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ual in finding a true way to express themselves. Your project is often described as a revolu- tion. Do you see it that way, or as a natural evo- lution of a living tradi- tion? I have never tried to create a revolution. I have simply followed an artistic vision that felt necessary to me, even if this journey is not only mine, of course: I had the luck and honor to meet extraordinary women who chose to share this artistic adventure. We are all Sardin- ian, but we come from differ- ent parts of the island so, unlike traditional tenori, which usually belong to the same community, we repre- sent the meeting of different souls of Sardinia. For this reason, we chose to call our- My research began with a question that remains with me still today: how far can the human voice go? This curiosity led me to explore overtone singing, guttural techniques, and vocal tradi- tions from very different cul- tures. The more I explored the world, the more I realized how extraordinary Sardinian vocal heritage is. For this rea- son, I also consider my role as a vocal coach to be essen- tial, because my goal is not only to perform, but to pass on knowledge, inspire new generations, and help people discover the transformative potential of their own voice. I believe the voice is an instru- ment of freedom, identity, a n d a w a r e n e s s . T e a c h i n g how to use it means helping keep precious traditions alive and supporting each individ- selves Fizas de Sardigna, Daughters of Sardinia. At the same time, the tra- ditions of Barbagia remain very much present within our ensemble. Martina Tiddia, who performs sa contra, has family roots in Buddusò and Bitti and is also connected, through her daughter, to the poet Peppino Marotto, of whom she is a great-grand- niece. Laura Secci, sa oghe, is from Nuoro and grew up in Mamoiada. Vanessa Pistis, sa mesu oghe, and I, su bassu, both come from the Oristano area. Each of us brings a dif- ferent story, place, and sensi- tivity, but we are also united: we've been best friends for over ten years. In canto a tenore, human connection is essential because it helps cre- ate true vocal harmony. W h e r e d o y o u d r a w the line between respect for tradition and innova- tion? F o r m e , r e s p e c t c o m e s from knowledge. The kind of innovation that interests me is born from listening and f r o m a c o n s t a n t d i a l o g u e between memory and vision, b e t w e e n d e e p r o o t s a n d future horizons. If you could imagine canto a tenore twenty y e a r s f r o m n o w , h o w would you like to see it? In twenty years, I would like to see canto a tenore rec- ognized worldwide as one of the great vocal traditions of h u m a n i t y . M y u p c o m i n g album is part of this journey; it is a deeply personal project that brings together my vocal research journey with the sounds and traditions of Sar- dinia. Through this work, I want to tell the story of my land in its most authentic and profound dimension: a S a r d i n i a t h a t i s n o t o n l y about natural beauty, but one of the most culturally and archaeologically fascinating regions in Europe. My aspi- ration is to use music as a bridge between cultures and as a means of sharing knowl- edge. If someone, anywhere in the world, listens to my voice and feels the call of Sar- dinia – and falls in love with its spirit – then I will have fulfilled my greatest mission as an artist. most striking characteristic of canto a tenore is, perhaps, its ability to recall images a n d e m o t i o n s w i t h r a r e intensity. This type of music is experienced before being listened to: it enters the body even before it connects to the mind. To me, it represents one of the most extraordi- nary expressions of Sardin- ian cultural identity and the proof that the human voice, in its purest essence, can become a universal patrimo- ny. How did your interest in harmonic and guttur- a l v o c a l t e c h n i q u e s b e g i n , a n d w h a t h a s engaging with vocal tra- ditions from different parts of the world taught you about the value of Sardinian musical her- itage? A m o n g S a r d i - nia's most dis- tinctive cultural t r a d i t i o n s , w e should certainly c o u n t c a n t o a t e n o r e , w h i c h w a s r e c o g n i z e d b y UNESCO in 2005 as part of the Intangible Cultural Heritage of Humanity. Traditionally performed by four male singers, it is today explored by young artists who want to keep it alive and c o n n e c t e d t o i t s c u l t u r a l roots, while also exploring new avenues of development; one of them is Ilaria Orefi- ce, singer, vocal researcher, and founder of F i z a s d e Sardigna , an all-female ensemble that reinterprets canto a tenore through a dia- l o g u e b e t w e e n t r a d i t i o n , vocal experimentation, and Sardinian identity. L'Italo Americano had the opportunity to speak with Orefice about the origins of canto a tenore, her research into harmonic and guttural v o c a l t e c h n i q u e s f r o m around the world, the role of education in preserving cul- tural heritage, and how she envisions the future of one of Sardinia's most remarkable musical traditions. F o r t h o s e w h o a r e unfamiliar with this tra- dition, what exactly is canto a tenore, and what m a k e s i t u n i q u e c o m - pared to other forms of choral singing? Canto a tenore is one of the oldest and most fascinat- ing vocal expressions of the Mediterranean. It is not sim- ply a form of choral singing but a living sonic memory that spans centuries and con- tinues to speak to the pre- sent. In it, four voices work together until they become a single sonic organism. The guttural harmonies produced are reminders of the ances- tral relationship between human beings, nature, and community. When you listen to an authentic tenore, you feel as though you are hear- ing something that belongs to a distant time and, at the same time, something pro- foundly contemporary. The Ilaria Orefice, with a traditional Sardinian mask. She is the founder and su bassu of Fizas de Sardigna, the daughters of Sardinia (Photo courtesy of Ilaria Orefice) THURSDAY, JUNE 11, 2026 www.italoamericano.org 26 L'Italo-Americano LIFE PEOPLE REVIEWS ADVICE TRADITIONS Keeping canto a tenore alive: a conversation with Ilaria Orefice STAFF

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