With the group Igor Orozovič & Co. the first concerts await him. Already on April 13 and 14, he will perform at La Fabrice in Prague, with the first sold-out performance. Cabaret Des Péchés will visit the Mír Theater in Ostrava on April 20 and perform on May 26. He released his debut single, Earrings, yesterday.
Why did you decide to enter the world of music as a soloist?
I always wanted to try. I waited for the moment when it would work and when I would mature. Before, I wanted pure songs, but it was clear to me that a 20-year-old boy couldn’t sing them. Plus, there was a time when the song was too much. By the time the lyric Kudykam was released, it peaked, but at the same time the genre in our country may have become a bit outdated and exhausted.
Many people love Hana Hegerová and French songs, but at the same time the very word is a bit dusty in our country. It is difficult to follow them in a new form that would not simply copy. Now I feel that there are good circumstances. I would like to bring the modern song on stage, songs based on lyrics.
I would like the lyrics to be firmly linked to the music, so that they are inseparable. When I sometimes take a taxi and hear mainstream songs on the radio, I hear beautiful lyrics, for example, but music is universal and anything can be put on it. I would like to avoid that. The music should convey information and emotions as strongly as the text.
But you have already composed a lot of songs…
When I was composing for someone else, I mean our Cabaret Calembour, I had an external mission that I could stick to. It was liberating, I just wrote the song that I had imagined in advance. But when I write for myself, I want sincerity, perfection and originality. It’s hell because the text cliches and folk tunes come out of me at first.
I think I’m a very sensitive person. But I am not a geyser of rosy romantic emotions. I don’t have the traumatic life experiences that I need to deal with the songs. So, as stupid as it sounds, I don’t have the overpressure I need to cry in the songs. So I look for topics and topics around me and I see and feel a million of them.
Apart from a lot of stories, of course, I don’t run away from the theme of love, and in perhaps very correct times today, I want to sing in their own way about the beauty of women and the eroticism. Also, there is a time when even these internally painful things are likely to increase. I discovered that about four of my songs are about man and his relationship with nature. This is quite a painful subject for me.
I’m also trying to dig into a new way of writing. After thirteen years composing for Cabaret Calembour, for which I did my best, it is not easy to find inspiration.
Igor Orozovič released the song Náušnice.
Photo: Supraphon/Adam Vacula
Has there ever been a variant in your life where you only focus on music?
If some other trigger arose than just the desire to do it, it could happen. But he didn’t come. I went to elementary art school to play the piano with the wonderful teacher Čapková and was brought up to play music. But I was already making up songs. When I left high school, I studied musical theater for a while. I wanted to know if I liked dancing, singing or acting more. I wrote original stuff and I also wrote a little musical.
At DAMU, my classmate was Tomáš Klus, who still played his songs. He’s been through a lot, but unfortunately I’m the kind of person who, when he sees there’s someone really good in his field, doesn’t cram into him. And Tomas is good.
Have you ever told him about your music?
We recently shot the movie Birthday Wishes together and we talked a bit about it. Not before.
Do you remember when you wrote the first song?
I loved my kindergarten teacher and recorded a piano song on his tape, banging on the bass. It was called The Funeral of Paul V, but I don’t know why. Perhaps to make the name at least pompous.
When did you discover your love for singing?
I certainly sucked it mostly at home. Among other things, Hegerka, Osvobozené divadlo, Suchý and Šlitr performed in our country. Also, the style of Hapka and Karel Svoboda, epic and energetic melodies on the piano, always resonated with me. When I saw the Dracula musical, I was crazy. I considered it a perfect job and I was there several times.
I listened to French songs from the gymnasium, I learned French on them. And at the conservatory, I struggled with the range and technique of singing, and Professor Klezla had the idea that there might be a song along the way, which is more about playing than singing.
But Jaromír Nohavica also influenced me quite fundamentally. Its combination of music and text is brilliant. Every time I broke up with a girl, I was motivated to write a song about it. But Nohavica wrote I still miss you and she’s so perfect that I don’t need or want or have the courage to write about it. Leaving aside the subject of politics, I have great respect for his writing.
Music video of Igor Orozovic earrings
There is a good acting background for the song. Do you already work with her to compose songs?
Not at all. I try to follow the meaning of the text, after its message. As part of a new musical project, I discover what is happening to me. My big topic is that melodies are disappearing from music right now. I see parallel melodies with a simple narration, and that disappears too. It bothers me a bit, but as I compose for my repertoire, I start to understand Nick Cave and Leonard Cohen, who have a lot of perfectly fictional music in their songs, but it’s covered up by a lot of lyrics and emotions that suppress the melody.
Some time ago I met Přemysl Rut, who, among other things, writes books about songwriters. We talked about it and he told me that it was even measurable from sheet music. Where once the notes seemed to dance within them, now they stick more together in the score.
Do you just wanna sing a song?
I would like to avoid the word song because it evokes in people a clear idea of what they are going to hear. These are original songs. Yes, they work a lot with text and some are close to the song. But the concert will not be a one of a kind evening. I wouldn’t enjoy that alone.
We will also have an opera or Bowie bow. Besides Czech, French and Serbian will also be heard. I also want variety in the texts. I’ll take someone else’s text. In my repertoire I set to music the poem Rimbauda, I also set to music a text that I found hanging in a church. This is the story of this building.
Foreign lyrics often inspire me more than mine. I usually combine them with a simple song at first, and when I try to write good music, I can’t get it out of my head. It annoys me terribly.
I have, for example, the song Angel in the Forest. When I was on vacation in Madeira, I saw an angel-shaped spot on a stone in the woods. The text came to mind and I hummed it to a simple song. Then I did the melody for about two weeks and finally came back to the first one. That’s good, even if it’s simple.
Igor Orozovič embarks on a solo career.
Photo: Lucie Leva
Your first solo single is called Earrings. Does the song have a story?
When I was still living in Ostrava, I lent my friend an apartment. He didn’t tell me he was having a girl in it, and I found an earring in bed. I still have it. It seems terribly poetic to me.
Then it happened to me that a girl forgot or lost an earring in the apartment. Note that only one is always sought. Then I found the earrings on the sidewalk and started collecting them. My friend and I wanted to use this motif of a lover who collects earrings in a movie. I don’t know if it will ever premiere, but if it does, at least we have the title track.
By the way, in the clip for the song Earrings, there is a picture of the box I get the earrings from.
What are your plans for the future?
I have the first four shows with my new band. Then we will continue to play and release new songs. It’s a big novelty for me and it’s harder than I thought. But I enjoy it and what interests me the most is whether it will interest and entertain the public. And you know what? Will be!