Andrea Bocelli on His New Album, Film and 30 Years of Making Music: 'I Like to Think to The Future'

Tenor Andrea Bocelli. (Reuters)
Tenor Andrea Bocelli. (Reuters)
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Andrea Bocelli on His New Album, Film and 30 Years of Making Music: 'I Like to Think to The Future'

Tenor Andrea Bocelli. (Reuters)
Tenor Andrea Bocelli. (Reuters)

It's one of the most immediately recognizable voices on the planet: Andrea Bocelli's tenor is beloved across generations, cultures and borders, known to induce tears in as few as three simple words: “Con Te Partirò,” or in its English performance, “Time to Say Goodbye.”
This year, he's celebrating the 30th anniversary of his career with a new compilation album, “Duets,” featuring both previously released and brand-new collaborations of his best-known work — as well as a few surprising contemporary covers — and the release of a new concert film, “Andrea Bocelli 30: The Celebration,” which will arrive in theaters on Friday, The Associated Press said.
So, why duets?
“I've loved voices since when I was a child, and I like very much to share the stage with the best artists and voices. So, this album, there are the best duets that I did in my life,” he told The Associated Press. “From the first, ‘The Prayer’ with Celine Dion, until the last, like ‘Perfect’ with Ed Sheeran and many, many others. And the album has been remastered and remixed. So, I hope the sound can be better."
He says: “The most important thing in voices... is to be recognizable, to give emotion."
Sheeran was an interesting collaboration because when Bocelli first attempted to sing “Perfect," the English singer-songwriter wasn't a fan. “He didn’t like what I did because I sang in a pop style,” he recalls. “He wanted to listen to my voice, like in an operatic style.” So, Sheeran traveled to Bocelli's home in Tuscany, and the song was transformed. “He was right because this song had a huge success.”
When asked if there is anyone he would've loved to add to the “Duets” collection, Bocelli says of course — but “they passed away before I began to sing. For example, I would like very much to sing with Maria Callas or (Renata) Tebaldi or Magda Olivero. Many great, incredible singers. They are not anymore with us, unfortunately.”
Three decades into his career, Bocelli has performed for presidents, popes, and sold-out stadiums across the globe — in addition to having sold nearly 90 million records worldwide, according to a press release. “Reality exceeded my wildest dreams,” he says.
How he reflects on that time should come as no surprise. “I like to sing to the future. Honestly, I don’t like to think with nostalgia to the past," he says. “My first time on stage, for me it is like yesterday. The time is gone so quickly, so fast. And, yeah, now I like to think to the future.”
So, what, then, does he hope becomes his legacy in the next 30 years, 300 years? “In Italy, we have a very famous expression: The people that come after us will judge us,” he says with a translator. “So I can’t force the judge(ment) of the people. But I feel that my audience has a big affection for me, and this is my goal. When somebody in the street comes to me and says (to) me, ‘Thank you for your voice, for your music,’ I think mission is accomplished."
Across “Duets,” Bocelli sings in Italian, English, French and Spanish. “There are many languages, but it’s so difficult. I remember the day I tried to sing in Chinese, only few lines, but it has been so hard for me,” he laughs.
He also performs across genres, working with everyone from Latin superstars like Karol G and Jennifer Lopez to country musicians like Chris Stapleton and Shania Twain. “I would like to try to sing jazz," he says. “But it’s too difficult for me because you must live in an atmosphere, to learn step by step, day by day. I like jazz but it’s too far from the experience of my life.”
There is little he hasn't done across these last three decades, but the ultimate goal now, he says, is steeped in faith. “I have been very lucky and I reached the affection of the people. Now I must try to deserve the affection of the God. It’s more difficult."
But he will continue to perform for those who love him. On Dec. 4, Bocelli's US tour kicks off in San Diego and runs through the month, before commencing again in February and June 2025. The final dates will be held in Napa Valley, California, on June 21 and 22.



Remembering Quincy Jones: 10 Career-Spanning Songs to Celebrate His Legacy

Michael Jackson, left, holds eight awards as he poses with Quincy Jones at the Grammy Awards in Los Angeles, Feb. 28, 1984. (AP)
Michael Jackson, left, holds eight awards as he poses with Quincy Jones at the Grammy Awards in Los Angeles, Feb. 28, 1984. (AP)
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Remembering Quincy Jones: 10 Career-Spanning Songs to Celebrate His Legacy

Michael Jackson, left, holds eight awards as he poses with Quincy Jones at the Grammy Awards in Los Angeles, Feb. 28, 1984. (AP)
Michael Jackson, left, holds eight awards as he poses with Quincy Jones at the Grammy Awards in Los Angeles, Feb. 28, 1984. (AP)

Few artists have legacies so mammoth their very name could be considered synonymous with the music industry, but then again, most musicians are not the prodigious producer Quincy Jones.

The larger-than-life figure died Sunday night at his Los Angeles home, surrounded by his family. He was 91 and scheduled to receive an honorary Academy Award later this month.

Across his career, the 28-time Grammy Award winning Jones worked with everyone from Ray Charles and Frank Sinatra to Michael Jackson with hundreds in-between. The best way to celebrate his legacy, of course, is to listen to the music he made.

1963: Ella Fitzgerald and Count Basie's orchestra, “Honeysuckle Rose”

Those looking to kickstart their Jones listening journey at the very beginning of his career could do so with “Liza,” from his first album, “Jazz Abroad,” a joint release with Roy Haynes. For everyone else, look to his arrangements on 1963's “Ella and Basie!,” an album by Fitzgerald with Count Basie's orchestra. Moving from just vocals and bass before building into its own grandness — not to mention, a delightful scat solo from Fitzgerald — “Honeysuckle Rose” from the album is an exemplar of Jones' jazz brilliance.

1963: Lesley Gore, “It’s My Party”

Teenage heartbreak met its match on Lesley Gore's “It's My Party,” recorded when its pop singer was still in her own adolescence. Jones produced the record, with its addictive melodies, percussion and cheerful horn section — emotionally and diametrically opposed to its narrative tale of a girl getting dumped by her boyfriend for her best friend on her birthday. You'd cry, too, if it happened to you.

1964: Frank Sinatra, “Fly Me to the Moon”

Jones' legacy is defined by an idiosyncratic ability to master various American musical forms with an apparent ease. That is the case of this canonized cover by Frank Sinatra, “Fly Me to the Moon,” from Sinatra's 1964 album, “It Might as Well Be Swing,” arranged by Jones. The producer set the song to a punchy, swinging rhythm and wistful flute, and the rest is history. You can also thank Jones for “The Best Is Yet to Come.”

1967: Ray Charles, “In the Heat of the Night”

Jones scored the 1967 film “In the Heat of the Night,” which includes its R&B-gospel title track, “In the Heat of the Night,” performed by his good friend Ray Charles. It is soul committed to wax, amplified by the inclusion of a lusty tenor sax solo.

1979: Michael Jackson, “Don’t Stop 'Til You Get Enough”

Perhaps Jones' best-known production partnership is the one he had with Michael Jackson, working with the King of Pop on his culture-shifting albums, 1979's “Off the Wall," 1982's “Thriller” and 1987's “Bad.” The pair met while working on the 1978 movie “The Wiz" — Jones worked on its soundtrack, and Jackson was its star. “Don't Stop ‘Til You Get Enough," with its inventive disco-funk, ambitious production and Jackson's signature falsetto set the stage for the massive career to come.

1981: Quincy Jones, “Just Once”

Put it in the pantheon of great piano ballads: On Jones' 1981 album “The Dude,” James Ingram takes over lead vocal duties for “Just Once,” the big-hearted and bigger-feelings track.

1982: Michael Jackson, “Billie Jean”

What songs are more immediately recognizable? An elongated drum and bass lick introduce “Billie Jean,” one of the great genre-averse pop songs of all time, from Jackson's record-breaking “Thriller" album. Here, Jones' production is post-disco, but still funky, still prescient. And time tells the greatest tale: “Thriller” sold more than 20 million copies in 1983 alone and has contended with the Eagles’ “Greatest Hits 1971-1975” among others as the best-selling album of all time.

1982: Donna Summer, “Love Is in Control (Finger on the Trigger)”

And now for something completely different: In 1982, Jones worked with Donna Summer on her self-titled album, a dance-forward record that includes the synth-y pop single “Love Is in Control (Finger on the Trigger)," which earned a Grammy nomination for best R&B vocal performance, female.

1985: USA for Africa, “We Are the World”

Nearly four decades ago, some of the biggest stars on the planet — Jackson, Bob Dylan, Tina Turner, Dionne Warwick, Billy Joel, Stevie Wonder, Willie Nelson and Bruce Springsteen among them — came together for an all-night recording session. The result was “We Are the World,” a pop superhit overseen by Jones, the 1985 charity record for famine relief in Africa.

Lionel Richie, who co-wrote “We Are the World” and was among the featured singers, would call Jones “the master orchestrator.”

1989: Quincy Jones with Ray Charles and Chaka Khan, “I'll Be Good to You”

Back in 1976, Jones produced the Brothers Johnson's R&B hit, “I'll Be Good to You,” and then re-recorded the track with Ray Charles and Chaka Khan — an ebullient number with contemporary production, completely transforming the classic.