The Sirian Revelations Bring Hope To The World. An Exclusive Interview With Author And Clairvoyant Patricia Cori [L’Idea Magazine]

The Sirian Revelations bring hope to the world. An exclusive interview with author and clairvoyant Patricia Cori

Interview by Tiziano Thomas Dossena for L’Idea Magazine

She’s been dubbed a “real-life Indiana Jones” by fans and the media – an inspiring icon of truth and a living model of the adventurer within us all. Internationally acclaimed author Patricia Cori is one of the most well-known and established authorities on the realms of the mystic, whose views of the world challenge the status quo and confront the issues that concern us all today. She’s a pioneer of the alternative thought community. She loves to “stretch the imagination” with visions of what might very well be, as science fiction becomes reality every day in our rapidly changing world. With fourteen books, published in more than twenty foreign languages, she has been a key voice in the alternative media for decades, bringing paradigm-busting information to the public since 1996.
  The former host of the popular radio show, Beyond the Matrix, she has herself been interviewed on hundreds of talk radio and TV programs, including CNN, Coast to Coast a.m., Project Camelot, WABC, Fade to Black with Jimmy Church, Exopolitics with Alfred Webre, Veritas Radio, Playboy Radio, the Urban Journal Radio, KJAC Radio Montreal, 21st Century Radio, Fringe Radio, Unity FM, and a host of others. She has also appeared in documentary films.
 Her latest work, The New Sirian Revelations, Galactic Prophecies for the Awakening Human Collective, was released Dec. 5 2017 to the enthusiastic response from her global audience. Twenty years since she first re-connected and attuned to a group of extra-dimensional light beings that her readers have come to know as the Sirian High Council, this collective returns, through Patricia’s dedicated process as their Scribe, with new revelations that affirm the veracity of earlier prophecies, while transmitting new visions for the human race. They affirm that we are ascending through the outer reaches of the fourth dimension into new levels of conscious awareness and parallel realities, as we prepare for our imminent emergence. Their messages delve into crucial issues facing humankind and the planet today, to include the merging of mind and AI, exoplanetary migrations for our species (and what that means for planets that will receive us), coming clean about cloning, the care and feeding of the human soul, and the slipping of the time-space continuum.

L’IDEA: Last year, you won an award for ‘Best feature Screenplay’ at the London Film Festival. What film was that? Could you give our readers a brief synopsis of the film and how did you get involved in the project? 
Patricia Cori:   Yes, it was such an honor to be recognized for the screenplay as BEST SCREENPLAY for the festival – a competition for screenplays that have not been produced. My involvement is that I wrote the original screenplay and it is now under option with a British producer to be made into a film – although the process is tedious, especially getting the funding. The title of the screenplay is ELEPHANTS IN THE ROOM, and it is a story about a dysfunctional, super wealthy couple in the Wall Street society of Manhattan, who have a child with autism, and how their lives change when they embark on a trip to Africa. The logline reads: “An unexpected trip to Kenya catapults the wealthy mother of an emotionally challenged child to walk away from a privileged, but empty world to discover the real substances of life – for her, and her mysteriously gifted little boy.”

L’IDEA: You had quite a success with the novel “The Emissary,” but you already had published quite a few books. What are the topics of these books? Is the novel somewhat tied to these books? 
Patricia Cori:  Yes, indeed. I have quite a collection – I think my last book, The New Sirian Revelations, is my fourteenth to date! I’ve lost count. Most of my books are targeted to the New Thought/Spiritual communities of readers who are interested in subjects that lie outside the field of conventional thinking – from alien life, to quantum physics – and to the empowerment of people on this planet to raise the consciousness of our individual and communal experience. The Emissary, my first “fictional” novel, is a variation on the theme – one whose protagonist is an extraordinary psychic who receives messages from the whales about the apocalyptic scenario being perpetrated by the dark government and their quest to protect underwater alien colonies. It’s sci-fi, fantasy and possible reality all blended into a spine-chilling story. I’ve also written a screenplay for this and it is being considered by a few industry experts for production!

L’IDEA: You published a trilogy on revelations you had by some extraterrestrial beings. How did these revelations come about? Could you tell us more regarding these beings and the reason they contacted you? 
Patricia Cori: Actually, the premise of the books, known to my readership as THE SIRIAN REVELATIONS, is that beings from another dimension (specifically the 6th) are communication with the human race through me as their scribe. They call themselves the Sirian High Council. Many people now claim to hear messages from other dimensions, but what is particular about this information is the accuracy of many of the predictions and futuristic visions that are already coming to pass, since they first started coming in as early as 1996.
As for why I have been contacted, I suppose it is that I have been a very clairvoyant experiencer since childhood, and for reasons that are still inexplicable to the rational mind, for me it is quite natural to pick up these messages – as if I were reaching a different bandwidth – and then I transcribe them into the written word.
It is a great honor and responsibility to be chosen to do this work – one I do not take lightly. And it has been a guiding light – a mission, if you will, for most of my adult life.

L’IDEA: A few years after these three books, a book appears with new revelations. Are they really new revelations or are they deeper explanations of the preceding ones? 
Patricia Cori:  That’s a great question! Certainly, the new book builds upon former revelations since they were so revolutionary back in 1996, and now much of what was absolutely impossible to imagine is unfolding in our world. One central theme was and still is that we are merging with the fourth dimension and what that will mean to us at this stage of our evolution. The New Sirian Revelations elaborates just what that means to us now, and how the sun, planets, and earth in particular are changing their frequencies, while the entire solar system moves to a higher band of vibratory fields. And there is so much more that has not been elaborated before – it is as if we had to reach this phase before the next wave of information was made available.
What is very exciting about the material is that it is inspiring people with a hopeful outlook on what currently seems to be a very desperate, almost apocalyptic scenario for our future.

L’IDEA: Your Website defines you as “author, guide, visionary.” Why guide? How do you perform this duty? Visionary is referring to your clairvoyance or some other quality of yours? 
Patricia Cori:  I have been referred to as a spiritual guide and mentor for decades, since my work involves teaching, healing, and actually guiding hundreds of people on spiritual journeys to sacred sites on the planet: Egypt, the Mayalands, Sacred England, Tibet, etc. I am devoted to helping people evolve spiritually, to be empowered and liberated, and to find their true purpose on this planet, in this lifetime. I believe you need to be a visionary to do that – to help people seek greatness and to believe in the wonder of life and their own divinity. That is what I mean by the term “visionary.” I think it is inspired by the old Star Trek motto “to boldly go where no one has gone before.” To be a dreamer, to believe in all that has come before and all that we will create anew – that to me, is a “visionary.” People these days are losing that, losing the dream, the vision, and the hope. And I am dedicated to helping them find it again.

L’IDEA: The first realization that occurs while reading your books is that there is still hope for this world of ours; your approach is not apocalyptic but positive and refreshing. Notwithstanding the fact that if our readers want to know more they can find it by reading your books, could you tell us what leads you to have such a positive outlook on the world when most of the predictions out there are dire and gloomy?
Patricia Cori:  Thank you for that! Yes, as I mentioned above, the material is filled with hope and having this feed my soul for two decades cannot help but affect my own experience! I’ve always been a very positive person – I think I owe a lot of it to my mother, who was the most empowered, loving person I have ever known, and she transmitted her love of life and that essential pursuit of happiness to me, since my childhood and throughout my life.
As for the growing malaise that seems to pervade human consciousness and our societies en large: bear in mind that the power that rules this planet feeds on greed and the abuse of wealth and power – and that means war. Peace is not profitable. So we are programmed to be at war – with countries, with each other, with ourselves. We are entrained by the media and all systems that govern us to be dissatisfied and buy more – to consume mindlessly, to work almost enslaved to the system and to be grateful we even have work.
Keeping people in a state of lack and fear feeds that system. In the words of the immortal comedian, George Carlin, “they don’t want a society of free thinkers, no they don’t. They don’t want that. They want slaves to the system.”
My vision and my work reflect another perspective – and that is that we do not have to bow down to the system. We don’t have to perpetuate war, buying into the myth that war is a necessary evil. We don’t have to over consume, and then destroy the planetary ecosystems with the waste of that consumption. And we can be at peace with who we are, what we truly value, and how to be responsible for our own successes and ‘failures’ in a very Buddhist approach that has each of us understanding how we create our own karma. It is the opposite of what we are seeing perpetrated today, the growing commiseration with victim consciousness, which is totally disempowering and debilitating to the human spirit.
I believe we are seeing a transformation in old values, and that the old system is dying. Change is upon us. It’s painful: change almost always is. We have to get out of our comfort zones, which we have been constantly taught is ‘safe’.  And we have governments proclaiming to keep us ‘safe’ by reducing our liberties. That’s control – and there is nothing safe about that!

L’IDEA: When did you discover to be a clairvoyant and how?
Patricia Cori:  Ha! Let’s go back way back in time. My mother told me that when I was four years old I walked into the kitchen and declared: “I am not from here.” Taken aback, she asked me where I was from, and I said: “I’m from another galaxy – but you’re not ready to hear that yet.” And then I walked out. Back in the day, there was none of this kind of lingo available to us – especially to children. There was none of this galactic consciousness permeating our lives. Fortunately, my aware mother paid attention. She encouraged my visions, and they were constant. I had premonition, clairvoyance, and contact with spirits from that early age and the intensity has grown with me. I offer private clairvoyant sessions, and the constancy of working on that level I believe strengthens the ability to draw on that gift.

L’IDEA: You also work with animals. Could you tell us more about that?
Patricia Cori:  I have been an animal activist all of my life – saving and rescuing, and advocating for animal rights. Years ago I founded a non-profit organization called SAVE EARTH’S OCEANS, to work on protecting all life in the oceans, particularly the Cetaceans. I produced an amazing concert in London with the Royal Philharmonic Orchestra and several talented artists – it was called SINGING THE OCEANS ALIVE – in 2014. Currently, and unfortunately, the organization is on hold due to lack of funding but I will return to the fight!
The animals of this world are struggling. Several species are extinct and others follow due largely to man’s destruction of the ecosystems. And then, there is the abuse… so much to do. We need to all fight for the animals, who have every right to live on this planet as we do.

In the screenplay, Elephants in the Room, which we mentioned above, an underlying theme is the preservation of Elephants in Africa – in fact, the antagonist in the story is a wild game hunter. It underlies much of my work. One of my books, BEFORE WE LEAVE YOU, is a plea from the whales and dolphins to the human race to save them before they become extinct. The Emissary is an off-shoot from that work.

L’IDEA: You also offer workshops and courses. What are these courses?
Patricia Cori:  I offer healing workshops, motivational workshops, and programs to help people develop their own psychic/clairvoyant capabilities.  I take people out to swim with wild dolphins, and during that experience, I share with them what I know about animal communication. I have another one of these programs coming up in June 2019, here in the Azores Islands, rich in Cetacean life, and where I believe to be the remnants of Atlantis. I also have a program coming up in April – in Egypt, where we explore the extraterrestrial intervention in that Ancient Kingdom and the traces that remain.

People can find out more on her site

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Being Italian American Is In The DNA Of My Being And Of My Work… An Exclusive Interview With Playwright And Director Charles Messina [L’Idea Magazine]

Being Italian American is in the DNA of my being and of my work… An exclusive interview with playwright and director Charles Messina

Interview by Tiziano Thomas Dossena for L’Idea Magazine

Charles Messina

Charles Messina is an American playwright, screenwriter, and director. Born in Greenwich Village, of Italian-American descent, he attended Xavier High School and then later, New York University.
Known for his deconstructive take on biographical subjects, Messina’s most notable stage work as director includes the critically acclaimed Off-Broadway plays “Cirque Jacqueline,” about the life of Jackie Kennedy Onassis, and “Mercury: The Afterlife and Times of a Rock God,” a monodrama written by Messina about Queen’s frontman Freddie Mercury.
In 1999, “Actor Found Dead,” a one-act play written and directed by Messina about actor James Hayden debuted at the John Houseman Studio Theatre in New York City.  In 2007 Messina directed “Two-Mur Humor,” which was an official entry in the 2007 Fringe Festival in NYC, and the big-budget musical Be My Love: The Mario Lanza Story, written by Richard Vetere,
Also in 2007, Messina’s play Merging won BEST PLAY in The Players’ Theater’s Shortened Attention Span Theater Festival in Greenwich Village. Messina also directed the film version of Merging, which was released in 2009.
Messina’s play, “Homeland,” which premiered in 2008, starred Sopranos actors Dan Grimaldi, Jason Cerbone, Joe Lisi, as well as Gina Ferranti and Amir Darvish.
Messina’s play “A Room of My Own,” about an Italian-American family living in Greenwich Village in the late 1970s was performed in 2009. In May 2010, Messina directed and co-wrote (along with Vincent Gogliormella) the script “’Twas The Night Before a Brooklyn Christmas,” starring Mario Cantone, Michael Rispoli and Robert Cuccioli.
Messina has directed the off-Broadway shows “Rockaway Boulevard” by Richard Vetere, “The Accidental Pervert” by Andrew Goffman, and Art Metrano’s “Accidental Comedy,” as well as a staged reading of his own script “Younger,” starring Joe Piscopo.
For the big screen, Messina has written “They’re Just My Friends” and “Spy.”
Messina wrote the book “My Father, My Don,” about the life of Genovese Capo James “Jimmy Nap” Napoli and his son Tony Napoli, in collaboration with Tony Napoli.


L’IDEA: You wrote and directed many plays. One of them, “A Room of My Own,” is autobiographical and it depicts the story of a young man growing up in an Italian American family in a studio apartment in Greenwich Village. Could you tell us more about the play and the characters? Is the rumor that it may soon become a TV series true? 
Charles Messina:  “A Room of My Own” is a very special project to me.  It is my baby.  Deeply personal and extremely detailed and accurate in its portrayal of my family and my upbringing.  It was a unique family and situation to be raised in, to say the least.  Crazy, funny, energetic, it was constant motion in that small apartment.  Growing up in Greenwich Village at that time was such an experience.  You had the art scene, the gay world exploding, the jazz scene.  And here we were this little Italian enclave, this tribe, that had settled there around the turn of the century, holding on to its old ways, as the outside world moved in.  There were many influences on me growing up there.  But in our house it was so much about survival.  My parents were working class people just trying to stay afloat financially.  And sometimes in those situations, the best way to get through it is by having a sense of humor.

Mario Cantone and Ralph Macchio

There were a lot of laughs in that place, and in this play, too.  But in the show there is also a deep sense of melancholy as the main character, essentially the adult me, played by The Karate Kid himself Ralph Macchio, looks back on his life and as a writer, tries to change the things he didn’t like about it.  Only to realize, through his young self, that you cannot change the past.  Acceptance is healing.  Such a wonderful cast.  I must acknowledge their brilliance.  Mario Cantone, Joli Tribuzio, Johnny Tammaro, Nico Bustamante, Kendra Jain, and Liza Vann.  I bow to them. They brought my childhood back to life so vividly and accurately.  We had a wonderful sold out, limited run-off Bway and have been developing it for television since, it’s true.  We are talking to a major network and are very hopeful that the Morelli family will be coming to the small screen very soon.

a scene from “A Room of My Own”

L’IDEA: In writing your plays, are you always inspired by true events or people you met or are some of them a complete work of fiction?
Charles Messina: Well, there’s true and there’s truth and those two things aren’t always exactly the same.  But I like stories that are based on real people.  The key word being real.  If something is real, you just know it, it cannot be denied.  We know real when we see it.  The way real people talk and walk and behave.  That fascinates me.  I love behavior.   Capturing the specifics of behavior or speech patterns and rhythms, those things excite me.  When I was a kid, and still now, I will watch something and I have this internal barometer that tells me, “Hmmm, that doesn’t seem real, that doesn’t feel right.”  So that’s very important to me.  I enjoy true stories and finding the truth in them and depicting that truth in a way that feels specific and real to me.  I think audiences are smart and can sense when something is false.  It’s vague.  It’s general.  It’s disconnected.  Real is specific.

L’IDEA: Your play “Merging” won the Best Play Award at the Players’ Theater’s Shortened Attention Span Theater Festival. What is this play about? Is the film version an accurate interpretation of the theatrical one?
Charles Messina:  Merging is a very strange and scary piece about loss and consumption.  About loving something so much that you want to consume it thoroughly for fear of losing it.  I had never written anything with a horror theme, so I wanted to give it a try.  Although I’m not sure it truly is horror, but it’s definitely a psychological thriller.  It examines the lives of a couple whose infant has suddenly and inexplicably gone missing and how things in their life begin to unravel quickly and horribly from there.  It’s tense.  It has a shock ending.  But for me, it was really about this theme of loss.  Humans do not handle loss, abandonment or separation very well and I wanted to explore those issues with Merging.  Audiences seemed to like and respond to it very well.  The film is certainly well done and closely reflects the play, practically word for word.

L’IDEA: You also wrote numerous movies’ screenplays. In your experience, how different is the process of writing them from the one of writing theatrical plays? Which one do you feel more rewarding? Are your screenplays original or are they based on pre-existing stories, novels or plays?
Charles Messina: There are several differences between writing for screen and writing for stage.  One of the most basic is setting.  Plays tend to take place in one or two locations.  Films can and often do have many varied locations, interior and exterior.  So that usually means discerning which stories will work best in which medium.   Also, there’s a difference in scene length.  That’s a big one.  In a stage play it’s all dialogue driven, so you can have a scene between characters that goes on for 10, 15, 20 pages if you like.  Film is governed by the cut, so scenes are much shorter generally, as you move from moment to moment, place to place.  There’s an economy of words.  Film is also much more the director’s medium.  Theater is the writer’s domain.  They can both be very rewarding creatively but in film as a writer you tend to step back and let the director do his or her thing.  Show up at the screening and say, Oh, they cut that line or they cut that scene, okay.  In theater the writer is usually much more involved day to day and that allows for more creative input and control.  I tend to work on stories based on real-life people or events, so for me the key is in the research and then deciding the best way to tell the story.  Whether it’s stage or screen, I tend toward character-driven pieces.  Connecting myself and then the audience to these characters is my first priority.  I’ve just always had a curiosity about people, what makes them tick, why they do what they do.  I can remember being in 6th grade and we had an anthology of short stories to read and before each story there was a brief passage of description about the writers of each story.  A biography about them.  This fascinated me.  I found the people behind the story just as, if not more, interesting than the stories themselves.  How and where they were raised, where they went to school, what influenced them.  For me, the people behind the story WERE the story!

L’IDEA: Charles, your experience with directing, both plays and musicals, is quite ample. Do you find directing your works any easier than directing other authors’ work? Are you able to write even in the period in which you direct? It’s obvious that directing is a major activity for you; any new play or musical in the works that you want to talk about?
Charles Messina:  I have directed a lot of my own work.  I think singular vision is very important.  A writer can get inside their own work in a way that another director may not be able to.  Especially if a piece is autobiographical. There’s a shorthand that a writer can bring to their own work that I think can make the piece very specific and unique.  Of course I’ve directed other people’s work and have had some wonderful directors take on my writing.  It’s all about understanding and trust.  I am working on a show now called The Storm.  It’s a musical based on the true story of composer Jeremy Long’s grandparents who were these marvelous show business personalities, who lived an incredibly successful and sometimes turbulent life.  Jeremy asked me to come onto the project because he knows I understand the value or personal storytelling.   I’m co-producing the project and may end up contributing as a writer or director,  we haven’t decided that yet.  But the key is being connected to the material and to your co-creators so that the creative process can be open.  Trust and openness is the key to any collaboration.

L’IDEA: Your musical “The Wanderer” about the life and music of Dion is having a great success after its recent workshop in NYC. Can we expect to see s full production of it any time soon?  Is it Broadway bound? Can you tell us something about it?  What prompted you to write this musical and direct it? 
Charles Messina:  The Wanderer is truly a great show.  I’m very proud of it.  We recently had our workshop presentations at The Baryshnikov Theater in NYC and the response was overwhelming.  We have such a wonderful catalog of music in it.  All Dion’s hits, from Teenager in Love to Runaround Sue to Abraham Martin & John.  And of course the title track.  It’s just great music.  In addition, we tell the compelling story of Dion’s life, including his struggles with heroin addiction and how his life was saved by a renewed faith in God.  It’s very powerful.  It’s going to surprise a lot of people.  We’ll be taking it on the road next year and then,  God willing, to Broadway soon after that.   I was excited to work on the book for this show.  It was a great fit for me as a NY kid who knew Dion’s music.  We were introduced through a mutual friend and we really hit it off.  I think there was a fast connection, two NYC guys, Italian American.  We knew each other’s culture and upbringing because it was the same.  He was from the Bronx, I was from Greenwich Village.  But we shared that Italian thing that you have to be inside of to fully comprehend.  I immediately saw his life as a Broadway musical.   But we both wanted it to be real and authentic.  Not fluffy or glossy.  We want edgy, dark, honest.  This is about addiction. But with all that great music throughout.  I think it’s a very special show and I can’t wait until the world sees it.  People ask if it’s a jukebox musical and we say, no, it’s REAL LIFE musical.

L’IDEA: Freddy Mercury was the icon star for a few generations, even after his death. You wrote “Mercury: The Afterlife and Times of a Rock God.” Is that a play?
Charles Messina:  Mercury was a monodrama I wrote about Freddie’s life.  I’m very proud of what we were able to accomplish with that piece.  To just strip away the rock star glam and glitter and show the man.  That was most important to me.  He hid so much of his true self from the world for fear of exposure – his sexuality, his ethnicity.   And this was long before the upcoming biopic that they’re releasing.  We were light years ahead of the curve on that one.

L’IDEA: Although you are known for your deconstructive take on biographical subjects, I found only one book written under these premises. Is this going to be the exception or do you project to write more books like this one? What made you decide to co-write “My Father, My Don” with Tony Napoli? I previously reviewed the book, which I found very well written and emotionally captivating, and at that time I had extended my compliments to you for your ability to retain Tony’s informal, almost intimate language. How difficult was it to abstain from rewriting the story with your voice? Did you enjoy working with Tony? Is the filming of the movie based on the book still going on? Are you involved with it?
Charles Messina:  Writing a book is a marathon, not a sprint.  It takes time.  Research.  It’s an arduous process.  I found working on My Father, My Don an to be a learning experience.  To tell a story from the first person point of view and capture the rhythm and tonality of another person’s voice, and to keep it genuine and truthful, that was a wonderful challenge.  As a playwright, I’m used to writing dialogue, so staying committed to the first person narrative was comfortable for me.  Sustaining it over 300 pages, that was the harder part.  My Father, My Don should make a fine film.  I’m not currently involved with any adaptation of it.  I have been asked about writing other books.  I think there’s a little Mob fatigue out there.  So Mob subjects don’t particularly interest me at this point.  Maybe if it were the right one.  I have some ideas.  I will write another book one day.  The timing just has to be right for it.

L’IDEA: How much did your being Italian American influence your life choices and your behavior in general?
Charles Messina:  Anyone who knows me knows just how much being a NY Italian American means to me.  That is my world.  Those are my people.  I was raised in it.  It’s in my blood.   It was and will always be a part of me.  I know their ways, their food, their hopes and dreams, their phrases!  To me when I talk about what’s real, I’m talking to a great extent about Italian Americans and their culture.  Their manners and rhythms and the particulars of their language, that’s what real sounds like to me. That’s what real is.  Brash, funny, but always to the point, always alive, connected and energetic, that’s what influences my writing.  That’s what my ear picks up.  That sound is the sound of someone telling it like it is.  I have often said that ethnic authenticity is the most important thing to my work.  It’s hard to teach what being a real Italian American looks and feels like.  You know it when you see it.  It comes out of the pores.  It’s in the DNA of my being and of my work.

L’IDEA: If you had the opportunity to meet and talk with a person from the past, anyone you wished, who would it be and what would your conversation with them be about?
Charles Messina:  My mother.  She passed away in 2009.  She saw some of my work but not all of it, of course.  Although a part of her is in all of it.  The lead in A Room of My Own is based on her.  She will always be my greatest influence.  I owe everything that I am to her.  I owe my active language as a writer to her.  My sense of humor is hers.  She had no filter.  She said it just as she saw it.  Funniest, toughest, boldest person I have ever known.  When I’m stuck for a line as I’m writing I will often ask, What would my mother say here?  She had the funniest and most particular turns of phrase!  She could do with one sentence and a look what it takes writers whole novels to convey.  She was hyper-aware and sharp.  Sometimes biting and cruel.  But a true original.  Her mind was ten steps ahead of everybody else.  Fiercely supportive of me.   Funny thing is, she was stricken with throat cancer and lived the last 14 years of her life without her voice.  Yet, she was more articulate and more expressive than ever!  She really gave me the confidence to believe that I could do anything, that I had as much right to be what I wanted to be as anybody else did.  She was defiant about that.  She worked the counter in a bakery and my father was a truck driver, a teamster.  Worked their asses off.  Put me through Catholic schools and then college.   When I said I wanted to go to NYU to become a writer and a director, they didn’t flinch.  They said, “Become whatever you want to become.”   So if I could meet one person, it would definitely be my mother.   What would I tell her?  I think I would show her something.  I’d roll up my left sleeve and show her the MOM tattoo I have on my forearm.  She never saw it.  I had it done after she passed away.  It’s designed with steel beams to symbolize her strength and when I put my arm down she’s always there, by my side.  I could see her being proud of it, smiling and saying, “My son-my son, you did that for me.”  And I’d say,  are you kiddin’, Ma, after all you gave to me, it’s the least I could do.

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“The People’s Tenor” Who’s The “Prince Of The High Cs”. An Exclusive Interview With Michael Amante [L’IDEA Magazine]

“The People’s Tenor” who’s the “Prince of the High Cs”. An exclusive interview with Michael Amante.

Interview by Tiziano Thomas Dossena
Michael Amante was ranked the number one selling Classical Artist in Billboard Magazine 2001-2002, nominated for regional Emmy Award for Self-titled PBS Special, recipient of the State of New York Governor’s Award for Excellence, guest radio host WICC in Bridgeport CT, featured Artist on major networks including ABC, PBS, NBC, CBS, TBN, FOX, The Food Channel and other national affiliates, and performed in a host of the nation’s most distinguished and recognized performing arts venues, casinos and establishments including Lincoln Center and Carnegie Hall. Additionally, some of his recipes were published in PASTA magazine, as a living proof that the Italian roots in him are alive and strong. He has appeared in many TV movies and musical., Illustrating, drawing, photography have been passions of his as far back as he could remember, and in June of 2018, Michael had his first gallery premiere and showing of selected photographs and graphic designs at the Bilotta Gallery in Ft. Lauderdale, Florida. What other activities does he have? We thought that an interview would answer that question for us, so we contacted him and sat down for a pleasant conversation….
L’IDEA:  Michael, at what age and how did you start being in the singing business?
Michael Amante:  I think that when the doctor delivering me gave me a whack, I started singing instead of wailing. There have been milestones however. The first was when I was six and the good sisters of St. Ann’s Catholic School were looking for a boy to sing the role of “Oliver” in a live recording they were producing. Music was already playing a role in my life as I loved listening to classical masterpieces at home. Also, my father sang around the house. Needless to say, they found their singer.  Then while in high school, I started singing in area rock bands, then regional theatre, local radio commercials, and solos for church services. It was in a church that a musical director by the name of Warren Ottey first recognized my pipes were well suited for Opera. Plus singing in Italian seemed like a good way to attract women.

L’IDEA: Why do they call you “the People’s Tenor”?
Michael Amante:  It’s hard to determine why the media likes to label you as this or that but I believe that it’s because I did not come up through the ranks of Julliard or a major music conservatory. I sing everywhere and for anyone. God gave me the equipment and the desire to “make a joyful noise” and I worked hard to make the best and loudest sound possible.

L’IDEA: With opera names such as Pavarotti and Corelli giving you and your voice high praise, and having been nominated by Billboard Magazine as the number one classical artist in 2002, what made you decide to become a “crossover singer” and not stick to opera and classical music alone?
Michael Amante:  I would have to say that I have always been a cross-over singer. There were those individuals, like Franco Corelli, who wanted me to sing nothing but classical and opera, but the “damage” was already done growing up listening to 70’s and 80’s bands like Foreigner, Journey, Styx, Kansas and many others. I thought that as long as I was using proper technique and not straining my cords, I could pretty much sing whatever I wanted. Opera, Gospel, Broadway, Standards and Rock were all in my wheelhouse.

L’IDEA: You also appeared in many TV movies (too many to mention). Do you feel more comfortable in the singing role or in the acting one? Will you continue your acting career? (Please mention whether there is something going on with that; a film, theater, etc.…)
Michael Amante:  Singing is something that I am completely confident doing. Acting, especially for Musical Theater, is another art form that I truly enjoy. I don’t get as many opportunities to do a whole lot of that while living in Florida. However, not too long ago I was cast in a lead role as “The American” in the musical CHESS for an equity theatre in Naples, FL. I imagine that I will do much more live stage work as my three children get older and become more independent.

L’IDEA: You received an Emmy Award nomination for your television special. What was the program about? Do you have any other similar projects in the making? Any new recordings?
Michael Amante: The PBS special actually was born out of a concert in tribute to Frank Sinatra which, involved many other performers.  After I came onboard singing “Nessun dorma” from Puccini’s Turandot and other Italian favorites, the focus kind of switched towards me. Producers who attended that concert approached me and asked me about doing a program for PBS and we started filming various locations soon after. The Emmy nomination took me by complete surprise. After filming, I just went on with my life without giving much thought that it was so well received. Subsequently, PBS had me jetting around the country in order to help them with pledge drive campaigns.
I am just now trying to get a new Christmas recording completed. I was hoping to get it all finished this season, but my friend and keyboard player developed a health crisis.  He’s better at this time but it did throw us off schedule and I would have been uncomfortable replacing him.

L’IDEA: The critics have spoken of you as “The Prince of the High C’s” What are they referring to, when they say that?
Michael Amante:  I suppose they are referring to my natural tenor high notes and the ease in which I can produce them. I have always been able to sing really high. Some other tenors work their way up from Baritone and Bari-tenor. A high C is pretty easy for me on any given day. On the days that my voice is really fluid, I can go up to “F” above high C, which is just ridiculous, and even though it’s just a few notes above, it’s miles away!

L’IDEA: What was the opera’s role that you loved the most to perform? Why?
Michael Amante:  My favorite operatic role is “Edgardo” from Donizetti’s “Lucia Di Lammermoor.” The music is so full of angst, torment and weight. It’s not an easy role to perform, but that’s what makes it so great. Some day I’d like to perform “Andrea Chénier” by Giordano, but that opera is not produced very often. If we’re talking Puccini, then “La Bohème” is the ticket – great music, especially for the tenor and soprano. It’s so full of passion and pain.

L’IDEA: You also performed in numerous musicals. Which one was the most significant performance for you and why?
Michael Amante: People really respond when I sing from “Phantom” but “West Side Story” will always have the deepest affect on me personally. The music is just genius and the first time I was cast as “Tony” I had the best experience. And my “Maria” was absolutely brilliant and amazing. Even the newspapers caught our excitement for the music and each other. Singing from that show still moves me after more than thirty years of singing it for the first time.

L’IDEA: You now formed a tribute band called Michael Amante’s Rock Opera. Could you tell us more about that?
Michael Amante: Well, it’s not just nostalgic for me. It takes me back to a time when I was much more carefree and had no real responsibilities other than hitting the high notes. So it’s almost like therapy for my soul. I’m singing all the tunes that were so important to me as a teenager. Luckily, I can still hit the notes! I just can’t stop myself from listening and singing that music. We might change the name to just AMANTE which, means lover in both Italian and Spanish. That covers the whole deal, I think.

L’IDEA: You also had an experience as a Tenured Crisis Intervention counsellor. What did that teach you? (Please talk about that job’s duties also)
Michael Amante: Yes, I worked for the Syracuse City School District for about ten years. Even though I taught at a number of different locations, I found that the children, many of whom had serious issues emotionally and sometimes physical ones, responded favorably to both music and art. Thankfully, I am skilled in both areas. I was largely responsible for engaging students who were “acting out” or had disruptive behaviors that needed to be managed and modified in order for them to return to class. I would sing to them and draw pictures of their favorite superhero or cartoon character to temporarily pull their attention away from what was upsetting them at the moment. Once I had their interest, I could talk to them about how they were feeling and chart a path back to their regular classroom. I provide that moment of relief for my audiences as well. It may be transitory, but it’s very necessary.

L’IDEA: How do you believe you can make a difference in today’s world?
Michael Amante: Life is often challenging and at times, downright hard. While the stresses of life affect people differently, it affects us all. Rich man, poor man, black, white or brown – we all have very similar needs, wants and desires. We all need a break, even for a moment, from the daily routine and struggles that all humans have in common. The music that I make is meant to encourage, uplift, energize and provide comfort for the listener. While it may not solve the world’s many issues or provide a lasting peace among the nations, it might just inspire someone or everyone to do just that. As I visual artist, I can create images that last as long as you have it in front of you. It’s a commodity, a product. Apart from recordings, music is ethereal. It’s a string of small moments temporarily suspended in time and space. If you are moved by a ringing high note or a particular phrase of melody, it’s here only for a moment, and then it’s gone.  But the memory of it can last a lifetime.

L’IDEA: How much do you believe being of Italian origins influenced you in your career choices? Do you have a message for our Italian American readers?
Michael Amante: Italians have strong family bonds, love music and art, and are passionate and passionately stubborn about life. These values have governed all of my decisions, relationships, my aspirations as well as my sorrows. Many culturally strong communities have this as well. My message to Italian Americans is to not let those cultural elements fade into nothingness or become meaningless. Learn to speak Italian, cook Italian recipes and study the history of music and art while supporting those who are doing their best to keep those vitalities alive. It’s up to them to maintain the importance of Opera, classical music, painting, sculpture, literature, etc. Without these things, we may as well be like something out of the Matrix films – living batteries for some other entity.

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How Paper And Color Can Make You Dream. Exclusive Interview With Artist Adele Rahte. [L’IDEA Magazine]

How paper and color can make you dream. Exclusive interview with artist Adele Rahte.

Interview by Tiziano Thomas Dossena

I met Adele Rahte at the beautiful Harlem house of a common friend, the soprano Lauren Flanigan. The conversation soon turned from music (we had just the fortune to have witnessed a unique performance of lyrics by Gabriele D’Annunzio put into music by various composers) to art and she promised to give me an interview so that our readers could learn more about her work. The time has come and here is the interview of this marvelous artist who can make you dream with paper and color.

L’IDEA: When did you realize you were going to be an artist?
Adele H Rahte: I was fortunate to have parents who valued my creative core. At the age of eight, I was being tutored in the different art mediums. I think I have always been an artist. For example, as a kid, if I did not have any paper to draw on, I would draw on the wall. I started with my current technique, which I call “painting with paper,” in 2001 using the mylar I had put up temporarily as a window treatment in my New York City apartment after Sept 11th.

L’IDEA: I detect a strong Impressionist influence in some of your work, and in particular in the seascapes and skyscapes. Do you feel your work has been influenced by various artists? Who? Who is (or are) the artist who you admire the most?
Adele H Rahte: Here in Manhattan I can drop into any of the museums, especially when I am having trouble conveying what I wish to depict. I must understand what I see before the viewer can understand it. The great masters in these museums are always available to teach me how to see and how to present. I find it crucial to my process to see as much art as possible.
The Masters who help me see clearly vary with the piece I am working on. For example, Van Gogh guided me in Do You See the Kite?. In Tribeca, Cézanne and Aboard the Uptown 6, it was Modigliani. My favorite art movements are Expressionism, Fauvism, Cubism, Dada, and Suprematism.

At Nauset Beach

L’IDEAI also detected different stroke usage in various paintings of yours (seascapes/seascapes vs. portraits/flowers/urban landscapes). Could you elaborate on that?
Adele H Rahte: “Stroke usage” translates to direction and movement. It is a conscious manipulation, a trick of the eye. It provides the viewer with an understanding of what they are experiencing when they look at 2D art. Since I use paper and not paint, I achieve the “brush stroke concept” by taking advantage of the direction of the fibers or patterns in the paper. You can see examples of movement in my art in the following pieces: in the towel in At Nauset Beach, and in the people, water and clouds in Do You See the Kite?

Do you see the kite?

L’IDEADo you start with the concept of adding paper to a painting or is that something that arises in the creative process? (Some paintings seem to be 100% paint and some, instead, seem to be paint and some paper) Could you tell us what is the reason for using the paper in those paintings?
Adele H Rahte: My work is comprised of paper only, no paint. The fibers in the paper fragments meld together. Then the layering of paper fragments is how I control the subtle color differences or create a clear edge. I see the world comprised of blocks of colorful shapes. Using paper to create these shapes works for me because I can feel the paper and create the shapes by tearing or cutting the paper fragments into the exact shape my art requires – almost like a sculpture. The clear example of this is seen in Saturday at the Beach.

Laundry line

L’IDEAYou also create complex collages. Could you explain a bit the process involved and the artistic motivation behind this choice?
Adele H Rahte: There are endless moves when creating. Every single addition to the piece is living on the edge of life or death, failure or success. It is an amazing dance which is performed. When I am deep into the piece I am creating, I am removed from making art and the art piece itself takes over to the point where it feels to me that the piece is creating itself and I am simply applying the pre-chosen paper fragment. My hand selects the correct fragment from the growing pile of wonderfully colored and textured papers located on the shelf under the artwork I am working on. This scenario is repeated again and again until the piece feels finished. But when is it truly finished? I make a guess and say to myself “ok, now it is finished… well at least for the time being.” If time allows, I can put the piece away and then revisit it later with fresh eyes.

Saturday at the beach

L’IDEA: Do you feel that is the artist in you who influences your photography or is the photographer in you who influences your artwork?
Adele H Rahte: My art starts with reality. Somewhere in my minds’ eye, I ponder over a concept, getting preoccupied with it. I carry my camera with me and I then photograph what I need to have to reference. Then while creating the work perhaps years later I have the needed details to complete the piece. If the photograph happens to turn out to be special, then I share it. I did study photography in High School and then at University.

L’IDEA: How much and in what ways have your Italian roots influenced your art?
Adele H Rahte: I feel more connected to the Italian in me than the Alsacian. My relatives who came from Salerno taught me never to have idle hands. Instilled in me was the concept “there is always time to create, even if it exists in ten-minute segments.”

Aboard the Uptown 6

L’IDEA: Many writers, especially poets, find necessary to be in a particular mood, such as emotional distress, to create their work in an optimal manner. When you paint, how much does your mood influences the art piece’s outcome and in what emotional condition, if so, do you feel you are more creative?
Adele H Rahte: I know that creating my art wards off the cloud of depression I can fall prey to. I feel productive, artistic, unique and happy when I am creating. It is a special world of color, texture, and beauty. It is a vast and deep world — both solitary and educational.


L’IDEA: Are you planning any new exhibits in the near future? Any special project you working on?
Adele H Rahte: Now I am looking for exposure. My next step is to get the images of my art up onto sites to increase my exposure. My next art project is on Coney Island, Luna Park and the subway. Once completed, I will add them to my website for all to see.

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Gilda’s Promise To The Pope Starts A Life Of Achievements. Book Review Of Gilda, Promise Me

By Tiziano Thomas Dossena

Gilda, Promise Me starts when she is 16 and meets the Pope… At his request, she makes a promise to learn Italian and never to forget her roots. All throughout the book, you can see how that promise keeps her going in the right direction. Gilda’s memoir is the story of a woman who thinks: “Why educate a woman and deny her full self-expression?”

Keeping that in mind, let’s examine a few of her achievements: she became an interpreter and from that a journalist, then a model, an actress of many movies, and all this in a foreign country speaking a foreign language.

She then chose to teach so as not to disappoint her parents who may have objected to a career in the movie world. Was she just a teacher? No, she went on to teach on TV, having an enormous success. But did she stop there? Certainly not. She traveled all over the world, learned other languages, brought help to Haiti, was in charge of desegregation in the schools of this area of New Jersey, became an Honorary Consul for the Italian government and then received the knighthood from Italy.

Did she ever stop? You know the answer: no. She is still active in her volunteering efforts and this year she received, along with her daughter Mary Rorro, New Jersey Governor’s Jefferson Award, considered the highest honor in America for service and volunteerism.

But this memoir is not just an account of her achievements; it’s the story of her roots, two Italian American families, their dreams, their accomplishments, and their shared love for each other.
It’s the story of her own family, her unbounded love for her first husband and the tragedy of his untimely loss, her wonderful relationship with her children, the house they built.
It’s the story of a woman who felt the bitterness of discrimination, both as a woman and as an Italian American, but who did not let that stop her.
It’s a story of a woman who tried to rebuild a life with a second husband just to be stricken down with another tragedy.
It’s a real memoir, a story of a successful woman who loved, dedicated herself to her family and even so achieved so much.
It’s an intriguing book that it’s a significant cultural contribution both to the Italian American studies and to the women studies.
In a few words, a book that needs to be read, and we are certain that the readers will agree with us, after reading the book, that Gilda’s promise to the Pope was kept.

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“Pretender” Is Haunting In Our Political Environment… Exclusive Interview With Author Steve Piacente [L’IDEA Magazine]

“Pretender” is Haunting in our political environment… Exclusive interview with author Steve Piacente

Interview by Tiziano Thomas Dossena

Steve Piacente

I met Steve Piacente twice before, at the New York International Book Expo, and had a plan to interview him for our magazine, but our schedules tended to be intense and I missed that opportunity until now. Steve has recently published the novel “Pretender,” which Kirkus Reviews called “haunting in our political environment,” and our paths crossed again, so here is the interview that he kindly was available to give for L’Idea Magazine.

L’Idea: Your first novel, “Bella,” was the winner of a National Indie Excellence 2012 Book Award and of the Readers’ Favorite 2012 Gold Medal for Dramatic Fiction. “Bootlicker,” the prequel to “Bella,” was the winner of the 2013 Readers’ Favorite Silver Medal for Southern Fiction. Are these two books tied to your new novel, “Pretender,” or are they independent? What is the main theme of these two books?
Steve Piacente: First, thank you for the opportunity to introduce myself – it’s a pleasure to meet the readers of L’Idea! All three of my novels were inspired by my first career as a journalist. I was raised just outside New York City, but my twenty-five years in daily newspapers took me to America’s Deep South, where attitudes about race, tolerance, and nearly everything else were far more conservative than where I grew up. When my New York sensibilities collided with Southern culture, ideas began forming that would take shape much later in the form of three separate novels. A few of my characters appear in the pages of all three books, but each story stands alone. One would not have to read the first, for instance, for the third to make sense.
Bella is the story of a widow’s quest to uncover the truth behind her husband’s mysterious death on an Afghan battlefield. The story pairs the grieving widow with Dan Patragno, an unhappily married Washington journalist. Their search for the truth yields lessons about the power of temptation, the futility of revenge, and the consequences of yielding to either – even for a moment.
Bootlicker opens in 1959 with poor, black teen Ike Washington stumbling on a Ku Klux Klan lynching led by a white judge named Mac McCauley. Caught, he must choose: join the dead man or begin hustling black support the judge needs to advance. In trade, Ike is handed a life of comfort and power. Decades later, guilt-wracked “Big Ike” Washington is poised to become South Carolina’s first black congressman since the Civil War. Reporter Dan Patragno – the veteran journalist from Bella, now in the role of a rookie reporter – uncovers the truth just before Election Day. The themes in this book center on personal ambition, self-forgiveness, and redemption.

L’Idea: “Pretender” is your latest novel. What is it about?
Steve Piacente: Pretender begins with Dan, our star reporter from Bella and Bootlicker in big trouble. The disgraced journalist stumbles on a story that will let him reclaim his career, but redemption comes with a price: he must place his faith in Mac McCauley, the racist U.S. senator he once exposed as a murderer.
Fast-rising star Patragno had been thinking Pulitzer Prize until he violated one of journalism’s key tenets and wound up blackballed from the industry. Career shot, marriage in tatters and bills looming, he takes the only job he can find – manager at a Washington, D.C. Laundromat. As Dan struggles to accept his new station, a fateful note arrives from ex-Senator McCauley offering a jailhouse interview. If the story McCauley offers is true, it will rock the political world and open Dan’s path back to the industry he loves.
What Dan learns is this: McCauley had an affair with a black woman shortly after arriving in Washington in 1960. The union produced a son that McCauley and his mistress have kept secret for forty years. Now eighty-four and in failing health, God-fearing McCauley believes he must come clean to earn absolution. The revelation will destroy his legacy in a state that in 2002 still proudly displays the Confederate Flag.
It will also upend the lives of his two sons: J.B., the textile magnate in a heated race for his father’s old Senate seat; and Thomas, the biracial son no one knows, a university professor who has long resented the father who scorned him.
Dan is torn, for the path to redemption requires him to walk hand in hand with the nation’s most notorious segregationist, and to expose facts that both sons desperately want to be kept secret.
Must an act be illegal to be a crime? Who decides if the offender is worthy of forgiveness? Pretender explores the raw instincts that inform our choices and drive our actions, sometimes with consequences that span generations.

(Watch here the wonderful trailer for Pretender)

L’Idea: You are an author, a communications trainer, a certified life coach, and an associate professor. How did you get to this point of your life, professionally speaking?
Steve Piacente: It’s true. I have fingers in many pots, but everything is connected. Being a life coach hopefully makes me a more perceptive communications trainer. Being an author has hopefully made me a more relatable university writing instructor. Getting to this point was never the plan. On the contrary, I fully expected to remain in journalism. A decline in the industry around 2000 resulted in my job being eliminated, however, and I had to reinvent myself. Donning my life-coaching hat a moment, I learned in that period that the cliché about every challenge being an opportunity is quite true. My time as a reporter honed skill sets that transferred nicely to several professions – teaching, public relations, and, the field I went into next, speechwriting (at a U.S. federal agency). That evolved into a communications management position. The takeaway is that personal reinvention is healthy. Continuous learning keeps you fresh. Adding to your repertoire makes you more interesting – both to your clients and to yourself! Another thing I learned is that emptying the well doesn’t drain you. The well keeps replenishing, so long as you love what you’re doing.

L’Idea: You are originally from Brooklyn, lived in the South of the USA and you are an Italian American. How did your roots and geographical background influence your job choices, your life in general and your writing?
Steve Piacente: We’re all products of our heritage and experiences, and take that combination of nature and nurture travel with us wherever we go. As a writer, I believe putting myself into unfamiliar and unexpected circumstances is a great way to uncover new material.  My wife is also Italian-American, and we made our first trip to Italy a few years ago. It was so exciting to walk the streets of Rome, Florence, Venice, Pisa, and Amalfi and to think that this is where the Piacentes began so long ago. I would like to explore my roots more and perhaps write something related to my family’s origins at some point.

L’Idea: How much did the activity as a correspondent in Washington D.C. influence your writing as a novelist?
Steve Piacente: I date myself here, but I was in college in Washington, D.C. during the Watergate scandal that brought down President Nixon. If you were interested in writing at that time, you pretty much went into journalism. The problem was that there was a lot of competition. I remember applying for a job in California and some editor telling me to forget it – he could have 100 qualified applicants in his office in hours. Why would he fly in some unproven kid from across the country? I saved that letter as I embarked on a 25-year in print journalism, including 15 years as a Washington correspondent. I don’t like when anyone tells me I can’t do something I know I can do. Flash forward to writing fiction. Toward the end of my newspaper career, I went back to school for a Masters in Fiction from Johns Hopkins University. That was the start of my three novels, and a non-fiction book now in the works.

L’Idea: Are you already working on the next novel? Do you have any other projects in the work?
Steve Piacente: I am now at work on a self-help book aligned with my life-coaching practice. The book is based on interviews with fifteen people who shared their hell-and-back stories, and the life lessons they learned. My hope is that reading this book –Your New Fighting Stance – will help others a bit further back in their careers deal with similar obstacles they will surely face down the road. I expect to publish in early 2019.

Steve Piacente at a book presentation

L’Idea: Who is the writer who inspired you the most and how?
Steve Piacente: There were many: Hemingway, Updike, Steinbeck, plus authors like Annie Proulx and Philip Roth, and writers such as Anne Lamott and Stephen King. I am actually most indebted to the mentors I had when starting as a newspaper writer, and later in my fiction classes, who encouraged me to absorb what I could from the writers I loved, but to develop my own style as well.

L’Idea: If you had the opportunity to meet face to face with any personality from the past, or the present, who would you like to meet and why? What would you tell them?
Steve Piacente: I would love to sit down with one of the most famous Italian Americans, Frank Sinatra. I find Sinatra’s story fascinating and would love to ask questions that go beyond what the public knew about his tumultuous career. I would like to chat with Steinbeck about his writing process, and tell him how much he meant to me as a young writer. Finally, I would love to ride down the Mississippi River with Samuel Clemens (Mark Twain) and discuss the human condition, where we have landed in the summer of 2018, and where we will be a decade from now.

L’Idea: Do you have a message for our readers who desire to become writers?
Steve Piacente: Write because you love to write, and for no other reason. Not for money, not for fame. Do it for the pure joy of creating something from nothing. Know that there will be pain, disappointment, and, as Anne Lamott says, plenty of shitty first drafts. But know as well that the sense of satisfaction and fulfillment is there at the other end, and there is nothing quite as spectacular.

You can find more information on Steve Piacente’s life coaching at

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Let’s Meet a Rising Star: An Exclusive interview with the soprano AnnaMaddalena Capasso [OperaMyLove Magazine]

Interview by Tiziano Thomas Dossena

A young and very promising soprano is having a great success in Italy and we at OperaMyLove were fortunate to meet her for an interview. 

OperaMyLove:  You are very young, yet you have been in the opera world for a while. What prompted your interest in this field?
AnnaMaddalena Capasso:  I was five when I saw for the first time at the San Carlo of Naples “La Bohème”  by Puccini. After the show, I told to my mother:” When I grow up I’ll be an opera singer!”

OperaMyLove:  Which character did you find more challenging to prepare for, and perform?
AnnaMaddalena Capasso: Every role has its own difficulty, but one of the most complex for me it was Elvira from I Puritani by Vincenzo Bellini.

OperaMyLove:  Which soprano do you admire the most and why?
AnnaMaddalena Capasso: Maria Callas has been the greatest interpreter of the 20thcentury. I love her. When I was younger, someone told me that I looked like her, aesthetically. Destiny wants me to have Greek ancestors from my mother and this inspires me even more.

OperaMyLove:  What has been the most rewarding performing experience you had so far?
AnnaMaddalena Capasso: I had many rewarding experiences, but what I will remember for a lifetime was during a Christmas concert in a church in the Quartieri Spagnoli of Naples. I interpreted the Virgin Mary who was singing the Brahms’s lullaby to Jesus. The audience went into raptures; they said that I really looked like a sacred image. (Truthfully she does have a resemblance to some of the paintings of the Virgin Mary…)

OperaMyLove:  Who is the opera character that you would love to be cast in? Why?
AnnaMaddalena Capasso: I’d like to interpret “Lucia of Lammermoor” by Donizetti. She is very macabre, romantic, strong and fragile character. I like to play such complex characters.

OperaMyLove:  What were your recent performances? Did you find them challenging? Rewarding? To your satisfaction?
AnnaMaddalena Capasso: My last interpretation has yet to come, it’s always a challenge! I will never be satisfied!

OperaMyLove:  Who is the performer you were thrilled to work with and why?
AnnaMaddalena Capasso: More than with an interpreter I’d like to work with a great conductor Daniel Barenboim, I love his way of directing.

OperaMyLove:  Do you have any upcoming projects?
AnnaMaddalena Capasso: Sure! I’m making a series of videos to introduce the world of the opera to as many people as possible! Follow me on my Instagram account @the_eternal_diva or my YouTube channel! ( You will see some beautiful ones!!

OperaMyLove:  I read that you are a passionate fan of your hometown soccer team, A.C. Napoli. Was this passion passed on to you by your father? Do you have any other passions and/or hobbies? 
AnnaMaddalena Capasso: Yes, It’s true! I often go to the stadium; it’s a passion that was born alone! Sometimes I say that I have “blue blood”… (AnnaMaddalena laughs) ! In Naples everything is blue!
I have so many passions, one of these is the Manga; I go to the comic convention in Cosplay, the last character I Played was Sailor Moon at Napoli Comicon.
I really like reading literature classics; I love Disney’s movies and doing outdoor sports: swimming, diving, archery, running, climbing and above all, traveling! On the other hand, as Shakespeare said:”The whole world is a stage!”


AnnaMaddalena Capasso is a lyric coloratura soprano. With a distinctive voice and a strong ability to interpret, she was born in Torre del Greco on 04/07/1992.
AnnaMaddalena grew up in a family of artists in the graphic field. From an early age she showed a strong tendency in the music. She began studying opera singing at five. At sixteen she was admitted to the Conservatory of Music San Pietro a Majella in Naples, where she graduated in opera singing. Meanwhile, she participated in numerous opera performances, including “La Traviata” by Verdi at the Museum Donnaregina of Naples, ” Dialogues of the Carmelites ” by Poulenc at the Conservatory of Naples. At nineteen, she graduated from the high school with the linguistic project Jug, where in addition to deepen the study of modern languages it expands to the study of classical languages.

She participated in numerous national and international competitions for opera singers, including the X Singing Competition organized by the International Institute for Opera and Poetry and the Fondazione Arena di Verona and the VII international opera competition “Magda Olivero,” always receiving great appreciation by the jury. AnnaMaddalena won the third prize in the XIII National Competition of music created by ” Lions Club ” in Mercato San Severino.  She interpreted in the Opera ”Mas’Aniello” by Jacopo Napoli the roles of The Queen and Marco Vitale. The same year she participated in a Master Class on the work held by the German master Adi Bar, interpreting the arias of the Queen of Night from ” The Magic Flute ” by Mozart. She also attended a lecture by M. Irene Crodelia Huberti. She performed in several concerts with the ” Cantori di Posillipo ”.

In the year 2014/2015, she attended a specialization course in opera at academy of Osimo, studying with Raina Kabaivanska, Harriet Lawson, William Matteuzzi, Anna Vandi, Alla Simoni, Carlo Morganti, Angelo Gabrielli and the artistic director of the San Carlo theater and Opera Academy Vincenzo De Vivo.

In December 2015, she took part in the Bohème by Puccini at the Teatro La Nuova Fenice in Osimo.

She took part in Bizet’s Carmen held at the same directed by Matteo Mazzoni, with the participation of Luca Violini and the conduction of Maestro Alessandro Benigni.

In May 2016 she participated in historical staging of Fedora (Giordano)  directed by Lamberto Puggelli at the Teatro San Carlo in Naples, conducted by Asher Fisch and Maurizio Agostini.

In July 2016, she performed the Nabucco of G. Verdi to the Reggia of Caserta with Leo Nucci, the conduction of Daniel Oren and the direction by Stefano Trespidi.
She was awarded the ‘Naples in the World’ award.

She sings in five languages: French, English, German, Spanish and Japanese. Her repertoire ranges from the Opera to sacred music.


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