Symphonic metal is heavy without being noisy; this subgenre is similar to opera, since it is renowned for complex melodies and high-level vocalists who can emote and convey a sense of drama and journey.
One of symphonic metal’s most promising voices is provided by Moonlight Haze singer Chiara Tricarico, an Italian soprano whose stunning range helps distinguish the quintet from its peers. Armed with several years of classical training, Tricarico is the band’s frontwoman and is also its chief lyricist and vocal melody arranger.
The band’s debut, De Rerum Natura, was released by Scarlet Records in 2019 to stellar reviews from critics and audiences. The album honored the genre’s foundations but surprised many by successfully taking musical risks. Within the familiar sounds of keyboards, heavy guitars, and precise drumming there are elements of samba, jazz, rock, and opera in the arrangements and vocal deliveries.
Hoping to maintain the momentum, Moonlight Haze quickly returned to Domination Studios in San Marino, Italy, to record its follow-up, Lunaris, which Scarlet Records released on June 12, 2020. Lunaris furthers the path set forth by its predecessor and sees Tricarico incorporate classical and operatic approaches while stepping into slightly darker territory.
CS Music had a chance to catch up with Tricarico to discuss her background, methods and where she finds inspiration.
CS Music: Tell us about your vocal training and what first inspired you to become a singer.
Chiara Tricarico: Classical music was always my first love. I started classical singing and training at the age of 16. Some years later I also started studying modern singing and I am currently using both styles, plus some harsh vocals, sometimes.
As for my inspiration, I’ve always loved music and singing since I was a child and loved to listen to my grandfather play the violin. At the age of nine I started playing the piano. I remember at the same time, spending hours on Sunday mornings in front of the TV when they broadcasted the recordings of operas, because I loved listening to the powerful voices of opera singers. I guess my passion started at that time and later on I found out that singing was the best way to express myself, as a kind of native language.
CS: How did your career path uniquely bring you to metal?
CT: I started taking operatic singing lessons during high school, but it was during those years I first listened to the amazing classical voice of Tarja Turunen [original singer of Nightwish, a trailblazing symphonic metal band from Finland]. I fell in love with the mixture of classical music and metal and decided that I wanted to sing symphonic metal.
CS: You hit some incredibly high notes. What techniques do you use to belt out the vocals and maintain your range?
CT: First off, I train almost every day, which is the most important thing to do in order to keep a good technique and to improve my singing. Then, of course I have my warm-up routine. About food and drinks: I avoid tomatoes and spirits before a show, while I ingest liters of ginger tea daily.
Physically, I train by running outside to improve my breathing and stay strong enough to hit the notes.
Singing is a matter of being focused. I also try to be mentally at peace as well, and that comes with getting enough sleep.
CS: Moonlight Haze seems to pull the best of the genre—with music that is enchanting, haunting, and complex. What is the writing process like for the band?
CT: Thank you, I am glad you like our music. Giulio Capone, our drummer and keyboardist, is the main composer and our songs usually start from his ideas. Then I write the vocal melodies and all the other members of the band have a main role in arranging their own parts. There was one exception during Lunaris sessions and I am talking about the song, “Under Your Spell.” It was composed starting from a vocal melody I wrote while I was driving in my car. [Laughing] I pulled over, recorded it, sent it to Giulio and then he created the rest of the song around the chorus I wrote.
CS: What do you feel are the biggest differences between Lunaris and De Rerum Natura?
CT: De Rerum Natura was an experiment for us. Although we knew each other before starting the band, the debut was our first experience as a team, so we still had many things about us and about our music to discover.
So, during the last year we got to know each other better and this, of course, had a big influence on the writing process . . . we really felt we were able to communicate in a more direct and easy way and this gave us the chance to work even more on melodies and arrangements and we had clearly in mind what direction we wanted our music to take.
CS: How has COVID-19 impacted the band in 2020?
CT: As you can imagine, it is quite strange to release an album during a pandemic. Of course we had to postpone some shows that were supposed to take place this summer to bring the new songs live. So that won’t be possible in the short-term, but we hope that there will be a chance soon and if that won’t be possible in the next months, we are already evaluating some alternative ways to present our new show, even if, obviously, nothing compares to an actual audience in front of an actual stage.
CS: How would you advise any aspiring or classically trained musician looking to broaden their horizons by breaking into symphonic metal?
CT: I think that the meaning of making music is to bring a message to the audience, so the most important thing is to have something real to say and to find the best way to do that. It’s hard work and requires constant research and study.
As for approaching classical and metal singing, they are two sides of the same coin. The techniques are slightly different, but the roots are the same. I think at a certain point singers should check all the techniques to be aware of them and to know the potential of what your voice can do.
You can learn more about Tricarico and Moonlight Haze at MoonlightHaze.com and Scarlet Records.
