How much have your Italian origins and the culture of your country affected your professional career?
I believe that my Italian origins, more precisely from Puglia, have influenced some choices in my career. As a "woman from the South" my priority has always been my family and therefore, even though I deeply love my profession, I have never allowed it to affect my family in a negative way.
For example, when there have been major tours that lasted a long time, I've always tried to segment them so that I could go home or otherwise take my children with me. I'd rather take care of them myself than not having a nanny at home to look after them. I have to say that this type of choice was the best thing I could do even if inevitably all this involves a great organization. Certainly the commitment is considerable but with a lot of good will we can do it.
In your opinion, is Italy still a meritocratic country as far as music is concerned? What could be the side effects of not having quality people in show business?
In my opinion, Italy is not meritocratic either in music or in many other sectors. It is not in sport as far as women are concerned, it is not for those who still want to propose the Italian melody. The latter and bel canto are left "by right" to a few, to the "historians" of this art. As far as the side effects of "not having important people in the entertainment world" are concerned, I'd say that, in reality, it's not so much a question of harming quality which, I want to say, can be proposed in different ways. The real problem, in reality, is that there should be room for everyone. In other countries there are many musical genres and people are free to choose what they like best. In America, for example, we have country, pop, blues, reggae, Latin American. In Italy, on the other hand, somehow one genre is imposed to the detriment of another. We are much more sectoral and I think this is wrong.
Is Italian music still popular abroad? In your opinion, what peculiarity makes it stand out on the international and global scene?
Italian music is very popular abroad and in my opinion this is the biggest joke. Outside of Italy, in any film we see and hear about pizza rather than opera, while, alas, in our country we are unable to support either one or the other. We Italians, by tradition and history, are Ancient Rome. We are, perhaps, number one in terms of culture in the world, but, over time, we have preferred to be slaves rather than impose ourselves on the market and we have done so in all sectors.
The singer Giorgia is trying in every way to support and defend the "Made in Italy", she is very firm and concrete on this concept and I really hope she has the strength to carry it forward. In general, we Italians do not know how to defend what our heritage is, in particular melody and composition as regards more specifically the musical field. We are lucky enough to have lyrics that are poems but then we don't know how to sell them and instead we allow others to emulate us. There are many Italian artists in the world who have absurdly become famous in Japan, China, France, Germany and we here in Italy don't even know they exist.
Do you dream of taking your music abroad? Why?
In reality, I have always worked side by side with big names such as Toto Cutugno, the rich and poor, but we are always a bit like those "new recruits" who would like to be assumed as protagonists and, instead, we live as "sidekicks". Yes, I dream of going abroad and in a completely autonomous way. Many trains have been lost because, in any case, when you are brought to certain contexts on tiptoe then you also leave in the same way. So you always have to hope that someone will help you, trust you. We Italians often have a bad flaw: if we perceive someone else's skill, out of fear, we don't promote them.
She has also performed abroad. Is Italian music still credible outside our country?
Yes, Italian music is still credible. We are the ones who don't believe it enough. Outside of Italy, foreign artists "steal" our melody, make it "theirs". How many times do we hear songs in which our musical culture is perceived, for example the "Neapolitan" one, which is then exported to Spain, rather than to the Latin or US markets. We in Italy have a very commercial song entitled "Non amarmi". In our country it had a very limited success and instead in South America it is one of the most played pieces.
What were the main difficulties you had to overcome to become an established artist in Italy?
Absurdly in Italy my disability (ed. the fact of being blind) was initially accommodating because it opened the hearts of Italians but, later, it became cumbersome because it arrived before my voice. Already from Miss Italy the fact that I didn't see was actually a problem, which made me leave with one vote less. Not to mention the sponsors who said: "If this girl wins, it will cost us triple as she does not move independently". Then, after Aldo Busi's attacks, all the people didn't talk about me calling me by name but calling me "the blind singer". This was a huge limitation for me, because he then hindered me in a thousand other experiences. Now I'm hosting a TV show and even there I had to work three times because no one believed I could do it until I proved it was possible. In addition to your disability you have to make an extra effort to demonstrate the skills you have.
In your opinion, do the record market, the needs of producers and those of the mass media risk impoverishing, reducing the artist's talent, expressiveness and spontaneity?
The Italian record market was ruined when radios became record companies. Today the radios give you the playing time, the genre. Sounds are determined by what they decide. In France, 70% of music must be absolutely national and there are all genres, then 30% is left "abroad".
As an artist, what are your dreams still in the drawer?
I hope my music can express itself without limitations and find its place both in Italy and abroad. The second is that I am able to continue my work as a presenter because I find that it is becoming a great communication tool and that I can always use it to provide a real service to those who watch television anyway, thus becoming not just entertainment for the viewer but also an opportunity.
If you could duet with an artist of the past (Italian or foreign), who would you choose and why?
I was lucky enough to sing with almost all my idols like Claudio Baglioni, Toto Cutugno (except Pino Daniele) and so I was lucky. Among foreign artists, on the other hand, I really admire Steve Wonder, whom I met on an important stage in America but who I didn't actually get to know better, and Barbra Streisand. I am struck by the vibrations of these artists, what they make me feel positively and negatively, how they manage to open my heart, my sadness rather than my most powerful joy, my energy. I am an "instrument among other instruments", I am enchanted by their emotional language.
In your opinion, today, are there still Italian authors and/or composers who represent the true "Made in Italy" or are our songs also simply becoming a commercial product for the use and consumption of fashions?
In my opinion, even today, Claudio Baglioni, who creates masterpieces, Antonello Venditti and Renato Zero defend Italian music and have never changed genres, have never bowed to fashions or "easy consumption". Not only that, these artists have always said: “We are this and here we stay, our pieces last 5 minutes and either you're okay with it or it's okay anyway”. I think this is a good message.
Maestro Jonathan Cilia Faro who nominated her has always supported the importance of meritocracy and philanthropy in the music field. Who is the singer you admire the most at the moment and in what do you think he contributes to bringing prestige to Italy?
I adore Claudio Baglioni, I like him very much, I love him deeply. Among women, I love Emma's energy. She is an artist who “hasn't lost her melody” and who has this somewhat “Nannini” voice, a bit scratchy but at the same time also imposing. She has a very strong way of saying things and it seems to me that her Apulian temperament can also be felt in the choice of songs. I like her because she hasn't compromised and she continues to make songs that have a certain depth, despite meeting the fashion. She can afford it because she has done the right numbers to get this far.
Speaking of meritocracy and philanthropy, in your opinion among the promising young artists, which artist do you believe deserves to be able to emerge? For what reason?
Honestly, it seems to me that the new artists all speak and only a few sing. Many of them live fall a bit on pitch. An artist who pleasantly surprised me was Mahmood, he's very good. However, they tell me that today instruments are used which greatly affect the intonation.
In general, there are no voices that particularly strike me apart from that of Tiziano Ferro who, in reality, is not an emerging artist. I really love how Tananai composes, “Abissale” is a very nice piece, there is this refrain that you carry with you and that has great potential.
Following your experience, in your opinion, is it easier to collaborate with other Italian artists or is it more stimulating to do it with foreign singers?
Depends. If a confident person like Claudio Baglioni welcomes you, he becomes a wonderful experience because he is a lord of music and also because he tells you: “Do whatever you want, take the space you want, sing more, don't sing less”.
While if you see that on the other side there is a sort of rivalry, a competition then everything collapses. With foreign artists instead, when there is a fusion of cultures, something special always emerges.
In your opinion, what are the main characteristics that an artist must have in order to establish himself in Italy? Is talent enough?
In Italy you need a lot of luck. Because many people have talent but, beware, that's not all. I often tell my students that a person can be born with a great gift but behind there must also be a total training, which is not only learning to sing, to play but also to promote, to communicate what one feels and to know how to defend it. It is necessary to be a little manager of oneself. When you don't have all these skills, there will always be someone who, even if less talented but more trained, will work harder than you and manage to finish first.
What are your plans for the near future?
Well, certainly two very important and very beautiful television formats. We are going to promote the Sergio Bruni Award to talk about the Neapolitan melody that has been forgotten. It is a great artist who sang perhaps the most important Neapolitan songs and to whom an award had not yet been dedicated. It will be presented on RAI and then there will be other formats that will bring together my skills in sport and my ability to support "Made in Italy" through food. And finally, I'm preparing to face the 2024 Summer Olympic Games in Paris with the triathlon discipline.
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