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?
I believe that, having a solid knowledge of musical instruments, I am able to convey technical and performative concepts more clearly and completely, even for the vocal aspect. Thanks to my years of experience as a teacher, I have also developed the ability to adapt lessons based on the backgroung and specific needs of the students, making my teaching method increasingly personalized and effective.


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?
I usually begin with a musical idea (sometimes a melody, sometimes a riff) and from there, I develop it into the framework of the composition. Then comes the stage of arranging or producing, which is my favorite part. This is where I “dress” the piece, shaping it to fully capture the emotion or mood that gave birth to the idea, like closing the circle.

What equipment do you play on today?
On the vocal side: I rely on my Shure Beta57A microphone.

On the instrumental side: I use my NI S88 MIDI keyboard to both play and perform, as well as my guitars: an electric Fender Stratocaster and a beautiful acoustic Epiphone Dave Navarro. Everything is connected to my MacBook Pro, which processes all the sounds.

On the software side: I compose with Dorico Pro and record/produce with Cubase Pro (I’m a official Steinberg Certified User of both softwares), but I often use Sibelius and Pro Tools too. 

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 and composition are 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 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.