From Sri Lanka to Florence, Istituto Europeo: interview with Chrisni Mendis, young opera singer

Chrisni Mendis

interview by Ilaria Gelichi

Chrisni could you tell us something about yourself? How old are you, where do you come from…

My name is Chrisni Mendis, I am 19 years old – I’m turning 20 soon – and come from Sri Lanka, but my mother is Taiwanese and I am studying at the Royal Conservatoire of Scotland in Glasgow - bachelor in Music.

How was this passion for music born?

I have always loved music. At first I really loved musical theatre – like Phantom of the Opera, etc. – and I still like it but ever since I heard my first opera, which is Puccini’s Tosca 2009 version at the Royal Opera House, I’ve just fallen in love with it and couldn’t stop thinking about it. I fell in love with classical music recently, when I was 16-17 years old and I started to get into opera seriously.

How did you find Istituto Europeo?

The first year at the Royal Conservatoire we have Italian courses. I thought that two months - July and August – it’s a long time and I didn’t really want just to go home and do nothing. I thought I could learn Italian and try to get the pronunciation properly – it’s better for my music. So my mum actually helped me, she was looking at stuff online and told me “This school is in Florence!”, because I wanted to be somewhere in Tuscany, since the Italian in Tuscany is used in opera. I would really like to go to Florence as well.

What classes are you attending at IE?

I’m attending Italian language classes in the morning. For music classes I do Repertoire class, just recapping on what repertoire is; the teachers helps me out in expressing and placing the voice in my pieces. Then I’m doing Libretto class which is mainly to analyze the text and discover really what the characters are alike in opera. Now I’m focusing on Don Giovanni because I love it, it’s a beautiful opera. And then last class is Diction class, because I’m not Italian so I don’t know how to speak Italian and get the Italian pronunciation, especially when I sing.

Are you enjoying the courses?

Oh definitely: the classes are really useful. I feel that I’m improving: before I came here I had a huge problem with my Italian, people couldn’t understand me when I was singing. Now my Italian is getting better and people understand me!

Do you feel any differences between Italy and Scotland in music teaching?

Back in Scotland I use to get a piece of music, listen to it and then I just play it. But, especially while I was here, I realized that there is a process. Now, when I get a piece of music I check it first, I try to read out the Italian a couple of times; then I read it to the rhythm and then I go and understand what each word means, not the whole phrase. Only after this process I play it out. After that I practice with vowels, then I put the consonants in after I have perfected all of that I sing it through once and put the emotions in. It’s a longer process but once you get used to it it’s very easy. That’s why I’m taking diction class: because the more I do diction, the easier and quicker it is.

What do you like most of Italy – and of Florence in particular?

I would just say the personality of people. Everything is so exaggerated, like “bellissimo!” or “benissimo!”, there is no middle ground: everything is really good or really bad. I’ve been one year in Scotland and there everything is just in the middle, there is no up and down: when people talk it’s very flat. Over here is completely different, I just love it.

About Florence, I would say: just walking around and looking at everything. Of course the are the big places that you have to go to, like the Duomo, Uffizi Gallery; but for example you can just go on S. Trinita bridge and look at Ponte Vecchio and the river for a while and just relax. It’s Florence, it’s very calming: it’s not like in the UK where we do everything quickly. I think that if you just rush from one place to another in Florence you are not really experiencing this city. Florence and Italy is about walking slowly, experiencing the atmosphere.

Would you recommend this experience?

Definitely. For singers, I really recommend to go to the place where the music was born, because you get a full understanding of what the culture was like and what the people were like. For example, the little characters in opera are born from Italy, they were actual people at that time. If you are here you see these people, you see them walking, laughing, eating and you see how it was like. For “normal” students I would say: come to just experience how other people from different countries are like. It’s very important for a person, especially young people, to be “worldly” and learn how to accept other countries. I think that just going to another country and staying with a family in that country could reduce or even stop a lot of things like racisms and other big social problems.

Do you have a piece of advice to give to someone who wants to start a career in music?

There’s never enough time to practice. Of course you don’t have to stay all the time in a room and sing but you always have to try to learn different things. To be a musician is one of the hardest things a person would ever have to do in their life. Because they do not have only to understand the music but also the type of people who wrote the music, the type of characters that they have to become. To be a musician you have to understand life more than any other profession. The people who wrote the music went through suffering, happiness, heart break. To be a good musician of course you have to practice, but you also have to live life to the fullest: you cannot play a heart-broken person if you have heart-broken. Take any opportunity, go out, live life… Do not sit in your room and play videogames!

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Interview with Olivia Broderick, young American singer and student at Istituto Europeo

Olivia Broderick

interview by Ilaria Gelichi

Olivia tell us something about yourself: how old are you, where do you come from…

I’m Olivia Broderick, I come from New Jersey, USA and I’m 17 years old. I’m an high school student and an opera singer.

How was the passion for music born?

Since I was a child. I started singing musical theatre songs and as my voice grew I just naturally got more into classical music and listening to it more and that’s how I’ve fallen in love with it.

How did you find Istituto Europeo?

I was looking on the internet for language programs in Italy that also maybe included music, I found Istituto Europeo and… here I am!

Which courses are you attending at IE?

I’m doing first level Italian and vocal technique with Monica. Then Italian diction with Valeria and Repertoire with Francesca. I really enjoy the courses and I feel like I’m improving a lot: all the teachers are incredibly gifted and they really know what they are talking about, which is good.

Are there any differences between studying music in the USA and in Italy?

As always it depends on the teacher but the teachers that I’ve gone to, there’s not a big difference.

What do you like most of Italy – and of Florence particularly?

Well, Florence is beautiful, there’s so much art everywhere. All the museums are great, even the buildings are beautiful, which is nice. What I like about Florence is that there is art everywhere.

Would you recommend this program to a friend?

Yes, I think I would. If they were looking to study this sort of things and take it seriously, then yes I would.

In your opinion, what is the best quality to be a good singer?

I think the most important quality for being a good singer would be to really love what you are singing. If you are passionate about what you are doing, that would drive you to work hard and this will make you improve. The audience would also be more invested in what you are singing because it’s coming from your heart and not just repeating lines on a page.

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The international pianist MURIEL CHEMIN speaks about herself in the interview of ISTITUTO EUROPEO

Muriel Chemin

Interview by Fabrizio Ulivieri
(English version by Louisa Loring)



1) Watching you play, the first thing that strikes me is the ease at which you play. It’s incredible. How did you get to this point of ease which comes through in your performances?

First of all. I started playing the piano very early at age five and so I have practically spent my whole life with music and at the keyboard. I have to say that this ease of which you speak of, is really the result of a lot of hard, continual daily work. A magic wand doesn’t exist and commitment is just as important as musical talent.

2) A Japanese soprano told me that in moments of difficulty, you are saved by the passion that is transmitted on stage. How important is the heart in respect to the technique of a performance? Can the heart and the passion of a performance make up for lack of technique or off days?

As far as I’m concerned, hard times can be overcome with intelligence and naturally, with passion and a very strong heart when facing a fearful moment in certain pieces particularly difficult in the score. I think that all of us musicians have these fears in every piece of repertoire when we play publicly. Nothing is easy and you need to have courage and most importantly, the overwhelming desire to communicate with the people in the theater who are there for you and for the music. There is only one secret: LOVE

3) By now you are an international performer. In your opinion, what are the qualities that allow an artist or performer to play in different countries and share their music with different cultures or environments so different from one another?

To become an international artist, I would say that there are many other factors beyond talent and personal commitment such as health, strength, ability to adapt, and consciousness when you choose, Today, more than ever, unfortunately, you also need an image or idea that can arouse an interest in people beyond music. My belief was that being an artist was enough. Now, it seems that no one knows what to do to get people to notice you and to become famous at all costs. This truly saddens me because it has nothing to do with art and our goal as musicians.

4) Can an artist separate his or her public from private life? If yes, at what price?

I don’ think that it is possible for an artist to separate the private from the public because we have to deal with our emotions and all aspects of our character and of our personality that coexist inside of us. After all, music itself, unlike other art forms, penetrates within our body through the ear and thus, it never leaves us. In fact, I always have music playing in my head, even when - especially – I am not studying. It never leaves me!

5) Who are the hardest composers to play for you? Is there someone in particular who is really difficult to perform?

All composers have their own language, style and peculiarity. I personally play best from classical artists and from big form (forma sonata). In a special way. I feel ‘at home’ with Mozart and Beethoven. I find the Romanticists and the nineteenth century repertoire less immediate but obviously, I equally like them and I happily play them.

6) Is it possible to compose classical music good enough to compare with the greatest composers of the past?

It depends on what the word ‘classical’ means. It depends if we allude to, like most people, the catchy music or the big artistic movement. The famous contemporary composers who I admire are Boulez, Nono, e Ligeti. I am convinced that they will remain in musical history forever. I am sorry that I cannot mention everyone who is important and I don’t want to leave out the fantastic composers like Sciarrino, Fedele and Anichini (only in Italy).

7) In your opinion, what is the most musically advanced country?

Germany! But also the United States and United Kingdom. For how much the musicians are respected and evaluated, they truly are other worlds, other planets

8) In one of your interviews you said ‘Families prefer stadiums to theaters and for me, this is very sad considering the richness of the Italian culture.’ I found this statement fundamental and of great importance. What should be done to change this?

I believe that it would already be something to have a political class better educated and prepared in a country that is considered the hub of art in the entire world! There is too much ignorance and we have unfortunately realized a moral and cultural decline in these last 20 years. I stop here! It is not enough to make us believe in the love of music only with the seasonal opening on December 7th (it’s too easy just to show the new dress) and to not lift a finger for the rest of the year in favor of musical associations. Orchestras that shut or musicians of high rank humiliated, with little work or out of a job in conservatories! If only half was spent for art (and not only for music) that is given to soccer, there would be a jump in the quality and certainly there would much more respect and much less violence.

9) All artists have worries and fears. What is your worry or fear as an artist?

Not ever being prepared enough…or worse, not communicating anything to the people who listen. It would be so sad!

10) Plans for the future?

Always the same: broaden as much as possible a repertoire, that is, study a lot and work together with other musicians because playing in a chamber orchestra or playing all together in an orchestra are marvelous experience that continually enrich us. I love playing with others!

11) One piece of advice for an adolescent who would like to become a pianist.

You need to have a tremendous talent, an excellent teacher, study hard… and a lot of luck in your encounters!

Study music at ISTITUTO EUROPEO: Fabio Binarelli, a full spectrum teacher and artist

Fabio Binarelli

 by Ilaria Gelichi

1) Fabio you are a “full spectrum” musician. Why this need to range in many different sectors?

What moves me is pure passion. It inspires me to try different paths, to be curious. I always try to improve myself through new experiences that can enrich my knowledge. 

 

2) Even as a teacher you are multifaceted: you teach guitar, history of music and opera, librettos, theory, harmonics, composition… Both in Italian and English. What does teaching mean to you? Which is the best aspect of this job? Which activity do you prefer most?

It’s a privilege to be able to transmit my knowledge to people, as others have done with me before. It’s very gratifying to see that spark igniting in them because they have found an answer, or have discovered a new concept, or have come up with a new idea. I myself am constantly enriched, through dialogue and discussion with students.

3) How do you see the Italian music scene? Are there talents worthy of being reported?

There is a lot of talent, which sometimes is hidden. There are musicians, singers, bands and composers with an excellent preparation; they cannot always be compared to household names – maybe because of their less commercial repertoire – but their fans follow them anyway. On the contrary, I think that “bigs” – who are conformed to meet the demands of industry and the taste of the masses – are far less interesting.

4) What does it mean being a musician in Florence?

On one hand, it means working in a small city, with small spaces, which often cares more for appearance than for culture. On the other hand, it’s a great privilege - as who lives abroad, appreciates and actively participate to the cultural ferment of this unique city may know well.

5) Tell us which is the difference between making music in Italy or abroad. Do you think there are some countries which could teach Italy a direction in terms of musical creativity?

I believe that the great difference is in the system: Italians are not less creative or talented. What lacks is an efficient and widespread organization, made of head hunters, promoters, record labels and agencies – who can widen their range of perspectives and not just working with successful musicians. In the “music business” Italy is definitely uncompetitive and this leads to a greater diffusion of foreign music – mostly in English.

6) Tell us a story about your career as a musician and teacher.

I have a new one every time I go to play! The most recent: one Sunday at the beginning of September I received a phone call. I was asked to leave for northern Italy the day after and substitute the guitarist of a band who would had to participate in a TV show but was injured. So I moved my schedules, prepared 15 pieces of music and on Monday morning I met for the first time the other members on the motorway at the service area Firenze Nord. Result: 2 beautiful days in Trentino-Alto Adige full of music, excellent food and good air!

7) Plans for the future?

Besides teaching, I’m very busy with concerts: the season 2013-2014 will be very intense and I hope it will bring a lot of satisfaction. I have also composed a lot of music, which I’d like to record and publish someday.

8) Any advice for a young person who wishes to start a career as a singer or music teacher?

There are no shortcuts in this field: studying and preparing oneself with professionalism and discipline is essential. You shouldn’t be afraid to follow your passions, even when they lead you to change your way. If you follow your head and heart, music will go along with you and make you grow – making you face new challenges and giving you new emotions every time.

9) How is your teaching experience at ISTITUTO EUROPEO?

Very positive. Everything is managed with high professionalism, following international standards. For a teacher, this means to be able to focus in the best way on the lesson, without being stressed with the organization and management. Besides this, all the people I have encountered so far have been very friendly, helpful and prepared to clarify any of my doubts.

BLEBLA, the rapper made in Tuscany

by Ilaria Gelichi

1. Could you tell us something about yourself?

My name is Marco Lena and I live in Prato, where I was born 29 years ago. In addition to music, I like football (I'm an Inter fan) and girls…! I play football with friends as a goalkeeper and last year we won the provincial championship.

2. How your passion for music was born? And how did you start your career as a rapper?

I have always had a great passion for music, since I was 6. When I was 10 I started making the first recordings at home, then in 2000 I started working as a DJ at parties inside and outside Tuscany. One night the vocalist was missing, so I went up on the stage and I started singing... This was the beginning. In 2002 I recorded some rap-dance music, then in 2007 I finally started recording real rap music. I write the songs myself, for the music I’m supported by 3 producers.

3. How did you get the idea of singing in dialect and of the name “Blebla”? And how many albums have you recorded?

I love my city, Prato, and my dialect. But I only wrote 2 songs in dialect, “Prato” and “Ikkettadetto?” (which means: “what did you say?”, in Italian “cosa hai detto?”). The other songs are in Italian - I wrote almost 70-80 songs and recorded 3 albums. I thought that my song “Prato” would have succeeded only among locals but unexpectedly it had a great success also outside the city of Prato.

As for my name... One night I was drinking with my friends and I was a little tipsy. I tried to say something but I forgot what it was and I just mumbled something. From that day on my friends gave me the nickname Blebla, and I decided to keep it!

4. Is there someone who inspires you?

Nobody in particular, I like almost all kinds of music – both Italian and foreign music. When I was younger I loved Articolo 31, 883 and Elio e le Storie Tese. I had the honour of opening a concert of J-Ax (vocalist of Articolo 31) and Frankie hi-NRG MC.

My last album is called “Satirap” and it explains quite good which my intention is: making satire with rap. Of course I also write more “serious” songs, but I think that what people need is having fun!

5. How is the music business in general?

It is a very difficult world and you have to pay attention. Most people further their own cause and tend to take advantage as much as possible of a person and then move on. I always read very carefully all the contracts to avoid bad surprises – for example, being bound to a bad agent for years! It’s not easy to hit the big time, you need to find the good idea. One day you can have a great success and the days after a great flop. You can earn something with lives, concerts or as a special guest. In the rap music world unfortunately there is not too much space;  but recently something is changing, thanks to the web.

6. Do you have contacts with your Florentine colleagues? How is being a singer in Prato?

I know some Florentine singers and I made some songs with some of them. With some others I collaborated and we are still keeping in touch. Anyway, starting a career as a singer in Prato – or Florence, I suppose – it’s not easy and quite stressful. People are snooty and you need to convince them; but for now, I cannot complain about my achievements.

7. How do you manage the contacts with your fans and the social media?

I daily use Facebook and Twitter, but I have some guys who help me managing my profiles and fan pages. Anyway, I personally reply to private messages – I want to have a direct contact with fans. Beside the TV, these media are the only way to keep in contact with my supporters.

I notice different people at every concert, this means that the audience is increasing. During a concert in Piazza Mercatale in Prato and another for New Year’s eve in Piazza del Duomo there were nearly 8-9,000 people, I’m really satisfied. Being on stage is always exciting, even when you get used to it.

8. What are you doing now and which are your plans for the future?

My next single will be released soon, the prelude of the new album due out next year. So I’m currently shooting the video for the single and preparing the new CD. I have 3 dates planned for the near future: one this Saturday, 28 September at J’Adore in Prato and other 2 in October, in Siena and province. Obviously my expectation for the future is to hit the big time. Being Tuscan is both an advantage and a disadvantage: on one hand you look really funny but on the other hand, when you speak, your dialect makes you automatically unserious even if you are saying serious things.

Anyway, I go on step by step always keeping in mind which my target is.

Blebla’s fan page on Facebook: https://www.facebook.com/pages/Blebla/149463161824957?fref=ts