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Behind the Curtain by Living Opera
Behind the Curtain, hosted by soprano Soula Parassidis and tenor Norman Reinhardt at the beautiful Hotel Bristol in Vienna, is a video podcast by Living Opera that takes listeners beyond the grand performances and into the heart of opera. Through candid, thought-provoking conversations, the podcast reveals insights that transcend the stage, exploring universal themes such as personal growth, leadership, and perseverance. Whether you're a seasoned opera enthusiast or simply curious about how artistry intersects with everyday life, Behind the Curtain offers a unique perspective that bridges the world of performance with real-world challenges and experiences. Watch the video version of this podcast on Living Opera's Facebook and YouTube Channels.
Behind the Curtain by Living Opera
Maddalena Del Gobbo's Artistic Evolution
In this episode of Behind The Curtain, hosted by Soula Parassidis, Maddalena Del Gobbo takes us on a captivating journey through her life in music, tracing her evolution from the cello to the viola da gamba and back again. She shares the deeply personal impact of family and pivotal life events on her artistic identity, revealing how music has been both a refuge and a source of healing. Delve into Maddalena's profound connection with both instruments, her resilience in the face of challenges, and the inspiration behind her upcoming album, which beautifully encapsulates her emotional experiences.
The Behind the Curtain Podcast is hosted by Soprano Soula Parassidis and Tenor Norman Reinhardt. Follow Living Opera on Instagram, Facebook, YouTube, Twitter, and Website.
Watch A VIDEO version of this podcast on Living Opera's Facebook or YouTube Channels.
Hello everybody and welcome to Behind the Curtain. I'm Soula Parassidis and I am the creator of Living Opera, although my whole team is here. So, guys, you're amazing and I am so excited that we have our first guest on this podcast, and it's Maddalena Del Gobbo, who is an amazing artist, and we've known each other for some months now and become good friends and colleagues, and I'm so thrilled to have her here. Maddalena, welcome, thank you so much, and thank you for agreeing to do the interview in English. Although you speak perfect German, your first language is Italian and I think you speak like five or six other ones as well.
Maddalena Del Gobbo:Come on, and no, okay fine, she's being modest, but we already know.
Soula Parassidis:And I met Maddalena some months ago via our Instagram channels and I think it's interesting because you are someone who really understood the power of social media for artists in today's market and you've been harnessing that and utilizing that and I want to talk to you about that. But I think it's relevant for people to know a bit about who you are. Where have you come from? You are like this totally mysterious, unique person within our orbit and you have your own style and your own vibes, just everything. I think it's really special and I'm not just saying that for the camera, like this.
Soula Parassidis:I told her privately, told her husband, you know she's, she's a very special, uh, star in our firmament, and so, yes, I, I really think that. So, and I will give you time to have also your treats, because I, you came into the studio, I was like let's go, let's go, and I was like here's your step, okay, and you know she's gonna play for us a little bit in the episode, which we're also super grateful about. But, maddalena, just how did you get into music and how did you get to this point?
Maddalena Del Gobbo:because your story is really inspirational so I started playing when I was four years old. Um, I started playing because my mother was playing, piano playing and piano, piano, piano.
Soula Parassidis:Yes, we have to differentiate because you play a lot of instruments.
Maddalena Del Gobbo:Well, my piano playing is not good you know, but still, I started when I was four and she also plays piano. So she was like, OK, it's nice to play something and then starting and I was always like a very serious child. So when I was four years old I was already very serious and practicing Very up in Italy.
Maddalena Del Gobbo:Yes, yes, in the northeast part of Italy. And also I started to dance ballet at the same time with piano, wow. So I did these two things, yeah. And then I wanted to play a string instrument, okay. But well, my mother said, okay, the violin, because it's nice and it's small and light. And so I started to play the violin. It's nice and it's small and light.
Maddalena Del Gobbo:And so I'd started to play violin and didn't like it at all as a child, I don't know, because it was so high and and it sounds scratchy. You know, at the beginning it's not as a child and I guess also I had a really wrong teacher for me who let me hold the violin for weeks before starting playing. So it was as a child, it was not fun. And then I saw a cello at a concert and I was like, I want to play a cello, I want to play that the big instrument. And so my mother was really wonderful, yeah. So she gave me a cello and I got a teacher, and so I started to play when I was eight years old.
Soula Parassidis:That's amazing. Okay, I'm going to force you to take a bite of your cake because I know that you have been doing so much.
Soula Parassidis:I just want to say Madelena was on a marathon photo shoot yesterday for her new album that we're going to discuss. She is so hardworking that I know that she will forget and I need to give you a bite of it. That's not enough, oh my God. But I wanted to say I just relate as well, because it's the sound of the instruments and the sound of the music sometimes that is so inspirational for children and I had the exact same experience when I was seven and I heard the sound of the flute and I was like what is that? And I wanted to play myself. So I totally relate to that and I'm sure a lot of parents can relate to that as well. You know, it's interesting when a child comes with a very clear idea. I don't know how often that happens, but maybe to listen to that because it could turn out to be something really magnificent. Okay, you've had that massive bite of cake, so I'm sure you're completely satiated A little bit of sugar.
Soula Parassidis:Yeah yeah, yeah, no, no, no, but that's fascinating. So you started with the cello, and how long did you play that? Well, I still play the cello.
Maddalena Del Gobbo:I know, I know, I mean, don't give it away. Okay, sorry, no. So I really love the cello and I was quite good as a child, I guess. So at some point we saw, because I had a children's masterclass when I was I think I was 11 or something in Austria. So the first time I was in Austria with other musicians from somewhere else not like my cello class, you know the child and I saw, and my mother and not only my mother, but also I saw the level of the other players and they were so much better.
Soula Parassidis:How could you tell? How did you have a context for knowing that they were better? Are you sure you didn't just imagine?
Maddalena Del Gobbo:it. No, no, the repertoire, you know, they play because we play chamber music. It was like children's course and we played chamber music together, which was amazing. I loved it, and I saw that they have a big, much bigger repertoire and also their pieces are playing so much better. And then I told my mother I also want to play more pieces and somehow I also want to play more pieces and somehow, I don't know, my teacher in Italy was really nice, but the system is different in Italy and so Austria, of course, is the land of music somehow. And then I was like I want to. I was always very I wanted to do things and so, faith as usual.
Maddalena Del Gobbo:Let us meet a very good friend now, and she's Austrian and her daughter is my age and she is a violinist. So she was studying violin in the same city in Italy and they were planning to go back to Austria because their mother is Austrian. And so they told us OK, come to Austria and we'll find a teacher for you. You know, like OK. And my mother was like OK, let's do that, why not?
Soula Parassidis:Let me ask you a question. Your mom I mean she's so instrumental Did she ever have any doubts, or was she always just like no, Maddalena, go forward, go forward. I mean, it would be normal if she did, because it's a big risk, in one sense, when a child wants to dedicate their life to music, because there's so many twists and turns and unknowns, I don't actually know the answer. So maybe I've asked you a loaded question now. Oh, my goodness. Well, you just answer as you're comfortable, but how did that work?
Maddalena Del Gobbo:I would say my mother is really. She really sees the importance of culture and of education. So for her cultural education is really important and so even if just going to Austria was just a chance to learn another language.
Maddalena Del Gobbo:It was enough for her. So, like you know, and also, why not do it when you want to do it? And we could do it somehow. And also my grandfather was the same. So we have in this family who this? Education and culture, I don't know. We love that. So and she was okay, why not, let's go to Vienna, find a teacher. And and we found a wonderful teacher and the plan was to be, I think, once a month or twice a month, on the weekend, to come here with my father. Also we were saying at his friend's home, she was so, so nice and I had two lessons and then I would practice, and then, and still, I was in the conservatory in Italy, because in Italy you start the conservatory like in the middle grade school, like when you're a child yes About how old for our American students.
Maddalena Del Gobbo:I think like 11 or something, 11, okay. So, after you have five years of the grand school, the elementary school, and then you can start a conservatory in Italy. So yeah, and then I was in the conservatory and, secretly, we would go to Austria to have lessons with the teacher. Wow, yeah, and it was amazing. And then after some months, the teacher told us okay, yeah, so in September you can make the exam for the conservatory in Vienna. Oh what?
Soula Parassidis:I mean because that would have meant you need to move to Vienna. Okay, so how did you navigate that?
Maddalena Del Gobbo:Well, this was not the plan. Actually, the plan was just to be better at the instrument.
Soula Parassidis:The plan is just to get better, not a whole life change.
Maddalena Del Gobbo:but but my mother always was like okay, well, why not?
Soula Parassidis:um, let's try this, so um how old are you at this point? Like 13 or? So yes, 12 not yet 13 and many parallels in our lives. We need to share more about our backgrounds. Yeah, because I don't know this about your life. I mean, we're kind of winging it a little bit, I have. I wanted to be authentic and like spontaneous but I'm like hearing some like oh, and then you were seven.
Soula Parassidis:Oh, you were 12. Oh, okay, your mom. Okay, interesting that we're on this couch together. Go on, maddalena, I'm very curious. Yeah, I know this is about you today, but oh my goodness, wow, okay, cool.
Maddalena Del Gobbo:Yeah, so she was like to my father. He had a company like an electronic things company in Italy.
Soula Parassidis:And things company in Italy and she was actually working in the office.
Maddalena Del Gobbo:But like you know, but moonlighting as your agent, so to speak, in a sense, and she was like, wow, we can try this, like for a year she can be in school for a year. I couldn't speak a word of German and she was like, okay, let's try, why not? And um, what? Just one year, you like, try like. And yeah, a year in Austria to learn the language. So you came to Vienna, we took an apartment and she signed me in school.
Maddalena Del Gobbo:I made a German course in summer, somehow with a private teacher, and then the entry was in September, and then I got admitted, yeah, and then I started school and the exam was okay. So, yeah, we were here and it was really great, and I must say also my mother loved it, I guess. So we stayed in Vienna. Amazing, my father would come every weekend to Vienna and yeah that's how I came here.
Soula Parassidis:So how did this process last? How many years did this last, where it's like you and your mom are here. You're basically still a child. Your dad's coming on the weekends. Five years, six years.
Maddalena Del Gobbo:Well, this actually never stopped, because then my mother found a job here. At the beginning she was working remotely somehow with Italy and here and sometimes she had to go to Italy so my grandmother would come or some babysitter.
Soula Parassidis:Because at this point you're what? 16 or 15?
Maddalena Del Gobbo:No, like 13, 14. It's too young to be alone in an apartment yeah yeah, kind of Wow, amazing, and so we would find some relative or someone that would come, and it was very stressful. But then my father, like I think they melted his company with another one so she wouldn't work anymore, and then she had a job here and she really loved it here, amazing yeah, and we stayed here, yeah.
Soula Parassidis:Wow.
Maddalena Del Gobbo:Okay, and I'm, I'm still here yes, you're still here, okay.
Soula Parassidis:So when did this shift happen? I mean, so, your family and you sort of all understood okay, this is my path, this is what I'm going to do. But where did the transition come? Where you know it's, it's all fine and good, you do your schooling, everything, but then there's the transition into a career. So how did that happen?
Maddalena Del Gobbo:Actually, I always wanted to be on stage. I think I always wanted to be a professional musician or a ballet dancer, but SM Fine had to decide. When I moved to Austria, my mother said told me okay, you're maybe too tall to be a ballet dancer.
Soula Parassidis:And maybe music is better. The same thing, yeah, yeah, I think we're about the same height.
Maddalena Del Gobbo:So yes, yeah, yeah, that's quite funny which today I think it's not a problem. No, no, but like years ago, it was not like anything okay, so, um, I would also. But I love ballet, but I love, maybe, music more. Yeah, so I, as a child, I always loved to be on the stage. I loved opera. Actually, I always loved to sing and I would stage operas with my stuffed animals.
Maddalena Del Gobbo:That's so cute, yes, I love that, so I always wanted to. When we came here, it was super serious for me. As I told you before, I was never a very childlike child. I was always like this Maybe a little bit too serious as a child. Um, yeah, so I wanted to to to be a musician. And we're here and yeah, so I never have this moment. Okay, now maybe I want to be a musician. No, I'm here for that. I was good in school.
Soula Parassidis:I loved also other things, but still, yeah can you pinpoint a moment where it was like, okay, it's my break, like I just, for example, I know for me I got my first auditions and then I got my first contracts and it's like, oh, okay, so I guess this is my job now. And you know, it was sort of clear from that point. Was there a point like that for you as well, where you're like, okay, this is what I do now?
Maddalena Del Gobbo:Maybe for playing somewhere. Where was that? I think I was still in school and it was like maybe I was 16, I guess, and I played in an orchestra a Salieri I think, an oratorio, and I got paid a lot of money for that for me it doesn't matter and I was like oh, wow, I can buy myself something.
Soula Parassidis:And so all this time you're playing cello, yes, yes, okay. So I guess we have to talk about the fact that you are quite well known as a viola di gamba player. So when did that transition happen? You're like okay, now I'm picking up the gamba, which is different from the baritone, which you also play.
Maddalena Del Gobbo:Yeah, this is like another, it's another thing, but the gamba is sort of where if someone would say like, oh, Maddalena, oh yes, the viola, the gamba player, yeah, so where did this happen in your path? Um, when I was still in school, in high school, I once, I uh, walked to the cd shop. Yeah, actually, amy, in captain strassel, which now is not there anymore.
Maddalena Del Gobbo:and, uh, the first thing I heard in the classic music part was this wonderful sound and this music which was similar to the cello, but it was not the cello and I was like, what is that?
Soula Parassidis:Again with the sound captivating you. Yes, the sound, yes.
Maddalena Del Gobbo:And so I asked the person working there I was like, what is this CD? And he showed me this CD. I think it's a Viola da Gamba CD. And so I bought the Via da gamba CD and I was obsessed with that. So at home I would just listen to this CD all the time. My mother could also not hear it anymore because it was too loud, and I also would try to play on the cello, but it didn't work so well. But I always thought ok, this is the viola da gamba, it's a completely different instrument. I'm playing the cello.
Soula Parassidis:It's like an identity thing, almost right. Yes, yes, yes.
Maddalena Del Gobbo:Almost, also completely different fingerings and everything. And in my mind I was like we came here for cello, I'm going to play cello, yeah, and viola da gamba, okay. And then, because always, fate, you know, yes, indeed, my mother was working at Dant , this Italian institute in Vienna, and I think she called someone, or someone called her because they wanted to organize a concert and they needed a cembalo, a harpsichord, and somehow she talked to my teacher then, jose Vasquez, who was a very funny and nice person, and she asked him oh, yes, oh, you're a viola da gamba player. Oh, my daughter loves viola da gamba. And he was like, ok, she should come, and why not?
Soula Parassidis:Oh my gosh, I was like OK, Wait, did you actually play the gamba by then? No, oh my God. So OK, no, no, no, and it was like so inviting it was always like that.
Maddalena Del Gobbo:It was very inviting and very nice, amazing, and so I was like I went there and then, you know, rang the bell and I entered this apartment, which was very interesting, full of instruments and old things, and I was like, oh yes, oh yes, here, viola da gamba, try to play.
Soula Parassidis:Okay, so for anybody watching or listening, can you sort of briefly describe really the physical differences of the instruments and why this would be such a big deal?
Maddalena Del Gobbo:Well, so the cello has four strings. Yes, the viola da gamba has six strings, or seven strings. The bow holding of the cello is like cello. The viola da gamba holding is like that.
Soula Parassidis:Oh wait, remember, this is audio too.
Maddalena Del Gobbo:So basically your head is upside down. Oh yeah, it's not upside down, yes, oh my god, okay, so yeah.
Soula Parassidis:I actually realized now I saw you doing it, but I didn't compute that.
Maddalena Del Gobbo:Wow, okay, so yeah you're literally upside down, yeah, so the cello is the upper way of playing, and then upside down hand. Then also you have frets. The viola da gamba has frets which are not, like the guitar, made of steel but are made of gut strings which are on the instrument. Also, tuning is different, of course.
Soula Parassidis:Yes, I did notice that when we collaborated, I was like, oh gosh, how do I tune with this instrument? Yes, yes, as a voice, I mean also like the pitch is different.
Maddalena Del Gobbo:Yes, like it's 415 mostly yeah, not only, but mostly but also like the tuning of the strings is very different. The cello is tuned in fifths and the viola gamba is tuned in fourths, with a third in the middle, so it's like completely different brain activity. Oh, totally the left hand. Yes, so you have to really relearn this instrument, although, of course, if you play cello, you already have a very good left hand and the feeling for a bow. So you have to adjust. You have to, of course, relearn the instrument, but still you have your advantage.
Soula Parassidis:But it's like an adjacent kind of skill in one sense your advantage, of course. Okay, how long kind of skill in one sense, yeah, advantage. Okay. How long did it take for you to make that transition, to really play as proficiently as you wanted in the gamba? I? Don't know you're still, we're still working on it, yeah, okay exactly. Was there anybody? Like I mean so your mom's always been a big support.
Maddalena Del Gobbo:Was there anybody in your world that when you said I really want to play gamba, they were like no, I don't support this, I don't want this oh yes, of course, because actually it was a secret, because at that time I was preparing already for like orchestra auditions and like the very serious repertoire for the child, like you know, larger concerto and Haydn concerto and, um, my teacher was also like sending me to competitions and very professional, yes, and you being a great cellist, okay and then when I started playing because my, you know, the gamba teacher gave me an instrument like he lent me an instrument for the time and I was practicing and then I just briefly mentioned that to my cello teacher and she was like no, like no, don't waste your time.
Maddalena Del Gobbo:You're going to ruin your intonation and waste time. You should practice cello and this is a waste of time I was like, okay, you ruin your intonation and then waste time. You should practice cello and this is a waste of time. So okay, but of course it didn't stop. I still went on practicing, but I couldn't play concerts, of course, because she wouldn't know, she would know. And then somehow some someone told her and she was really angry actually, and she was like, oh no. So at that point I kind of stopped playing viola da gamba because it was so frustrating. You know, I would play wonderful things but at home or just secretly at house concerts, but not publicly, because it was too dangerous, I didn't want to, um, anger my teacher. Yeah, it was not funny. So basically, then I stopped for some time because I still had an instrument at home. I bought one, but I didn't play. Yeah, and then I played cello and then also many auditions. I played a lot of concerts, solo and orchestra and chamber music. So much yeah.
Soula Parassidis:Yeah, yeah, but there was a moment then where you couldn't hide this and it did become your primary focus. So how did that happen?
Maddalena Del Gobbo:yeah, so later, uh, at some point I, I don't know I got like a block, like an artist blockade yeah, isn't it right? Voice, yeah, a block with the cello. With the cello, yes, I don't know why something happened. I think I had something to play, a solo with orchestra, and I actually didn't like this piece, or I didn't. It was not for me, like it was not the right thing for me at the moment. Yeah, and I was very tired, I was playing so much and somehow I just I couldn't. It felt like enough, so I cancelled the concert and I was like I need a break, maybe also because I was playing since I was 13, as a child already, very professionally, so at some point it's like I needed a break. But I didn't need a break from music, so I needed a break from the instrument itself. So I was like, okay, like okay, well, I just played viola for some time. Let's make a break with cello, okay. And then, um, yeah, and then I started playing viola gamba and I was like, wait, I'm playing one month only the viola gamba and not the cello, so just to see if the cello, I'm missing the cello, maybe like cleansing a little bit. Okay, and I started playing the viola gamba. It was so good, so fun and healed me of this kind of tiredness that I had. And then I I was like, okay, well, I don't miss the cello so much at the moment. And so I went on.
Maddalena Del Gobbo:I went on playing the Vila da Gamba and then somehow, shortly after, my teacher said, okay, yeah, there is a competition. Do you want to go? Do you want to go? I was like, okay, well, why not? And then I was in the final round of this competition. At the final round, I had fever. I was so sick so I played not well, it was great, yeah, but still I was there. And and somehow I didn't miss the cello, because the cello brought me so much good energy and so many opportunities. Suddenly, and also, uh, then, um, I was discovered somehow by the recording label. Someone heard me at a concert and then they called me. Like imagine, you got a call from the touchy-crunchy phone like the. Literally they called me. I was like at my I don't know Holidays or something, and then they call me and I couldn't realize that really called me and I first thought it was a joke.
Soula Parassidis:Yes, something strange. No, that would be like a really mean and weird joke, but okay.
Maddalena Del Gobbo:Yes, and but they were so nice and they told me oh yes, maybe can you come and bring some tapes, the tapes and some photographs and things like this. And yeah, we can't promise anything, but we want to see what you're doing. And I was like, okay, let's do that. So I went there and I brought everything.
Maddalena Del Gobbo:and then also they came to a concert and imagine you're playing and then, before you play, you go on stage and you see them sitting there and you're like no pressure, just your dreams on the line, don't worry, yeah, like okay, when I went on stage I was like, okay, I have to play good, really well today. It was there and then finally it worked. It worked and they really gave me a contract and was really so happy. And so at that point I was like, okay, I'm not playing the cello at the moment, I'm playing just viola da gamba. It will be weird just to start with a trigramophone and then not then playing another instrument. And also I didn't miss it. I was like so happy with the viola da gamba that I didn't miss the cello at all.
Soula Parassidis:But have you thought more about that? I mean, do you feel like there was a? Have you thought about this? If there was a deeper reason why you wanted to abandon the cello, or you just weren't feeling it, it can't just be. Oh, I had a bad time with one piece. I mean, you're a strong person who's able to really withstand pressure. There must have been more.
Maddalena Del Gobbo:Yes, yes, it was not that this was just last drop on this story, but actually actually I think it was a complex situation, the fact that, you know, we came for the childhood to Austria no pressure at all, right. So I always had a feeling I have to do that, even though I loved it so much. I love music. But still, you know, as a teenager I didn't have, I didn't try so many other things to do that I could do. I didn't want to do anything else actually, but still it was kind of I was tired, maybe, just maybe today I would call it like mini burnout something, but at the time nobody would call it like that.
Maddalena Del Gobbo:Also, my teacher and my environment wanted me to be in an orchestra orchestra. I also made the audition for the State Opera. I was actually not bad. I also played a lot of the substitute and the stage orchestra opera and I loved that actually. But this was not my way and I knew that I wanted to be a soloist and somehow this old pressure with the orchestra it's strange to. But I wanted to do something else and my environment wanted me to do something different and I didn't like it. And Vera de Gamma was more like okay, I'm doing completely something different.
Soula Parassidis:So just to put this in context it sounds like your teenage rebellion was I am going to become wonderful at another instrument, get a recording contract with them and just be a star, and that's my rebellion. I'm just kidding, but that's kind of what happened. Okay, I'm going to put you a bit on the spot. I think you know kind of what I'm going to ask you about, but it's okay, which is more meaningful, particularly what's happened this week, and we will talk as much or as little about that as you want.
Soula Parassidis:But you told me that part of this issue with the two instruments was also a bit to do with your relationship with your dad, your father, and I know it's hard, but I would like to just dig into that a little bit because I think it's really meaningful and quite important for anybody who watches this to understand. You know from the outside, you're beautiful, you're talented, you and your husband have a great life. I mean, no, you're fabulous, you're full time musicians, you've got it all, so to speak. You have a recording contract, right, you're a gramophone, but life is life and you're a human being and I would love to just as much as you want to speak about that. Just talk a little bit about that and what the pathway has been because, from what I understand, it's been quite transformational in your life.
Soula Parassidis:And if you just get into that a little bit.
Maddalena Del Gobbo:Yes, my father was not the reason I didn't play cello anymore, but somehow because he got sick around one year ago and I don't know why, but since he got sick, somehow I really wanted to play cello again. He loved the cello so much and he actually was not so happy about me playing the viola di gamba, because he loved the cello more.
Soula Parassidis:Was his objection to the viola di gamba.
Maddalena Del Gobbo:Not really, but he loved more the romantic repertoire and I think he didn't get so much the baroque repertoire. It was not his word, so at that time I didn't care really, because I wanted to do my thing. But I don't know, and since he got sick, somehow I got this kind of peace in me I can't describe it and somehow I really wanted to play cello again. I mean, I never really stopped because I was playing still, but I didn't play concerts much and I really didn't have.
Soula Parassidis:I mean, your name was made through the gambit in one sense. Yeah, yeah as a soloist.
Maddalena Del Gobbo:Yeah, as a soloist. And somehow, since I got sick, I really enjoyed playing the cello so much again. Would you play for him? And somehow, since he got sick, I really enjoyed playing with Carlos so much Again.
Soula Parassidis:Would you play for him?
Maddalena Del Gobbo:No, actually not Interesting. I don't really like playing for my family.
Soula Parassidis:I do understand that it's strange. I don't know why.
Maddalena Del Gobbo:I really don't like. I don't know why. I mean for my husband it's fine because he's a musician so he can give me like the. But I don't know I mean for my husband it's fine because he's a musician so he can give me like the, you know, but I don't know so. But he was really super happy that I was playing cello again and he didn't tell me, but my mother told me that he was super happy, so actually he really enjoyed that and I don't know it's. I think it's an, an energetical thing.
Soula Parassidis:I can't explain it until today, it's fair enough.
Maddalena Del Gobbo:But really since then I'm healed of this situation Because also I was playing cello. I was also teaching cellists in the last years because I'm also making masterclasses about Bach suites, how to play on a modern cello but with a more baroque approach. But still you don't have to change your whole instrument. You can, yeah, and so I would also play cello. I would also teach cello, I liked it, but still, somehow it was like ah, I don't know something energetical somehow. But since my father got sick, it's healed.
Soula Parassidis:It's like removed the block for you. Completely, but it's huge. It's like remove the block for you completely. But still, I think it's. It's difficult when you've made a name in one way and people sort of want to put you into a box and I would love to talk about your new album that's coming. I don't know if you can, how much you can speak about that when it's going to be released the repertoire, well, anything you want to share well, first.
Maddalena Del Gobbo:I hate boxes you know, because I'm the kind of person when everybody expect me express me doing something and not doing that. Yeah, yeah, because for me it's boring.
Soula Parassidis:Yes, Somehow I get it.
Maddalena Del Gobbo:So, yeah, I don't know. Yeah, so the next album which is Making, I can't tell the title, I can't tell so much.
Soula Parassidis:No, no, it's okay. I know, see, we're going to try and time this episode to release when it's happening, so maybe we can photo shoot yesterday. I know it's so cool you guys, the images are like wow. She told me the concept and I was like can't wait. And she texted me. I was like this is exactly how I thought it was going to look. But I really want you to think about the repertoire, because it's like I can say it's a story.
Maddalena Del Gobbo:It's like a fairy tale story. Yes, it's not like I'm playing the composer's this. This is no. It's like really very personal story. It's about somehow the, also the, you know, working on some personal things for music and but it's going to be, everything is good at the end. So it's a happy ending. And the repertoire I'm going to play Baroque music. I'm going to play late Baroque music also, contemporary music Also. There is one piece that was composed for me during the pandemic by a composer I met on Instagram.
Soula Parassidis:You read my mind. I was going to circle back to that.
Maddalena Del Gobbo:Which is amazing. I love it Because during the pandemic, I was doing live concerts and live talks. Afternoon Tea with Madalena was called the pandemic. I was doing live concerts and live talks. Afternoon Tea with Madalena was called no way I have to check it out.
Maddalena Del Gobbo:Okay, I didn't know that, yeah, and he was watching this, and then he started to compose something for me. I would also play some parts of that live during this live, but, yeah, I didn't record it. And then I wanted to record it. So I recorded that piece and another modern piece by a very wonderful composer from America, and then also there's going to be a piece on the cello.
Soula Parassidis:That's the big surprise.
Maddalena Del Gobbo:Yes, the big surprise which, like it's my statement to the world I'm also a cellist, I'm not only for the gamble player and I don't only play baroque music, I also play contemporary music and I love romantic music. This is, I have to say that I love baroque music so much, but I love romantic music also so much, and opera and I, you know, the thing is, I can't be just with Baroque. I noticed that during this time also, this difficult time when father being sick and, yeah, he died last week. So, and this kind of the music, the romantic music, what romantic music can give you in emotions and and it's completely different than Baroque music and Baroque music I than Baroque music no, it is, it is, and Baroque music I love Baroque music so much and the peaceful mind that can give you Baroque music, these feelings, is unmatched, it's completely incredible, it's heavenly. But then also romantic music. Romantical music is an own thing, yeah, so I can't just stay in one.
Maddalena Del Gobbo:Well you don't have to.
Soula Parassidis:And you just kind of slipped that in. But that was one thing. We spoke a couple of days ago because I saw that we'd already planned this episode and we had planned to talk about Maddalena's journey and her journey with the two different instruments. And I think it's difficult for someone who's maybe not a musician to understand. But when you say I'm a soprano, I'm a cellist, it sort of becomes part of your identity, whether it should or not, and it's really hard to to sort of bridge the gap and be accepted generally by people. It's strange and so I understand that perfectly well from what I've been doing and building through the pandemic and through Living Opera and everything, and it's not easy.
Soula Parassidis:And we had spoken about this episode and we were going to talk about how you started playing cello again through the illness of your father and then suddenly he died and I was like, should we cancel this? Are we still going to have the episode? It's fine for me, obviously you're my friend first, like, oh, my goodness, please don't feel pressure. But, um, it obviously gives this whole story and your background a different context and I think it's amazing, like this timing, just knowing that you're about to re-establish yourself again and that this is sort of like closing the loop on that. It's pretty insane, and I just wonder now what it's going to mean in the next chapter. And we don't know yet. We don't know yet. I also asked if you would sort of play here and you said yes, and you've brought your cello. So are you still up for that? Not too tired? No, no, it's fine. You barely ate your cake, maybe in the interim, we'll get this to happen.
Soula Parassidis:But I'm just really grateful that you would come and do that, and is it safe to say we can dedicate the piece to your papa? Yeah, yes. Thank you for being here, Maddalena. Okay, so what are?
Maddalena Del Gobbo:you going to play, I'm going to play. h Sarabande , Sebastian Bach, from the suites I love you thank you so much. ¶¶, ¶¶, ¶¶. .
