Sara Di Bella
Classical Sicilian soprano open to contemporary, folk and unconventional music; opera performer and choral music lover. She started as an Anúna fan, now an Anúna singer since 2013. Sara lives in Paris singing with the chamber choir of Chœur de la Philharmonie de Paris among many vocal ensembles. She has undergraduate degrees in singing and musical theory from Italy and a Masters degree from the Royal Irish Academy of Music in Dublin. Although trained opera singer she has great love for Baroque and Contemporary performance and her flexibility allows her to perform in diverse musical genres. She has performed with the JSB International Ensemble, Tenso Europe Chamber Choir and recently collaborated on the European Tour of Joe Hisaishi, the renowned Japanese composer of film soundtracks.
I started to love Anúna many years ago, dreaming about the enchanted lands of Ireland while I was melting in Sicilian heat. At that time, I was looking for something else. I wanted to escape my own island to find something new that I couldn’t get in the physical or musical horizon of my homeland. I knew a lot of different artists, but when I found Anúna, I saw that they had something else; something deep and profound that could easily “blend” with my personal approach to music. This was something that changed my life completely.
After attending the first Anúna International Summer School, I began my adventure with the group. I moved to Ireland, started rehearsing and soon began touring the world, bringing Michael McGlynn’s music in contact with different places and different cultures.
Because it doesn’t matter where you’re from. If you are lucky enough to experience an Anúna concert, you will live the music as we, the singers, are living it.
Approaching Anúna and its method of work was a big challenge for me… Every movement was so natural and real that my “classical choral” approach did not seem to fit with them.
I am an opera singer by training. When I joined Anúna, I was forced to discover what I call my “free inner musician”. For I had become overwhelmed by rules, by certain codes of behaviour on stage and I felt this had created a wall between me as a performer and the public, who were there to live an experience.
What is extraordinary about Anúna is that it is a “real” performing group. We don’t have walls, we are not on a stage to create something flawless. We are not perfect and that’s the beauty in it: Anúna is human. In order to be “real”, we have to create a link with every single person who is listening to us.
It’s like an elastic band. We hold one end and the audience holds the other. Our performances are always different because our audience is always different, with different responses. This conception helped me to grow as an artist and as a perfomer because I finally understood that, when you are “in” the music, you are doing more than merely listening to it.