Every now and then an album comes along that is the pinnacle of perfection. Cinema is one such release that blew my mind the first time I heard it. While I’m keenly aware of Bocelli’s work, having been a fan since his 1994 pop/classical crossover Romanza, I wasn’t entirely prepared for the quality of Cinema. There is little doubt regarding Bocelli’s exceptional talent, but I feel that some releases, such as Passione, from 2013, failed to showcase his true talent. Despite that, the song selection, sequencing, recording, mix, and mastering on Cinema is exquisite. As you listen you’ll no doubt come to realise, as I have, that the songs not only bring out the best in Bocelli but that many of these interpretations surpass their original compositions.
While classical purists may lament yet another classical crossover from Bocelli, I truly believe that this is where his true talent resides for he takes listeners on a captivating journey through iconic movie soundtracks, masterfully infusing his signature operatic style with the emotion and grandeur associated with the silver screen.
Sonically, Cinema is stunning and it should be with the calibre of Bocelli and those who worked with him behind the scenes; some of the most decorated and respected people in the entire industry. That said, nothing truly prepares you for the sonic journey you’re about to undertake, so without further ado, join me as I delve into the selection of music Andrea Bocelli chose to cover on Cinema.
Maria (From "West Side Story”) opens the album with a stunning rendition of this timeless classic that is perfectly suited to Bocelli’s tenor vocal range.
La Chanson De Lara (From "Dr. Zhivago”) is a hauntingly beautiful tune filled with the passion and depth that only Bocelli could deliver. His ability to convey raw emotion through his voice is truly remarkable, as he brings the heart-wrenching signature tune from Doctor Zhivago to life through song.
Moon River (From "Breakfast at Tiffany’s”) always reminds me of Frank Sinatra, for I prefer his recording of this classic tune, but Bocelli's tender interpretation of this beloved ballad is nothing short of mesmerising.
E Pit Ti Penso (From "Once Upon a Time in America”) is a magnificent duet with Ariana Grande that showcases Bocelli's versatility and ability to harmonise flawlessly with other artists. Their voices blend beautifully, creating a poignant and captivating performance.
Be My Love (From "The Toast of New Orleans”) will leave you captivated for Bocelli’s heartfelt interpretation captures the romantic essence of the song via his rich and resonant vocal style.
The Music of the Night (From "The Phantom of the Opera”) is one of the most recognisable pieces of music the world has ever known and I’ve always considered Michael Crawford’s interpretation to be the one to beat. That said, I’m extremely impressed with Bocelli’s rendition as his operatic foundation truly shines through in this powerful rendition.
Por Una Cabeza (From "Scent of a Woman”) sees Bocelli deliver the rendition of this tango classic in a passionate and captivating manner whereby his smooth and velvety vocal adds a layer of seduction to the song. That said, it isn’t my favourite track from the album but Cinema wouldn’t be the same without it.
Sorridi Amore Vai (From "Life Is Beautiful”) is a lovely song, but I’ve always wondered how it would sound with a slightly slower tempo. Regardless, as I listen, I remain amazed at the control Bocelli has over his vocal delivery as many artists tend to reach too high and it often sounds forced. It is this self-constraint that makes him one of the best vocalists in the world and ensures that this song is thoroughly enjoyable.
Mi Mancherai (from “Il Postino: The Postman”) is one of the standout tracks selected for Cinema for Bocelli’s emotional performance of this song is deeply moving. His ability to convey longing and sorrow through his voice is truly remarkable and each time this tune comes on, all I can do is close my eyes and appreciate the masterpiece that Bocelli has created. It’s an audible experience that really needs to be heard first-hand to be fully appreciated.
Cheek to Cheek (duet with Veronica Berti) [From "Top Hat”] is a masterful tune and while it has been interpreted innumerable times, I never tire of it. However, as good as the Bocelli/Berti version is, no one does it better than Ella Fitzgerald and Louis Armstrong, for their recording from their 1956 album Ella And Louis is a timeless classic.
Brucia La Terra (From "The Godfather”) delivers a touch of nostalgia with Bocelli’s incredible rendition of this Italian classic. His emotional performance, coupled with the beautifully arranged orchestration, evokes the bittersweet essence of the iconic film.
No Llores Por Mi Argentina (duet with Nicole Scherzinger) [From “Evita”] is filled with passion and intensity and reminds me vividly of Elaine Paige’s exceptional interpretation. It’s a beautiful song and Bocelli pays homage to its lineage as only he could.
Nelle Tue Mani (Now We Are Free) [From “Gladiator”] is the quintessential closer. While the entirety of Cinema is magnificent, this is one interpretation that will bring you to tears for Bocelli’s performance is flawless, moving, and emotionally engaging. We are truly blessed to have access to such incredible music.
No matter how hard I try, mere words can not adequately explain just how incredible this album is. Cinema beautifully highlights the profound connection between music and cinema, demonstrating how the power of melodies can enhance storytelling and evoke a wide range of emotions in audiences. Ultimately, Bocelli's velvety vocal effortlessly transports listeners to the heart of each film's narrative, reminding us of the lasting impact that music has on our cinematic experiences.