Friday, May 29, 2009

"Metti una sera a cena " interview with Edda Dell'Orso

I was listening to an Ennio Morricone soundtrack , I was traveling with the sound of the Italian Soundtrack Lady voice Edda Dell'Orso , the Soundtrack was " Metti una sera a cena " .
I decide to look for this fantastic voice , call her and ask for an interview .
This woman was never too much on the scene and it was not easy to find her , but after met , I realyze that she is a humble woman and a great artist , so in invite her for a dinner " a cena " .
this is the result .

"Metti una sera a cena " interview with Edda Dell'Orso


What are your musical origins? What were your influences?

Musically I began as a pianist. I started to play the piano when I was 5 or 6 years old. The music that I listened to were mainly music from American film scores, mainly music by Gershwin, Cole Porter.

What were your experiences before your contact with the world of cinema?






I started with the chorus. A classical chorus that was called Coro Polifonico. I then moved to the Franco Potenza chorus and finally with Maestro Alessandroni (I Cantori Moderni )where I was lead soprano. Every now and again a voice was needed for 7 or 8 measures and it was then that I became to Morricone's attention for the first time. And then came C'era una volta il West (Once A Upon A Time In The West)and thus was born the “instrumental voice” which is was what I loved to do when I was small.

Speaking of Alessandroni and Cantori Moderni, you were part of this very versatile and in demand vocal group. How did the hiring come about?
You recorded many film scores in a relatively short time. Were the composers in competition with each other to have you work with them?


The hiring of Cantori came from Alessandroni, Morricone, and Cipriani. They would call me at home. While for other engagements we were contacted by the management of the single Orchestras.



How did you go about developing a theme? Did the projection of the film or the reading the screenplay have any influence or did the composer instruct on how the piece should by executed?

Umiliani, Morricone, Bruno Nicolai, Jess Franco, Berto Pisano, Alessandro Alessandroni, You sang with the greatest masters of music for films during the golden age for this genre. What were you feelings and emotions at the time?

During that period we made many recordings. At times I would find myself in the recording studio from 9 in the morning until midnight. In any case there was a 3 hour shift every day and we worked very hard but it was very exciting to work with such masters. It was my life.


I heard your voice when I was just 5 years old, listening to theme music to “Metti una sera a cena” which remains my favourite. Can you tell me something about the development of this music?

Usually I would be called in when the film was already finished. Many times I wouldn't even see the scene. Again, the Musical Director Morricone gave my the score and I would read and interpret it as if I was an instrument. This was my way of singing. I remember that Morricone played me the theme on the piano. The film director Patroni Griffi was also there. The theme was the one which I would have to sing. If I remember correctly, when I heard the first bars, that “haunting” riff, I was very affected by I told Morricone that it would be great if it was sung. That’s how the famous theme to “Metti una sera a cena” came about.

Do you usually listen to the theme tunes you have sung? Which is your favourite ?

All of them are great. I particularly like “La Donna Invisbile”(Morricone). I also like “Giù la testa”, “Margherita”, “le Stagioni della Vita”.


In the last few years film music has made a comeback and many theme tunes have been reissued, while a few have remained very rare and costly gems. What do you think of this comeback?

I think it’s due to the fact that they are showing those types of films again and also that Morricone is playing a lot with his orchestra and so he presents these themes again and the public appreciate them a lot.

Many of your songs for Morricone are vocalised or skat but a few times, “Verushka” for example you sing in a pseudo-English. How did this style of singing come about?

Let’s say that a few songs, mostly the Bossanovas, for example “La Donna Invisibile”were very suitable non only to vocalisation but to this thing also. If you ask me what I was saying. I don’t know. Maybe every now and again an English syllable would come out but all this would come from the way I would read the music, they’re called “Phonemicsi”

Many theme tune were inspired by jazz or Bossanova or Samba. These genres were all the rage at the time.

Usually Bossanova was chosen for the lighter situations, let’s say, erotic, (Director Dell’Orso). Let’s say it wasn’t exactly Bossanova which is a quite definite Brazilian way of music. It was a lighter rhythm that resembled Bossanova. Morricone played plenty of that.

Did you ever sing on compositions that were later used as soundtracks?

I sang “Il treno” by Bruno Nicolai that had been written for an advert for the Ministry of Transport. Many times I would sing and then honestly I wouldn’t know what use they would be put to.






What are your plans for the future? What are you doing at the moment?

When there’s an opportunity, I sing. Benefit concerts and a new CD called “A childs dream”... A Morricone double CD will shortly be released with all the famous tracks I song on, all original recordings apart from the theme to “Deborah”, which due to some editorial reason had to be re-done.

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