Andrea Bocelli returns with his eagerly-awaited new album Cinema, for release worldwide on 23 October.
Cinema celebrates the greatest movie songs of all time and reunites a team of musical legends including David Foster, Humberto Gatica and Tony Renis who worked together on Bocelli’s best-selling album ‘Amore’. Cinema marks Bocelli’s first new studio recording in two years.
Cinema features a collection of movie songs etched in the culture and hearts of several generations including epic theme songs featured in films such as ‘Gladiator’, ‘The Godfather’, ‘Breakfast at Tiffany’s’ and many more, as well as popular songs from stage musicals, immortalised by their film versions, such as ‘West Side Story’ and ‘Evita’.
Bocelli’s striking new music video for the track ‘Nelle Tue Mani’ (Now We Are Free) from the film ‘Gladiator’ debuts today. Exquisitely filmed in the Mojave desert, the video captures the cinematic feel of the new album and features a cameo by two-time Academy Award nominee and Golden Globe winner John Travolta.
True to his status as a truly international artist, Bocelli has recorded songs in five different languages (Italian, French, Spanish, English and Sicilian) and has partnered with global superstar Ariana Grande on the heart wrenching duet ‘E Piu Ti Penso from ‘Once Upon A Time in America’/’Malena’ and Nicole Scherzinger on the epic musical anthem ‘Don’t Cry For Me Argentina’ from ‘Evita’ (available on the deluxe version of the album).
Bocelli’s legendary voice partnered with fantastic new arrangements and state-of-the-art recording technologies brings new life to some of the greatest musical masterpieces for film by composers who made both film and music history during the 20th century, from Leonard Bernstein to the legendary Ennio Morricone.
Says Bocelli: ‘With the album ‘Cinema,’ I’m fulfilling a wish that I’ve harboured for decades. I’ve never made a secret of my dream of bringing to life a recording project associated with soundtracks, as I truly believe that it’s an exceptional artistic treasure trove.
It’s an area that has always fascinated me: the scores written for films are very free and potentially very creative. A vast grassland where the composer can roam as he pleases, whatever his inspiration, where he can experiment without having to submit to the norms of the classical song (based on the sequence requiring two strophes, one short instrumental passage, one strophe, one short instrumental passage), or to a theme that is necessarily the conventional one, relating to love.
If films are a ‘dream factory’, the music that supports them embraces these dreams and heightens all of the magic and emotional vitality. My invitation, my token is for these immortal ‘classics’ to merge with the experiences, with the most precious memories, with the emotions of every listener, to become the inimitable soundtrack to their life.’
Now, the biggest selling solo classical artist of all time is back with an exciting new project, intended as an amazing tribute to the ‘Seventh Art’.
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