"As the 'religious leader' Zaccaria, Sperandio proved charismatic and persuasive." Zaccaria, Nabucco, G. Verdi Theatro Municipal de São Paulo Leonardo Marques, September 29, 2024 notasmusicais.com "Savio Sperandio performed better as Zaccaria, growing throughout the night and, little by little, giving shape to his powerful low notes." Zaccaria, Nabucco, G. Verdi João Luiz Sampaio, October 3, 2024 concerto.com.br "Sperandio particularly excelled with his impeccable opening solo in the Presto of the fourth movement of the Ninth (O Freunde, nicht diese Töne!)." Beethoven’s Ninth Symphony Theatro Municipal de São Paulo Fabiana Crepaldi, January 29, 2024 notasmusicais.com "...so that Sávio Sperandio makes clear that he is not only a superlative singer, but also an actor of high caliber (his pianos and the sweetness with which he suffers for the loss of Isolde, judging her dead, denote that a great opera singer also needs to be a great actor)." Isolda/Tristão, Clarice Assad Theatro Municipal de São Paulo Danielle Crepaldi Carvalho, October 3, 2023 notasmusicais.com "Sperandio’s generous voice, of admirable timbre, was controlled in the finest and most subtle lines, opening up in luminous moments, internalizing, crepuscular, moving, in sensitive and melancholic passages. The color of his timbre varied without sounding artificial, but profoundly necessary. The singer seemed hypnotized by the beauty of the work, and in the final appeal to love, he enveloped the audience, who hesitated a few seconds to break the reverie he had created. These magical moments, only very great interpreters, like Sávio Sperandio, are capable of establishing." Rückert-Lieder, Gustav Mahler Jorge Coli, July 2, 2023 concerto.com.br "Sávio Sperandio is saved for last, because his performance was a spectacle in itself. Since he played the role of King Henry VIII, the adjective that comes to mind to qualify his performance is majestic. Yes, Henry is a calculating monster, who wants to kill his wife, Bolena, at all costs, to have a clear path to marry Seymour. But Sperandio's performance is so captivating that you root for the villain; we want him to remain on stage as long as possible, and we get sad when that immense, colorful, and well-nuanced powerful voice leaves the stage. Manaus is already a hot city and, with Sávio on stage, that temperature ascended to the most incandescent extremes. If I were one of the OLA theater representatives present at the performance, I would immediately hire the bass to go sing in my city." Enrico VIII, Anna Bolena, G. Donizetti Festival Amazonas de Ópera Irineu Franco Perpetuo, May 22, 2023 concerto.com.br "…he is also very convincing in portraying the role. The same can be said of Sávio Sperandio as Henry VIII, who with his deep bass voice, as he did the night before as Swallow in “Peter Grimes,” impressively expresses the strong figure of the egomaniacal ruler in all his facets." Enrico VIII, Anna Bolena, G. Donizetti Festival Amazonas de Ópera May 2023 OperMagazin.de "In the male voices, the fully recognizable Henry VIII of bass Savio Sperandio seemed to have stepped out of London’s National Portrait Gallery. Vocally, Sperandio delivered a performance of warmth and electricity…" Enrico VIII, Anna Bolena, G. Donizetti Festival Amazonas de Ópera Márvio dos Anjos, May 2023 O Globo "In the protagonist trio, Enrico VIII by Sávio Sperandio stood out. With a powerful voice, precise intonation, and expressiveness in phrasing, his Enrico had not a single moment of weakness: he was a solidly built character who made his presence felt from beginning to end, scenically and vocally. He embodied a cold, sarcastic Enrico, bordering on rudeness and even sketching a certain pleasure at the evil he was preparing for Anna." Enrico VIII, Anna Bolena, G. Donizetti Festival Amazonas de Ópera Fabiana Crepaldi, May 26, 2023 notasmusicais.com "The bass Sávio Sperandio offered the lawyer and mayor Swallow a beautiful vocal interpretation, enriched by a controlled dose of irony." Peter Grimes, B. Britten Teatro Amazonas Leonardo Marques, May 23, 2023 notasmusicais.com "he (Savio) secure from low to high notes;" Beethoven’s Ninth Symphony Theatro Municipal do Rio de Janeiro Leonardo Marques, March 13, 2023 notasmusicais.com "Savio Sperandio was impeccable as Ramfis;" Ramfis, Aida, G. Verdi Theatro Municipal de São Paulo João Luiz Sampaio, June 6, 2022 concerto.com.br "Savio Sperandio interpreted Ramfis with the security and vocal quality that characterize him." Ramfis, Aida, G. Verdi Theatro Municipal de São Paulo Leonardo Marques, June 15, 2022 notasmusicais.com "...the Gaudenzio of Savio Sperandio, whose robust voice (yet handled with refinement) gave the impression of resonating far down the streets surrounding the Teatro São Pedro, so powerful it was." Gaudenzio, Il turco in Italia, G. Rossini Theatro São Pedro Irineu Franco Perpetuo, December 11, 2021 concerto.com.br "Sávio Sperandio’s Selim is anthological: his splendid powerful voice, associated with an irresistible performance, in an absolutely just comedic timing." Selim, Il turco na Itália, G. Rossini Festival de Ópera de Guarulhos Jorge Coli, September 27, 2021 concerto.com.br “...I would clearly highlight first the Brazilian bass Savio Sperandio, a surprising revelation, that received the best applause of the night thanks to a powerful and deep voice, well-timbreed and with notable breath management, that also composed his resentful character displaying personality and stage presence. An interpreter of excellent level…” Silva (Ernani), G. Verdi Carlos Singer, August 2016 Mundo Clássico “The highest point of the vocal team was Sávio Sperandio as Silva, a bass with a homogeneous and sumptuous voice, surprising phrasing and musicality. Each of his interventions generated interest and impact, from his initial aria “Infelice! E tuo credevi” performed with nobility and pathetism until his last clamor for vengeance.” Silva (Ernani), G. Verdi Tiempo de Música August 2016 “However, despite all the compliments I have dedicated so far, more than deserved, there is one that was also a great surprise for me, who had never seen him, unfortunately: Sávio Sperandio performed an extraordinary task interpreting Don Ruy Gómez de Silva, the “old nobleman” who was about to marry Elvira. He is a bass with an impressive vocal range, who sings extraordinarily well, with a voice almost perfect for the great Verdian roles of his register. His performance was also very convincing and outstanding. For that, he received a great ovation in the final greetings." Silva (Ernani), G. Verdi Juan Daniel Castillo, August 2016 El Apasionado "In the production of Theatro São Pedro, the spectacular bass Savio Sperandio stood out, interpreting the role of Archibaldo. It is true that the stage direction did not reserve greater theatrical challenges for the blind man who moves in slow motions, dragging his feet, always supported by a guide. But the beautiful timbre with rich nuances as well as the secure and flexible emission revealed all the vocal potential of this great artist that is Sperandio." Arquibaldo (L’amore dei tre re), I. Montemezzi Teatro São Pedro, São Paulo, Brasil Nelson Rubens Kunze, March 2015 movimento.com "What a pleasure to hear Sávio Sperandio, with his sumptuous voice, in the role of Archibaldo!" Arquibaldo (L’amore dei tre re), I. Montemezzi Teatro São Pedro, São Paulo, Brasil. Jorge Coli, March 2015 movimento.com "The bass Sávio Sperandio, right at the beginning, set the tone for the evening, opening the opera with a beautiful Abbietta zingara, demonstrating the agility required by the score, his always exuberant projection, and a convincing characterization of Ferrando, which resulted in yet another of his great performances." Ferrando (Il Trovatore), G. Verdi Leonardo Marques, September 2013 movimento.com "The bass Savio Sperandio was the voice of the night as Creonte and shone both in the trio of the first act with Dircée and Jasão, as in the duet with Medeia in the second act." Creonte (Medea) Leonardo Marques, December 2013 movimento.com "The high interpretive level of the Arkel of bass Sávio Sperandio, Mélisande's grandfather, shows us how much a Brazilian singer can access in artistic quality. An artist ready for the performance of great characters, among them: Dr. Bartolo, Mustafá, Banquo, Priamo, Don Profondo, Nilakántha and the Chief of “Il Guarany”." Arkel (Pelleas et Melisande), C. Debussy Marco Antonio Seta, 2012 movimento.com "As Zaccaria, the Goian bass Sávio Sperandio obtained one of the most important highlights of the night. An imposing voice, with extremely sonorous extreme low notes and secure high notes, he possesses the characteristic flexibility of true basso cantante. Zaccaria corresponds to the first solo of the opera, Sperate o figli, with whose interpretation, as well as that of the prophecy of the third act, he drew enthusiastic applause from the audience. But the true acid test for the bass in this opera is the second act aria, Tu sul labbro de’ veggenti, because its orchestral accompaniment is minimal. For most of the time, the singing dialogues with an obbligato cello, which lays bare, leaving completely exposed, the bass's voice. And it was precisely here, in the most difficult of his interventions, that Sperandio presented the audience with a true master class of Verdian singing, reaffirming his deserved position as the greatest bass on the Brazilian lyric scene at this moment." Zaccaria (Nabucco), G. Verdi Teatro Municipal do Rio de Janeiro Sergio Casoy, July 26, 2011 movimento.com "The highlight among the main soloists was bass Savio Sperandio, who sang with a beautiful and ample voice of a true bass, even exciting in one of the most difficult bass roles in 19th-century Italian opera." Zaccaria (Nabucco), G. Verdi Teatro Municipal do Rio de Janeiro Marcus Góes, July 22, 2011 movimento.com "The bass Savio Sperandio composed an excellent Friar Laurence. Owner of a voluminous, well-projected, and beautifully timbred voice." Romeo and Juliet, Gounod 2010 movimento.com "His deep, confident, wonderfully timbred voice, impeccable technique, and high-quality projection showcased why he is one of the most prominent artists in the Brazilian operatic scene today." Leonardo Marques movimento.com