Leonardo Cavalli

Which musician has influenced you the most?
It would be difficult to choose just one. Great performers like Jimi Hendrix, Elton John, and legendary crooners like Frank Sinatra and Tony Bennett have played a significant role in my development as a singer and player. The progressive rock records I used to listen to with my father as a child, such as those by Pink Floyd and Genesis, as well as the soundtracks composed by John Williams and Ennio Morricone, have been fundamental in shaping my composer side.

What can you teach me better on your instrument than any other teacher?
What makes my teaching approach unique  is my background not only as a singer, but  also as a multi-instrumentalist, composer,  and music producer. This broad musical  experience allows me to approach vocal  training from different perspectives, helping  students understand not just how to use  their voice, but also how it connects with  music as a whole. 

Over the years, I've learned that every  student has their own strengths, challenges,  and musical goals. That's why I tailor my  lessons to each individual's experience,  interests, and needs, combining vocal  technique, musical expression, and  practical exercises in a way that feels  natural and engaging. 

Above all, I see the voice as a versatile and  expressive instrument. My goal is to help  students develop a solid vocal technique,  build confidence, discover their own sound,  and enjoy the process of playing or making  music. 

How did you learn to play your instrument?
I started my musical journey as a child, first studying classical piano for many years at my local music school, then studying guitar as a self-taught and playing in many bands. But the real turning point came at 17, when I took my first singing lessons with a teacher who ignited my passion for music and showed me its transformative power. It was through that experience that I found the courage to pursue academic studies and fully dedicate myself to a life in music.

How do you go about writing a song or composing a piece yourself?
My creative process usually starts with a  concept or an emotion I want to express.  Inspiration might come from the theme of a  festival I'm performing at, a film or theatre  production I'm composing for, or simply a  personal idea. 

From there, I begin exploring musical ideas,  sometimes a melody, sometimes a riff or a  particular sound, and gradually develop  them into the structure of the piece. Then comes my favourite part: arranging  and producing the music. This is where I  bring the composition to life, choosing  instruments, experimenting with sounds,  and adding layers and textures to create the  right atmosphere. For me, it's like dressing  the music, giving it its own identity and  shaping it to fully express the emotion or mood that inspired it in the first place. 

What equipment do you play on today?
At the heart of my performances is my  MacBook Pro, which brings together and  processes the sounds of my instruments,  including microphones, guitars, keyboard  controllers and my Moog synthesizer. This  allows me to combine different musical  elements and create a rich, unified sound.  For more experimental projects, I also use  Max/MSP to create immersive sound  experiences, where music elements moves  around and surround the audience. For recording and music production, I  mainly use Cubase Pro, while Dorico Pro is  my go-to software for composing and  writing music. I'm an official Steinberg  Certified User of both programs. 

What personal characteristic has helped you the most when practicing?
Surely, it's my curiosity, because it's thanks to it that I'm always motivated to delve into new topics, seeing everything new as a challenge to improve myself.

What does your instrument have that others don't?
The voice is the musical "instruments" that  connect most deeply to the soul of every  artist. I believe that, at least in my case, they embody my personal experiences,  emotions, certainties, and vulnerabilities,  making both truly unique and deeply  personal.

What do you pay particular attention to when teaching?
For me, empathy is essential, because the study singing and composition involves multiple aspects of sensitivity.
That's why it's crucial to always be mindful of how we relate to the student, who, whether in a lesson or on stage, is exposing facets of their personality they may not always be used to showing. Therefore, every observation or piece of advice must be conveyed with the utmost care and sensitivity.

How do you structure your music lessons?
I start with a vocal warm-up, then move on  to vocal technique exercises. In the second  half of the lesson, I focus on repertoire  study. 

Depending on the student's needs and the  lesson duration, I may include sight-reading  exercises, piano or guitar practice, or cover  music theory or technology topics. Each part of the lesson is always  approached from a musical perspective. I  don't rely solely on the student's ear;  instead, I guide them through a path of  increasing awareness to ensure consistent  progress.

How do you relate to children?
When I have taught children, both in individual and group classes, I've always tried to connect with them by putting them on the same level as me and involving them actively in the lesson. I find that, at least in my case, this approach has led to great results, making the lessons stimulating for both sides.

What has been your greatest experience as a musician so far?
My greatest experience was conducting my suite titled "Universe”, in Sala Verdi, one of the best concert hall in Milan. For the first time, I had the opportunity to lead a 60-piece orchestra performing my original compositions. The orchestra consisted of a jazz big band and a chamber orchestra with strings, woodwinds, harp and percussion sections. It marked the culmination of a nearly year-long project during which I composed and arranged 40 minutes of original music.

What was the biggest stage you have played on?
I couldn't say which is the biggest, but I have performed in some of the most important theaters in Milan, such as the "Teatro Grassi”, the "La Verdi" auditorium and beautiful location as “Villa Arconati”.

Which musician would you like to play with?
My dream is to perform an original composition, either as a singer or as a conductor, with the Metropole Orkest.

Which record would you take with you to a desert island?
I think it would be “Scratch My Back” by Peter Gabriel. Gabriel's voice and John Metcalfe's orchestral arrangements in the cover of David Bowie's Heroes give me shivers every time I listen to it.

Which stage would you most like to play on or do you most like to play on?
In general, I love theaters. I find them to be the perfect place to create a connection between artists and the audience through music.

What else is important in your life besides music?
I think it is essential to nurture friendships and make time for new experiences, even outside of music, that can enrich my personal and artistic journey.