Leonardo Cavalli

Which musician has influenced you the most?
It would be difficult to choose just one. Albums by great crooners like LA Is My Lady by Frank Sinatra with Quincy Jones' orchestra have played a significant role in my development, as well as the progressive rock records I used to listen to with my father as a child, like those by Pink Floyd and Genesis.

What can you teach me better on your instrument than any other teacher?
I believe my strength lies in building a personalized study method together with the student, so that they can track their progress and never feel lost in their learning journey.

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 18, 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?
At the heart of everything is my NI S88 digital piano, which is with me whether I'm performing live, practicing, or composing.
On stage, I rely on my Shure Beta57A microphone and my in-ear monitor system to connect with the music and feel immersed in the moment.
When composing or producing, my MacBook, with its 2 terabytes of sound libraries and plugins, is my creative toolkit, always providing me with endless possibilities to bring any musical idea to life.

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 studying 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, musical improvisation, 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 approach 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 and why?
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.