SOPHYA BACCINI

The group named after the debut album consists of female musicians only. Technically it's of course quite irrelevant, except for the wonderful vocal harmonies gracing the album in many places. The regular rock instrumentation is extended to feature also violin and alto saxophone, and the piano, played by both Sophya herself and Marilena Striano, is essential in the sound. All pieces are written by Sophya and co-arranged with the whole band.

I invented this combination to give an idea of the music: Kate Bush (from The Kick Inside to Never For Ever) + Van Der Graaf Generator + Curved Air + classic RPI bands with a violin, such as Quella Vecchia Locanda or PFM, + an operatic, Gothic-flavoured intensity. There's a breath-taking feminine energy, both witch- like and sensual, that justifies the Kate Bush association. And yes, the playing sometimes has a VDGG-like magic.

The title track is fascinating with its repeated drum fills in the beginning, the wailing violin, the layered vocals and the sense of drama slightly resembling Toyah. 'La Mia Soluzione' is also pretty intense, filled with a vintage RPI feel and some VDGG edge. Wow! The relatively slow-tempo and yet highly dramatic 'Ordalia' is mostly sung in English and contains beautiful sonic details.

The shortest and most melodic piece 'Never' is charmingly dreamy, and the piano reminds me of Kate Bush. The 9-minute epic 'Continua' is another winner (on this gorgeous album with no weak monents at all) and gives a lot of room for soprano sax. But the cherry on the top are the seductive vocals and vocal harmonies. 'Gargantua' has marvelous melodies. The closing track 'Sleepin' With the Lioness' is the calmest of the set.

I am fascinated by this album. The production is crystal clear, so you can just sit back and let the music take you into an exciting journey for 40 minutes.

Big Red Dragon (2013), released by Black Widow Records last year, is based on William Blake's paintings. Each song represent an image very beautifully represented in the booklet of the CD. The sound on Big Red Dragon (2013) still has a bit og the Gothic influence of her previous band, but this is just a small percent, in its majority the album is Symphonic and full of great vocals. Not just that, the album is filled with guests including Christian Decamps (Ange) Sonja Kristina (Curved Air) Elisa Montaldo (Il Tempio Delle Clessidre) Steve Sylvester (Death SS), Lino Vairetti and Irwin Vairetti (Osanna), Enrico Iglio (her old mate in Presence) and Roberto Tiranti (Mangala Vallis). This make the album has a certain epic feeling.

This is a great album, especially for people who like some Opera kinda of Symphonic prog.

Somewhat unfairly I found myself comparing this with Clive Nolan's 'Alchemy', and while there is no doubt at all that this is an incredibly clever album, I found that it was something that I enjoyed only in bits and pieces as opposed to throughout with not enough hooks. It feels much more like a classical piece of music than a progressive rock album, and I am sure that this is deliberate intent, but not really what I want to hear. The vocals are wonderful, and when the album really gets going, as it does on the much more upbeat "The Number" then it shows just what is missing.

I would have much preferred for this to be less clever, and less pure classical/operatic, but I am fully aware that his is just down to personal choice and that there will be many who will feel that this an incredible piece of work, which it undoubtedly is, just not something I want to play a great deal. It closes of course with Blake's most famous poem, which was put to music by Sir Hubert Parry many years after his death. "Jerusalem" has been recorded in many different styles, and is seen by many as one of the most quintessential English songs of all time. ELP's version is one of the most well-known, and to her credit Sophya has created an arrangement that is very different to many, with multi-layered female vocals and a sparse musical backing, but somehow it doesn't gel right with me. I knew the song as a hymn long before I came across ELP's version, and love the majesty and power that this demands and the emotion that it always invokes, but somehow here it seems somewhat sterile and devoid of passion. A very clever album, but just not for me.

While comprising lyrics in French, Italian and English language it might not really be surprising that the focus is on the vocal respectively narration presence. Hereby - amongst others - she's supported by Curved Air's Sonja Kristina and Ange's Christian Decamps. Additionally Sophia herself is caring for keyboards/piano and the synth bass, while having a bunch of musicians on her side, also completing a typical band line-up including guitar and drums. Stylistically the fundament is built by some symphonic approach, the flow is really entertaining, nearly unpredictable. In any case I can smell some Bohemian Rhapsody flavour too in between.

Of course the songs come with a classical, theatrical, respectively cinematic flair, which partially sounded unusual to me, less accessible apriori. Well. regularly it's just exactly that what makes me curious after a while, pushes and occasionally becomes an advice in the end to keep at it. Not that proper rocking parts are missing here moreover. And hereby several sections appear as an ear worm really sooner or later, speaking of The Number for example. In order to name some other exceptional album excerpts I would call La Porta Dell Inferno next. The door to the inferno is melancholic, deals with pain, shines with a lovely piano opening, later featuring violin and a fantastic vocal presence which only completely suits while using Italian lyrics, I would say.

Furthermore Cerberus and Just do appear with certain electric guitar solos - something extraordinary in the same way as the vocal presence. Embracing a wide stylistical spectrum Sophia Baccini's new ambitious project includes thirteen differing segments ... eh ... please don't bang, but even Andrea Bocelli fans might be able to connect to this in parts. 'Big Red Dragon' is unique and challenging - definitely recommended when you're keen on a blend of classical and rock themes - 3.5 stars

Since the first time I heard Sophya's astonishing voice (at the Pro(g)Liguria fundraising concert) I was captured by her powerful vocal range and her technical performance. At that time I wasn't aware she is also a good piano player and a proficient composer!

With her new band, mainly composed by female artists, you don't have to think that Sophya takes distance from her first work "Aradia" (from which the name of the band is taken), because the atmosphere is equally epic and the music is largely inspired by classic, symphonic and choral compositions. But in "Big Red Dragon" is added a more intense rock background which gives to the music a different taste. Forget about odd tempos, difficult breaks and other conventional prog motifs! This kind of music is enriched with surreal atmosphere which immediately surrounds you and gradually captures your attention, as you would be bewitched and enchanted!

When you listen to the album for the first time, you feel as gradually driven in the epic, classical mood through the "camel-ish" guitar solos, the great symphonic music background and the choral singing with the leading voice reaching tunes to the sky! With a little difference to the first album Sophya's singing, even technically perfect, is more inspired and oriented to interpretation.

It's difficult to find the best track, because the powerful musical impact surprises and captures the listener all the time, but I have found more ecstatic references in "Love of Hecate" (where the great keyboard player Elisa Montaldo from IL TEMPIO DELLE CLESSIDRE gives her contribution), "Just", where Sophya's singing reaches perfection and music intensity is almost touchable, "Cerberus", which gives us an astonishing and surprising intro and the title track "Big Red Dragon", with its powerful rock mood.

Last but not least, the incredible version of "Jerusalem", which became a prog standard thanks to the ELP version, and with which the version of ths album fights to be the best one!

Three point five stars!

Sophya Baccini: Voice, background vocals, keyboards, piano, synth bass Chicco Acetta: Guitars Francesca Colaps: Drums Stella Manfredi: Violin, viola Marilena Striano: Keyboards, piano

The 'Big Red Dragon' is dedicated to the paintings of William Blake (28 November 1757 ' 12 August 1827), famous English poet, painter and printmaker.

Formidable gallery of guests who have agreed to collaborate on the project:

Christian Decamps (Ange): Lead vocals on 'Au Matin de Priemer Jour' Sonja Kristina (Curved Air): Vocals on 'While He's Sleeping' Lino Vairetti (Osanna): Vocals on 'La Porta dell'Inferno' Irvin Vairetti (Osanna): Vocals on 'La Porta dell'Inferno' Steve Sylvester (Death SS): Vocals on 'The Number' Roberto Tiranti (Labyrinth, Mangala Vallis): Vocals on 'Just' Elisa Montaldo (Tempio delle Clessidre): Harpsichord, mellotron on 'Love of Hecate' Enrico Iglio (Presence): Hammond organ, mini moog, bells on 'The Number' Aurelio Fierro Jr.: Vocals on 'Big Red Dragon'

The introduction "William" is a symphonic piece of beauty with a guitar of the "not a misplaced note" kind, like Andy Latimer is used to do, some "mute" vocals and a very nice melody. A stunning surprise.

"Angel Of The Revelation" starts with electronics and piano, then vocals and a proper song starts. The high pitched voice of Sophya joined in a choir by whom? Maybe Sonja Kristina who features in the guests? The guests list is another thing to check. This is a progressive track as I think people usually intends "progressive": sung parts alternated with instrumentals, structured as a suite with different movements and recurring themes. And all in 4 minutes and half.

"Satan" has an obsessive rhythm and has the theathrical flavor of a rock opera. The electronics behind have a vintage sound but is remarkable the dialogue between guitar and piano before the last sung part and the coda. Another great song.

"Love Of Hecate" Is a slow waltz. It's folky and theathrical in the same time, with excellent vocals again. The signature changes in the chorus. It's still a 3/4 (almost) but the tempo is accelerated. Vocals like in Mozart's magic flute are replaced by a cymbal, then piano and vocals. Another very complex and "circular" song.

Percussive piano and bass with water sounds to start "La Porta Dell'Inferno". This is a little mistake: it's taken from Dante's Comedy, but the door should lead to the "anti-inferno". The first lyrics are taken from Dante, then the man talking leaves the Dante's book to give a different view of the hell's entrance. "Here nothing grows because nothing dies". Another great song with the music perfectly fitting with the concept. The violins support the whole track, choirs, a stupendous coda... Great.

After a track like the previous one staying on the same level is very difficult, so the style changes totally. "The Number" is a rock song. Of course the number is 666. It starts hard rock, but with no relations with Iron Maiden, and the rock screamed part is alternated to more quiet and symphonic interludes. The organ is excellent, neither Emerson nor Wakeman, the sound reminds me more to Vitalij Kuprij (Artension).

"Just" is opened by percussion, piano and cello. The theme recalls "La Porta Dell'Inferno" but the vocals take a different direction. The song's intro, before the male singing, makes me think to the Russian Iamthemorning, mainly because of the instruments used. However, after 2 minutes the song changes drastically. The impression is still of a rock opera. Remove the metal element from Ayreon and add more symphonics to have an idea. The vocals here are more operatic. Not enough to think to Zeuhl, but enough to enhance the track. Great guitar solo in a Van Halen style which slows down and closes Floydian before the last sung reprise.

"Cerberus" is the three-headed infernal dog. Keyboard and strings introduce the song which reprises the chords of the main theme. It's on this song that I'm almost sure Sonja Kristina is singing. I don't know it for sure because I have received a download link from Blackwidow records and I haven't seen the notes on the CD. This is a very dark song on which the rock-opera factor is very relevant. I want to add the the most I listen to this album the most I'm surprised. It's surely one of the best albums I've listened to during all the 2013.

"While He's Sleeping" starts in a weird way respect to the symphonic mood of the previous tracks. It's still classically influenced but has a touch of Canterbury, especially in the melody. Not an easy track, but very enjoyable.

Back to full orchestra and theatrical suggestions. "Au Matin Du Premier Jour" (At the morning of the first day) is sung in French by a man who sounds like the chansonniers of the end 50s / early 60s. French and operatic don't mean Magma, but this song has a Zeuhl flavor in the instrumental parts.

"Beatrice" brings us back to Dante's Comedy. To Paradise now. Her character would deserve some words but this would lead us off topic. Of course there's less darkness now. Piano and ethereal voice for a very melodic song. A Sophya's solo performance and let me add that the sequence of chords deserves a mention. There's plenty of good passages. excellent also from the composition point of view.

We are now at the title track. Full orchestra and voice plus some electronics behind. It starts like a symphony and turns into rock. I don't know who's the male singer but his voice is incredible. The mood is still of a rock opera I'm finishing the words...

The album is closed by a cover. "Jerusalem" has been played and recorded by the likes of Vangelis, Emerson Lake and Palmer, Par Lindh Project for what I remember. Well, I must say that it's probably the best version that I've heard up to now. It's a new interpretation when the one from Par Lindh was an ELP clone.

A masterpiece, amazing because unexpected. How can an artist that I've never heard before have done a thing like this? Symphonic proggers and RPI fans will surely agree with me, but there's so many stuff in this album. It will stay in my portable reader for a very long time, I think.

5 obvious stars

I think this album could be a hit, had the circumstances been different. While it can be challenging music at times and demanding a longer-than-usual attention span, it is a gorgeous and ambitious piece of emotional and melodic melancholic songs. Sophya's voice is beautiful and quite wide in range (from mid to high pitch). Her musical skills are of the same quality, if not higher.

There are 17 songs on here (the last song on the album is Circle Game by Joni Mitchell) but they are interconnected and feel as one flowing stream of music with various parts sung in Italian, English and French. Her articulation in French and English are good and clear, but for those sensitive to an accent in English and French singing, know that there is one here. The music itself is quite varied, from full and rich sounding pieces (La Pietra, Aradia, Al Ritmo Di Una Storia, Elide) to more intimate setting (How Good, Beware Beware, Ever Too Small, L'ennesimo No), from jazzy, folk and tango-influenced pieces (Will Love Drive Out The Rain, Nei Loughi) to rock (Al Ritmo Di Una Storia, Don't Dream That Dream, Elide, When The Eagles Flied) to classical-oriented ones (Aradia), from some use of electronic effects (Adesso, Studiare Studiare, Don't Dream That DreamTwo Witches and Doreen) to orchestral arrangements (Ever Too Small, Aradia). With not much in terms of percussion and drumming on the album (present in a few songs), the music is not at all boring, it can even be rhythmic and even propulsive at times. But there is indeed an abstract and atmospheric feel is predominant in the album, but don't mistake that for lack of melody or direction; this atmospheric air is contrasted (or augmented) by beautiful songs that are more structured but use that basic charm and enhance it (such as Elide). Sophya manages to convey in her own way much emotion and beauty. She does have a theatrical way of presentation in some of the songs here, especially in the more intimate songs, where it feels as if she's singing right in front of me in some shady small venue on a dimly lit little stage. Her voice is dominant and serves fittingly the songs where she reaches the higher notes as well as the songs where her voice is mostly in mid-range where it holds a powerful form; indeed, she would be a great rock singer if she decided to go that way. Some of the songs have an eerie and odd feel, while others have a more "standard" approach that is naturally easier to relate to, but not necessarily more attractive. I find the way she has constructed the album to sound as one continuous piece with various sections to be well done. It is a ~70 minute album but it passes quite quickly for me as I enjoy it so much, particularly due to its beauty, variety and sense of continuity.

To listen to Aradia for me, is to be taken to foreign landscapes, to be transported on the graceful wings of Sophya's voice and the charm of her music. I find the best way for me to experience this album is in a mostly dark room late at night with headphones. The magic really comes forth in that setting.

It is obvious from this album that she has garnered a lot of experiences and not at least; inspirations along the way. This album has everything from electronica to RPI. It is most of all the vehicle for her voice and her creativity. Which off course is the exact reason why an artist release an album. The influences and the styles is varied, but I guess the phrase "modern rock" will fit this album best. The material here very much fits the year 2009.

The quality is good throughout. Sophya Baccini is a quality singer and her voice is excellent. In this respect, I accept some songs/pieces of music I find disagreeable. This is a good debut solo album and I hope she will do some more solo albums. I hope she will develop her own style on her future albums. This one is too many dishes at the same plate, though.

3 stars

The album is built around a 50-minute suite divided into 13 parts, which relates Aradia's tale in emotional, often visionary terms. Even if both Sophya's vocal style (somewhat reminiscent of Annie Haslam) and the overall musical atmosphere may be an acquired taste, the whole composition shares the sophisticated, gothic-tinged vein of Kate Bush or Tori Amos, though liberally flavoured with the uniquely Mediterranean flair for romance and lyricism. A strong symphonic component holds the various tracks together - the violin is a steady presence throughout the album, while other, more exotic instruments such as the bouzouki or the accordion add a folksy note to the proceedings.

Opener "La Pietra" immediately sets the mood for the entire disc, with Baccini reciting the opening lines of Aradia's story over a lush orchestral background. The 9-minute-plus track, the longest on the album, and a mini-suite in itself, alternates sedate, atmospheric moments with more dramatic ones, dominated by Sophya's soaring vocals, and tempered by her gently lilting piano and some beautifully melodic guitar work. The following songs are all markedly shorter, some of them conceived like interludes connecting the more substantial pieces of the story. Though Sophya's vocals are understandably the stars of the show, the other instruments contribute to the building of a rich, enthralling atmosphere. Some of the many highlights of the suite deserve a special mention: in "Studiare, Studiare", the lilting sound of the clavinet can be heard on a lush tapestry of strings and mellotron; while the melancholy strains of the accordion enhance the romantic, tango-like melody and passionate ending of "Will Love Drive Out the Rain?". "Non E' L'Amore Il Tuo Destino" sees Sophya's ethereal voice contrasted with Osanna singer Lino Vairetti's expressive, powerful tones over a sparse background of piano and flute.

If I had to level one particular criticism at the album, it would regard the lyrical rather than the musical aspect. In fact, even though Sophya's efforts in writing her songs not ony in Italian, but also in English and French, are indeed to be appreciated, mistakes such as the one in the title of the song "When the Eagles Flied" could detract from her credibility on the international scene. "Aradia" would also have benefited from a shorter running time - the last four tracks, appended to the disc as a sort of afterthought, could have been omitted without doing any real damage to the final product, especially since the album is almost 70 minutes long.

A finely-crafted, deeply personal album, "Aradia" will undoubtedly appeal to fans of female voices, especially those who do not mind a touch of operatic grandiosity with their music. On the whole, a very promising solo debut from one of the best female vocalists on the current prog scene, and a worthwhile addition to the ever-growing roster of interesting new Italian bands and artists.