Ariaphonics

Press Reviews

Space Rock Opera, Zeitgeist, UK

Now I have, finally, heard it all. For this is the worlds first space-rock-opera! I kid you not. And by space-rock-opera I do not mean the clumsy 60s / 70s model, nor do I mean a Sarah Brightman type classical crossover, rather something unique and new.

Dmitri Silnitsky , the project's producer, composer and arranger has combined arias and operatic singing with the sounds and moods of the concept albums of the 1970s by taking vintage 1970s synthesisers and mellotrons, to further capture the aura of the progressive bands in the 1970s. Which makes it retro rather than progressive, but what the hey.

"Divine Light" , the opening piece leaves you in no doubt where you are heading, a bass riff leads you into a quote from Genesis (the bible, not the band), "Let There Be Light" before an opera style vocal kicks in. Remarkable. Dmitri Silnitsky is also taking hints of modern artists such as Air and Zero 7 to draw in the kids, and it could work.

"Summer Moon" could easily come from the Pink Floyd canon, "Sposa son disprezata" is based on a Vivaldi riff and "Lullaby 2030" mixes up gypsy rhythms, R&B and pop-funk guitars, vocoders and a violin. Which makes no sense, especially with an Italian opera singer wailing over the top. This should not work. But does.

I doubt very much whether you have ever heard anything quite like this, but you really should.

The Dutch Progressive Rock Review by Bob Mulvey

Ariaphonics serves as yet another example of the diversity of material that impinges on the boundaries of Progressive Rock, further pushing out the envelope. Written and conceived by Dmitri Silnitsky the album is termed as "A Classical Crossover Breakthrough" (or so it says so on the cover), therefore I entered the album with more than a little apprehension, fearing something akin to some of the dreadful material to be found on Sky's Classic FM channel. The concept of having great pieces of classical music bastardised into some sort of accessible music form for the masses.

Fortunately this is not the case here as in the main the music is written by Dmitri himself and the lyrical content by Elena Corsino. Perhaps this is as good a point as any, to look at the basic musical structure of the tracks, which derive much of their sound from the lush bed of traditional analogue synth sounds, mellotron-esque textures, pianos and organs used. Added to this are gently blended guitar tracks and the resulting canvas of sounds is at times reminiscent of Jean Michel Jarre or Vangelis, whilst at others a lightweight Pink Floyd. The pulse is provided by bass synths, distinctly programmed sounding drums / percussion, with the analogue synths and slide guitar supplying the lead sections. Timely point also to mention the other musicians contributing to the Ariaphonics album. Sash Protchenko (drums, bass and slide guitar), Slav Protchenko (keyboards - pianos, Hammond organ, mellotron & violin) and Pavel Pavlov (guitars). The final ingredient is the dulcet, operatic voice of Gloria D'Amos whose vocalisation are always delightfully controlled and never excessive.

All the tracks have a similar overall sound and production, although the music is more diverse covering subtle mood changes with liberal helpings of classical, opera, jazz and prog blended together. Gloria D'Amos' vocal sections are disected by gentle instrumentals which, on closer listening, proved more complex, with subtle odd meters evident. Favourite tracks were the Floydian Intermezzo, Divine Light [Remix] and Summer Moon.

Considering that I have no love for the operatic voice Ariaphonics proved once again that an open mind can be a blessing, as yet again an album that on the surface had little to offer, proved to be a pleasant treat. The combination of warm analogue keyboards and Gloria D'Amos soprano voice forming a splendid partnership. Therefore if you have an inkling for something completely out of the norm with a relaxing nature then the first port of call must be the samples at the iGram site.

Review Musical Discoveries, NY, USA

Ariaphonics is part of the classical crossover genre and soaring, beautiful vocals abound throughout this album. Interspersed with an inspiring electronic sound, the exquisite melodies by Dmitri Silnitsky and fantastic vocals by the engaging soprano, Gloria D'Amos, make this album a stand-out.

"Divine Light" and "Summer Moon" combine distinctive orchestral and electronic sounds to create a uniqueness of sound. Operatic renditions by Gloria rival those of Emma Shaplin, Sarah Brightman, and Italian contemporary crossover artist, Filippa Giordano. But, it is the overall sound that make Ariaphonics magnetic and enthralling. Composer Dmitri Slinitsky said "Crossover performers sound more or less the same. Easy pop rhythms, some strings and a couple of well-known arias. An awful lot of people like crossover, but the format has become boring. So I wanted to experiment and try to get a completely different sound. At the same time, I wanted to present totally new material, rather than falling back on the old standards, and take advantage of the resurgent popularity of music from the 1970s."

"Sposa son disprezzata" has almost a jazzy beat due to the incredible musical artistry of the instrumentalists. Outstanding credits go to Dmitri Silnitsky on synthesizers and vocoder; Sash Protchenko on drums, bass and slide guitar, and midi programming; Slav Protchenko on keyboards, violin, piano, rhodes, hammond, clavinet, and mellotron; and Pavel Pavlov on guitar. Narrations by Natasha Shanetskaya also contribute to the overall sensation in this album.

"Intermezzo" arrives with almost an eerieness in some of the musical riffs, and the exquisite piano solos and background of blowing winds create a unique sound. Music for this track was by Dmitri Silnitsky, Slav Protchenko and Sash Protchenko. The listener is engaged in Gloria"s striking sopranic solos throughout and each track seems to capture your attention without letting go.

"Lullaby 2030" has a funky sound of its own, bringing back memories of the '70's while "A Dulcet Spell" and "Nausica" seem to fuse different sounds, narration and genres. The composer also said, "First of all, we've used only electronic instruments rather than a full-blown orchestra with string and wind sections. We've got melletron sounds instead of strings, for instance. Secondly, we make sure slow arias are interspersed with intermezzo, instrumental compositions where we up the tempo." The album consists of two CDs, the main one with nine complete tracks, and the second, an EP with four tracks that are remixes of "Dulcet Spell," "The Knight Erreants Song," "Summer Moon" and "Sposa son disprezzata."

There is no doubt that the composer achieved his highest expectations with this superior album. Once you start to listen, you can't stop. The album remains engaging throughout and the stunning vocals and captivating music unifies the richness of Ariaphonics.--Audrey Elliot 5 Stars

Mi2N Music Music Industry News Network USA

Classical Crossover Breakthrough

It looks like yet another Russian breakthrough act is coming right after the recent worldwide success of the famous Tatu duo.

The phenomenal European success of Ariaphonics, a crossover project, shows that Russia is able to surprise the world not only with scandals or its peculiar image, but also with quality music.

Ariaphonics has created a totally new music style by combining elements of classical crossover with moods close to such 70s masterpieces as Pink Floyd's Dark Side of the Moon. The result is a breath of fresh air among the mass of assembly-line new releases that come out of the music industry these days.

Ariaphonics doesn't follow the trend of pushing 12 mediocre songs as a tie-in to one outstanding piece. Once you start listening, stopping before you get to the end won't be easy. Their product has a concept and a perfect arrangement.

Such hits as Divine Light are next to full-scale compositions such as Summer Moon. Instrumentals and bridges between tracks create a unified piece that will put you into a state of mind that can be described as mystical.

The young Russian soprano is very professional in what she does - and looks great, too!

Unlike other crossover artists, Ariaphonics does not rely on the generally known opera repertoire. Most of the tracks are compiled by the project’s producer and composer Dmitri Silnitsky, a descendant of the Russian classical composer Mikhail Glinka. Only three tracks of their debut album are based on the classic themes of Bach, Vivaldi, and Satie but one really needs to be an expert to detect that influence. That’s how good their material is.

Ariaphonics is a strong example of what real crossover music should be like: full of experiments and discoveries; rich with subtle melodies combined with high performance culture.

Element. Weekly Entertainment Newspaper, Russia

News

Ariaphonics show

Ariaphonics began work on its concert show together with the Moscow International Symphony Orchestra.

This top Russian orchestra is famous for its European mega-tour with the Electric Light Orchestra.

The opening show will be held in one of the largest of Europes planetariums, with a full set of light equipment with 3D capability.

Ariaphonics Act Two

Ariaphonics project has got down to recording a new album. We don't have an exact title for this work yet, so I am calling it tentatively Ariaphonics Act Two.

At the moment we have the first single recorded, called "Je crois entendre encore". It is our first recording in French-until now, each and every our song was sung in Italian. Though the single is not officially out yet, you can listen to both tracks here.

A special point about this album is the completely new way of recording. In the Internet era, I think it nonsensical to limit myself to only the capabilities of my own studio. There are myriads of interesting musicians out there-including guitarists, synthesizer players, percussionists-and it would be plain stupid to not use their talent and skill.

Ariaphonics now is, you can say, a Music 2.0-style project.

Though I will be recording most of the material for this album in my new Bitnique Vintage Studio, each track will feature musicians from very different corners of the planet, who will be recording with us via the Internet. For instance, on the first single you'll hear Michael Lewis playing, a brilliant American guitarist known for his collaborations with the members of Yes and a jazz rock band Brecker Brothers Ensemble.

I must note that Ariaphonics has been an international project until now as well, as my co-author, the poetess Elena Corsino, lives in Italy, our management is in the UK, and there were various singers working with us. Now, the geography of our creative process will extend greatly. I think that for each new track I will be inviting one or two musicians from different countries. This opens practically inexhaustible possibilities for creativity. For me personally, the permanent lineup music bands are last century. And I'm saying thank you to the technologies that made it possible.

I'd like to mention that we are now practicing a conceptually new approach to the distribution of our recordings. Leaving CDs behind as a fond memory of the last century, all Ariaphonics music is now available over the Internet only. The Western listeners can still purchase our music at Apple iTunes. For the rare connoisseurs who seek the original sound and quality, we will be producing gift sets that include vinyl LPs.

From now on, Ariaphonics will be mainly focused on developing live performances, and recording new works.

Ariaphonics Singer on Shades of Classic

The singer of our Ariaphonics, Elena Galitzkaya, was named one of the best sopranos by the Canadian classical radio station Shades of Classic, along with such names as Sarah Brightman and Rebecca Luker.

The director of the station commented on his choice, and I am very pleased to publish his comment here.

"After experiencing Ariaphonics for the first time, their debut album Act One was quickly added to my list of recommended crossover albums. I attest the superior quality of this recording to the superb musicianship, outstanding vocals, and exceptional song writing, arrangements and production presented on this album. This is a classic example of a top-notch crossover album, and I highly recommend it, particularly for all lovers of the soprano voice.

And as a result, I have also placed Elena Galitzkaya very high on my list of outstanding sopranos. She is one of the featured singers on Ariaphonics debut album Act One, and is now working again with this superb ensemble on their second music project. This young and talented soprano possesses an extraordinary voice which I feel is so good it rivals that of the remarkably gifted Sarah Brightman. And what constitutes a really exceptional soprano is not only a beautiful voice, but also the ability to impart sentiment and emotion with the listener. Elena has all of these abilities and more, and even as a bona fide opera singer she has proven that she is capable of going far beyond this genre. Her beautiful voice soars above the music as she effortlessly sings in Italian on Act One, displaying a wealth of intensity and vocal expression. And this lyric soprano's vocal prowess adeptly captures the many moods, tones and colours that Ariaphonics music presents to the listener. You will find that this sparkling voice captivates and transcends you to another place and time, and you will want to remain there as long as possible.

In my opinion Elena Galitzkaya is by far the most promising up-and-coming singer of this century thus far, and I can sense a very promising career for this outstanding young lady! I am delighted to have the opportunity to share my love of the music of Ariaphonics, and the voice of Elena Galitzkaya, with my listeners, and I anxiously await the release of their next project", - John Iverson.

This encourages me to record not only something Ariaphonics with Elena, but to produce her solo album where she will be singing pure classic. Not the most profitable occupation these days, but her vocal abilities do deserve a solo CD, and it must be recorded.

Dmitri Silnitsky

Electronic Remixes SACD

Ariaphonics is nearing completion on the electronic edition of its debut album, to be released under the name of Ariaphonics 51 in DTS, DVD Audio and SACD formats.

Unlike the original version styled as album-oriented 70s music, this electronic edition will have fully rearranged versions of all tracks plus two totally new tracks.

The main feature of the new release is emphasis on the 3D sound. All arrangements are initially made for the 5+1 sound, which together with opera vocalist Gloria d'Amos creates an even deeper Ariaphonics feel.

According to the project's composer and producer Dmitri Silnitsky, the new release will be much more than just the usual collection of remixes and dance versions. All tracks have been rearranged and, what's more, sung anew. We of course left a couple of remixes to please the younger crowd but on the whole it is clearly not a dance album. We want full immersion into the 3D sound, opera vocal, and modern electronic music.

Interview

Interview with Dmitri Silnitsky, Musical Discoveries, USA., By Russell W. Elliot

Musical Discoveries: Ariaphonics is quite an unusual project. How did you come up with the idea?

Dmitri Silnitsky: I did this album for myself. This album is what I myself wanted to hear. I heard a lot of classical crossover type music, and I then started playing with the idea of taking opera vocals beyond the traditional classical music. But there are things I didn't like about crossover as a genre. First, it is how alike all the disks are. With rare exceptions, these projects are carbon copies of each other. The same arrangements, always with the same orchestra and pop drums, all so soft and unfocussed. It gets boring as hell in no time. It's as if there's just one producer sitting somewhere, and everybody goes to him to have all the arrangements made from popular arias. There are, of course, some subtle and stylish works like Aria by Paul Schwartz or Art of Noise, but those are happy exceptions. I've been searching for a record based on a clear concept, with opera vocals. Something with new music and original arrangements. I didn't find it, but while looking I formed such a vivid picture of what I was looking for that I could almost hear the sound of it. So, I thought, if there is no such recording, I've got to make it myself. Was the market ready? If I wanted such music, I thought, there must be others who'd appreciate it too. So yes, I figured there'd be a market.

Musical Discoveries: But you didn't record this CD alone. You did it with a group of musicians. Were you with session musicians?

Yes and no. I can't say these were session musicians because they lived in this project. They were intensely interested. They liked the whole concept. They didn't just come to the studio to play their parts. We made this album together. These guys were from the world of jazz music themselves, and they put a lot of their character into the album.

On the other hand I never intended for Ariaphonics to become a permanent group. I want every album to be different. New people are essential.

Musical Discoveries: Many think you are under a major influence of Pink Floyd. Does that concern you?

To the contrary, that pleases me. Really, what's wrong with following in the Pink Floyd tradition? I would be disappointed if our music was compared to some, let's say, DJ/MC 2344532./01. That would be a disaster. We just work in more-or-less the same style. Same mood. True, we've thrown in something new. We've mixed the genres. Many like this mood and style. Most importantly, we like it ourselves. Everyone feeds on some type of previous achievement. We, and our music, are not exceptions.

If the similarity to British Pop groups bothers you, just what are you going to do with all the British Pop groups? They've been copying The Beatles for years. People want new music but in the same style. I guess people are looking for the mood, and for reflection of their own self in music.

Musical Discoveries: Russian groups remain something exotic for the Western audience. Have there been any special difficulties in promoting Ariaphonics?

Nothing in particular. No one cares where the group is from. People either like or dont like the music. That's what matters.

It's funny to run into one of those music business biggies. The so-called gurus insist that a Russian group must first become a star in Russia, and only afterwards try it in the West. At first I argued. I wanted to explain that Russian is not, let's say, Sweden. Music tastes and the whole mentality here are different. The tastes here, as far as pop goes, are pretty basic. Popularity here would turn into an embarrassment before a Western audience.

A popular Russian group has a zero chance of making it in the West. If, however, it starts out oriented towards the West, there is a possibility. But then there is no way for it to gain recognition in Russia. I tried explaining that but soon understood that I'm wasting my energy and my time. You can't explain anything to a man who has a set a formula inside his head instead of common sense.

Musical Discoveries: What do you think about the state of the music industry in general?

I try not to think about it. I am more interested in music than in industry. There are too many managers who make all sorts of important decisions as to who needs or doesn't need what music. Too often you see people who think in stereotypes. Even in, especially in, the music business. But the rules of the game are quickly changing, and this kind of thinking will not get you far.

Musical Discoveries: Do you believe in digital music?

I think it can shorten the distance between the artist and the audience. Many will lose their jobs but people will get easy access to truly new and interesting music.

Musical Discoveries: Will your label iGram Music be the home of just one artist, or do you plan on expanding?

Not for one artist, not likely. I dont plan on offering a long list of them either. Ive always liked small but successful record labels with something like five artists, if they're the right five. The more artists, the harder it is to work individually with each one of them. I think that 5-7 good projects is the top iGram can handle. Besides, a truly good project is such a rare find.

Musical Discoveries: Has Ariaphonics done any live concerts?

Performing live is a serious business. No. Not yet. Were we a British Pop group we could just take our guitars and go play. But the Ariaphonics concept assumes a lot of visual effects. A lot of time and money will be required. But that is our ultimate goal. Maybe we'll start preparing for live concerts after our second album. I want to do a show at the London planetarium, and make a film about it. Operatic vocals, electronics, lasers, stars and all that. Beautiful!

Musical Discoveries: Where and how do you compose your music?

Most of it in my home studio. I don't use a computer as a matter of principle. Only keys or guitar. I start thinking of arrangements when the music has been already composed. For me music is only melody and harmony. All the rest is framing: important but essentially secondary.

So the song is ready. Then I do my own arrangement. After that I go to the studio and continue, this time with other musicians. They can think of a change that would never occur to me. To replace a chord or something like that. Collective mind works and creates at the studio. Everyone makes a contribution. I like working with different people because each one of them has his own vision.

Musical Discoveries: Why did you turn down the computer during songwriting? Many say that computers' capabilities help them generate new ideas.

It may work for some. Not me. If you are doing electronic music just based on sounds, then the computer will of course help. But I just don't understand what I can do with the computer before I have melody, harmony, and form. Computers are far from perfect. They make you think of too many technical details, thus distracting your mind from music itself. Software, drivers, and such clutter up your mind. You need to figure out your way through all these annoying interfaces. Just gets me mad when a melody comes into my head, I run to the computer, and it makes me wait till it starts, then it loads the software. Then it pesters you about its own problem, then something else happens. By the time it's ready, the idea is gone. Just a tape recorder and instrument. That's all I need for songwriting.

Musical Discoveries: Why do you use Italian rather than English or Russian lyrics?

Two reasons. First, it is a beautiful language. It fits much better than English with opera vocals. When I hear a soprano in English I think show tunes. Not at all what I want. Second, I wanted the album to appeal to the international audience. More than anything else, that requires a flawless performance. There are no opera singers in Russia with really good English. They all sing very well in Italian however.

Musical Discoveries: Your attachment to the 70s music is quite obvious. Are there any modern groups that impress you?

I try not to separate music into periods. Still, I think that music made in the 70s has a much higher level of quality. There are many groups now. Good, bad, terrible, and plain brilliant. But before we had phenomena beyond brilliant. There were what I'll call Acts of God. When you hear this music you feel it could not have been written by man. I am speaking of The Beatles, Pink Floyd, ABBA, Queen.

Musical Discoveries: I've been listening to The Beatles for 20 years, and I enjoy them even more with time.

One music critic wrote that he did not understand people stick with the music of their youth and don't even want to look at the modern scene. All these Beatles, Queens etc. But all these is not at all the music of my youth. I heard it once, and there's been nothing better ever since. Listening brings me great joy, and I don't understand why I should stop. To be praised for my sense of fashion? I don't give a damn. What is important is the joy I personally derive from listening to music.

I know modern music. I listen to all the new releases. And there are groups I admire, such as Air, Zero7, Travis and a number of others. But there are so few of these.

Musical Discoveries: I know that, in addition to music, you are active in hi-tech business. How do you combine these things?

The creative process turns me on. No matter in what area. Any business where I can be creative holds appeal. The type of businessman I could not be is your typical white collar worker, a manager in the corporate system. They are so serious, respectable, and boring that I can't keep from laughing at them.

I like guys like Richard Branson or Steve Jobs, who spit on the rules and conventions and all that business nonsense. They do what they want, not what is expected of them. Business and music combine well as long as you don't take your business too seriously.

Musical Discoveries: Do you plan to issue your second album or will you wait till the first one is a success?

The question is; what is success? Some think it's sales. Of course I'm concerned about sales but in the end success is when I can do what I like. I am not waiting, and I've already started with my second album. I think it will greatly differ from the first.

The second album will have a different sound. There will be much more electronic experimentation. The first album was in the 70s style. The next one will be more current sounding. From the beginning I wrote music for five sound channels.

What's more, I don't want to use the classic repertoire even if it's in a different form. I don't want to do cover versions. The only exception is vocalization of Camille Saint-Sans, which will be the intro to the album. The rest will be all new and original material.

Musical Discoveries: How many Ariaphonics albums are planned?

I don't know. When you have the luck to work without a major record deal you are free to decide these things. Ariaphonics will have as many albums as will make sense artistically. I'll continue for as long as I have something to say in this style. Just don't expect me to make albums only because others expect me to or there is money to be made.