Alma Sadé

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Alma Sadé , actually Alma Saddeh Moshonov , (born December 24, 1981 in Tel Aviv ) is an Israeli soprano specializing in soubrette . She has been a member of the Komische Oper Berlin ensemble since 2014 .

life and work

Alma Sadé comes from a theater family. The maternal grandparents were opera singers in Romania , the mother Sandra Sadé is an actress, and the father Moni Moshonov is a well-known comedian in Israel. Her uncle Gabi Sadeh , also born in Romania, is an opera tenor. She didn't discover opera until she was 17, when she worked in the props department of the Israeli Opera . She “fell in love” by her own admission with this art form and decided to become a singer.

Sadé studied at the Mannes College of Music in New York, where she sang Pamina in Mozart's Magic Flute and worked on the soundtrack for the film Forgiveness . Then she was hired to work at the opera studio of the Deutsche Oper am Rhein , where she was able to prove her versatility. There she sang Italian operas ( Cimarosa ), French ( Bizet , Poulenc ), Mozart in German and Italian, operettas ( Kálmán ) and operas of the 20th century ( Britten , Toth).

In 2014 she was engaged as a member of the ensemble at the Komische Oper in Berlin, where she was able to take on an equally wide range of roles, now also in musicals. In her hometown she went so far only as Suzel in L'amico Fritz by Pietro Mascagni on. Sadé worked u. a. in productions by Karoline Gruber , Guy Joosten , Immo Karaman , Barrie Kosky and Martin Schläpfer .

In October 2019 Sadé performed at the Komische Oper Berlin in the recital Farges mikh nit ( Don't forget me ). Accompanied on the piano by the artistic director, Barrie Kosky, Alma Sadé sang, together with the mezzo-soprano Helene Schneiderman , songs and arias of the Yiddish operetta , with pieces mainly by Eastern Jewish composers such as Abraham Goldfaden , Alexander Olshanetsky , Joseph Rumshinksy and Sholom Secunda . The audience and the press celebrated this production, which was included in the program for the first time on January 27, 2015, the 70th anniversary of the liberation of Auschwitz, and was performed in Stuttgart in 2017, then in Edinburgh and again in Berlin in 2018. The Germany radio wrote: "A better plea against the resurgent especially in Berlin anti-Semitism as such a recital, the likeable an important part of Jewish culture as well as rousing manner presents, you can not hold artistically."

In 2019 she was a guest at the Kfar Blum Festival in Upper Galilee , together with her husband. There she sang songs by Johannes Brahms . In the season 2019/20 she appeared at the Komische Oper Berlin as "brash and confident" Tatjana in the operetta Spring storms of Jaromír Weinberger on.

Roles (selection)

Abraham :

Amber :

Bizet :

Buck :

Britten :

Cimarosa :

Handel :

Kálmán :

 

Marius Felix Lange :

Mascagni :

Mozart :

Poulenc :

Daughter :

  • A strange princess in The Princess and the Pea

Valtinoni :

Weinberger :

Private

Alma Sadé is married to the Israeli violinist Amihai Grosz. The couple have two children.

Quote

“To be Jewish in Berlin and to be able to work on this opera house today is the greatest gift I could ever wish for. I think it's kind of a healing process for us after all that we've endured. "

- Alma Sadé : Interview with the Jerusalem Post , July 7, 2019

In this conversation she refers in particular to her work with the artistic director of the Komische Oper , Barrie Kosky, in particular for the musical Anatevka by Jerry Bock , which tells the story of a Jewish family.

Web links

Individual evidence

  1. ^ A b Barry Davis: Acting the part . Portrait and interview. In: Jerusalem Post, July 7, 2019. Retrieved April 22, 2020
  2. Westdeutsche Zeitung : Alma Sadé: On the Way to Verdi's Violetta , article by Lars Wallerang, August 6, 2010
  3. Komische Oper Berlin : “Farges mikh nit” Yiddish operetta songs with Barrie Kosky, Helene Schneiderman and Alma Sade , accessed on March 22, 2020
  4. ^ Opera Gazet : Farges mikh nit , September 30, 2019
  5. J. Gahre: BERLIN: Spring storms . Performance review. In: Opera glasses . Edition March 2020. Page 9/10.