Brazilian Christine Daae was chosen to play the role at The Phantom Of The Opera tour in China.

The actress SARA SARRES was chosen by international producers. "I was honored because for this commemorative tour, the American and British producers chose their favorite Christines" said the actress, one of the most talented of Brazilian musicaal theater.
"It is a very difficult role because it requires a vocal range of three scales." This means transit smoothly from low to more acute, skill reserved for so-called "first class sopranos."


The work to revive the role was not hard. "I believe that we have muscle memory because when I tried to remember certain choreography was enough to close your eyes and listen to the melodies for the body naturally out dancing the right steps," she says.


Sara shared with other Brazilian musical theater star, Kiara Sasso, the season of The Phantom of the Opera in São Paulo between 2005 and 2007 - due to the vocal complexity of the role, switching is required between the actresses, especially on days when there two sessions. "Christine interprets 13 songs," says Sara. The São Paulo state assembly was one of the most successful, totaling 677 presentations with 880 000 spectators.

Sara Sarres


Interestingly, Saulo Vasconcelos, who played the Phantom, also followed international career with the musical, working in Mexico. He attended, alongside Sara, Les Misérables in the assembly of 2001 marked the revival of the musical in Brazil. At the time, 20 years old, Sarah was already a reference in Brasilia, which was divided between musicals and operas. "I heard from a friend that there was an audition for Les Mis and came along with a brasilienses troop, which included Paula Capovilla, Fred Silveira, among others."


Not only the beauty, Sarah's versatility impresses: Besides singing she tap dances, plays piano, percussion and plays convincingly. But their trump card is the voice of soprano "lyric-leggero" - the language of music, Sara is classified as "crossover", that is, presents itself well as "belter", the characteristic tone of musicals such as "legit" or "trained", lighter and specific opera. It was this elasticity that allowed a feat: after two years ahead of when positioned the voice on the "legit", she assumed the role of Anita in the classic West Side Story, in which abused the "belter". "I've always been passionate about music, I search hard and never feel satisfied with my achievements," she assures


Watch her playing the role: