November 10, 2021 • 31 mins
In this episode, Eric talks with Rosalía about how her perfectionism and her incredible work ethic helped create her amazing career. She also reveals why she incorporated flamenco music into her own unique sound, how she developed her voice, and how it felt performing at the 2019 Latin Grammys while in a difficult headspace because of a death in the family.
Learn more about your ad-choices at https://www.iheartpodcastnetwork.com
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:15):
Pushkin. Yeah yeah yeah, yeah yeah yeah yeah yeah yeah good.
Let's double it. Make sure you support the whole time.
Yeah yeah yeah yeah yeah yeah yeah yeah yeah yeah yeah.
Now wiggle around to keep your whole body loose and relaxed.
(00:37):
I love that. That's my favorite. I knew you were
going to say that, But what I want to know
is is there a reason for it or does it
just feel good when you sing it? It felt great,
I think because it really helps me to place my
boys in the right place. And then every time were
changing the consonant, And the reason I have you keep
(00:59):
changing the consonants when we're practicing is so that you
get used to singing them easily in any range, right yeah,
and you'll be able to pronounce them on higher notes,
lower notes and sound good when you do it. So
you don't tense up or tighten up, because some words
are harder to enunciate when you're singing high. That's me
with Rosalia, a Spanish singer, songwriter, and producer. She's a
(01:23):
star in both the Latin and American music scenes. This
is backstage passed with Eric Vitro and I'm Eric Vitro.
I have to say I love my job because I
get to coach some of the most talented and famous
singers working today. On this show, I'll talk to them
about their lives, their craft, and what it takes to
really make it big in the business. So, now tell me,
(01:46):
do you have a least favorite exercise, one that you
don't like, one that I don't like, or do you
just love all of them because they're also I love
all of them? Naa, there's one that I think is
very tricky for me that has like a big big jumps,
but I don't remember the melo. I don't remember which
one was. What one that you were like like, way, way, way,
(02:09):
way way. Yes, those are hard. That's hard for me,
I think, yes, because I got to place the boys
in a high place. Since the beginning. I always forget that.
I don't know why I always forgetting you like from
the beginning, you're got to place it in the front,
and I'm like, yeah, yeah, right, right right, So I
think it's good that I practice it, but because it's
(02:29):
hard for me, Yeah, that's one that I don't know.
That's why I do that exercise, because you really do
have to place it in a good placement. Yes, if
you want to do a smooth transition going from low
to high, and so it helps with your muscle memory
of that, right, you know. Yeah. Rosalia has collaborated with
artists such as Bad Bunny, Billie Eilis, Jay Belvin, and
(02:50):
Travis Scott. You might know her songs ConA t K
N Lamente or Piano n Tumira. Now she's a big star,
(03:14):
but that wasn't always the case. Do you remember the
first song you ever saying When you were a little girl,
There was this song that I heard in the TV.
I think it was called Akuarella. This was like Hello Smario,
something like that, no no no no no no no
(03:36):
no no, no no Nina something like that, I think was.
I sang it for the first time because my dad
he asked me to sing it in front of the family,
and I was like so shy, I didn't want to,
and he was like really like pushing, like come on,
come on, come on, sing it, sing it, sing it.
And I did it, and then I remember that everybody
in the family it's been a year that I didn't
(03:57):
sew them that we didn't so I shot up. But
then I sang it and they started crying. I was
like nine years old or something like that, and I
didn't understand what was going on in that moment. One
and later I was like, okay, like I can communicate
through music. Wow, So that's how it really started for you. Yeah,
(04:18):
I think so, because I was like a little bit
shy at the same time, I was like I was
like having fun and laughing and screaming, like with a
lot of energy. I was the type of kid. Oh
that's a shot. I had no idea. I would have
never guess that. It's not surprising. No, well, I was
(04:43):
like that. I was like that, but when I felt like, oh,
I was being observed. When I was too conscious about it,
I didn't felt like doing it like singing. It used
to be something more like I did for fun than
something that I wanted them to see. I wasn't overthinking
it when I was a kid. I was just doing
it because I had fun with it. Right. Oh, that's
(05:03):
so great. That's the best way, right, Yeah. I think
so when you don't think about it and you're not
in your head about it exactly. Yeah, I know that
you say that. I think that you helped me to
not overthink. At the same time, you helped me to
see a lot of details, technical details I would never
see by myself, because yeah, it's very hard to see
(05:24):
unless somebody sees from the outside and tell you in
points this and that. I think I could never do
for myself. And it's so helpful when somebody's like, hey,
did you realize this? Did you realize you can do
like that? And these things. I feel like it's been
very helpful since we started doing class. Oh good, well,
you know, I feel like that's my job as a
(05:45):
teacher to really listen and then being able to say, hey,
you know, that might sound really good, but this might
even sound better, or just to open your mind to
trying new things. Possibilities, possibilities. It's all about possibilities, right, yeah, yeah,
And I feel like the more that we open our
(06:06):
mind to that, then all of a sudden, things that
we never even thought we'd try we're doing. Yes, Yes,
I feel like that when we work together that Yeah,
it is your job, it's your career, it's important. But
I always do feel like we're having a good time.
We are having fun. Yeah, we're always laughing a lot.
(06:26):
It's a joyous experience, and that's what's so great. I
think If people lose that, they don't do as well,
they don't sing as well, and their career doesn't do
as well. There has to be a lightness. Yeah. When
you take it to serious, don't you think that your
body tends, Yeah, it's a disaster, usually much more than
when you're just having fun with it, and then everything
flows much more. I think that's one of the most
(06:48):
important lessons anybody can learn, is not to overthink it
and not to take it too seriously. Yeah, and nothing
that you always remind me these things, and I think
it's great to have somebody that reminds you to still
have fun, even if it becomes your job, still have
fun with it. Still remember why you started doing it.
Is there a moment that you can remember where you
(07:11):
knew this is what I'm gonna do. I'm going to
be a music artist. I'm gonna sing. Yes. I remember
I was at home with my sister and this woman
that she used to take care of both of us,
and I think I was around eight nine years old,
and I remember Alaska was sounding. I think it was
sounding on the radio. Alaska used to be like a
(07:39):
very big singer in my country, and she still is
an amazing, amazing artist that I admire a lot. And
Alaska she was like singing something very playful and I
loved it. Now I was like kind of singing it
with her when she was like sounding on the radio.
And then that woman called Maribel. Maribel said, oh, ima artista.
(08:01):
She says only like, oh, she's feeling herself as an artist,
like as a singer or something like that. And then
I was like, you know what, I'm gonna do it.
And since very young, like nine years old, wow, really young,
when I really really really committed, I decided it. It
was like a decision. I was like, I'm gonna do this.
I'm gonna perform. And I started singing on stage when
(08:25):
I was fourteen fifteen. At sixteen, I started like really working,
like doing shows and things like that, like going to
places to perform. Are there any artists, any singers when
you were young that really inspired you, that made you go, oh,
I want to do what they're doing. There was Camaronella Isla.
It was a Flamenco singer, a gypsy singer from Spain
(08:49):
that I loved. I was like, oh my god, his boys.
He had a natural way to place his boys in
a magical way, like really good and it was very
(09:11):
intuitive the way he did it, and it really inspired me,
like I wish one day I can sound like that.
I later I realized, like, okay, my voice is completely
different than or you are a girl to start, But
I was like, oh, but I love this man so much.
(09:33):
I loved his music. I loved this Flamenco traditional music
from there, and I was I was like, really really
really inspired by this music and by his boys. So
I loved camaland la Isla. I loved Lola Flores. She
was a big, big artist from Spain. Now with Lola,
did you sing any of her songs or with his
(09:55):
either one of them? Come on? When I studied it,
like when I was in college, and did you sing
some of his songs? Yes? Because it was he used
to sing a lot of traditional Flamenco music and that's
what I studied in knowledge. For sure, He's a great influence, Kenny,
Can you sing a tiny bit of one of those songs? Mmmm?
(10:17):
I'm thinking about Lola. I can sing if you want
something about Lola. She was like singing this how to vertra,
how to verta simpa veratoja simprella, veritatoja, how tack the
bernama and come around just to sing run sobria ru
(10:43):
sobriairafelii sobodi ruboia to maky sierra cafeliceria. Wow. You know
I can hear the influence both of them on your
your voice, the Frisian melodies verything. Yeah, exactly. Well that
(11:05):
was great training for you because you have the technique
to be able to sing fast runs accurately. But also, yeah,
you're very invested in the story, yes, and also it
really inspired me to write my songs nowadays. Like if
I haven't studied this music for so long, I don't
think I could write the music that I write today. Yeah,
(11:29):
and with him, I feel like you probably got some
of that strength that you sing with such a solid,
strong sound, and with her that flow, that beautiful flow,
with some of that vibrato. And I think that she
had like a quick, fast vibrato, and I think that
come out on had like more slower vibrato. Right, And
they had different style for sure, for sure. Right. But
(11:50):
that's why you're able to do both, because you listen
to both and sang along, and that's why you're so
adept at doing both the faster and the slower, because
when I say to you, let's do it, you know,
when we do those exercises with vibrato without vibrato, slow
it down, you're always able to do it. Not everybody
can do that. Do you think that it's not that
people can do like fast by brato if that's what's
(12:13):
not rough for them, or they can do just slow
by brato, or they can practice both and everybody can
do both. What do you think? Well, no, I don't
think everybody can do both. I think that everyone has
the potential, but they just have to work at it. Yeah,
you get it very quickly, and some people it takes
a little bit longer, but they have to really practice it.
And then some people they just never get it. But
(12:34):
you know, the way I look at it is some
people I think maybe they're not supposed to, Maybe they're
supposed to sing just how it is, because that's who
they are and makes them who they are. We know
their voice when we hear it, and so I always
try to, you know, have everyone try everything like an adventure,
mind the goal, see what's there, but also always keeping
(12:55):
in mind what makes you special or what makes you unique,
because that's important too. You want to sound like yourself,
but when we do it, I don't worry about you
not sounding like yourself because I know you're going to
sound like yourself. It'll just speed with a faster story
if I brought it, but it's still going to sound
like Rosalia because your tone and everything else is so distinctive.
(13:15):
Oh thanks, you know so, I just never want anyone
to lose that, because I think that's so important, the
personality in the voice, right, everything right, right, right right.
When I was studying Flamenco, like this traditional style, there's
so many stories that I never experienced in my life.
I felt like it was very beautiful to be able
(13:36):
to channel those stories on stage, and I was like, wow,
I really think that that's the challenge with this music.
Aside of the technical, Flamenco is super technical, is very complicated,
but in a beautiful way. The melodies are like complex,
like the rhythms, there's a lot of different things. But
then for me, like the most beautiful thing about it
(13:58):
is the expression, the stories and everything behind it. I'm very,
very very grateful that I could spend these years of
just studying for so long, at least ten years studying
this music. Don't move a muscle. I'll be right back
with backstage pass and my guest Rosalia. I'm Eric Vitro,
(14:23):
and I'm back with my guests Rosalia. You know, it
doesn't surprise me you talk about doing these things so young,
because I think that people who do become great and
have longevity are the people that, well, they were first
of all, lucky enough to know something they really wanted
to do when they were really young. That's yeah, it's
(14:44):
a total blessing. But then to also have that work
ethic to really keep working towards it. Yes, And but
I feel like I was one of those lucky people
who knew when I was very young what I wanted
to do. Because what I'm doing now is what I've
done my whole life, you know, which is amazing, and
you still do with so much passion. And I think
that's amazing. Well, I think when you really work at
(15:06):
getting better at something, if you feel like you are
continually getting better, I think it just makes it even
more exciting. So that's why I say I'm enjoying teaching
more now than I ever did. And I said that
last year, and I said that the year before. But
it's true I enjoy it more now because I feel
like I'm better at it now and that's exciting. And
(15:28):
then I think, well, maybe I could give them better
or maybe I could do even more. Yeah, hell yeah,
of course music keeps evolving, so that makes it interesting
as well. Yeah, it's not the same, yes, And I
think that for example, for me, my family was very supportive,
but nobody around was a musician, nobody was connected to
(15:50):
the industry, and it was really hard to like figure
out how to become a musician for me. And it
wasn't like it wasn't as I was telling you before,
I didn't feel like I had like a great voice
or something like that. There's kids that they will naturally
they seem amazing, they have these big voices since they're kids,
and me it wasn't like that. So I really had
(16:11):
to like spend this time this years years, years and
years and have a lot of patient and a lot
of like being humble, you know, like, really, Okay, failing
this doesn't sound right yet, Okay, if I'm going to
keep trying, I'm gonna keep doing it till it sounds right.
And I think that sometimes it's more about that being persistent,
(16:32):
being consistent too, like being there, like committed than anything else. Yeah,
I think you're absolutely right. I'm so glad you're saying
that because I think for people listening, they can apply
it to anything they're doing. I think sometimes you can
kind of forget how hard it was to get here,
at least for me, I could forget for a second
(16:53):
how hard I had to work, how important it was
for me to get to this point where I can
work and do the work that I love the most.
So I always feel like being grateful and feeling happy,
feeling joyful about it. That's important for me. I think
that's the best mindset for me. I totally agree with that,
And I really got to know Rosalie quite well during
(17:14):
that first period because for months we would do lessons
five to six days a week. Yeah, almost every day.
We did a lot of lessons, and I was so
impressed with your work ethic. I wanted to ask you,
is that just naturally who you are? Like you're just
someone who throws themselves one hundred percent in I think so, yes,
(17:36):
yes completely, Because I'm a perfectionist, so I always liked
try to push myself to learn as much as possible
and to try to get the best result in my work,
if that makes sense. It was like a lot of
new things that you were teaching me, and I was like, wow,
this is all very new, even if I was studying
(17:58):
for so long a voice lessons and everything. With you,
it was like, there's so many new things and I
really want to learn these and understand it. I try
to really, really really push. I commit. I think no
matter what you choose, what you do, you gotta commit.
At least that's how I approach it. Rosalia has told
me that her discipline to her career was influenced by
(18:19):
her mom, and that doesn't surprise me at all. I've
been observing people for years and I've seen the artists
who have great work ethics quite often learn them from
the people who raised them. She's a very strong woman
with a lot of her work ethic is amazing, unbelievable.
She's such a hard working person, and I think that
(18:41):
she always had great advices. She always advised me, and
she always have a perspective about things that I'm always like, okay,
let me see what my mom thinks. Always always, and
I think that nowadays, like it's very important for me,
my family the Latin Grammys in Las Vegas. It was
two years ago and my grandpa just passed, like he
(19:04):
just died, like the day before. I had to perform,
and I was very far from home, and I remember
I didn't feel like singing, but still I sang and
I did it, and that was I think one of
(19:28):
the hardest performances I had to do. My mind wasn't
there and my heart wasn't there, if that makes sense.
But the other moments, I'm always very happy, very very excited,
very grateful to be able to perform. And he would
have wanted you to, I'm sure, I hope so. I
was thinking about him when I was singing. Wow, for sure. No,
(19:50):
I bet he felt that wherever he is. I think
that because parents, grandparents, anybody who leaves us, they want
you to keep going and shine and do your best.
They don't want you to stop your life. I feel
like he protects me somehow. Oh yeah, he protects me. Yeah. Wow.
But that now, that performance in Vegas, did you feel
(20:13):
good about that you were able to do it and
do a good job? I think so, yes, because it
was it was really hard, and I think at some
point m I had to sing it. Maybe that sadness
I could kind of channel it by singing, right. I
(20:33):
think I really feel very excited to perform. Most of
the times. I think my heart always goes faster, like
my heart always races, always, always, and I feel like
that's because I care. I'd have to say my favorite
time seeing Rosalia perform was that the twenty twenty Grammys.
(21:03):
No matter how proud I am when I watched Rosalia
perform or make her music, I have to say, I'm
always excited to start our vocal lessons again. I've been
missing me now that we're not doing it so much
because I'm in the studio trying to finish this record.
I think it's almost there, so I had to focus
on production. But eddic, I'm coming back. Oh good. What
(21:32):
is it about doing that? Is it just that it's
so created that you love it? Or is it because
you feel like I know what I want better than
anyone else can create for me? What is it that
because I know you get so immersed in it. Yes,
I feel like for me it's so important how my
music sound, how the songs sound, and it's so personal
(21:53):
too that I feel like there's no way that I
can just let somebody else do it. At the end
of the day, I feel like my album just what
it's gonna last when I'm not here anymore. This is
what it's going to be here. I really care about songs,
every song to try to make it the best way possible.
I wish maybe I didn't care as much, but at
(22:15):
the same time, I know that caring so much makes
a difference. I think in the way things sound, and
that's just who I am, Like I cannot change it.
It really represents you, represents your point of view, and
you can really be like proud of it. I really
try to do it the best I can. I really
try to practice as much as I can. I care
(22:36):
for the details on everything, not just when I'm singing.
I see that in everything, in the light, the stage design,
the clothes that I'm wearing, the colors, the nails I mean,
I mean the nails, of course, everything, everything, everything, And
I enjoy do anything like that, and I think that
(22:58):
that's like a work ethic. And I feel like if
one day I don't care like that as much as
like that, I don't think that the result would be
as good. So I don't feel it's a bad thing
to be perfectionist. That makes sense. But at the same time,
I feel very grateful that you help me to be like, Okay, yeah,
you can be a perfectionist while you are practicing, but
(23:20):
once you go on stage, forget it. Forget it and
just perform, because that's how I used to do it
when I was younger, when I was a kid, when
I was a teenager. But then sometimes you can kind
of forget it for a second when you get caught
up on technical things. And it's great that somebody reminds
you speaking of technical things. After the break, we'll get
(23:41):
to the vocal tips of the week, influenced by Rosalia
herself right after this. Here they are my vocal tips
of the week. First, I've had really good results having
(24:05):
my students always do at least one forward placement exercise
lesson one where I actually encourage them to allow themselves
to sound nasal. Now, I always say to them, don't panic,
I'm not trying to turn you into a nasal sounding singer.
It's just one of the many exercises that will help
you warm up your voice in a healthy way and
(24:25):
also help you to increase your range. Basically, What I
want you to do is to focus the sound and
the vibrations of your voice in the front part of
your face, which is referred to as the mask. That
area is starting right around your forehead all the way
down to about the bottom of your nose. You heard Rosalia,
it's her favorite exercise. Yeah yeah, yeah, yeah, yeah, yeah,
(24:47):
yeah yeah yeah. Now it's your turn to try. Bases.
Baritones and tenors. Start on the sea below middle sea
like this. Repeat that pattern, transposing it in other words,
changing keys down by half steps ntil you reach your
(25:09):
lowest note, and then going right back up until you
reach your highest note. Sopranos and elto's, you start on
(25:44):
an A below middle C like this. Again, repeat that pattern,
transposing it down, changing keys by half steps until you
reach your lowest note, and then going right back up,
changing keys by half steps until you reach your highest note.
(26:04):
I'll give you an example. Try not to move your
(26:41):
jaw when you're pronouncing that na na na, Just move
your tongue. By practicing, moving your tongue without moving your
jaw will not only free up your voice, but it
will make it so much easier for you to pronounce
lyrics on high notes. When you're doing songs. Another exercise
I always try to fit in every lesson is one
that will prep you to sing your runs and rifts better,
(27:02):
one that will make your vocal cords more flexible and limber,
and also really help you to level up your skills
with better agility. Try starting out with half steps like this.
If it feels hard for you to stand pitch on
this exercise because it is tricky, start really slow, trying
(27:24):
to sing every note cleanly, and then gradually build up speed.
A really great way to teach you to sing these
half steps would be to play them on the piano
as you sing them. Even if you don't know how
(27:45):
to play the piano, anyone could play half steps because
it's just one note after another. You might not have
a piano or a keyboard at home, but you can
always download a piano keyboard app onto your phone or tablet.
A good middle range for sopranos and altos would be
to start here on a middle C. For you bases,
(28:19):
baritones and tenors start here one act of lower than
middle c as always experiment and see how high and
(28:42):
how low you can go, but of course without straining.
It should always feel comfortable. If you want to try
out the vocal tips from this episode, I'd love to
hear you. Use the hashtag Backstage passpod on Twitter, Instagram, TikTok,
or wherever you like to post. I can't wait to
hear you. After the credits, you'll hear more of my
conversation with Rosalia Maybe maybe maybe may. Backstage Pass with
(29:16):
Eric Vitro is written and hosted by me Eric Vitro
and produced by Morgan Jaffee. Katherine Girardeau is our showrunner.
Emily Rosstek is our associate producer, mixed and mastered by
Ben Tolliday. Additional engineering help is from Jacob Gorski. Mia
Lobell is our executive producer. Our development team, Letal Mullad
and Justine Lange helped create the show, thanks also to
(29:39):
Jacob Weisberg, Heather Fame, John Schnars, Carlie Migliori, Christina Sullivan,
Eric Sandler, Maggie Taylor, Nicolparando, Daniella Lucan, and Royston Baserve.
Original theme music is by Jacob and Cita Steele for
Premier Music Group. We record it Resonate Studios. Fred Talkson
does our videography and the photography is by Ken Sawyer.
(30:00):
A very special thanks to Michael Lewis for his inspiration
and the best guidance anyone could ask for. Backstage Passed
with Eric Vitro is the production of Pushkin Into And
if you like the show, please remember to share, rate,
and review. I mean that really, share it, rate it,
and review it. If you love this show and others
from Pushkin Industries, consider subscribing to Pushkin Plus. Pushkin Plus
(30:23):
is a podcast subscription that offers bonus content and uninterrupted
listening for four ninety nine a month. Look for Pushkin
Plus on Apple podcast subscriptions. To find more Pushkin podcasts,
listen to the iHeartRadio app, Apple Podcasts, or wherever you
listen to podcasts. I was out recently. I had to
(30:47):
go pick up something, and I went into the store
to pick it up, and your song with Bad Bunny
was playing. This girl who was I was waiting to
help me, was doing something for someone else, and all
of a sudden, I looked over and she was singing along,
and I saw her lips going with it, and she
(31:07):
was kind of smiling, and I thought, Wow, I'm seeing
the joy that an artist's music brings to people. She
was probably enjoying her day so much more getting to
hear your songs. It was making her day go by
faster than when she came over to help me. She
was all smiles, really friendly, and I thought, Wow, it's
(31:29):
really beautiful to see that, not just in a life setting.
It's on the recording, it's in the videos, it's where
ever anyone's listening. Yeah, how powerful is that? Right? For me,
what makes my day is listening music. And I feel
so happy when you tell me that, because then that
happens the same thing that happens to me that I
(31:50):
listened so much music, it can happen to other people
with the music I do, and I feel so grateful,
you know,
Pushkin. Yeah yeah yeah, yeah yeah yeah yeah yeah yeah good.
Let's double it. Make sure you support the whole time.
Yeah yeah yeah yeah yeah yeah yeah yeah yeah yeah yeah.
Now wiggle around to keep your whole body loose and relaxed.
(00:37):
I love that. That's my favorite. I knew you were
going to say that, But what I want to know
is is there a reason for it or does it
just feel good when you sing it? It felt great,
I think because it really helps me to place my
boys in the right place. And then every time were
changing the consonant, And the reason I have you keep
(00:59):
changing the consonants when we're practicing is so that you
get used to singing them easily in any range, right yeah,
and you'll be able to pronounce them on higher notes,
lower notes and sound good when you do it. So
you don't tense up or tighten up, because some words
are harder to enunciate when you're singing high. That's me
with Rosalia, a Spanish singer, songwriter, and producer. She's a
(01:23):
star in both the Latin and American music scenes. This
is backstage passed with Eric Vitro and I'm Eric Vitro.
I have to say I love my job because I
get to coach some of the most talented and famous
singers working today. On this show, I'll talk to them
about their lives, their craft, and what it takes to
really make it big in the business. So, now tell me,
(01:46):
do you have a least favorite exercise, one that you
don't like, one that I don't like, or do you
just love all of them because they're also I love
all of them? Naa, there's one that I think is
very tricky for me that has like a big big jumps,
but I don't remember the melo. I don't remember which
one was. What one that you were like like, way, way, way,
(02:09):
way way. Yes, those are hard. That's hard for me,
I think, yes, because I got to place the boys
in a high place. Since the beginning. I always forget that.
I don't know why I always forgetting you like from
the beginning, you're got to place it in the front,
and I'm like, yeah, yeah, right, right right, So I
think it's good that I practice it, but because it's
(02:29):
hard for me, Yeah, that's one that I don't know.
That's why I do that exercise, because you really do
have to place it in a good placement. Yes, if
you want to do a smooth transition going from low
to high, and so it helps with your muscle memory
of that, right, you know. Yeah. Rosalia has collaborated with
artists such as Bad Bunny, Billie Eilis, Jay Belvin, and
(02:50):
Travis Scott. You might know her songs ConA t K
N Lamente or Piano n Tumira. Now she's a big star,
(03:14):
but that wasn't always the case. Do you remember the
first song you ever saying When you were a little girl,
There was this song that I heard in the TV.
I think it was called Akuarella. This was like Hello Smario,
something like that, no no no no no no no
(03:36):
no no, no no Nina something like that, I think was.
I sang it for the first time because my dad
he asked me to sing it in front of the family,
and I was like so shy, I didn't want to,
and he was like really like pushing, like come on,
come on, come on, sing it, sing it, sing it.
And I did it, and then I remember that everybody
in the family it's been a year that I didn't
(03:57):
sew them that we didn't so I shot up. But
then I sang it and they started crying. I was
like nine years old or something like that, and I
didn't understand what was going on in that moment. One
and later I was like, okay, like I can communicate
through music. Wow, So that's how it really started for you. Yeah,
(04:18):
I think so, because I was like a little bit
shy at the same time, I was like I was
like having fun and laughing and screaming, like with a
lot of energy. I was the type of kid. Oh
that's a shot. I had no idea. I would have
never guess that. It's not surprising. No, well, I was
(04:43):
like that. I was like that, but when I felt like, oh,
I was being observed. When I was too conscious about it,
I didn't felt like doing it like singing. It used
to be something more like I did for fun than
something that I wanted them to see. I wasn't overthinking
it when I was a kid. I was just doing
it because I had fun with it. Right. Oh, that's
(05:03):
so great. That's the best way, right, Yeah. I think
so when you don't think about it and you're not
in your head about it exactly. Yeah, I know that
you say that. I think that you helped me to
not overthink. At the same time, you helped me to
see a lot of details, technical details I would never
see by myself, because yeah, it's very hard to see
(05:24):
unless somebody sees from the outside and tell you in
points this and that. I think I could never do
for myself. And it's so helpful when somebody's like, hey,
did you realize this? Did you realize you can do
like that? And these things. I feel like it's been
very helpful since we started doing class. Oh good, well,
you know, I feel like that's my job as a
(05:45):
teacher to really listen and then being able to say, hey,
you know, that might sound really good, but this might
even sound better, or just to open your mind to
trying new things. Possibilities, possibilities. It's all about possibilities, right, yeah, yeah,
And I feel like the more that we open our
(06:06):
mind to that, then all of a sudden, things that
we never even thought we'd try we're doing. Yes, Yes,
I feel like that when we work together that Yeah,
it is your job, it's your career, it's important. But
I always do feel like we're having a good time.
We are having fun. Yeah, we're always laughing a lot.
(06:26):
It's a joyous experience, and that's what's so great. I
think If people lose that, they don't do as well,
they don't sing as well, and their career doesn't do
as well. There has to be a lightness. Yeah. When
you take it to serious, don't you think that your
body tends, Yeah, it's a disaster, usually much more than
when you're just having fun with it, and then everything
flows much more. I think that's one of the most
(06:48):
important lessons anybody can learn, is not to overthink it
and not to take it too seriously. Yeah, and nothing
that you always remind me these things, and I think
it's great to have somebody that reminds you to still
have fun, even if it becomes your job, still have
fun with it. Still remember why you started doing it.
Is there a moment that you can remember where you
(07:11):
knew this is what I'm gonna do. I'm going to
be a music artist. I'm gonna sing. Yes. I remember
I was at home with my sister and this woman
that she used to take care of both of us,
and I think I was around eight nine years old,
and I remember Alaska was sounding. I think it was
sounding on the radio. Alaska used to be like a
(07:39):
very big singer in my country, and she still is
an amazing, amazing artist that I admire a lot. And
Alaska she was like singing something very playful and I
loved it. Now I was like kind of singing it
with her when she was like sounding on the radio.
And then that woman called Maribel. Maribel said, oh, ima artista.
(08:01):
She says only like, oh, she's feeling herself as an artist,
like as a singer or something like that. And then
I was like, you know what, I'm gonna do it.
And since very young, like nine years old, wow, really young,
when I really really really committed, I decided it. It
was like a decision. I was like, I'm gonna do this.
I'm gonna perform. And I started singing on stage when
(08:25):
I was fourteen fifteen. At sixteen, I started like really working,
like doing shows and things like that, like going to
places to perform. Are there any artists, any singers when
you were young that really inspired you, that made you go, oh,
I want to do what they're doing. There was Camaronella Isla.
It was a Flamenco singer, a gypsy singer from Spain
(08:49):
that I loved. I was like, oh my god, his boys.
He had a natural way to place his boys in
a magical way, like really good and it was very
(09:11):
intuitive the way he did it, and it really inspired me,
like I wish one day I can sound like that.
I later I realized, like, okay, my voice is completely
different than or you are a girl to start, But
I was like, oh, but I love this man so much.
(09:33):
I loved his music. I loved this Flamenco traditional music
from there, and I was I was like, really really
really inspired by this music and by his boys. So
I loved camaland la Isla. I loved Lola Flores. She
was a big, big artist from Spain. Now with Lola,
did you sing any of her songs or with his
(09:55):
either one of them? Come on? When I studied it,
like when I was in college, and did you sing
some of his songs? Yes? Because it was he used
to sing a lot of traditional Flamenco music and that's
what I studied in knowledge. For sure, He's a great influence, Kenny,
Can you sing a tiny bit of one of those songs? Mmmm?
(10:17):
I'm thinking about Lola. I can sing if you want
something about Lola. She was like singing this how to vertra,
how to verta simpa veratoja simprella, veritatoja, how tack the
bernama and come around just to sing run sobria ru
(10:43):
sobriairafelii sobodi ruboia to maky sierra cafeliceria. Wow. You know
I can hear the influence both of them on your
your voice, the Frisian melodies verything. Yeah, exactly. Well that
(11:05):
was great training for you because you have the technique
to be able to sing fast runs accurately. But also, yeah,
you're very invested in the story, yes, and also it
really inspired me to write my songs nowadays. Like if
I haven't studied this music for so long, I don't
think I could write the music that I write today. Yeah,
(11:29):
and with him, I feel like you probably got some
of that strength that you sing with such a solid,
strong sound, and with her that flow, that beautiful flow,
with some of that vibrato. And I think that she
had like a quick, fast vibrato, and I think that
come out on had like more slower vibrato. Right, And
they had different style for sure, for sure. Right. But
(11:50):
that's why you're able to do both, because you listen
to both and sang along, and that's why you're so
adept at doing both the faster and the slower, because
when I say to you, let's do it, you know,
when we do those exercises with vibrato without vibrato, slow
it down, you're always able to do it. Not everybody
can do that. Do you think that it's not that
people can do like fast by brato if that's what's
(12:13):
not rough for them, or they can do just slow
by brato, or they can practice both and everybody can
do both. What do you think? Well, no, I don't
think everybody can do both. I think that everyone has
the potential, but they just have to work at it. Yeah,
you get it very quickly, and some people it takes
a little bit longer, but they have to really practice it.
And then some people they just never get it. But
(12:34):
you know, the way I look at it is some
people I think maybe they're not supposed to, Maybe they're
supposed to sing just how it is, because that's who
they are and makes them who they are. We know
their voice when we hear it, and so I always
try to, you know, have everyone try everything like an adventure,
mind the goal, see what's there, but also always keeping
(12:55):
in mind what makes you special or what makes you unique,
because that's important too. You want to sound like yourself,
but when we do it, I don't worry about you
not sounding like yourself because I know you're going to
sound like yourself. It'll just speed with a faster story
if I brought it, but it's still going to sound
like Rosalia because your tone and everything else is so distinctive.
(13:15):
Oh thanks, you know so, I just never want anyone
to lose that, because I think that's so important, the
personality in the voice, right, everything right, right, right right.
When I was studying Flamenco, like this traditional style, there's
so many stories that I never experienced in my life.
I felt like it was very beautiful to be able
(13:36):
to channel those stories on stage, and I was like, wow,
I really think that that's the challenge with this music.
Aside of the technical, Flamenco is super technical, is very complicated,
but in a beautiful way. The melodies are like complex,
like the rhythms, there's a lot of different things. But
then for me, like the most beautiful thing about it
(13:58):
is the expression, the stories and everything behind it. I'm very,
very very grateful that I could spend these years of
just studying for so long, at least ten years studying
this music. Don't move a muscle. I'll be right back
with backstage pass and my guest Rosalia. I'm Eric Vitro,
(14:23):
and I'm back with my guests Rosalia. You know, it
doesn't surprise me you talk about doing these things so young,
because I think that people who do become great and
have longevity are the people that, well, they were first
of all, lucky enough to know something they really wanted
to do when they were really young. That's yeah, it's
(14:44):
a total blessing. But then to also have that work
ethic to really keep working towards it. Yes, And but
I feel like I was one of those lucky people
who knew when I was very young what I wanted
to do. Because what I'm doing now is what I've
done my whole life, you know, which is amazing, and
you still do with so much passion. And I think
that's amazing. Well, I think when you really work at
(15:06):
getting better at something, if you feel like you are
continually getting better, I think it just makes it even
more exciting. So that's why I say I'm enjoying teaching
more now than I ever did. And I said that
last year, and I said that the year before. But
it's true I enjoy it more now because I feel
like I'm better at it now and that's exciting. And
(15:28):
then I think, well, maybe I could give them better
or maybe I could do even more. Yeah, hell yeah,
of course music keeps evolving, so that makes it interesting
as well. Yeah, it's not the same, yes, And I
think that for example, for me, my family was very supportive,
but nobody around was a musician, nobody was connected to
(15:50):
the industry, and it was really hard to like figure
out how to become a musician for me. And it
wasn't like it wasn't as I was telling you before,
I didn't feel like I had like a great voice
or something like that. There's kids that they will naturally
they seem amazing, they have these big voices since they're kids,
and me it wasn't like that. So I really had
(16:11):
to like spend this time this years years, years and
years and have a lot of patient and a lot
of like being humble, you know, like, really, Okay, failing
this doesn't sound right yet, Okay, if I'm going to
keep trying, I'm gonna keep doing it till it sounds right.
And I think that sometimes it's more about that being persistent,
(16:32):
being consistent too, like being there, like committed than anything else. Yeah,
I think you're absolutely right. I'm so glad you're saying
that because I think for people listening, they can apply
it to anything they're doing. I think sometimes you can
kind of forget how hard it was to get here,
at least for me, I could forget for a second
(16:53):
how hard I had to work, how important it was
for me to get to this point where I can
work and do the work that I love the most.
So I always feel like being grateful and feeling happy,
feeling joyful about it. That's important for me. I think
that's the best mindset for me. I totally agree with that,
And I really got to know Rosalie quite well during
(17:14):
that first period because for months we would do lessons
five to six days a week. Yeah, almost every day.
We did a lot of lessons, and I was so
impressed with your work ethic. I wanted to ask you,
is that just naturally who you are? Like you're just
someone who throws themselves one hundred percent in I think so, yes,
(17:36):
yes completely, Because I'm a perfectionist, so I always liked
try to push myself to learn as much as possible
and to try to get the best result in my work,
if that makes sense. It was like a lot of
new things that you were teaching me, and I was like, wow,
this is all very new, even if I was studying
(17:58):
for so long a voice lessons and everything. With you,
it was like, there's so many new things and I
really want to learn these and understand it. I try
to really, really really push. I commit. I think no
matter what you choose, what you do, you gotta commit.
At least that's how I approach it. Rosalia has told
me that her discipline to her career was influenced by
(18:19):
her mom, and that doesn't surprise me at all. I've
been observing people for years and I've seen the artists
who have great work ethics quite often learn them from
the people who raised them. She's a very strong woman
with a lot of her work ethic is amazing, unbelievable.
She's such a hard working person, and I think that
(18:41):
she always had great advices. She always advised me, and
she always have a perspective about things that I'm always like, okay,
let me see what my mom thinks. Always always, and
I think that nowadays, like it's very important for me,
my family the Latin Grammys in Las Vegas. It was
two years ago and my grandpa just passed, like he
(19:04):
just died, like the day before. I had to perform,
and I was very far from home, and I remember
I didn't feel like singing, but still I sang and
I did it, and that was I think one of
(19:28):
the hardest performances I had to do. My mind wasn't
there and my heart wasn't there, if that makes sense.
But the other moments, I'm always very happy, very very excited,
very grateful to be able to perform. And he would
have wanted you to, I'm sure, I hope so. I
was thinking about him when I was singing. Wow, for sure. No,
(19:50):
I bet he felt that wherever he is. I think
that because parents, grandparents, anybody who leaves us, they want
you to keep going and shine and do your best.
They don't want you to stop your life. I feel
like he protects me somehow. Oh yeah, he protects me. Yeah. Wow.
But that now, that performance in Vegas, did you feel
(20:13):
good about that you were able to do it and
do a good job? I think so, yes, because it
was it was really hard, and I think at some
point m I had to sing it. Maybe that sadness
I could kind of channel it by singing, right. I
(20:33):
think I really feel very excited to perform. Most of
the times. I think my heart always goes faster, like
my heart always races, always, always, and I feel like
that's because I care. I'd have to say my favorite
time seeing Rosalia perform was that the twenty twenty Grammys.
(21:03):
No matter how proud I am when I watched Rosalia
perform or make her music, I have to say, I'm
always excited to start our vocal lessons again. I've been
missing me now that we're not doing it so much
because I'm in the studio trying to finish this record.
I think it's almost there, so I had to focus
on production. But eddic, I'm coming back. Oh good. What
(21:32):
is it about doing that? Is it just that it's
so created that you love it? Or is it because
you feel like I know what I want better than
anyone else can create for me? What is it that
because I know you get so immersed in it. Yes,
I feel like for me it's so important how my
music sound, how the songs sound, and it's so personal
(21:53):
too that I feel like there's no way that I
can just let somebody else do it. At the end
of the day, I feel like my album just what
it's gonna last when I'm not here anymore. This is
what it's going to be here. I really care about songs,
every song to try to make it the best way possible.
I wish maybe I didn't care as much, but at
(22:15):
the same time, I know that caring so much makes
a difference. I think in the way things sound, and
that's just who I am, Like I cannot change it.
It really represents you, represents your point of view, and
you can really be like proud of it. I really
try to do it the best I can. I really
try to practice as much as I can. I care
(22:36):
for the details on everything, not just when I'm singing.
I see that in everything, in the light, the stage design,
the clothes that I'm wearing, the colors, the nails I mean,
I mean the nails, of course, everything, everything, everything, And
I enjoy do anything like that, and I think that
(22:58):
that's like a work ethic. And I feel like if
one day I don't care like that as much as
like that, I don't think that the result would be
as good. So I don't feel it's a bad thing
to be perfectionist. That makes sense. But at the same time,
I feel very grateful that you help me to be like, Okay, yeah,
you can be a perfectionist while you are practicing, but
(23:20):
once you go on stage, forget it. Forget it and
just perform, because that's how I used to do it
when I was younger, when I was a kid, when
I was a teenager. But then sometimes you can kind
of forget it for a second when you get caught
up on technical things. And it's great that somebody reminds
you speaking of technical things. After the break, we'll get
(23:41):
to the vocal tips of the week, influenced by Rosalia
herself right after this. Here they are my vocal tips
of the week. First, I've had really good results having
(24:05):
my students always do at least one forward placement exercise
lesson one where I actually encourage them to allow themselves
to sound nasal. Now, I always say to them, don't panic,
I'm not trying to turn you into a nasal sounding singer.
It's just one of the many exercises that will help
you warm up your voice in a healthy way and
(24:25):
also help you to increase your range. Basically, What I
want you to do is to focus the sound and
the vibrations of your voice in the front part of
your face, which is referred to as the mask. That
area is starting right around your forehead all the way
down to about the bottom of your nose. You heard Rosalia,
it's her favorite exercise. Yeah yeah, yeah, yeah, yeah, yeah,
(24:47):
yeah yeah yeah. Now it's your turn to try. Bases.
Baritones and tenors. Start on the sea below middle sea
like this. Repeat that pattern, transposing it in other words,
changing keys down by half steps ntil you reach your
(25:09):
lowest note, and then going right back up until you
reach your highest note. Sopranos and elto's, you start on
(25:44):
an A below middle C like this. Again, repeat that pattern,
transposing it down, changing keys by half steps until you
reach your lowest note, and then going right back up,
changing keys by half steps until you reach your highest note.
(26:04):
I'll give you an example. Try not to move your
(26:41):
jaw when you're pronouncing that na na na, Just move
your tongue. By practicing, moving your tongue without moving your
jaw will not only free up your voice, but it
will make it so much easier for you to pronounce
lyrics on high notes. When you're doing songs. Another exercise
I always try to fit in every lesson is one
that will prep you to sing your runs and rifts better,
(27:02):
one that will make your vocal cords more flexible and limber,
and also really help you to level up your skills
with better agility. Try starting out with half steps like this.
If it feels hard for you to stand pitch on
this exercise because it is tricky, start really slow, trying
(27:24):
to sing every note cleanly, and then gradually build up speed.
A really great way to teach you to sing these
half steps would be to play them on the piano
as you sing them. Even if you don't know how
(27:45):
to play the piano, anyone could play half steps because
it's just one note after another. You might not have
a piano or a keyboard at home, but you can
always download a piano keyboard app onto your phone or tablet.
A good middle range for sopranos and altos would be
to start here on a middle C. For you bases,
(28:19):
baritones and tenors start here one act of lower than
middle c as always experiment and see how high and
(28:42):
how low you can go, but of course without straining.
It should always feel comfortable. If you want to try
out the vocal tips from this episode, I'd love to
hear you. Use the hashtag Backstage passpod on Twitter, Instagram, TikTok,
or wherever you like to post. I can't wait to
hear you. After the credits, you'll hear more of my
conversation with Rosalia Maybe maybe maybe may. Backstage Pass with
(29:16):
Eric Vitro is written and hosted by me Eric Vitro
and produced by Morgan Jaffee. Katherine Girardeau is our showrunner.
Emily Rosstek is our associate producer, mixed and mastered by
Ben Tolliday. Additional engineering help is from Jacob Gorski. Mia
Lobell is our executive producer. Our development team, Letal Mullad
and Justine Lange helped create the show, thanks also to
(29:39):
Jacob Weisberg, Heather Fame, John Schnars, Carlie Migliori, Christina Sullivan,
Eric Sandler, Maggie Taylor, Nicolparando, Daniella Lucan, and Royston Baserve.
Original theme music is by Jacob and Cita Steele for
Premier Music Group. We record it Resonate Studios. Fred Talkson
does our videography and the photography is by Ken Sawyer.
(30:00):
A very special thanks to Michael Lewis for his inspiration
and the best guidance anyone could ask for. Backstage Passed
with Eric Vitro is the production of Pushkin Into And
if you like the show, please remember to share, rate,
and review. I mean that really, share it, rate it,
and review it. If you love this show and others
from Pushkin Industries, consider subscribing to Pushkin Plus. Pushkin Plus
(30:23):
is a podcast subscription that offers bonus content and uninterrupted
listening for four ninety nine a month. Look for Pushkin
Plus on Apple podcast subscriptions. To find more Pushkin podcasts,
listen to the iHeartRadio app, Apple Podcasts, or wherever you
listen to podcasts. I was out recently. I had to
(30:47):
go pick up something, and I went into the store
to pick it up, and your song with Bad Bunny
was playing. This girl who was I was waiting to
help me, was doing something for someone else, and all
of a sudden, I looked over and she was singing along,
and I saw her lips going with it, and she
(31:07):
was kind of smiling, and I thought, Wow, I'm seeing
the joy that an artist's music brings to people. She
was probably enjoying her day so much more getting to
hear your songs. It was making her day go by
faster than when she came over to help me. She
was all smiles, really friendly, and I thought, Wow, it's
(31:29):
really beautiful to see that, not just in a life setting.
It's on the recording, it's in the videos, it's where
ever anyone's listening. Yeah, how powerful is that? Right? For me,
what makes my day is listening music. And I feel
so happy when you tell me that, because then that
happens the same thing that happens to me that I
(31:50):
listened so much music, it can happen to other people
with the music I do, and I feel so grateful,
you know,
Popular Podcasts
The Breakfast Club
The World's Most Dangerous Morning Show, The Breakfast Club, With DJ Envy And Charlamagne Tha God!
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
Decisions, Decisions
Welcome to "Decisions, Decisions," the podcast where boundaries are pushed, and conversations get candid! Join your favorite hosts, Mandii B and WeezyWTF, as they dive deep into the world of non-traditional relationships and explore the often-taboo topics surrounding dating, sex, and love. Every Monday, Mandii and Weezy invite you to unlearn the outdated narratives dictated by traditional patriarchal norms. With a blend of humor, vulnerability, and authenticity, they share their personal journeys navigating their 30s, tackling the complexities of modern relationships, and engaging in thought-provoking discussions that challenge societal expectations. From groundbreaking interviews with diverse guests to relatable stories that resonate with your experiences, "Decisions, Decisions" is your go-to source for open dialogue about what it truly means to love and connect in today's world. Get ready to reshape your understanding of relationships and embrace the freedom of authentic connections—tune in and join the conversation!