at the moment. I have the feeling that it’s a house for the here and now. That’s what makes it so exciting.«
In the Ensemble of the Komische Oper
Berlin since 2014.
ORIGINALLY FROM
Tel Aviv/Israel
STUDIES
Mannes College of Music New York, Opernstudio der Deutschen Oper am Rhein
Berlin since 2014.
ORIGINALLY FROM
Tel Aviv/Israel
STUDIES
Mannes College of Music New York, Opernstudio der Deutschen Oper am Rhein
IMPORTANT DIRECTORS
Guy Joosten, Immo Karaman, Karoline Gruber, Martin Schläpfer
PREVIOUS POSITION
Deutsche Oper am Rhein
IMPORTANT PARTS ELSEWHERE
Suzel (L’amico Fritz) in Tel-Aviv; Pamina (Die Zauberflöte) in New York; Mitwirkung am Soundtrack zum FilmForgiveness; Carolina (Il matrimonio segreto), Papagena (Die Zauberflöte), Soeur Constance (Les Dialogue des Carmélites), Stasi (Die Csárdásfürstin), Pamina (Die Zauberflöte für Kinder), Frasquita (Carmen), Zweite Nichte (Peter Grimes), Zerlina (Don Giovanni), Susanna (Le nozze di Figaro), Eine fremde Prinzessin (Die Prinzessin auf der Erbse) an der Deutschen Oper am Rhein
AT THE KOMISCHE OPER BERLIN
Zerlina (Don Giovanni), Maria (West Side Story), Virginia (Das Gespenst von Canterville), Romilda (Xerxes), Susanna (Die Hochzeit des Figaro), O Lia San, Ferrys Braut (Viktoria und ihr Husar), Nannetta (Falstaff), Pamina (Die Zaubermelodika), Venus (Orpheus in der Unterwelt), Arsena (Der »Zigeuner«baron), Prinzessin Laya/Suzanne Provence (Die Blume von Hawaii), Jenny Hill (Aufstieg und Fall der Stadt Mahagonny), Charmian (Die Perlen der Cleopatra), Hodel (Anatevka), Farges mikh nit