Being 20 is hip. That’s an age that tastes good (this is the author’s absolutely personal and coloured opinion). It tastes good also because it marks an important entry in the show biz, both in the backstage or in front of the stage, but anyway busy on a console (for the more vintage ones) or on a thin stylish Apple (for the most up-to-date ones). It is in his very 20 years of age, back in 1997, that Marco Melchior, coming from the far suburbs of North-Eastern Italy, and precisely Udine (not far from Venice), begins his experience in the show biz for the memorable Music Team. And we can certainly say that the author’s absolutely personal and coloured opinion is more than confirmed by facts, as from then on, he cannot but climb higher and higher that ladder made up of all the technical experiences linked to the production of a performance. Before that point, Marco successfully plays soccer, and graduates at a technical school, thus giving himself over to his talent for building, creating and devising activities. He doesn’t sing (and his friends say so much the better!), but he sometimes plays guitar – thinking about Dire Straits and Pink Floyd -, for fun and passion. And this passion can only improve his touch for the tools of his job. But what’s his job? Well, difficult to say, because the experiences and artistic environments he gets in touch are always different and very rich. Theatre and ballet first, then his beloved music. It’s here that he mostly refines his preferences, that is to say the “world of sound”, which he dedicates himself to, intrigued by all the related aspects.
Two are the crucial landmarks of his professional evolution: first, Biennale di Venezia, DMT (Dance, Music, Theatre) sector, where he works for nearly 4 years side by side with the Technical Director. Second, Umbria Jazz, where he has been working since 1999, together with Maestro Gianni Grassili. These festivals give rise to his first precious international collaborations: Carolyn Carson (as a Technical Director), the Finnish Tero Saarinen Dance Company, as well as the famous Brazilian singer Rosa Passos (as a Sound Engineer). These collaborations bring to light another passion, part of his job: travelling. Worldwide. He conquers prestigious venues such as the Carnegie Hall in NY, as well as the Queen Elisabeth Hall in London. We all know that travelling widens perspectives and gives the opportunity to learn new languages: that’s how Marco acquires English, Spanish and Portuguese, together with the typical idioms of the colleagues he works with. This is an ability for which he is highly appreciated and that allows him to work almost “dancing” at the rhythm of their language, with different agencies and artists from all around the world. Such as, since 2007, Omar Sosa, a true international artist.
He often returns to Italy, though, where he cooperates with the recording studio La Fabbrica del Suono in Padua. This experience inspires the multifaceted Marco, who in 2007 founds ChelAlè Music Lab, a small but expanding music production unit. This project is the realization both of his roaming soul and of what since 2004 is his mobile recording studio dedicated to live performances, both regarding acoustic music (jazz, classical and contemporary) and Afro-American music (gospel and funk).
Curiosity rhymes with versatility, and Marco applies these features of his in his job, working also as a Technical Director or Light Designer, thus proving that a sound professional can successfully deal with the visual aspects of a performance. Though his talent is most exploited as a Sound Designer, he is often happily engaged as a technical professional, such as Stage Manager or Production Director for events and festivals.
What does he do, then? He is primarily a Sound Designer, but also a Visual&Technical Designer (as an outline of his rich professional and personal journey). This summarizes more than perfectly his philosophy for life: being eclectic. This is his special secret to go on learning and evolving as the professional who is really able to help the artist getting the most out of the show.
Two are the crucial landmarks of his professional evolution: first, Biennale di Venezia, DMT (Dance, Music, Theatre) sector, where he works for nearly 4 years side by side with the Technical Director. Second, Umbria Jazz, where he has been working since 1999, together with Maestro Gianni Grassili. These festivals give rise to his first precious international collaborations: Carolyn Carson (as a Technical Director), the Finnish Tero Saarinen Dance Company, as well as the famous Brazilian singer Rosa Passos (as a Sound Engineer). These collaborations bring to light another passion, part of his job: travelling. Worldwide. He conquers prestigious venues such as the Carnegie Hall in NY, as well as the Queen Elisabeth Hall in London. We all know that travelling widens perspectives and gives the opportunity to learn new languages: that’s how Marco acquires English, Spanish and Portuguese, together with the typical idioms of the colleagues he works with. This is an ability for which he is highly appreciated and that allows him to work almost “dancing” at the rhythm of their language, with different agencies and artists from all around the world. Such as, since 2007, Omar Sosa, a true international artist.
He often returns to Italy, though, where he cooperates with the recording studio La Fabbrica del Suono in Padua. This experience inspires the multifaceted Marco, who in 2007 founds ChelAlè Music Lab, a small but expanding music production unit. This project is the realization both of his roaming soul and of what since 2004 is his mobile recording studio dedicated to live performances, both regarding acoustic music (jazz, classical and contemporary) and Afro-American music (gospel and funk).
Curiosity rhymes with versatility, and Marco applies these features of his in his job, working also as a Technical Director or Light Designer, thus proving that a sound professional can successfully deal with the visual aspects of a performance. Though his talent is most exploited as a Sound Designer, he is often happily engaged as a technical professional, such as Stage Manager or Production Director for events and festivals.
What does he do, then? He is primarily a Sound Designer, but also a Visual&Technical Designer (as an outline of his rich professional and personal journey). This summarizes more than perfectly his philosophy for life: being eclectic. This is his special secret to go on learning and evolving as the professional who is really able to help the artist getting the most out of the show.
written by Chiara Pippo (journalist)translation Patrizia Cleri
