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Gerson Luiz Sales, born in Rio de Janeiro, studied piano and voice at the Rio de Janeiro Music Academy and passed his piano diploma in 1989. In 1991 he moved to Milan where he performed renaissance music in a vocal ensemble. In 1992 he entered an engagement at the theatre in Hagen, Germany. Later on, in 1993, Gerson Sales started an additional education as a countertenor under Prof. Phillip Langshaw at the Cologne Music Academy. Since 1995 he has had several engagements in cities like Cologne, Vienna, New York, The Hague, Munich, Darmstadt, Taipei, Stuttgart, Madrid and Barcelona.
Among others, he performed Bertarido in Rodelinda, Nero in Agrippina, Ulisse in Deidamia, Serse and Arsamene in Serse of G. F. Haendel, Philidel in Purcell's King Arthur, La Musica and Speranza in L'Orfeo, Ottone in L'Incoronazione di Poppea of C. Monteverdi, Haensel in Haensel and Gretel of E. Humperdinck, Don Quixote in Don Quixote of Paisiello, Prince Go-Go in Le Grand Macabre of G. Ligeti, La Cuzzoni in La Cuzzoni of Agustí Charles, L'Ospite in Luci mie traditrici, L'Uomo II in La porta della legge of Salvatore Sciarrino and Gluck's Orfeo.


Gerson Sales was shown together with Michael Tews on the frontpage of "Opern Welt" in June 2009 on the occasion of the world premiere of Salvatore Sciarrino's opera "La porta della legge" in Wuppertal, Germany.


iin the edition of July 2000, a review of Susanne Kaulich:

"Moreover, the casting of a countertenor turns out to be an impressing trick.
The play is dominated by Gerson Luiz Sales, not only due to his voice but also
because of his well-developed body language."

Review of: The Fairytale after Ever and One Day
Part: The Seven-piece Ghost
Premiere June 2000 - Theater Heidelberg

Das Opernglas

in the edition March 2000, a review of H. Walter:

"After all, attention has to be paid to a countertenor, Gerson L. Sales, playing the part of Dinorah's brother, unfortunately including only one aria which, however, was performed in such a perfect way as regards the register arrangement combined with a fabulous phrasing that one need have no hesitation in asserting that he is a great hope in this discipline."

Review of: Dinorah
Part: The Goatherd (Dinorah's Brother)
Premiere January 2000 - Theater Dortmund

Augsburger Allgemeine

iin the edition of July 13, 1998, a review of Josef Heumann:

"...a baroque opera the casting of which is extremely difficult, requiring the assignment of two countertenors at once of whom there are worldwide less than ten."

Review of: Talestri
Part: Oronte (Dinorah's Brother)
Premiere June 1998 - Theater Meissen
Reference to the performance in Theater Neuburg on Danube