Actress Gabriella Di Grecco, known for playing the villain in Disney’s “O Coro: Sucesso, Aqui Vou Eu”, is opening new paths in her artistic career. In addition to acting, Gabriella recently announced her foray into the world of music composition, bringing her creativity and talent to this new universe as well. With an invitation to join the body of composers at Warner Chappell, one of the main music publishers in the world, the artist enthusiastically embarked on this new opportunity.
Warner Chappell, the songwriting arm of the Warner Music Group, offers Gabriella the chance to collaborate with composers already established in the field, such as the professionals at 48k Estúdio, responsible for producing hits for renowned artists, including Michel Teló and Whindersson. With a musical background influenced by jazz and rock, the artist began to compose for herself, reflecting her aesthetics, tastes and thoughts in her musical creations. Now, as a composer for other artists, she finds herself immersed in a creative process of delving into the minds and universe of different personalities, translating their essences into poetry and sound.
For Gabriella, there are striking similarities between her new journey as a composer and her career in audiovisual. Just as an interpreter needs to let go of himself to give life to characters with their own universes, she now has the opportunity to give life and tell other stories through music. Meanwhile, fans of “O Coro” can look forward to the second season of Miguel Falabella’s work, which has already had its recordings completed and is scheduled to premiere in the second half of this year!
How was the process of transition from actress to music composer?
I see my process as a career expansion, actually. My acting career continues, but this time, with a wider range of possibilities within art. Life has always told me this: “Gabi, you know you can’t be just one thing, right?” and I decided to open myself up to it. It’s beautiful because art complements itself in all its sectors. I have always enjoyed tasting and experimenting in various arenas within art. It is not new that I make music, compose, direct video clips, produce artistic works, etc. However, this year was the moment when I felt comfortable opening these fronts officially in my professional and public life. My biggest inspiration for this was Miguel Falabella. We worked together on O Coro and I was able to observe him up close. It was amazing to see him on set performing the roles of actor, playwright, director and show runner. There I could see that it was possible to be a multipurpose artist and travel through the artistic world with freedom and success.
What are the main musical influences that you bring to your compositions?
My authorial work, which has been developed for some time now, is inspired by many artists. Among them: Djavan, Jacob Collier, Taylor Swift, Marisa Monte, Liniker, Daft Punk, Legião Urbana, Grimes, Aurora, Maria Bethânia and many others. It seems that these influences don’t mix or talk to each other, but that’s the beauty of art and creativity, it’s transmuting what we know into something new. In my sound, I try too hard to bring something new, but with the lull that only feels at home. In the coming months we will know more about this.
What’s it like collaborating with established songwriters at Warner Chappell?
It’s fantastic. I’ve been an actress for almost 10 years and I got excited to compose only in the pandemic. When I came across such talented composers and found myself composing with them for other artists, there was no way I could experience this experience anywhere other than as an apprentice. I am loving learning and collaborating with such talented people in the music world.
Do you feel that your musical background in jazz and rock influences your approach as a composer?
Absolutely. MPB was also a very present genre in my musical education. I was lucky to live and learn closely from people who are legends of the genre. For example, Jane Duboc. She taught me how to LIVE music, whether singing, composing or listening. This was completely reflected in my authorial work. Jazz and MPB, in particular, influenced the way I’ve been composing my arrangements and harmony. I like full sounds, different chords, I really like the feeling that sound is capable of provoking. This is one of the key elements of my musical work.
What are the challenges of getting into the minds and universes of different personalities when composing for other artists?
It’s a job even similar to the work of an actor, who needs to enter the character’s mind and universe to lend his body and bring him to life. In music, life is given through lyrics and melody. I feel that my biggest challenge comes when I’m working with a genre that I’m not very familiar with. For example, some time ago I composed a funk song for an artist for the next carnival. It was a great adventure for me, because I don’t listen to a lot of funk music and I’m not really into going to Carnaval. And that was absolutely fantastic for the creative process. In addition to having the opportunity to learn from this artist about this sound and this culture, on the other hand, I was able to bring many ideas outside the box precisely because I had other references. It’s a wonderful exchange and I’m excited for Carnival to arrive soon! Haha ha!
How would you describe your aesthetic and musical style in the compositions you make for yourself?
It’s hard to describe something that’s still under construction because changes and tweaks are always happening. But I could say that, at the moment, what I’m looking for with my aesthetics are full voices like Jacob Collier, beat like Daft Punk, ethereal atmosphere like Aurora and I can say that in lyrics and poetry Djavan inspires me a lot. This is just a base. Each song has its footprint, it has its message and its value.
What are the main differences and similarities between acting in audiovisual and composing music?
I’ve been acting for almost 10 years and composing for only 3. I don’t know if I could mention all the differences and similarities because I still have a lot to work on in music. However, I think that, in general, in audiovisual there is an orchestration of many people to perform their functions at the same time on set. When the director shouts “Action” there is an entire team working at the same time, live, to make the scene happen. In music it is different, the process involves less people working at the same time. When acting, you need to shield yourself from what happens on the rest of the set and pay attention only to the scene or the actor you are playing. In music, this shielding does not happen in the composition process, on the contrary. You need to be very close to the composers and thinking along with them for the music to come out.
What is it like reconciling your career as a composer with working on the second season of “O Coro”?
Needs a lot of organization when you open several work fronts. Now, for example: I have the fronts of actress, composer, singer and director happening at the same time. Until the end of the year I should open another strand, this time in the theater. It’s a lot of Google Calendar and a lot of discipline to play so many things with quality. It’s hard work, but I love it! Haha ha!
What are your expectations for the release of the second season of “O Coro”?
I’m very excited. Coro is a beautiful and daring project by Disney together with Miguel Falabella. He is a great screenwriter and playwright. In season two, what we can expect is a big surprise coming from my character Nora. And of course, more pearls of our national music for the new generations and for foreign fans to get to know and for those who already know it, to be very emotional!
What are your future plans and goals as a songwriter and artist?
I’m closing an important partnership for my authorial music project to flourish in the coming months. In this project I’m acting and leading several fronts: composing, singing, directing, acting and producing. It’s been a delight to do this so completely and holistically and with people by my side who believe in this work. I’m also starting to move things around inside the theater. I miss the stages. So I’m working on returning to the stage.
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