lørdag den 14. april 2012

After picking up a presitgious gong at last year's BRIT Awards, Il Divo have gained greater credibility and still plays to sell-out concert halls. Alison Jones talks to one of the stars ahead of Saturday night's date at the LG Arena.
Last year Il Divo, the pop/opera hybrids who sing like Pavarotti and dress like James Bond, were named as Artist of the Decade at the Classic BRIT Awards
It was a sign of recognition and respect for a group who are as manufactured as any boy band and backed by Simon Cowell to boot (he’s said to have been inspired to create the group after listening to Andrea Bocelli while watching The Sopranos).
“It is quite amazing when you receive such a prize,” says French singer Sébastien Izambard.
“I don’t think the media has appreciated our work sometimes. I think we have been put down because Simon has been involved from day one.
“Sometimes it doesn’t matter, sometimes it does hurt.
“When we had been nominated to get the prize it was an appreciation that was from the media, it wasn’t just from the public, so that felt really good. Like a reconciliation, if that is the right word.
“And I live in England so it feels like a double honour for me.”
Part of the reason behind the dismissive attitude, he suggests, was because of Simon’s connection with shows that sees some performers feted for a while before being cast into fame’s bargain bin.
“I think we were always linked to a small duration as a band.
“We have proved, and Simon has proved as well, that we could last and we are solid.
“I think the media didn’t like the idea that he could have been clever on that one and we could have been good as well.
“Also, the style of music we do is quite uncommon. We sing pop songs in that kind of pop operatic way and people can find that cheesy.”
However, the band’s success speaks for itself. Il Divo has now been together nine years, toured the world several times, performed with Toni Braxton, Barbra Streisand and Celine Dion and sold 26 million albums.
“I think there is not much to add to that,” says Sébastien with masterly understatement.
Though Simon’s approach might have been cynically commercial (he searched for two years to find performers for his multinational dream group), there is no questioning the quartet’s abilities as singers.
Carlos Marin is a renowned Spanish baritone; Swiss Urs Bühler and American David Miller are both classically trained tenors, while Sébastien came from a pop background in his native France. He was working on his second album when he signed up for Il Divo – after some initial reservations.
“I have always composed my own music and done my own thing so my first point was ‘why would I join a band?’
“The second one was what the hell were these voices? Big vibratos and old fashioned. It was never going to work for me.
“So I was amazed when I went into the studio because I could not believe how amazing it sounded.
“We all knew it was either going to be huge or just never going to make anything at all.”
The first record released in the UK went straight to number one, knocking Robbie Williams off his perch there.
“He didn’t like that but he was cool about it,” laughs Sébastien, recalling how the singer mock confronted them at a red carpet event soon after.
He likens Il Divo’s coming together to a business merger or an arranged marriage.
“It is always difficult to mesh together as a group.
“Imagine you have your own company, working for yourself and all of a sudden you have to work in another company with four partners.
“In the beginning it was very difficult because of language barriers, because of where we grew up, our personalities. You have to kind of gel. It’s like getting married with someone you have never met.
But we have been quite intelligent and old enough to make it work and really enjoy being married.”
They all have what he terms ‘ego artistics’ and he has found they often live up to national stereotypes when faced with problems. Carlos is kind of fiery, he reacts straight away. Urs is going to think about it, I am more like that as well. David always thinks that America can save the world. I don’t say that in a mean way.
"We love that about each other. Before it was hard to connect but now we just laugh. We are like a United Nations trying to navigate through problems, which we don’t have often.”
Their current tour, which sees them appearing at the LG Arena on Saturday, follows a couple of years spent out of the limelight, while they were putting together their new album, Wicked Game (the title track is a reworking of the Chris Isaak classic)
They have also been busy with their own projects, which for Sébastien has meant studying acting.
“I’d like to do films or TV.
“I haven’t gone forward for any roles because I haven’t felt prepared yet. I don’t want to jump into something and not be good.
“I just want to do some other things that are fun to do, that people wouldn’t necessarily expect.
“I have always composed music, I still do a lot. I want to take some dancing classes now.
“I think it is really important as an artist to kind of try different.
“I am pretty lucky in that (acting) is not what I do for a living so I can choose something that will work for me.”
All this has to be balanced with making time for family life.
He is married to Renee, a former music company publicist that he met while touring, and they have three children, four-year-old twins Lucas and Rose, and 11-month-old Jude.
They usually travel with him to different continents and when Il Divo is away performing he will fly back to where they are based on his days off.
“It is tiring but if I don’t see my children I die basically,” he says, touchingly.
“I just need my family and my wife. I need that balance because it is not just Il Divo and the fans; it is also who I am outside Il Divo which is important.”
In spite of the group’s impeccably groomed image (“I think putting on jeans and T-shirt, which we do every day in our lives, doesn’t really represent our music on stage”), he says the foursome are far less diva-ish than their name or look might suggest.
“I think we are pretty easy maintenance to be honest. We don’t want this or that or need water that is a certain temperature – which I hear sometimes from other artists.
“No riders. Just some water and some fruit, that’s all. Pretty boring.”

fredag den 13. april 2012

International classical crossover icons Il Divo stop off in Cardiff this weekend as part of their world tour. Dave Owens spoke to the group’s American star David Miller about coping with life on the road and taking their brand of operatic pop to the next level
HE might not confess to going stir-crazy but there’s a palpable sense of cabin fever when I speak to David Miller. The US tenor, one quarter of the multinational, multi-million-selling classical crossover vocal outfit Il Divo, is holed up in his Belfast hotel room ahead of the group’s appearance that night at the city’s Odyssey Arena.
He’s reeling off a list of the places he has played thus far on their world tour and the cities, countries and continents are tripping off his tongue at a rapid pace which would suggest they are indelibly imprinted on his brain.
“We started at the end of January in Cape Town, South Africa, then we moved on to South East Asia, then mainland Europe.
“Now we’re on the UK leg of the tour, then we move back into Europe, then over to Canada and the States.
“We finish up with shows in Eastern Europe. The final date is in Serbia in September.”
I suggest that’s a punishing schedule by any stretch of the imagination and wonder how he keeps his sanity intact.
“Sanity? What’s that you said, sa-nit-ty?” he laughs, playfully mocking my question.
“Let’s just say it requires constant diligence to stay relaxed. The shows are always the highlights, singing is great,” adds David.
“It’s the bit in between, like trying to get through airport security, that can be a pain in the a**.
“But you live from moment to moment. You can’t think too far ahead. You have to try and make sure you’re sleeping at night and eating sensibly.
“I try and work out, go running and use weights. It’s not very rock and roll, but when you’re on a world tour you have to look after yourself and your voice.”
Those distinct voices – French pop singer Sebastien Izambard, Spanish baritone Carlos Marin, Swiss tenor Urs Buhler and, of course, David – can be heard this weekend at Cardiff Motorpoint Arena where they will be performing to a packed house.
Some critics have sneered they are little more than a Simon Cowell-created cash cow, as they were put together by the talent show impresario in 2004 when he decided to form a multinational quartet to recreate the style of The Three Tenors.
Nevertheless, whichever way you look at it, their stats are certainly impressive.
To date they have sold near to 30 million albums worldwide and they’ve been able to fill stadiums on some continents such is their popularity.
Fans heading to the Motorpoint can expect what David describes as “everything we’ve been trying to achieve on previous tours”.
The singer reckons that, after eight years together, Il Divo have – pardon the pun – found their own voice, despite many attempting to work out what their magic formula is.
“Our voices have grown and our approach to singing has grown,” he states.
“The live show is us as four individuals. We’re all from different backgrounds and people want to hear what makes us distinct.
“We have had people saying to us in the past, ‘yes but we need to work out what that special formula is that makes Il Divo tick’. “Well, isn’t it the variety of our voices?
“The pop music industry is very homogenised,” continues David, the bit firmly between his teeth.
“Taking a risk is not par for the course at the moment, but on the last album (2011’s Wicked Game) we decided we were just going to be ourselves. It was so much easier and it made for a better album as a result.”
You get the sense there may have been some dissension in the Il Divo ranks that caused this change of tack, maybe a struggle to wrest control from those who operate behind the scenes, although David is far too polite and guarded to let slip any potential rifts between management, record label and group.
Nevertheless, it’s apparent Il Divo, who were named Artist of the Decade at last year’s Classical Brits, have much more control over their destiny than maybe they’ve had previously.
“To some extent that’s true,” says David. “However, we do rely on everyone’s expertise. I cannot stress how much of a democracy this is.”
To underline the point he reveals that Il Divo have a whole new crew working with them on this tour, “with fresh eyes who can allow us to be ourselves on a stage set that is bit more Vegas than anything we’ve ever done before.”
As we hurriedly finish our chat – I’m just one of a number of journalists lined up to speak to the singer that day and David is running late – we discuss the amazing popularity of classical crossover, the musical genre that has made superstars of the likes of Katherine Jenkins and Russell Watson.
“I think they were the guys who kicked that particular door open,” muses the performer in conclusion. “All we did was capitalised on it, Hollywood-ised it if you like, and maybe took it to another level.”

torsdag den 12. april 2012

Simon Cowell took a risk when he decided to form a classical quartet in 2004, but to say it paid off would be an understatement.
Il Divo - formed of American tennor David Miller, Spanish baritone Carlos Marin, Swiss tenor Urs Buhler and Frenchman Sébastien Izambard - have sold more than 26 million albums in their impressive career, and are now on the verge of driving that figure even higher with their brand new offering.
Wicked Game is the group's sixth studio set, their first in three years, and ahead of its release Entertainmentwise caught up with them to chat collaborations, career highlights and stolen shoes...
Q: You're back! New album out, what can fans expect?
Urs: Best Il Divo album ever. Can confidently say it's the best Il Divo album. It is deeper, it is more dramatic, it is luscious, we've spent a lot of time...
David: And a lot of money!
Urs: And a lot of money. It was supposed to come out last year, but it was not good enough, we were not happy with what we had at that point. We just worked on and on, trying to find a better repertoire, make the arrangements perfect, re-record vocals that did not sound passionate enough... we've done everything we could to make this the best Il Divo album ever, and I think we succeeded.
Q: How has the pressure to sell a certain amount changed with each album?
David: I think it's got more. Numbers being what they are in the industry, the amount of piracy and downloading is creating a very big difficulty for the whole industry. Not just music, movies and everything - everything is available to just go steal it for free. So trying to get the record company to still be willing to invest in what you have really does say soemthing about what we do. They clearly do value us as one of their big artists that we're willing to support. So we obviously want to create something that is top notch, of the highest calibre, in order to live up to that investment. And as Urs said, I think we've done that. The amount of detail, work that we've put into this, I think puts it head and shoulders above anything else we've done.
Sebastian: Head and Shoulders? Isn't that a shampoo?
David: Our music is like dandruff. It keeps coming back!
Q: Stronger than before?
David: Yes! [Laughs] Maybe that's not the best expression.
Q: If you had to pick a highlight of what you've achieved so far, what would that be?
Sebastien: There are so many, we've done so much. I think we are not that kind of band that looks back and thinks 'we've done this, we've done that'. We have this tendency to look ahead at what we can do, and things that are achievable. There's so many things going on. Singing at 2012 Olympics would be amazing, I don't know if that's gonna happen. The Royal Wedding, that didn't happen. [Laughs] We have done the World Cup, performed with Barabra Streisand, Toni Braxton, Celine Dion... we've done a lot of things. But singing with Eminem, or Jessie J... we'd love to do something completely different.
Q: When you first started out, did you have any honest expectations as to how long you'd be around for?
Carlos: Never!
Sebastien: I did.
Carlos: You did?
Sebastian: I knew exactly.
David: I knew we were gonna be sitting in this room. As of this morning, when they gave me a slip of paper that said 'You're gonna be in this room this morning', I knew where I was gonna be!
Sebastien: But in case you might write 'we knew we were gonna be successful', I didn't think ever we were gonna be able to travel the world, it's an amazing surprise.
Q: People of all ages seem to be Il Divo fans. What kind of demographic do you get at your concerts?
Carlos: It's a really wide range. It's unbelievable. But it depends where you go. If you go to Latin America, Spain, they're quite young. In the UK, it's more mature. It depends. In Korea, in the South East, we have fans that are teenagers. It's amazing.
David: It's a family event. Women showing up in groups, girls night out, bringing their husbands, bringing their kids, it's a very Disney, G-rated concert.
Q: How do you guys look ahead to the future? Are you hoping to carry on for as long as possible, are you taking it one album at a time, do you have an end-date in mind...?
David: I think it all comes as one. We do take it one album at a time, because we have to focus on the next step ahead of us in order to give it 100%. That being said, we continue to give it that because we want it to go on forever. Like Sebastian said, you can't know where it's going to go, but you can look at where you've been and, maybe not put too much stock in it and say 'We want to go on forever'... no matter how many accolades you get, you can't guarantee your future. So you really have to stay in the moment,and be present with it.
Sebastian: And it's really up to the audience, the people who allow you to go further. You can only give them the best, but if they don't like it...

Q: You've mentioned a few of your highlights, but looking back at your past gigs, do you have any noteable disaster stories?
Urs: We have never had a gig that didn't go wrong, but we've had funny stories. David fell flat on his face once. For us it was quite funny!
Carlos: There was a fan who stole Sebastien's boot!
David: We sat on the front of the stage and audience would run forward, and suddenly we heard "Someone has my shoe!", as we're singing the song!
Q: And you never saw it again?
Carlos: Never saw it on eBay either.
Sebastien: I sold the other one! For a charity.
Q: What are your personal music tastes like? Do you have any favourites that might surprise people?
Urs: Heavy metal.
Carlos: Tom Jones.
Sebastien: Coldplay, Radiohead, Tito Puente, Brazillian music... everything! I just love music!
David: I love everything, I like electronica. Dance music, house music...
Q: Are there any people doing the rounds at the moment who you think it would be interesting to collaborate with?
David: Yep.
Urs: Yes.
[Pause]
Q: Great!
[Laughter]
Sebastien: Jessie J, Eminems...
Urs: It's Eminem! There's only one!
David: M&Ms? As in the red and the yellow?
Sebastien: Bruno Mars and I'd love to sing with Beyonce.
David: I'd like to sing with...
Sebastien: Adele?
David: Yes! That was what I was going to say.

tirsdag den 10. april 2012

http://forums.ildivo.com/topic/28968-message-from-the-mods/
Join Urs, Sebastien, Carlos and David as they put on a royally good performance for the Queen's Diamond Jubilee concert this May.
Guests including The Queen, Prince Philip and other members of the Royal Family will be treated to a spectacular performance from the pop-opera maestros at the star-studded Windsor Castle event between May 10-13.
Il Divo will be joining a cast of 1,100 performers in a 90-minute theatrical show highlighting the Queen's passion for horses.
And if you aren't lucky enough to be one of the 15,000 paying fans that scoop a golden ticket, don't despair because ITV1 will be televising the event.
Keep checking the Il Divo website and Facebook page for updates about the performance, and find out more about the Queen's Diamond Jubilee on the official website thediamondjubilee.org

REVIEW: Il Divo, Sheffield Arena


As the large orchestra rumbled, Simon Cowell’s four multinational singers, Sebastien, Carlos, David and Urs made an emphatic entrance from the top of the stairs. They quickly made a positive impact with Come What May from Moulin Rouge followed by Dove L’Amore based on Adagio for strings.

The boys are at their best when they come together. The sound is powerful and uplifting. Spanish smoothie, Carlos Marin has by far the strongest voice. His Baritone is effective during solo intervals. American David Miller is not far behind him. Sebastien Izambard, from France, and Urs Buhler from Switzerland have slightly weaker voices and get caught out a touch when singing alone.
Il Divo keep things interesting by singing in French, English, Spanish and Italian. It was refreshing for example to hear the often- sung Unchained Melody as Senza catene. They ended the first half with Frank Sinatra’s My Way as A mi manera.
This pop/opera cross over group upped the pop content in the second half. Promoting a new album, Wicked Love they performed their version of Chris Isaak’s title track as Melanchonia. There was good banter on stage and with the audience. Marin bemoaned his single status with tongue firmly in his cheek and had the ladies up dancing to La vida sin amore. After classic versions of Roy Orbison, Shakespeare’s Sister and Toni Braxton songs, there was a sumptuous version of Somewhere from West Side Story.
For the storming encore, I couldn’t resist singing to myself, Time to say goodbye (Con Te Partirò). Not quite the Four Tenors, but not far off.

Review: Il Divo at Liverpool’s Echo Arena


EIGHT years ago Il Divo were tasked with creating a successful act somewhere between pop music and opera.
During last night's Liverpool gig, they admitted they had no idea what they were doing in the beginning. However, a packed ECHO Arena is testament to what they have achieved and how popular they have become.
The foursome have captured a section of the market desirous of the classicism of opera mixed with the familiarity and frivolity of pop.
The eclectic set list encompasses Come What May from the movie Moulin Rouge, Con Te Partirò, Celine Dion's If That's What It Takes in French, Leonard Cohen's Hallelujah and Andrew Lloyd Webber's Don't Cry for me Argentina.
The most surprising track is, however, a Spanish rendition of Shakespears Sister's Stay, which is beautiful. Where the original has an element of pantomime, their version is delicate and touching.
It's irresistibly romantic listening to Unchained Melody in Italian, Toni Braxton's Unbreak my Heart in Spanish and a multi-lingual version of Frank Sinatra's My Way.
The only musical low point is listening to French group member Sébastien Izambard try to get the audience involved in an acapella version of Ferry 'cross the Mersey.
Embarrassingly only a handful of Scousers can join in the sing along. Eventually Izambard gives up and moves on to a much more successful attempt at the Beatles' Hey Jude – which he recently named his third son after.
What has helped make these four guys and their music break the mainstream is what Simon Cowell would, cheesily, call the likeability factor.
During the show they treat besotted audience members as old friends, sing with arms around one another and tease each other.
Senior group member Spanish baritone Carlos Marín, with his cocked eyebrow and cheeky smile, is the butt of most jokes. As the last singleton in Il Divo, the fellas try to set him up while he himself puts out a plea for phone numbers.
He will have no trouble – fans adore them and it’s easy to see why.
8 - Popera

mandag den 9. april 2012

  •      Il Divo  Do not Cry For Me Argentina
                                                     
  • Il Divo Track by Track

Elaine paige :  Do not Cry For Me Argentina


                                           
Il Divo: Behind the Scenes at the Sydney Opera House 
Description of Wicked Game
Il Divo has sold more than 25 million albums worldwide, received 150 gold and platinum records, more than 2 million sold concert tickets, and with "Ancora" the only crossover classical album ever to debut on the U.S. Billboard Top 200 - directly into on a nice first place.

Six years have passed since Il Divo stood on stage at the first time and was about to launch their debut album titled "Il Divo". Six years of massive worldwide success and record-breaking results. They have toured the world and truly established itself well as a well known brand. Many fans can look forward to IL Divos new album "Wicked Games" which is published on 28th November.

Tracklisting:
01 - Wicked Game (Melanchonia)
02 - Crying (Llorando)
03 - Do not Cry For Me Argentina
04 - Dov'è L'amore
05 - Falling Slowly (Te Prometo)
06 - Come What May (Te Amare)
07 - Senza Parole
08 - Stay (Ven A Mi)
09 - Sempre Sempre
10 - Time To Say Goodbye (Con Te Partirò)
Crying                                                 Il Divo  - Crying (Llorando)





                                                           Il Divo Trak by track





Rebekah Del Rio - Llorando (Crying)



Urs Toni Buhler on 19 July 1971 in Willisau, born in the canton of Lucerne in Switzerland. He is a classical tenor.

His singing career began at age five in a choir in his hometown. From childhood he learned to play violin, clarinet, piano, guitar and drums.

His music career started out with fifteen. He sang in a cover band, and at seventeen was the lead singer of the heavy metal band "Conspiracy" from Lucerne. At the same time, however, he took classical singing lessons and has trained his voice, especially on religious chant. He attended an academy, where he's singing skills, especially in the extended church singing.

Soon he moved to Amsterdam, where he took singing lessons from Udo Reinemann, a renowned German baritone singer. Urs perfected his skills in the classic Swedish tenor Gosta Winbergh and French tenor Christian Papis. He sang in a choir and performed in Holland at the Salzburg Festival under the baton of Claudio Abbado.

Urs lived for the past seven years, before he came to Il Divo in Holland, sang several oratorios and had several appearances in the Dutch National Opera.

In December 2003 he was invited to Il Divo casting in London.

Urs spent three years with the Dutch model and soprano Jackie van Oppen together. His great happiness he found in 2006 with Il Divo makeup specialist, Tania Rodney. The two now live together in London and have a child.

The fans of Urs at the Divo followers call themselves "Uber-Babes" (front with the "U" of "Urs").
David MillerDavid Miller was born on 14 April 1973 in San Diego, California (United States) was born. He is a classical tenor. He grew up in Littleton, Colorado on.In high school he played the "Rooster" in Annie and Noah in "Two by Two". He did not know how it would have seen his father like to join the army, but enrolled at the Oberlin Conservatory of Music, where he took master classes in voice and opera, and theater.He works with major American opera companies and got several interesting roles, such as Des Grieux in "Manon", Romeo in "Romeo et Juliette," Werther, Alfredo in "La Traviata" and Tamino in "The Magic Flute".On 6 May 1998, he sang along with other opera singers in front of former President Clinton at the White House.In 1999 he toured with the Opera of Los Angeles, Santiago (Chile) and sang Tybalt in Bellini's production of "Fiesta de Savonlinna." In 2000 he sang with an Australian team in Milan Opera a Tony in "West Side Story." He was praised highly, earning rave reviews. 2001 and 2002, he sang as Cassio in Belgium.2001 - 2003 he took over America, especially in various leading roles in operas and musicals, and there was a great name. He sang Rodolfo in La Bohème on Broadway. He belonged to the original Broadway company.Among his other roles included Don Ottavio in Mozart's "Don Giovanni," Belmonte from "The Abduction from the Seraglio" and Tom Rakewell in "The Rake's Progress." There are some recordings on which David can be heard. Unfortunately, these are difficult to obtain.In December 2003 he was invited to Il Divo casting in London.In December 2007, while Il Divo took a break from their world tour, David returned to classical opera. He sang several tenor arias and gave some Christmas concerts.Together with his wife, the soprano Sarah Joy Miller, with whom he has been married since August 2009, he has also appeared on various solo, for example regularly at the Music Festival in January in St. Barth.The supporters of David among Divo fans call themselves "Divas" (the front with the "D" from "David")

It’s the tenors of testosterone


Definitely one for the ladies as Cowell’s man-band turn on the charm

By Jane Hardy
Friday, 6 April 2012
Il Divo on stage at the Odyssey Arena in Belfast
Il Divo on stage at the Odyssey Arena in Belfast

    onsdag den 4. april 2012

    5 April
    2012 Dublin, Ireland
    O2
    Here Il Divo perform tomorrow :)
    • Il Divo  Dov'è L'Amore









                           Track By Track - Dov'e L'Amore
    Carlos Marin@carlosmarin_
    Il Divo performing in the Queens Diamond Jubilee event in Windsor Castle on May 13 We have been honoured to be part of such a historic occasion a tribute to the queens 60 year reign a celebration with performers from all over the world xxx

    tirsdag den 3. april 2012

    David Miller@DivoDavidMiller
    Thank you Newcastle!!! Even the snow doesn't dampen the mood!!
    http://music.aol.com/video/il-divo-il-divo-in-japan/il-divo/adam:9645257
    Il Divo performing at the Metro Radio Arena last night
    Il Divo performing at the Metro Radio Arena last night
    CLASSICAL crossover quartet Il Divo performed to fans at the Metro Radio Arena last night.Aranda Rahbarkouhi was there to experience their spectacular show.
    THE last time Il Divo were in town they reduced me to tears singing Mama, had my heart racing with Unchained Melody, and their rendition of Unbreak My Heart gave me goosebumps.
    Could they do it again I wondered? The simple answer – YES!
    The quartet and their orchestra exceeded my expectations and proved once again that language is no barrier to love.
    They looked and sounded superb, and even the words spectacular, fantastic, handsome, beautiful and talented, were not enough to give these four classically-trained singers the praise they deserved.
    Sebastien Izambard of France, Urs Buhler of Switzerland, David Miller of America, and my personal favourite, Carlos Marin of Spain, appeared on stage, manly and masculine, in their words ‘like four caged tigers’, in mine, smartly suited and booted.
    They even managed a bit of Geordie, with Carlos saying: “Look at all the canny lasses here tonight.” and cheeky Sebastien adding “Ya Alreet Hinny” before singing the Lindisfarne classic Fog On The Tyne.
    The first song Come What May (Te Amare) from the film Moulin Rouge was sung beautifully, this was followed by the outstanding love song Dov’e L’Amore.
    Adagio was dramatic, bathed in red lighting. The song itself is about a man crying for his woman who has passed away. He wants her to give him a sign that she sees him and is with him. Emotion truly shone through for all four.
    Don’t Cry For Me Argentina was the cremé de la creme for the audience.
    I’ve loved Wicked Game ever since I first heard Chris Isaak sing it. So to hear Il Divo’s rendition (Melanconia) – a tale of obsessive love was out of this world.
    The richness and power of all four voices shone through accompanied by a spectacular backdrop screen of flames.
    La Vida Sin Amor (Life Without Love) is my favourite track, a softer touch to the night, with one of the best melodies ever. It had everyone on their feet salsa dancing.
    I cannot even watch the video to Mama online without crying, so the song did not pass without a few tears from me, despite my own ‘mama’ sitting next to me (doing the same).
    This was followed by a reworked version of Hallelujah, and then the Il Divo version of Roy Orbison’s Crying (Llorando). I had set out not to like this song, but I melted. It was as beautiful as the rest.
    Stay (Ven a Mi) a cover of Shakespeare’s Sister’s biggest hit, went down a storm with the crowd, who lapped up every minute of it. Sinatra’s My Way (A mi manera) was also a welcome crowd-pleaser.
    Another favourite – Unbreak My Heart (Regresa a mi) was as fabulous as ever, while the song ‘I’m Lost Everytime I Look At You’ couldn’t have been more true!
    Who needs Celine Dion when you have Il Divo singing Pour que tu m'aimes Encore, (If That’s What It Takes) simply amazing lyrics. Another favourite.
    I struggled holding back the tears again for Somewhere from the 1957 Broadway musical West Side Story.
    I’d read a Twitter comment earlier in the day about replacing the United Nations with Il Divo – and you know, that could work. The song received a standing ovation.
    The encore was Time To Say Goodbye (Con Te Partiro), they’re not Pavarotti or Bocelli, but thank you Simon Cowell – need I say more?
    All I have to say is bravissimo, gentlemen!

    http://www.divodavid.com/
    Wicked Game (Melanchonia)



    Il Divo









                                                                      Chris Isak
                                                                     

                                                            



                                                         Track by Track
                         
                                                           Il Divo talk about Wicked Game.
                                                        


    mandag den 2. april 2012

    David Miller Day: July 13, 2009

    The Artist Interviews: David Miller, Tenor

    by Elizabeth King on October 16, 2010
    David Miller, born in California in 1973 and raised in Colorado, graduated from Oberlin Conservatory with degrees in Vocal Performance and Opera Theatre. While best known for his current work as the American member of the international quartet Il Divo, created by Simon Cowell, David also sang the role of Rodolfo in Baz Luhrmann’s 2002 version of Puccini’s “La Boheme” on Broadway. He has sung in the most renowned opera houses in the world, including the legendary La Scala, and is internationally regarded as one of the brightest and most talented young American opera singers. We’re thrilled to have him share his thoughts about growing as a young artist and arts education here at Stay Out Of School.
    Can you start by giving us a description of the work that you do?
    Well, I am a singer. I was trained for five years as a classical singer and two years apprenticing as a Young Artist at the Pittsburgh Opera Program. I then spent ten years as an opera singer singing just opera. For the last six years I’ve been with the group Il Divo; we’re four singers from different musical backgrounds. What we do is we bring our different backgrounds together, blending the way the four of us sing all into a single song that we try to give a cross section of techniques. We may start a song is a very pop, raw, emotional way and end with a big operatic finale.
    How much of your early music education happened at home and how much happened at school? What was it like being a young musician in a household like yours?
    My first experience with music at home was, well, I guess, in the womb. My mom used to play classical music and put the speakers next to her belly! (laughs) But in real life, my first musical experience was the piano— my parents had a piano and they got me a couple piano lessons and I didn’t take to that very well. So they said, “Ok, if you don’t like this, what do you like? Do you like any musical instruments?”
    And I said I wanted to play trombone.
    So they found a teacher who was willing to teach a nine year old how to play trombone. My teacher eventually found me a youth orchestra to play with and I excelled very rapidly under my parents’ guidance and discipline… not that they played any instruments, but applying the ideal that if you put your heart and your head to something, you can do anything you want to do. So they said, “if this is what you want to do, fine, but you have to learn the basics and you have to learn the theory and you have to learn what music is so that you can function in it.” That’s what this youth orchestra provided every Saturday and my parents kind of required of me… they said “if you’re going to do this, you have to practice at home at least an hour a day”—whether that was working on music theory work books or actually practicing the trombone.
    I did that up until about thirteen and then I decided band was entirely too geeky, so I joined choir instead.
    That’s like a one-level upgrade from band to chorus…. Like one step up.Yeah, it’s funny considering everyone’s current opinion about glee club from Glee, which I think is a funny show. I don’t really care for the montages, but I think it’s a fun show and I like that it encourages thinking about how music can function in school. I’ve always been a big purport-er that music is just about music—music is a mindset, a search for deeper understanding that might not be tangible, it might be temporary. But it’s learning how to harmonize, learning how to express yourself, learning so many deep, intangible levels of thinking and feeling that are absolutely applicable to any other discipline.
    Ok, so can we talk a little bit more about discipline? You were talking about it earlier but did this discipline fuel your passion? Did you wrestle with being disciplined?
    For me, I believe that discipline comes in many different forms. Everyone has a different style of learning. Some people, like myself, are audio learners. I can listen to a conversation and repeat it back almost verbatim when I’m really in the moment and paying attention. Other people can’t do that— other people are visceral learners, for example, if they’re learning language. If I’m learning a language, I just have to listen to it over and over and it’s easy for me to repeat back— I’m very parrot-like in that way. Some people need to speak it over and over so as to get it into their muscle memory into the body. Others need to sit down and write it; it really depends on what your predisposition is in your brain.
    I think that’s a really important thing to understand about yourself when looking at any type of discipline. If you’re following a passion and you’ve been given a set of instructions on how to be disciplined that don’t function with your style of learning, you’re just going to feel like you’re butting your head up against the wall.
    So in a lot of ways, your own discipline can actually fuel your understanding of yourself and your understanding of the work provided that it’s the language you sort of inherently speak as a learner and a thinker.
    I think “discipline” is really another word for “dedication.” It comes from an internal place: either you want to do something or you don’t want to do it. If you do want to do it, there are certain constructs that you need to be able to integrate into who into you are. Like, if you want to learn mathematics, if you like math, you’re going to figure out a way that you can do mathematics. You can study it from an esoteric standpoint, you can write the equations over and over, whatever is going to work for you, but you have to figure out what’s going to work with your style of learning so you end up putting in the hours.
    You can’t learn anything without putting in the time. You have to have the desire to absorb something in order to actually go after it and then absorb it. I think that’s an encapsulation of what discipline really is.=
    I’m very interested in uncovering those moments where your identity as an artist really got its foothold or moments when you felt empowered to take what felt like “big steps” at the time for your own artistic development. Are there key influential people or events that come to mind? Or maybe these might even be moments where you begin to identify yourself as “an artist” rather than just another kid that sings?
    Um, I don’t think I’ve found that yet. (Laughs) I don’t look at it in terms of categories, like “this is art” and “this is science,” because I think there’s a science behind the art and there’s an art behind the science. For me, I’m very left-brained, I’m very scientific about my approach to music. For example, learning about the voice, learning about the physical structure of the voice, learning about how breath pressure interacts with your vocal chords that comes to occlusion at a certain weight that provides you with a balance of not-too-breathy, which can create nodes  on your throat and not too much pressure, which can also cause polyps, which is the other side of the coin. It’s about finding your balance in between that.
    I’m very physically oriented, interested in understanding the physicality—from an imaginary standpoint because I obviously can’t be looking at my chords all the time. But, I study the charts, I know the anatomy, I understand where all the bones are, all the muscles, all the ligaments, all the cartilage in the entire throat, lung, diagram system…. Even the displaced organs when you take the breath: that all is my mindset about the art. It’s very very rare for me to drop into this place of feeling like, “Oh, this is pure creation! I’m expressing emotion through song!”
    I never really get to that point.
    I say “OK, here’s the high C coming up, I need to approach it from the E natural, which means I’m going to need a certain amount of openness in the throat so that I  can flip it up on the passaggio, which needs some breath pressure and openness and release and my jaw needs to be this far open.”
    It’s kind of freaky, actually. (Laughs)
    At this stage in my career, it’s all very scientific and a bit pedantic. It’s really been my crutch for such a long time— it’s been my foundation of understanding that when I get sick I know what the muscles are doing, when I’m too dry from being on a plane, I know what the muscles are doing and how to compensate for it.
    That being said, like I said before, I don’t really get to that place where I just let it go and just emote… and that’s not something you can just quantify or break down, or if you can, I haven’t figured it out yet. It’s something that I’m learning to uncover through my scientific understanding. “Yeah, I’ve got that, that’s my foundation. Now I need to uncover the yin of the yan of singing. Singing is a very output, outmode, “doing” kind of activity. But you have to find a yin from which the yan springs.
    That’s where I am right now. Would I call myself an artist? Mmmmmmm, maybe? (More laughter)

    Oh, that’s funny! I totally identify with that— I’m so self-aware whenever I’m making any kind of work, as well. I’m so calculating in the same ways that you are; I really identify with that. I’m never going to let go (or maybe bite the bullet) and say “I’m having a creative moment!” because I’m constantly aware of the technicalities of whatever it is I’m working on. That’s so interesting to me.

    That’s what Baz Luhrmann used to call my “Inner Stage Manager.” He said everybody who is a performer has an inner artist and an inner stage manager and they need to find the balance between both. You can’t so far into your art that you forget where all your prompts are and what your staging is. You can’t go so far as the technician, as the Inner Stage Manager, that you don’t connect with the audience through the art.
    There’s balance to be had.
    For him  it’s 70/30: seventy percent artist, thirty percent stage management and he used to say that I had it the other way around. That was one of the things that he was trying to help me uncover.
    Have you had any moments in your career path where you thought, “Forget this; I’m doing what I want to do. In fact, I have to do this….” (e.g. Going against the suggestion of a teacher/parent/mentor/etc)?
    Oh yes! Basically my entire life!
    Oh great! Well, what I’m really interested in, as you talk about one or two of those, is what it is that empowered you to be the person that was able, at the end of the day, to bite the bullet and do what you felt like you were led to do.
    As I said before, my parents gave me an understanding early on that if you put your mind to it, you can achieve anything… and I find that to be true for all inventors, all artists, all quantum physicists, or Greenpeace! Anything that you want to do, that you put your mind to, that you feel yourself drawn to, is the thing that you’re going to create circumstances by which you find yourself.
    For me, I spent a lot of time letting the universe guide me— like for example, I did the trombone for a while, I felt drawn towards that, but when I didn’t feel drawn towards it anymore I put it down. And then I found choir in high school and I was very drawn to that and so I followed it. I just sort of let myself be led by the nose, like “what do I feel like doing? Well, I feel like doing this. OK! The go ahead and do it. How far can you go with it?
    In the middle of all that, my choir teacher took an interest in me and started introducing me to opera and listening with me to different tenors that he thought I would sound like if I were to apply myself. I found that quite exciting to listen to those tenor voices.
    It’s an interesting mix of, well, screaming and… you know, Pavarotti used to say that singing opera was like controlled screaming. There’s something about the way in which the tenor approaches things is very visceral, it’s very energized—and I’m a very energetic person [and] …in opera you really have to get in there and it has to come from your balls.
    Being an Aries, being a fire sign, and having a joie-de-vivre, opera just became something that I was personally really drawn to. I got encouragement from my parents and from my choir teacher; I went and found a voice teacher and she said, “Definitely! You’re doing the thing that seems to suit you because you’re really making quick progress with this.”
    So I went to Oberlin Conservatory and got in with a teacher and that teacher was a little bit more old school, kind of “nobody knows what they’re going to do as a professional singer at age eighteen” and “you can’t know that you’re going to be an opera singer” and “let’s just focus on the exercises, let’s just take it down a notch, you’re getting ahead of yourself.”
    And I just said “well, that’s all well and good, the technique is well and good. I know what I’m going to do once this is over, so whatever you think is most appropriate for me to learn right now, but if you happen to be able to gear that towards opera, give me some tips and hints some direction, because the direction I’m pretty sure I want to go…”
    He and I butted heads for a while about that. Until Junior Year. When I got the lead in the opera.
    And he said “OK. Soooooo, you were right…. let’s continue.”
    Really I think the was the only obstacle that reared its ugly head. I really more attribute it the whole “testing of the faith” kind of thing. Like, I feel like the universe puts these “mini tests” in your way, like “you really want to do this? You’re sure you want to do this? OK, you’re sure, right?”
    And any time anything came up like that it was always “yes, this is what I want to do!” ….and any time I got a response, be it external or internal, like “yes, you’re on the right path,” then it always gave me space to dig in even deeper.
    Again, that I have to attribute to learning how to be disciplined. You can’t really “learn discipline.” You can learn what discipline is, but until you embrace being disciplined, you’re not going to have discipline. Whatever that means for you—it’s that thing that’s going to get you to put in the hours.

    Right, right, right! Discipline isn’t something that happens to you, it’s something that you become.

    It’s a desire to embrace the fullest expression of whatever it is that is your passion.
    Finally, I want to talk about this internal cycle that I think constantly revolves inside the creative brain—I think it’s the part that’s most mysterious and foreign, the part that makes art seem mystical and magical to those on the outside.
    For me, I think there is a starting point, and the starting point is desire, and it goes in an infinite cycle, but I do believe that the starting point on any adventure is the desire to go on that adventure. Once you find that desire, whatever that may be, from building rocket ships to taking out the garbage, whatever it is, that’s the fuel for making any change of any kind.
    I was thinking about my high school experience— the content that’s expressed in systematized education is sort of arbitrary. It’s like a general cross section of things one might come across. You know? You expose a child to all these different categories, math, science, french, PE, and at some point in the development of a human being you latch on to one of those areas. Sometimes it’s just wanting to be the pretty kid; we have whole industries devoted to being the pretty kid.
    We throw all this under the umbrella of “education.” But I think that real education stems from a desire to be educated, to have a working knowledge and understanding of whatever it is you’re attracted to. I think school does a good job of laying the framework, but I don’t think there’s enough encouragement [or emphasis on] “Does this interest you? Do you enjoy being in English class?
    [It’s most important to] foster desire in children to want to learn this or that and then, when that desire kicks in, empowering those children to follow that desire.
    It sounds like desire is most central to your own internal experience as an artist. Would you say you at this point in your life you are the chief caretaker of your own desire? Are there people who are strategically placed who cultivate it?
    I don’t know that I would say that desire is fueled, per se. I think it’s discovered.
    Look, you don’t know you’re going to want to play the trombone. But when you see it and you hear and go ‘WOAH!’—and it’s that feeling of “WOAH!”—you kind of stumble on it. Once it’s there, you know, [desire] is all a matter of attitude at that point. If you find [the work] enjoyable, then, easy enough.
    If it stops being enjoyable, it’s your duty to ask, “Why?” What’s stopped being fun? Has it changed? Have I changed? Have I simply gotten what I needed from this experience and it’s time for a new experience? Is the practice getting to hard? Am I lazy?
    Why aren’t these things energetically easy enough for this to be fun anymore?
    [Desire] is something you can go searching for—people spend their whole lives searching for it. It’s like marriages: when the spark leaves the marriage, that doesn’t mean the marriage is over. It just means a new paradigm has occurred and people get to decide….well, this may be controversial, but I believe people get to decide how they feel about things. People have reactions, emotions come up, but you don’t have to compulsively react to those emotions. You get to live with them for a while and decide if you like having that emotion.

    Do I like being angry? I don’t really like being angry.
    Well, if I don’t really like being angry then it is kind of my responsibility to figure out why I’m angry so I can release that. It’s the thing with anything: I enjoy this, so let’s figure out how to continue to make this an enjoyable thing by identifying why it’s enjoyable.
    If you tap into why something is enjoyable, it makes it easier to stay within a framework [of working in ways that bring you joy]. If you like roller coasters because of the adrenaline rush and you stop getting the adrenaline rush when you ride them, you’re going to stop riding roller coasters.
    That’s something teachers and other educators might really be able to tap into by understanding what gets young artists of any discipline really excited about their work. It sounds like, since so much of teaching is about helping students discover themselves, that much of this is about helping students discover their own paradigm of learning and desire.
    Is there anything else you can think of that I may not have touched on regarding cultivating young artists?
    I think science and art are the yin and the yan of existence: science, the attention to discovering structures and the art, the attention on stepping back from those structures to see a wider picture. It’s tough to enjoy the smile on the Mona Lisa when you’re examining the flesh-colored paint. But! The paint is still necessary–Bernoulli, the Divine Proportion–it takes study of structures in order to be able to put it together through your heart-center and turn structure intro art.
    There’s a jumping off point where structure is so delicately put together it becomes art, and when you can recognize the beauty in a structure you can see the art in everythin