Image Alt

The Sound of the Voice

The Sound of the Voice

The Sound of the Voice


2019 – color – 65’


Direction: Emanuela Giordano

Screenplay: Tosca, Emanuela Giordano

Cinematography: Stefano Ricco

Editing: Stefano Ricco

Cast: Marisa Monte, Ivano Fossati, Ivan Lins, Luisa Sobral, Lotfi Bouchnak, Cyrille Aimée, Rogê, Alice Caymmi, Mariene De Castro, Aline Calixto, Vincent Segal, Awa Ly, Salim Dada, Evandro Dos Reis, Maria Anadon, Thiago Delegado, Massimo De Lorenzi, Ermanno Dodaro, Giovanna Famulari, Alessia Salvucci

Production: Leave, RaiCinema



The Sound of the Voice is a documentary conceived by Italian singer Tosca and directed by Emanuela Giordano. It follows a journey, a long international tour: Tunis, Algiers, Rio de Janeiro, Brasilia, Sao Paolo, Belo Horizonte, Paris, Lisbon and, lastly, Genoa. In each city there is a concert, a human discovery, an unexpected encounter, a guest who tells us something new about his or her culture, a musical duet that enchants us ever since the first note. The sound of the voice is a quest, an encounter of different ideas and sensitivities united by music, by the desire of experimenting, discovering, marvelling, without being bound by constraints and music market trends. During this journey and on stage, Tosca is joined by: Giovanna Famulari as pianist and cellist, Massimo De Lorenzi as guitarist and Alessia Salvucci as percussionist.


The Sound of the Voice is a documentary ideally inspired by the great lesson of Wim Wenders, by his love for music and travelling. Besides his “Road Trilogy” I refer, of course, to the famous Buena Vista Social Club and Lisbon Story where, by means of popular tunes, we discover cities or towns with different eyes. Wenders advocates a kind of loyal curiosity that does not put aesthetics before ethics, and form before content. Reality is not stilted, watered down or portrayed as if it were more charming than it actually is. True emotion and true epiphany derive from the encounter between different artists and the spark that such encounter can ignite. For this reason, I think it’s right that cameras are so little intrusive, and that the audience almost forget they’re there. We’ll ideally watch the film through the curious and ironic eyes of Tosca, an artist who’s able to put others at ease and endowed with an exceptional musical ear, which enables her to improvise on a tune she has just heard for the first time. The concept is to capture, in each country (culture, city) a particular urge, the feeling of a moment (rebirth, disenchantment, tension, excitement, etc.) but without forcing the hand. We wish we could feel the air we can breathe by “joking” about what we were and what we are now, a joke in which we, the travellers, bring our Italy, and our hosts give us an ounce of intimate (but also ferocious) truth. Without tricks, without posing, using light in a very natural way, choosing spaces that are not the typical “touristy” picture-postcard spots, but houses, courtyards, gardens and fairs where people actually live and, we hope, still sing!”



2019 Alice nella Città