Vol 27
Il Volo
By Natasha Barbieri
Gianluca Ginoble, Ignazio Boschetto, and Piero Barone make up the classical crossover supergroup Il Volo. They first came to the public’s attention competing against each other in the Italian television competition “Ti lascio una canzone.” However, when the show creator Roberto Cenci heard them, he envisioned the three voices blending in a format similar to that which had made The Three Tenors a commercial success. The trio performed “O Sole Mio” together and the rest, as they say, is history. Il Volo’s debut album went to the top of the charts in Italy and also caused a sensation in the American market reaching No.10 in the Billboard charts. They were featured on major network TV shows including Good Morning America and The Ellen DeGeneres Show among others. Il Volo has continued to be a force to be reckoned with. In 2015 they represented Italy in the Eurovision Song Contest and came in third. Their brand-new album “Il Volo sings Morricone” is released November 5th and is a tribute to the legendary Italian composer who inspired many classical crossover hits including “Nella Fantasia.” I was privileged both to exclusively interview Il Volo and attend their press conference which began with the premiere of the music video for “The Ecstasy of Gold.” It is the opening track of their new album and marks the first time the Morricone estate has allowed lyrics to be added to the main theme from “The Good, The Bad and The Ugly”. To make it even more
special the lyrics were written by Morricone’s son Andrea. The video itself is a tribute to the film and Ignazio jokingly shared that Gianluca was doing his best Clint Eastwood impression. It’s clear that Gianluca, Ignazio, and Piero are no longer the young boys who first brought audiences to their feet. They sang with the ease of seasoned performers moving through different vocal techniques with beautifully lyrical portions of “Here’s to You” and “Se,” and masterfully changing to a popular growl when it was required. Only Piero stood, while Ignazio, and Gianluca sat casually and exchanged jovial remarks with each other. “We are very lucky because spending over 10 years together, besides our age, also our relationship grew and became stronger.” Gianluca, Ignazio, and Piero continue to take their music training seriously with daily practice. They also develop their voices with assistance from individual teachers. They ended their live set with the powerhouse “Nella Fantasia” before coming down and addressing journalists. Their casual demeanor greeting the press in Italian, Spanish, and Portuguese,and occasionally bursting into song, is exactly what crossover needs to bring this music to a younger generation. Il Volo had the privilege of meeting and working with maestro Morricone before his unfortunate passing in 2020. “We’ve always been fans of Mo Ennio Morricone, we grew up listening to his melodies and we are honored to sing
this timeless music.” The trio even performed with him on stage. “He wasn't a man of a lot of words. But I mean, he treated us very, very good because we were 14-15 and we were treating him like a friend. So, he said to the guys, ‘Don't worry, I'm going to take care of you…’ That's the reason why we decided to pay this tribute… because we love him.” After his passing, Il Volo performed a concert at the Verona Arena in the composer’s honor which was featured on RA1 to a record 4.7 million viewers. “In the show, our voices will melt with the music creating an unforgettable experience for us.” Fans in the USA will have a chance to experience the concert this Fall on PBS. It was important to Gianluca, Ignazio, and Piero that this project be approached carefully. “When we started thinking about this project, we involved immediately Mo Morricone’s family.” The gesture not only led to the family’s approval but also involvement in the project from Ennio Morricone’s son (and composer) Andrea who shared his own composition “I colori dell’amore” (“The colors of love”) with the trio. “Andrea, besides helping us during the making of the album, gifted us this beautiful song.” To prepare they also watched the films the soundtracks were created for and immersed themselves into Morricone’s world. “We wanted to keep as much as possible faithful to the original version of Ennio Morricone… We have to say the truth. Singing this repertoire, it wasn't that difficult for us because the melodies are very comfortable for our vocal cords. But I think the most important and delicate part of this project is to keep the identity of Morricone's music. And we have to say congratulations to the producer. Guys, you did a great job, really.” Producer Per Magnusson was on hand at their press conference and followed up by saying, “I think with Morricone, his best feature is the melodies. His melodies are incredible… we could change the arrangement, we could change the tempos, we can do a totally different style to the song. But they always kept his melodies intact… there are no other composers out there to do the melodies like Ennio could.” He also shared the project was no small production with over 120 involved.
Coming from Sicily has given Piero a special connection to “Se.” Gianluca’s favorite is “The Ecstasy of Gold” and for Ignazio, it is “Your Love.” They hope the album as a whole will take audiences on “a magical journey through music and feelings.” With experience has come a more refined ability to pick material that suits their unique qualities. “Now we are aware of what sounds better for us, of course we have not the crystal ball, the real answer only the audience can give.” They credit their success to Italian music. “It's the music that we sing. The power of the melody, the power of the Italian music that we sing (in the past done by Luciano Pavarotti and many [other] artists). We know that people love the Italian culture, so that was the goal since the very beginning… Thirteen years ago, we signed a contract with an American label company. And the first album we released was 80% all in Italian. Many people, when we sing in the concert, during what we sing in Italian, they don't understand the words, but that's the power of the melody and the power of the Italian music that we sing.” They have also been carefully involved in the arrangement process. “We spent a lot of time in talking with our producers in order to let them understand our personalities and the best way to express them, i.e with our vocals.” The album features collaborations with David Garrett, Hauser, and Chris Botti. “We chose very carefully each featuring [artists] - as you can see all featuring are instrumental because we wanted to glorify Mo Morricone’s melodies with the friends we met during our journey.”
The quarantine for them, as for all performers, has been difficult but they are looking forward to returning to the stage with a world tour in 2022. “During the quarantine, besides trying to help our communities to fight the pandemic in different ways, we dedicated, of course, more time to our families and beloved ones.” “We can say that after two years, it's been really a hard moment for us, for all the world. We live in difficult moments, but this is the best way to start again with the new project with a tribute to Maestro Morricone, because we want to bring the Italian culture to the music, but also the beauty of our country.” Over the years they have performed in several world-famous venues and they tell us, “Each venue has its own story but finally being back on tour next year fills our hearts with pure joy can’t wait to perform again at Radio City Music Hall.” As important figures in the classical crossover genre they hope it will continue to develop and that they will play a part in raising the profile. “We hope to give a contribution to bring this music to the wider audience possible.” The future holds many possibilities for them. Gianluca is studying acting so it will be interesting to see which doors open. “Who knows,” they said. “But for now, it’s better if we sing.” They told us, “The magic of this job is that you never know what to expect and we hope to feel always that adrenaline before going on stage or the new releases…You never stop learning and what we’ve learned so far is that ‘[The] Universe is the limit’ so we keep following our dreams.”
ILVOLOMUSIC.COM This interview is presented with thanks to Joanna Burns PR.
★★★★★★★★★☆ ‘Il Volo Sings Morricone’ is cinematic with powerhouse moments to rival Il Divo but a sensitivity that allows the music to breathe. There is a maturity to the interpretations and the ability to strip back to embrace intimate moments.
Meghan Picerno brings a new take on Broadway’s ‘Phantom of the Opera’ Meghan Picerno is capturing audiences with her colorful coloratura voice. After graduating from the Manhattan School of Music she sang a number of opera roles including Die Zauberflöte, La Traviata, and Lucia di Lammermoor. The legendary Hal Prince picked her to be cast in his production of Candide which led to roles in Love Never Dies and then Phantom of the Opera. After shutdowns due to the pandemic, Meghan is back playing Christine on Broadway. CCM: How did your musical journey begin? Meghan Picerno: I started playing piano when I was four years old and became very talented at classical and jazz piano. I even played in a jazz band! As a high school freshman, I auditioned for my school’s production of The Music Man and landed the lead role, Marian. From there I was lucky to be cast as the lead in every show throughout my four years, including being cast as the leading lady in the Illinois’ All-State Theater production of Pirates of Penzance (my first operetta!). My love affair with Opera began during my junior year of high school when I saw Romeo e Julliete at Chicago Lyric Opera with my French class. I rather immediately began taking classical voice lessons just for fun. CCM: Growing up did you listen to a lot of genres or were you mainly focused on opera? Meghan Picerno: I really never listened to opera or musical theatre growing up. Mostly other genres… especially a lot of classic rock - CCR, Led Zeppelin, Kiss, Rolling Stones, ACDC, Beatles!
CCM: In university, what were some of the favorite things you learned that stay with you today? Meghan Picerno: “Keep going no matter what; like you are riding a bicycle.” Another professor I loved said, “Why not try it? Just go for it, why not - you’re amazing!” “Always be uncomfortable, you grow most when you aren’t comfortable. It’s best to dive into situations headfirst you’ll swim!” CCM: Tell us a little bit about some of your roles and experience in opera after graduating. Meghan Picerno: After graduating with a Master of Music degree in Voice from Manhattan School of Music, some of the roles I’ve been lucky to play include Queen of the Night in Mozart’s Die Zauberflöte at Lincoln Center and Carnegie Hall, and throughout the country as Gilda in Rigoletto, Violetta in La Traviata, Olympia in Contes d’hoffmann and the titular role in Lucia di Lammermoor. And of course, I’m most well known world-wide for Cunegonde in
Bernstein’s Candide (the role which literally changed my life!). CCM: You have quite an amazing story as to how you became Christine. Can you tell us a little bit about how Hal Prince first discovered you, if you went through an audition process, and finally getting the news that you would be Christine on Broadway?! Meghan Picerno: I was singing opera in Spain and directly off the flight back to NYC. I was asked to do a concert at a gallery opening on the Upper East Side where I sang “Glitter & Be Gay” from Candide with my friend Michael on piano. He told me New York City Opera was looking for the leading role for their new production of Candide. I had just left my agents in Europe, meaning I was without representation, so my amazing mentors and “fairy godmothers,” as I like to call them (who are very wonderful and powerful women in the biz), got in touch with the General Director of NYCO, Michael Capasso, insisting he just had to hear me sing! The following week I auditioned on their lunch break and sang “Glitter & Be Gay” and got a callback! During that audition, an “older gentleman” (who at the time I did not know) called me closer to sing and shouted down the table to the rest of those in casting as I was auditioning, “Well she’s fabulous!” “She’s fantastic…!” I shall forever remember that. Turns out that lovely man was none other than the legend himself, Hal Prince. Three weeks later I got an email saying, “Would you like to play the lead in Hal Prince’s New York City Opera [production] of Candide?” It was one of the most thrilling moments of my life. The show was run more like a Broadway show than an opera production because there were so many crossovers within the industry. At
one point Hal and our choreographer (the legendary Pat Birch - also one of my fairy godmothers now!) asked if I had ever considered performing on Broadway. I hadn’t, really, but it of course sounded amazing. He asked if I had ever seen (his) The Phantom of the Opera. I very quietly (and rather embarrassingly) remarked that I had not seen the show and he laughed and replied with, “Well we are going to change that - I’ll get you my tickets.” I saw the show that night sitting in his box at The Majestic, and thought it was absolutely epic and incredible! Once Candide ended, Hal advised me to sing for Tara Rubin Casting for the US Premiere of Andrew Lloyd Webber’s Love Never Dies. Two months later, I auditioned for the wonderful Andrew Lloyd Weber himself (which turned more into a coaching than an audition - it was awesome), and three hours later I was cast as the lead, Christine in his beloved show! It was the quickest response I’ve ever gotten from an audition in my life! Halfway through my run of Love Never Dies the music director, Kristen Blodgette (now also one of my fairy godmothers and conductors here on Phantom Broadway) Hal, and Andrew asked if I wanted to open the new world tour revival of Phantom, and then transfer to Broadway. Of course, the answer was YES! We basically built Phantom from the ground up with the New York Creative team and premiered the revival to Israel, Malaysia, Singapore, the Philippines, etc. I left the tour, and three weeks later I was in rehearsal for the Broadway production. I made my debut with my closest friends and family on stage, on the creative team, and in the audience. Hal was such an important and pivotal mentor in my life, and I will be forever grateful for him and miss him dearly. It’s been an INCREDIBLE journey... and I’m excited
about what future adventures are ahead once I take my eventual final boat ride here at the Majestic! CCM: People tend to think of classical or even Broadway singers as rather straight-laced given the seriousness of the music. Has it been fun to challenge those notions and show that the music really is for everyone? Meghan Picerno: Absolutely! Human nature’s natural inclination is to sort each other into perfect, easy-torecognize little boxes. I love to defy that notion. I love not being the typical leading lady in musical theatre or opera - people are often surprised when they meet me. Art is for everyone. Break out of the boundaries of society! Showing people who you are is very freeing and adds to the art. Most people don’t fit into one box and I think you should embrace every aspect of whatever your collection of unique shapes (not even a box) may be. CCM: Opera and Broadway actually have a lot in common with the grandness of productions and power of the music. What would you say to entice fans of each to give the other a chance? Meghan Picerno: In America I want people to know that opera is not just for older or wealthy people. It used to be pop music back in the day and the talent of these performers are Olympian and unparalleled. The stories are very human, even if you don’t speak the language, you will know what is going on and be able to feel the emotion of the performance. People from the classical world need to give Broadway a chance because it is one of the most incredible forms of art. The realism and the in-the-moment stories are incredible. Also, the singing, acting, and dancing talents are
unmatched. I love the can-do attitudes and sense of community the Broadway world brings to live performance. I think there is a stigma that opera performers can’t act and some musical theater people can't sing. That is far from the truth as both worlds have an unbelievable amount of mind-blowing talent. That’s why I love being a crossover because I am able to use tools from each genre that benefit the other. I also think being a crossover is becoming normalized in each genre. CCM: In addition to Christine, what have been some of your favorite roles to play? Meghan Picerno: Marian in The Music Man, Eliza Doolittle in My Fair Lady, and Maria in The Sound of Music. CCM: Do you have a bucket list of roles you’d like to take on in the future? Meghan Picerno: Glinda in Wicked is of course on the list - what fun this would be! And I would also love to originate a new role. CCM: Phantom, like opera, is a big sing and with so many shows a week how do you keep your voice healthy? Meghan Picerno: I am like a soldier and I am a pro athlete - like all of my Broadway family. Everything I do is for the show. I don’t talk after shows. I keep a very strict diet: no spicy foods, tomatoes, vinegar, etc. and I drink a ton of water, take vitamins, and sleep as much as possible. Self-care is really important both physically and mentally. I make sure to listen to my body and don’t feel guilty about it. I always believe that you have to refill your glass, or else you will have nothing to give, and I always share as
much as I humanly can to the audience when I am performing. CCM: An important Phantom fan question, are you team Phantom or team Raoul? Meghan Picerno: Neither: Team Christine all the way!!! CCM: Having played Christine in Love Never Dies, does it change the way you play the original role at all to know how the story finishes? Meghan Picerno: Slightly, because I know her future. I know what she is capable of. Not everyone has what it takes to be a world-famous opera diva (like she is in Love Never Dies). Which means those seeds were always there. But in Phantom, as my younger self, I of course do not know my destiny. So, I have to embody the beginnings of her blossoming in Phantom. There is such an arc for her growing from a girl into a woman from the beginning of Act 1 through the end of the show, which
then sets the stage for what is to come in LND. And indeed, our wonderful Production Supervisor, Seth Sklar-Heyn has encouraged and given me license (particularly post-pandemic shutdown) for me to really sink my teeth in and play a much stronger, sometimes messy, passionate, intelligent, fiery, and very interesting human version of her. As a female actor, I LOVE THIS freedom. It’s a breath of fresh air. If you haven’t seen us since we reopened, you must. It is just SUCH a fresh new take on the show! CCM: Do you have a guilty pleasure TV show or podcast you binge? Meghan Picerno: My biggest guilty pleasures on TV would have to be anything Sci-Fi, like Star Trek, Marvel, Star Wars, etc. I love it all! CCM: Outside of music what are some of your favorite hobbies? Meghan Picerno: I love fashion, art, travel, and food.
MEGHANPICERNO.COM Photo Credits: Josh Farner for RRR and Matt Murphy
A Christmas Gift
Branden & James are a music duo whose collaboration brings the power of the operatic voice, with the warmth of the cello for all-around musical richness. Their Christmas offering “A Christmas Gift” now released, is beautifully stripped back with only vocals, cello, and piano on the majority of tracks. For a Holiday album, they have managed to present a tracklist of rarer finds alongside much-loved standards. The production very much feels as though the listener is being serenaded by the fireplace. You can even hear occasional inhalations from James on exposed cello solo moments. The duo, along with arranger James Clark, breathes new meaning into “I’ll be Home for Christmas” by combining it with the sentimental Broadway favorite “Bring Him Home.” The pairing brings aching melancholy to the track
that is often performed with cheerful resignation. Branden is clearly a talented vocalist who can adapt his classical training to a variety of styles but there are moments when the listener wishes he had the material to fully embrace his operatic instincts. However, it’s clear the repertoire choices make for a cohesive album. Highlights on the album include “Caro Gesu Bambino,” the lovely duet of “Be Still” with American Idol alum Effie Passero, and “Bread of Heaven.” The stand-out though is the new interpretation of Bing Crosby’s “Blanca Navidad.” This shows Branden at his crossover finest and really draws in the listener with the addition of guitar, by Al Ramirez, to supplement James’ emotional cello. This track alone makes downloading the whole album worthwhile.
★★★★★★★☆☆☆
BEHIND THE
Song
DARK ANGEL | LUCY KAY
Fans have been eagerly awaiting the return of Lucy Kay with her second album ‘Dark Angel’. The soprano studied at the Royal Conservatoire of Scotland and won her way into hearts around the world with her audition on Britain’s Got Talent. What sets Lucy apart is not only her powerful voice, which soars both on high notes and also in the chest register, but her authenticity as an artist. Lucy is a wonderful ambassador for classical crossover and has rightly been called ‘The People’s Soprano.’ Fusing dark cinematic scores with soaring vocals the album showcases Kay as a crossover artist not to be missed, crafting beloved rock and pop hits into contemporary classic masterpieces.
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Enjoy the Silence by Depeche Mode has been a staple song in my life, it was continually played in my dad’s car when I was a little girl. So, the song stuck with me and at that time it was just a song that reminded me of happy times, journeys to camping trips and holidays. Since then, it has evolved, and the words resound with me more so than ever. This song represents the power of words which can be unnecessary and sometimes harmful so the idea of enjoying silence is often a better one.
My version of Depeche Mode’s Enjoy the Silence has been stripped back to the original 1989 ballad creating a dark Hollywood film-inspired sound. I wanted to keep the majority of this piece the same, we didn’t change the words or melody lines but decided to begin with a lonely piano line in the distance, whilst adding haunting vocals the violins race at an increasing speed building tension and anticipation to a powerful and explosive climax by the Filmharmonic Symphony Orchestra at the very heart of the chorus. As we reach the end of the song the violins start to take leave, creeping away into the darkness and the distorted piano once again returns with a last solo line creating an eerie atmosphere dissipating into silence. I’m mostly excited about how we have transformed an up-tempo pop song into a slow Hollywood Film soundtrack. I really enjoy turning songs like these on their heads and creating something fresh and captivating.
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Creep by Radiohead has been one of my absolute favorite rock songs because of the raw vocals and lyrics. In my opinion, the lyrics represent the majority of people who feel like they are different or feel as if they don’t fit in and conform to society’s stereotypical views on what is normal/beautiful. I’ve always felt the odd one out, whether in school or just life generally and I used to be ashamed of that side of me and for a long time I chose to hide it away as trying to expose that side of myself always seemed to have the adverse effect I had desired. It’s taken until my 30’s to actually realize life is too short to hide away and that being different is beautiful. So now I choose to embrace it!
I wanted to keep my version of Creep relatively the same melody-wise and words (all bar a couple of naughty swear words!) I decided that although I’m trying to push boundaries with classical music maybe swearing in this song was probably not quite appropriate, so I changed those words to a cleaner version. My cover of Creep focuses on exploring different vocal textures to represent the fragility and vulnerability of the words. The orchestral score goes hand in hand creating a tentative start with the violins playing tremolo notes to reiterate the nervousness of the singer. During the song I become more self-aware and confident in being different, my vocals embrace a more powerful tone leading up to the powerhouse notes I’m well known for. The orchestra joins the crescendo into the climactic words ‘Run’ with the crash of cymbals which is reminiscent of a firework display or crashing waves spilling over and fading away into a single vocal line ‘I don’t belong here’ which almost sounds to the listener as if I am once again alone and singing just to them. I’m just thrilled with how the song turned out changing the rock instruments for a big symphony orchestra thus creating a huge cinematic soundtrack!
I wanted to take popular original pop / rock songs and completely turn them on their heads by transforming them into Hollywood Film inspired soundtracks. While rock and heavy metal songs are considered to be dark and grungy, I wanted to show that there is beauty in this darkness too.
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Poison by Alice Cooper has been a song I listened to over and over again in my teens as well as other covers (dance versions) and because of that I always wondered what it would be like to sing a classical version of this. So, its been on my list of things to do!
I wanted to keep the majority of this song the same but to create a big cinematic experience for the listener. This time we see the inclusion of the FILMharmonic choir adding extra depth and intensity to the music. We decided to slow the song down considerably and as the vocals grow so does the Orchestra and choir, keeping on a constant and dramatic ascent throughout the score. The percussion ensemble heard throughout evoke a visceral reaction to the listener adding maximum drama for a live film action feel. I wanted to give the listener a chance to hear a rock song transformed into a classical piece of music, both genres work hand in hand and create a fantastic crossover style, who says an opera diva can’t rock out too?!
Benedictus is a beautiful song by composer Karl Jenkins and has been a song I have always listened to and admired. I interpret this piece as encapsulating the sense of a divine entity much bigger than ourselves and that we should remind ourselves daily just how precious life is. My adaptation of Benedictus is still very much in keeping with the album’s Hollywood Film score style but with an added serenity and majestic feel to it by adding the sweet and delicate tones of the Harp. Throughout this piece, there is a continual call and response interaction between my
vocals, the choir, and several solo instruments before an unexpected and sudden resound of magnificent vocals, orchestral tutti, including the organ at full force accelerating through a powerful and dynamic chorus! The listener is then brought back down from the heavens and the music resolves back to where we first started, with the serene call and response between myself, the choir, and the Orchestra.
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“I wanted to show that there is beauty in this darkness too” Download. Stream. Support. LUCYKAYOFFICIAL.COM
The Dark Tenor Billy Andrews is “The Dark Tenor.” The singer created the personality to make classical music more accessible to the general public and his unique combination of classical and rock has made him a success in the charts and on-stage. “The Dark Tenor” continues to tread new territory with 3D printing for instruments, AI, and more.
CCM: You have released the second in a trilogy of new music based on renowned classical composers. How did you first come up with this concept? Billy Andrews: When the Pandemic hit, I still wanted to keep releasing! Live concerts got hit really badly and many artists just stopped releasing. I wanted to keep music and culture going. I turned Beethoven, Bach, and Mozart into Superberes and created the ICONS Trilogy with 3 EPs. Not only did I want to release new songs but I also wanted to add full recordings of the big classical masterpieces I used in my own songs! CCM: Your new release is entitled "Johann." What is it about the music of Bach that fascinates you? Billy Andrews: I spent most of my youth in the Dresdner Kreuzchor. Bach’s Motetten were very much part of my every weekends life in church with the choir. I even remember singing the St. Mathew’s Passion touring Japan without even turning a page. That’s how well we knew Bach. CCM: Tell us about "When you roar.”
Billy Andrews: ‘When you roar’ features ‘The Well-Tempered Piano’ one of my Bach favorites! I really wanted to create a song that beats and roars in the vibe of the society. It’s all about being who you are and want to be. Roaring it out there! Creating noise in the name of Bach. CCM: How did your collaboration with The Queenz of Piano begin? Billy Andrews: Jenny, Ming, and I have been talking about a collaboration for a while. “When You Roar” was clearly THE Song to do this. I Approached The Queenz and they instantly loved the idea! We also turned up a fascinating awesome music video! CCM: What music do you imagine the great composers would be making if they lived today? Billy Andrews: Beethoven would be in Metal / Gothic. Bach probably more mainstream but still Rockish! Mozart - absolutely clear mainstream Pop! CCM: Making classical music accessible has been an important part of your career and especially having audiences able to hear the music live. What do you think the key is to getting new fans to attend shows? Billy Andrews: I think classical music should be accessible to everyone! No matter the monthly budget! Mozart’s “The Magic Flute” was written for the people, not for a small elite to enjoy. Music is something extremely powerful, it can heal the soul, the heart and let you forget your regular life for a while. Why lock it away? I try to act as a bridge to classical music. My audience is mega diverse
and is found in all age groups! Anyone who loves great music and enjoys an edge instead of the mainstream. By melting classical music into my songs, I hope to create interest for the beautiful genre of classical music. Another part of my Mission is to recreate the feeling of the people who heard e.g. the Dies irae in Mozart’s Requiem back in the day. Just imagine what it must of felt like. People didn’t have a constant sound wall of Spotify and Music in Elevators. The Dies irae must have felt like heavy metal to the listeners. So, I add guitars and drums, try to re-create that feeling for my listeners today! CCM: You have used some innovative processes like 3D instrument printing, LED technology and AI. Tell us a bit more about these mediums and any others you would like to explore. Billy Andrews: Music never stops evolving! Why should instruments? With my team, I created the first 3D printed Cello that is equipped with LEDs on the inside for my German tour starting on November 12th, 2021. My light operator can utilize these LED´s in 256 different Colors. I hope to ignite fascination for classical Instruments this way. It’s basically the same concept transferred from my music to classical Instruments. AI is another fun game! Why not co-write Songs with an AI? The outcome is mega interesting and fascinating! CCM: When you are not on stage how would you describe yourself?
What are some of the everyday hobbies you enjoy? Billy Andrews: Creating things that the world hasn’t seen before is what I love doing! I hate boring people so I constantly work on new and fun ways of showing everyone this new fascinating side of classical Music. CCM: When will your final release 'Wolfgang' be available? And are
there any more projects you will be sharing soon? Billy Andrews: For now I’ve concentrated on finalizing my new album CHRISTMAS DELUXE! It was so much fun working on this huge tracklist of songs! Wolfgang, the third part of the ICONS Trilogy is planned for the first half of 2022!
THEDARKTENOR.COM
COVER STORY
Sarah Brightman A CHRISTMAS SYMPHONY
By Natasha Barbieri
Sarah Brightman is the queen of classical crossover. With thirty million albums sold, she is the best-selling soprano in the world. She was also the muse for Andrew Lloyd Webber’s “Phantom of the Opera” and created the iconic role of Christine Daaé. Sarah has performed at the Beijing Olympics to over five billion viewers. She is also a Grammy-nominated artist and the only artist to have topped the Billboard dance and classical music charts at the same time. Those are just some of the stats in an incredible career, but for fans, Sarah Brightman is more than all that. With an incredible three-octave range, Sarah is beloved for a voice that is both angelic and earthy. She is also a woman that has remained at the top of her game as a recording artist for three decades, time and time again breaking new records and reinventing herself. Sarah will bring her “A Christmas Symphony” tour to stages across America this year. It is based on her first globally live-streamed concert which she recorded at the Christ Church Spitalfields in London in 2020. “I'm quite traditional when it comes to Christmas,” Sarah shared. “It's a very personal thing for me, with Christmas time for me and my family.” It was important for Sarah to create a program that could be enjoyed by people of all faiths and backgrounds. “Choosing the repertoire, it was quite fun ticking all the boxes in that it gave me more room to do all sorts of things. It wouldn't be just Christmas carols - I mixed it up. I have some Christmas pieces in there which had sort of religious overtones to them that we know… but I also have songs which are more seasonal, that talk about, you know, it being in the wintertime. Loss of love, gain of love, all of those things. Also, I have some beautiful orchestral pieces. I've got wonderful
choir pieces. I’ve also got a little progressive rock which touches on Christmas in there.” Sarah will also perform some of her own popular hits. She calls it “a complete mixture of things.” For those unable to see Sarah’s tour live, her original livestream will be broadcast on PBS. Of that event, she says, “It was a bit scary. Because you're in a different situation to what I've been in before, but I got lots of rehearsal. You know, I have a nice roomy apartment size for people to rehearse with... And I had room to walk around and really get the feeling of when you're on stage. I could do that with the piano here and everything. And so really just doing it felt very natural because we all had time to do lots of preparation.” The quarantine provided a unusual amount of downtime for the soprano. “I remember at the beginning of it, I'm thinking, ‘Okay, I need to be useful to myself and useful to others. So, what can I do for my mother, who lives in the south of England, and my brother who are vulnerable?’ So, I thought, ‘Great, I'll be allowed to go down to them help with medical supplies, food, all of those things, and actually keep their spirits up by just kind of being near’. And then in a week, I went into a bubble with my singing coach here in England. And I was able to do a complete refresh of my vocals. So [that] really kept me going.” She compares a good vocal coach to a chiropractor getting things back in alignment. “They’ll say it's just small adjustments, but they do need a professional hand to do them. So that's why as singers, I suppose we just spend our life going to both coaches… and also working on your body with your yoga or your Pilates in order to keep all your core strengths.” She also mentions using the time to look at new types of repertoire.
From beginning her career in the dance troupe ‘Hot Gossip,’ to her Broadway career, and later launch as a solo artist, choosing the right repertoire has been important to Sarah’s career. “You have to be very sort of direct with yourself to say, is this just for my own enjoyment? Or is this something that I should be doing? Because, you know, voices are made to do particular things.” Timing is also an important part of the process and Sarah says, “At the end of the day, I find it’s down to what my voice is suited to.” Over the summer of 2020, Sarah released an album for French audiences entitled simply “France.” Thankfully things were temporarily opened and she was able to visit and release the album properly. “It was a wonderful success.” But her favorite part was doing the Christmas show, “I was desperate to just keep the spirits up because we got locked down just before Christmas here.” She describes it as “a joyous occasion” and the response, overwhelming. “That's why I
wanted to do a Christmas show in the United States, the end of this year.” Sarah is famous for putting on spectacular shows that are a feast for the eyes, but for her each element is carefully planned to tell a story. “It's about helping the song and the character. And all of those things help them create the atmosphere and the texture for people to watch… there's no point in putting something there unless there's a good reason for it being there, because otherwise you confuse an audience… So, I'm not really one for gimmicks on stage.” For this Christmas tour she hopes the choices “suggests feelings of joy, or peace, or suggest spirituality, all of those things.” As she prepares for a tour, Sarah employs checklists to keep her organized. “They change every day I'm always scribbling things out… there are so many things to do before a tour.” She admits to still being surprised at the sheer amount of preparation needed for touring but this is important
to her. “The best thing is to be in absolute preparation before you go on. I hate that thing of ‘it will be alright on the night’. And that often happens in concerts and things, people think well, ‘I can sing it and all will be fine,’ but actually there's a lot more to it.” Sarah also enjoys costume changes in her shows and excitedly shares, “All the fashion that's come out for Christmas this year is gorgeous… there's everything you want for [a] Christmas show lots of sequins and glitter, and feathers. And it's absolutely beautiful. So, I've had good fun choosing that.”
Coming to New York is always a special experience for Sarah, “I have an apartment in New York. So, it's a very familiar city… it's kind of the other side of London for me as well, I feel very easy in both.” When she is in the city, Sarah enjoys going to the Metropolitan Opera and Ballet. “Just to go there, I get very, very excited.” It’s also the simple moments like walking around New York in a city that is “always forever changing… It is gorgeous.” As for new music Sarah teases. “There's always a new [idea] it’s which one? We can't get there at the moment… there will be lots of new things to come. I promise.”
SARAHBRIGHTMAN.COM This interview is presented with thanks to April Thibeault of AMT Public Relations and Lindsay Simon of The Oriel, Co. Photo Credits Zach Levi-Rodgers and Oliver Sommer.
5 Questions with Duo Voce If you want two performers that put the fun into classical crossover you should meet Natalia Tsvi and Gilad Paz. The pair make up Voce Nova and they include classical with top 40 hits, disco, and… well you name it!
CCM: How did Voce Nova come together? Voce Nova: We met in February 2018 when we were planning a house concert of opera hits at a mutual acquaintance’s home. During our conversation we discovered that we have similar backgrounds, both having started out singing popular music and then moving to NYC from Israel to study classical singing after completing our army service. We also talked about our past crossover projects. Natalia had recorded a classical crossover album, and Gilad had created OPROCK, a concert that combined opera and rock singing. This led to the realization that we are both hustlers who love to create our own musical outlets. After a very successful concert, in which we found out that we have amazing chemistry on stage and a similar, dynamic way of
connecting with an audience, we started thinking about what kind of show we could create together in order to get our style, message, and uniqueness out there. VOCE NOVA was created in the spring of 2018, and is our way of combining Natalia’s expertise in pop music, Gilad’s fluency in rock classics, and both of our knowledge of opera and voice, to create something new and unique, geared specifically towards corporate events, gala dinners, fundraisers, and high end private parties. CCM: How would you describe your style? Voce Nova: An opera in Lincoln Center meets a concert in Madison Square Garden!
VOCE NOVA started as our way of combining the luxury of classical singing with the excitement of classic and contemporary pop music. We set out to find original ways to meld these genres and create a modern, one-ofa-kind musical identity, and as we keep adding new songs to our repertoire we find ourselves pushing the boundaries of the definition of classical crossover music. CCM: What are the most important aspects for you in a performance? Voce Nova: Since we mostly perform in corporate and private events, our first priority is to give our clients a tailormade show that fits their vision and will WOW their guests! As performers, the most important aspect for us is connecting with our audience. Whether it’s with a rousing arrangement of Verdi’s “Libiamo” (with a twist), or our brand new mashup of Schubert’s “Ave Maria” and Hozier’s “Take Me to Church” (which we are premiering live in NYC on Sept. 14th!), we always strive to surprise the crowd and leave them wanting more. CCM: What has been the most unique event you’ve ever been asked to perform at?
Voce Nova: This year we were invited to lead an opera flash mob as part of a secret wedding celebration for a very affluent couple. We were asked to dress up as waiters and then during the dinner portion of the event we surprised the guests and started singing! People were caught off-guard and were totally shocked to hear these “waiters” sing opera, while we had a great time entertaining them and getting them to hum and clap along. CCM: What are some of the goals you have for your duo? Voce Nova: Our goal is to reach as many people as possible with our music, which is why we decided to audition for America’s Got Talent in 2019. Being on the show was an amazing experience that opened a lot of doors for us, and has shown us just how far we can go and how our vision can touch people from all over the world. Whether it’s through live performances, commercial work, national television appearances, or any other avenue, we want to bring the VOCE NOVA word, as well as our love and passion for music and singing, to audiences everywhere!
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Cinema Ellen Williams has long graced the stages of concert halls and performed in various operatic roles. Before the pandemic, Ellen was most recognizable to crossover fans as one of the members of the Welsh trio “Athena.” However, as restrictions made working as a group difficult, Ellen turned her attention to exploring the crossover genre as a solo artist. Fans have embraced her beautiful sweet voice that effortlessly flows over a variety of repertoire. With her new EP “Cinema” it’s easy to see why Ellen Williams is now one of the brightest stars in classical crossover.
CCM: What have been some of your favorite things in this time spent exploring crossover music? Ellen Williams: I’ve really enjoyed taking this time, where I wasn’t able to perform in live concerts due to the pandemic and restrictions, to record my own versions of some of the filmscore greats. One of my favorite things has been hearing how much these songs mean to people. I was really moved to hear how much people had enjoyed my rendition of “Danny Boy”, which has been featured in many films, but there’s a particularly moving rendition in the film Memphis Belle. It tends to be thought of as a sad song, but there’s also an underlying message of hope in those well-known words that love transcends life. The song is often used in scenes where the characters need comforting, and I hope that sense of hope comes through in the arrangement that features on my EP “Cinema”. Many of these well-
known theme tunes will stir some sort of memory for people, where they were when they first heard them and saw these movies, and perhaps childhood memories. I really hope people enjoy listening to these new classical arrangements. CCM: What are some of the scenes in films you’ve watched where the music really moved you? Ellen Williams: I just loved the movie Tarzan when I was a little girl, and the Phil Collins soundtrack is still one I listen to today. He wrote the song “You’ll Be In My Heart” for the Disney film with his daughter Lily in mind, and there’s just no denying how beautiful it is, both in its lyrics and melody. It was perfect for the film Tarzan and whenever I hear it, it always brings a tear to my eye. As heart-breaking as the scene is in the movie where Tarzan leaves the mummy gorilla, I’m sure that at least by now, it’s more to do with the
music and what a touching song Collins wrote! James Horner’s score for the film Braveheart is certainly one that almost always has me in tears, especially the themes “For The Love Of A Princess” and “A Gift Of A Thistle”, which have to be two of the most heartbreakingly beautiful melodies. CCM: Do you have a favorite film composer? Ellen Williams: There are so many film composers I am just in awe of, John Williams, Hans Zimmer, Harry GregsonWilliams, Howard Shore who wrote the scores for The Lord Of The Rings, Rachel Portman, the list goes on and on and I just wish they all wrote more songs, as their instrumental works are incredible! Hans Zimmer doesn’t often write for singers, however, the theme tune from Gladiator “Now We Are Free”, which he wrote with Lisa Gerrard, is one of the most recognized theme tunes ever, and had to be included on any collection of film-score greats for me! CCM: Do you approach learning film music any differently from an aria? Ellen Williams: Actually yes, with an aria or a classical work I’d go through every stage with the music, translating any foreign texts, saying it out loud to know where the stresses fall, and then learning the notes, however for film music I very rarely look at any sheet music at all! I’ll tend to listen to a few different versions, although I’ll never listen to the same performance too many times as I like to try and put my own stamp on things especially if I’m singing or
recording a song that’s been sung by many different artists. I’ll then print a lyrics sheet, decide the way I’d like to sing each phrase, and memorize it away from the music. In a way, I feel that film music has further scope for creativity for the singer, as film is a relatively new thing, whereas with classical opera or baroque arias, we’ve all become accustomed to hearing these pieces sung a certain way where particular nuances or vocal timbres are expected of the singer. I think film music really lends itself to be re-conveyed in many different ways. CCM: Along with your new music you have been releasing a series of beautiful videos. For someone looking to try something similar, how did you go about finding the right videographer? Ellen Williams: Thank you so much, with the world becoming more and more digital and visual, I think that video can add another layer to your release, allowing the audience to share in how you visually picture a song and the emotions you hoped to convey as you recorded it. For somebody looking to make a video to accompany their release for the first time, I would suggest starting by watching lots of other music videos in your genre, and seeing how they’re structured, what sort of angles and color grading are used, and then when you find a videographer who’s work you like, chat through your ideas with them. I think much better than being directed by somebody is chatting through your own ideas and working out how you’re going to create a particular feeling or portray a certain emotion in a video. For me
it’s important to find somebody you can share and develop new ideas with. CCM: As stages open up again, are you looking forward to returning to large orchestral performances? If so are there any works you wish to sing? Ellen Williams: There’s a definite buzz as you talk to concert promoters and bookers in the UK at the moment and people are excited for concerts to return to the scale they were before the pandemic. I’m very much looking forward to live performances once more and hoping a postponed gala evening in St David’s Hall with the orchestra of Welsh National Opera will go ahead next year. I’m also hoping to tour abroad next year and keeping fingers crossed that things continue to improve enough to do so. At home in the UK, I’m looking forward to numerous Christmas concerts including singing the soprano solo in Handel’s Messiah with orchestra in the Brangwyn Hall. CCM: What have been some of the surprises in your career so far? Ellen Williams: Pleasant surprises in my career so far include… being complimented on my gown by Dame Shirley Bassey during a gala performance in Buckingham Palace, being asked to sing at the wedding of Sir Bryn Terfel, which was a huge honor, and seeing my debut single at No 1 in the Classical Charts on the day it was released last December! CCM: What inspired you to record “Cinema”? Ellen Williams: Cinema started with the release of “Cinema Paradiso” in
time for Valentine’s Day earlier this year. I’d decided to re-watch the Tornatore film one rainy afternoon and was reminded of Ennio Morricone’s incredibly beautiful score and of course the love theme we all know and love, and decided to release my own version. “May It Be” from The Lord Of The Rings followed, having recorded it for the Classical Crossover Magazine mini-concert series, and I started working towards an EP dedicated solely to film music. I’ve always been captivated by how the music fills the silence in a heartfelt scene and takes you right into the world of the scriptwriter, and often feel very moved by film music. I hope people really enjoy listening to these new arrangements from Gladiator to James Bond to The Lord Of The Rings! CCM: If you could have been featured on any film soundtrack which one would it have been? Ellen Williams: I would probably have to say The Sound of Music. It’s just jam-packed with so many beautiful and memorable songs, almost all of which I’ve sung in concerts at some point or other. Julie Andrews was an inspiration to me growing up, there’s something so magical and captivating about the way she sings. In fact, it’s been too long since I last sat down to watch this film and this question has made me want to revisit the world of the Von Trapps… I’ll have those songs in my head for days!
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Storyteller Nicolás Manservigi is a storyteller. Hailing from Argentina he has written novels, a film script, and then there is the way he uses his voice. It’s not only the distinctive baritone color and vocal agility, but the way Nicolás paints pictures with his emotional command of the material that touches hearts. CCM: Nicolás, you began performing at a very early age. What are some memories you have from this time? Nicolás Manservigi: That's right, at six years old in the stable children's choir of Tucumán, north of Argentina. The memories are of pure joy but above all of a time where I took refuge in those rehearsals and performances of everything that happened in my life. As a child, it was always hard for me to "fit in" and I had serious bonding and acceptance problems from others, but curiously the only time where I felt loved and respected was when I was performing, so since I was little, I gave my whole being to music. CCM: Where did you train your voice? Nicolás Manservigi: Well, as I said before, I started in the children's choir, and then I always continued with private teachers (Ana Ternavasio, Laura Varela) who were opera singers. When I was older, living in Buenos Aires, I trained in courses at the Instituto Superior de Arte del Teatro Colón where I met my teacher Lucía Boero who has been taking care of my voice for years. CCM: Who were some of your early influences? Nicolás Manservigi: The first people that I heard sing, or at least that is what I remember, are my parents. They naturally sang at home and there
was always all kinds of music. In fact, it was Mom who took me to the choir audition when I was just six years old. Then, I must say that the first voices that captivated me were those that I heard in the theater, of local singers; and at home when the records of Mercedes Sosa, Maria Callas, and Andrea Bocelli were playing. CCM: You have released some beautiful songs and videos. Can you tell us how you select your repertoire? Nicolás Manservigi: Thanks! Regarding the selection of songs that I choose to sing, it generally has to do with the fact that there is something of that sonic universe that summons me, either from the melody or the lyrics, or even the author. I tend to be demanding when choosing since I am not attracted to many things because I feel that much of today's music has lost depth, melody, and lyricism; hence also that my musical tastes lean towards compositions from other times. CCM: Tell us about your first album. When was this recorded and what are some of your favorite memories from it? Nicolás Manservigi: Actually, my first album was almost an accident, since I had not planned to record it, but it happened that after the concerts many people asked me where they
could buy an album of mine, and I didn't have one! So, I decided to record one, and thus the only studio album I have so far was born. Then I have released singles, but since I am old school, I always prefer the concept of a complete album. The memories I have are brief because it is an album that was recorded very quickly, only with piano and the repertoire was largely a consequence of the songs that I used to sing live at that time. If I look at him from a distance, I have affection for him but today I would change a lot of things. CCM: Do you have any artists you would like to collaborate with in the future? Nicolás Manservigi: Oh yeah! If you allow me to dream, I would love to collaborate with Katherine Jenkins, Andrea Bocelli, Christina Aguilera, and even Ute Lemper, also Buika, Delcy... many! And from Argentina with Laura Esquivel or Natalia Oreiro. This disparate choice may only have to do with simple admiration for those personalities, voices, careers, or because they accompanied me at different times in my life. CCM: Tell us a little bit about your work as an actor on the opera stage. Nicolás Manservigi: I never imagined that I would go to work at the Teatro Colón as an actor. In fact, I had the opportunity to study there and I did not want to, precisely because I felt that my musical search was going in another direction, and accepting that was, at first painful because with it my opportunity to step on that stage vanished, but inside I said to myself: "Someday, whatever, you will be on that stage" and that's how it was. In 2015 I was selected to participate in Don Carlo's staging, Directed by Eugenio Zanetti (Oscar winner) and since then I have worked in many stage productions with musicians from all over the world from whom I have
learned a lot, in addition to having been able to see up close the rehearsals of wonderful singers that otherwise would have been inaccessible to me. The last thing we were going to do is "Nabucco" but days after the premiere, the pandemic was declared in 2020. That work was corporal, coordination, and a lot of physical wear for the body of actors. I hope someone will recover because it was a job interesting of the teacher Stefano Poda. CCM: When you prepare a song, do you think of the music or lyrics first? Nicolás Manservigi: It depends on the part. There are songs where that has the right balance, and there are others where one or the other stands out. In my case, for example, to prepare a song I start by seeing what the text says, who composed it, in what context; and then I get on the music. Perhaps this has to do with the fact that I am a writer too, so the word for me has an important weight, otherwise, we would make instrumental music. It happens to me that I observe many good singers who say nothing to me because the phrasing is not sustained in the sense of the word and its meaning. We cannot, as performers, rely only on the melody, but on the entire universe of the song, therefore I must say that both things are worth taking into account when starting to study a topic. CCM: You have written the novels "Inner Landscapes" and "The Carrier." Tell us about your inspiration for these stories? Nicolás Manservigi: Writing, as well as music, appeared in my life at a very young age. I was an observant and quiet child, two necessary conditions for anyone who wants to dedicate themselves to writing, and if we talk about observation, I think that all the themes that I later write in the stories
arise from there. Particularly in my two published books, the plots are derived from real events, although taken to fiction. The first, “The Carrier”, I wrote when I was 18, and the second, “Inner Landscapes” when I was 24. Last year I finished my third book, still unpublished. CCM: You also wrote a film script for "The Well." How did this opportunity come about? Nicolás Manservigi: The director knew my books, and he asked me to write a script based on a story of mine and that's how "Aporia" came about, which later led to collaborating with him on the script for the film "El Pozo" that talks about autism and how it affects the family framework. That movie was a surprise of a lifetime, I learned a lot and I could understand that if I put my mind to it, I could also write my own scripts. Sometimes it's just trusting yourself, maybe that's what works are for. CCM: In addition to your work as a solo artist, you are also a member of Noialtri. Can you tell us a little bit about this? Nicolás Manservigi: In 2016 I saw an audition where they asked singers to handle pop and opera repertoire, in addition to being tenors. I, despite being a baritone, wanted to introduce myself the same way. And I went, but then I didn't have any news. A year passed and at the beginning of 2017, the producer called me to tell me that the artistic team had changed and they wanted to listen to me again; so, I went to the audition again, and soon after they told me that I had been selected. At first, I didn't understand what the project was about until finally we were informed that it would be a lyrical/pop trio similar to Il Volo, but in Argentina, with the idea of touring the
country leading a show that combined both repertoires. Well, that's where it all started. We've sung in many theaters and cities, and after having changed singers (I'm the only one left from the original line-up) we continue to race to prepare new things. It is a project that excites me because it is far from what I do, that although we are both inside the Classical Crossover, in Noialtri a "effected" or "big" sound is clearly seen while in my concerts I look for intimacy and sensitivity in sound. CCM: What are some of the things you'd like to accomplish in the future? Nicolás Manservigi: Without a doubt, having the possibility of singing abroad makes me very curious to be able to sing in Mexico, Spain, Italy, Russia, to name just a few places. But, beyond that, I wish to continue making music, enjoying having the best job in the world. CCM: What new music can we expect from you? Nicolás Manservigi: Lots of new music! I am currently finishing recording my second and new studio album, with a repertoire exclusively in Italian, from the decades between the 60s and 80s. It is a project that I am very excited about since the arrangements were also written exclusively for me, by Alejandro Cattaneo, with guest musicians, strings, harps, mandolins, choirs, and much more. It will be an album where each song contains its own sound universe, where also, as a singer, I had to run from my comfort to approach the works from a more acute, melodic, and higher register. I will also have the special participation of the Colombian singer Delcy, whom I admire very much, and an audiovisual proposal with her own videos. I can't wait to share it.
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