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It was his 1997 PBS special, A NIGHT IN TUSCANY, that first brought Andrea Bocelli to the attention of American audiences. But the one-time lawyer was already a household name in his native Italy, thanks to his duet in "Miserere" with rock star Zucchero and his 1993 first place finish at the San Remo Music Festival. He conquered the European charts a few years later with "Time to Say Goodbye," a duet with Sarah Brightman featured on his first internationally released CD, ROMANZA. Since then he has recorded successful albums of both pop and classical music, including three full-length operas. The singer spoke with contributor Tim Smith about his latest PBS television special, TRIBUTE ON ICE; his new CD, ANDREA; and his upcoming projects.
GREAT PERFORMANCES: The format of TRIBUTE ON ICE is considerably different from a regular concert. Were there any extra challenges for you in terms of the mechanics of preparing and filming the show?
Andrea Bocelli: No, it was very smooth. And being around the ice was not even a problem. Some years ago I gave a concert in the mountains with snow all around, and that was much colder.
GP: Audiences at skating events regularly express their admiration with applause many times during an individual performance, which means that you were hearing ovations at almost any point in a song. Was it hard to concentrate?
AB: No. I liked the applause. It's much better than whistles. And I think that it is a beautiful experience for the audience, having the singing and the skating at the same time. Sometimes, if you are just singing onstage, it can be a little bit boring for people. This was a very different atmosphere, bringing many people together with music and sport, and that's beautiful.
GP: TRIBUTE ON ICE includes several songs from your most recent pop album, ANDREA. How did you find the experience of selecting and recording the music for this release?
AB: Well, it is not very easy to choose songs, because there are so many to listen to, and it is hard to discover a successful song. When I record a new song, it is like trying to write a new book. I have to discover the best way, the best solution. I need inspiration. But it was very nice to record this album because I could spend all the time at home making it. I built a small studio at home and could choose the best moment of the day to record -- sometimes morning, sometimes afternoon or after dinner, whenever it was comfortable.
GP: You move effortlessly back and forth between pop and opera. What similarities or differences -- or difficulties -- do you encounter when you cross over between genres?
AB: My pop background started when I was at university. I spent some time singing in a club to make money, and maybe meet some girls. Opera and pop music are like two different languages, especially today. It was not always so different many years ago. It is not so difficult to go from pop music to opera. Technically, it is not so different. [In both] you must sing only on the breath; you must use the breath correctly. The only important thing is to be honest, to be true to yourself, whatever you sing.
GP: Your remarkable breath control can be heard throughout TRIBUTE ON ICE. Great breath control was a greatly admired quality of one of your teachers, the late, legendary Italian tenor Franco Corelli. What was your relationship with him like, and is there something in particular about your technique that he helped you with?
AB: Actually, he began to help me when I was a child, just by listening to his recordings. Then I met him, many years ago, and I would try to go to see him as often as I could, wherever he was. I met with him in the mountains, where he had a home, and also in Milan or Monte Carlo. I spoke with him for days and days and days at a time. Then, after my world career started, I would call him on the phone as I traveled, and we would stay on the phone for hours, speaking about my singing, helping me to discover what was best for my voice. I remember many vocal exercises we did together. He was particularly interested in deepening my voice.
GP: The recent deaths of Corelli and the much-loved soprano Renata Tebaldi remind opera fans of days when there seemed to be many great Italian singers on the scene. What's your opinion of the situation today for opera singing in Italy and elsewhere?
AB: In Italy and also around the world there are very many beautiful voices. My fear is that the operatic world is in danger. It is very important to create new interest in operatic music. Otherwise, it is possible that many young singers may choose rock or pop music because it is easier to make money -- and requires less sacrifice.
GP: Audiences for TRIBUTE ON ICE will get to hear one reminder of your operatic side, an aria from "Rigoletto." You have now recorded several complete operas and performed a few of them on the stage. What roles would you like to tackle next?
AB: I have many projects for the future. One is Don José in "Carmen," which I will record in June in Paris. And there are many roles I would like to do, like Andrea Chénier ["Andrea Chénier"] and Turiddu ["Cavalleria Rusticana"].
GP: On your SACRED ARIAS CD, you sang one selection by Wagner in German. Is there more German repertoire that interests you?
AB: I like very much German music. The problem is that there are many German singers who sing it better than I could.
GP: As you well know, critics have not tended to be as appreciative of your singing as the general public. How do you deal with the criticisms, and do you ever find reviews useful?
AB: Every great singer has had this problem with critics, like Maria Callas. And Corelli, too. Sometimes I learn from reviews, when they are honest. They can make suggestions that are important.
GP: When you are relaxing, what music are you most likely to listen to?
AB: I listen sometimes to classical, especially piano literature -- Chopin, for example. And it may seem strange to you, but I also like small moments of older jazz, like Earl Garner or Oscar Peterson.
GP: Are your children interested in singing?
AB: Not yet. The oldest one is studying piano now, and the second one will study piano soon.
GP: Would you like them to become singers?
AB: No, it's too tough. But the most important thing is for them to grow up free to decide what is best for them. I don't want to influence them.
Interview by Tim Smith for GREAT PERFORMANCES Online conducted in February 2005. (Photo of Andrea Bocelli [top] by Veronica Berti.)
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