Soula Parassidis is a Greek-Canadian Dramatic Soprano I met through Full Sail’s top resident producer, Darren Schneider. After being introduced to the school, Soula and her husband, operatic tenor Norman Reinhardt asked Darren if he could help them produce a song meant for a film exposing the facts and tragedy of the human trafficking industry.
Darren knew I was both familiar with opera as a classical composer with modern synthesis chops, so invited me to meet Soula to see if something might work out.
Soula was a joy to meet: beaming with brilliance, powered with passion, a quick smile and beautiful. She chose Umberto Giordano’s powerfully dramatic song “La Mamma Morte” [“The killed my mother”] from his opera “Andrea Chénier” rearranged (by me) with modern synthesized sounds as the primary vehicle for awareness. The production had to be modern and traditional at the same time to inspire both opera fans and not.
Why this song? In La Mamma Morte from Andrea Chénier, Maddalena’s grief over her mother’s brutal murder plunges her into despair, a moment of utter devastation where she sees herself as lost, abandoned, and stripped of all hope. Yet, in this abyss, she undergoes a profound transformation—her sorrow ignites a transcendent, almost ecstatic love. Rather than succumbing to self-destruction, she embraces an exalted vision of love that defies death, declaring it as her salvation. This shift, from despondency to an almost megalomaniacal devotion, makes her aria not just a lament, but a testament to love’s power to redeem even the darkest suffering.
It is in that light that I think Soula chose “La Mamma Morte” – to invite the listener/viewer to experience that same transformation of their own hearts from depravity to love for the casualties of sexual trafficking – and at the same time, recognizing that every victim of such horrors would also have to undergo a similar crucible of change to forgive in order to survive into later life.
Working with world-class artists like Soula, Norman, and later Eric Jacobsen in this project is so rewarding. These sessions are not “serious”. They are FUN and amazing to witness. To be among musicians who have attained such one-ness with their instrument, transcendced normal limitations through relentlessly following their hearts’ compass – it’s an honor indeed. Here’s a clip of the session where Soula is effortlessly pouring out high-Bs. You’ll see Darren Schneider at the mixing desk and Norman, Soula’s trusted vocal co-producer husband walking by.
Eric Jacobsen , Orlando Philharmonic’s wonderful music director and cellist and I had worked together on my “Venus and Vulcan” symphony and “Fanfare Orlando” up to this point. Eric is one of those optimistic generous people who, when they enter the room, lifts the spirit of everyone present.
I had been trying to introduce him to Full Sail University for years – and it never quite worked out. After taking on this project I did not want to imitate a cello solo with electronics or samples – only a fine cellist can express such baritone emotions. So, I called – and he accepted! We had no budget for any of this, and he had no problems with that, enjoying playing the part.
Looking back, his good impression of the school led to some fantastic things: Eric told his wife Aoife O’Donovan about his in this session. This led to my introducing her to Darren and things really clicked. Over the next three years, she and Darren created two Grammy winning records “Age of Apathy” and “All My Friends.” This is an example of how things happen in the music business: we network and share resources whenever we can with those we trust and like working with.
What happened with “La Mamma Morte”?
As far as I know, nothing. The movie/ music video/trailer it was to be associated with directed by Stephen Wollwerth never happened – this was during Covid – or if something did, I don’t think it included this music. It’s an emotionally powerful track for anyone who knows its context.
This is the practice track for Soula that does not include the melody or singing. It does include the introductory poem by Soula.
