Translation of 'Melodramma' by Andrea Bocelli from Italian to English. Translation done by Alma Barroca. In case you want to reprint it, please ask for permission first and always cite my name as its author. May 22, 2005. Easily and who generate unusually effusive fans, is Andrea Bocelli. Flair for singing super-romantic, even melodramatic songs, especially in.

Andrea Bocelli is in a category pretty much unto himself. Classical crossover is what Billboard magazine or a record retailer might say. He’s an operatic trained singer who delivers his versions of classical and romantic pop pieces.

The Italian tenor’s current album, “Cinema,” features his takes on beloved songs from such movies as “West Side Story,” “Breakfast at Tiffany’s” and “Phantom of the Opera.” Thanks to several specials on PBS, he fills U.S. Arenas and has sold 80 million albums worldwide. In anticipation of his concert Thursday at Target Center in Minneapolis, Bocelli, 57, answered questions via e-mail, with his manager/wife, Veronica Berti, translating. Q: What is the most romantic language to sing in and why?

A: Mine is a biased answer because I love the language of my country, and I prefer it because it is the one that has raised me and of which I know the many nuances. I believe Italian possesses an inborn musicality, particularly suitable to express love. It is, anyway, the language around which 400 years ago was born melodrama. That said, I believe that every language guards a wonderful expressive potential and a musicality of its own.

And it is also why I love singing in many different languages. Q: For your “Cinema” album, how did you decide which songs to sing in English and which in other languages? A: [It] is a fact that in film music, many among the greatest masterpieces ever, were conceived in English. Anyway, as I said before, every language has extraordinary expressive potential.

In my album “Cinema,” in fact, I sing in English, Italian, but I also sing in French, Spanish and in Sicilian dialect. A: If I am singing in a small 18th-century opera house or in a stadium, I always try to concentrate on a direct relationship — one by one — with each listener.

The opera theater, if well constructed, is the ideal instrument to reproduce voice. In fact, within architectural structures designed for opera, I strictly avoid the use of electronic amplification instruments. But an arena such as the Target Center allows me to reach an infinitely greater number of people. My challenge is to concretely express my closeness, to thank personally through my singing, live, those that grant me the privilege to be part of the soundtrack of their lives. Q: What musical genre are you?

A: My training is purely classical; my vocal studies are related to operatic production, although as you know, I tackle, with pleasure, at the same time, pop. I follow the two areas with the greatest honesty and quality possible.

This song of mine hymn of love I sing to you now with my pain so strong so great it stabs my heart But the morning is clear among the fields the scent of wine I dreamt of you and now I see you still there Ah, what memories fresco of hills I cry what madness it was to leave and go This melody hymn of love I sing to you and feel all my pain so strong, so great it stabs my heart. But the morning is clear among the fields a windmill rises there my destiny was born Bitter without you bitter without you And this heart sings a sweet melodrama it's the hymn of love I'll sing for you It's a melodrama I sing without you.