Laura Pausini: The Life Story Behind Italy's Beloved Voice

Laura Pausini was nineteen when La solitudine won Sanremo, and the win is still the centre of her story, the moment against which every other moment is measured. She was born on 16 May 1974 in Solarolo, a small town in the province of Ravenna, in Emilia-Romagna, and she grew up singing in piano bars with her father, Fabrizio, a piano bar singer, in a family where music was a job, a life, and a love, and she learned, young, that a song is a story, and that the story must be true. She entered Sanremo in 1993, she sang La solitudine, a song about loneliness, about a girl whose boyfriend leaves, and she won the newcomers’ section, and the win changed her life, because Sanremo is the festival that makes Italian singers famous, and a win at Sanremo, even in the newcomers’ section, is a ticket to a career. The career that followed made her one of the most famous Italian singers in the world, a woman whose records sold in the tens of millions, whose songs, La solitudine, Strani amori, Vivimi, are known in Italy, in Spain, in Latin America, and whose voice is, for millions of listeners, the sound of Italian pop itself, a voice that is powerful, that is emotional, and that is, in the end, unmistakable.

Solarolo, 1974: A Childhood in Piano Bars

Laura Pausini was born in Solarolo in 1974, when Italy was a country of music, of festivals, of a pop that was commercial, and when a girl from a small town in Emilia-Romagna could dream of being a singer without leaving home, because her father was a singer, because the piano bars were her school, and because the music was in the house. Her father, Fabrizio Pausini, sang in piano bars, and Laura grew up with him, singing along, learning songs, learning how to hold a microphone, how to talk to an audience, and how to make people listen, and the learning is the foundation: Pausini did not learn to sing in a conservatory, she learned in a piano bar, in front of a small audience, night after night, and the small audience taught her more than a school could, because a small audience is honest, it listens, it applauds, or it does not, and the singer learns, quickly, what works, and what does not.

The Solarolo childhood matters, because it gave Pausini a sense of being ordinary, of being from a small town, not from a city, and the ordinariness is the foundation of her songs, which are about ordinary people, about love, about loss, about a girl who is lonely, and who sings about it, and the audience believes her, because she is ordinary, because she is like them, and because she sings about what they feel. The town is the anchor, the place she comes from, and the anchor holds, even when the fame pulls hard, even when she is in Madrid, in Mexico City, in Miami, and the audience that knows her best knows that she is still the girl from Solarolo who sang in piano bars with her father.

Sanremo 1993: La solitudine

The breakthrough came in 1993, at the Sanremo Music Festival, when Pausini, at nineteen, performed La solitudine, loneliness, a song about a girl whose boyfriend, Marco, leaves, and who is alone, and who sings about it, and she won the newcomers’ section, and the win changed her life, because Sanremo is the festival that makes Italian singers famous, and a win at Sanremo is a ticket to a career, to a record deal, to radio, to television, and Pausini took the ticket, and she used it, and the using is the career. The song is simple, it is honest, it is about a feeling that every teenager knows, loneliness, and the honesty is the reason it worked: the audience heard a nineteen-year-old girl singing about being alone, and believed her, because she was nineteen, because she was alone, in a way, on a big stage, in front of millions, and the believing is the performance.

La solitudine matters because it is a song that is still played, still loved, still sung by audiences who know every word, in Italian and in Spanish, and the knowing is the legacy: a first song that becomes a classic is a rare thing, and Pausini’s first song is a classic, because it is honest, because it is about a feeling that does not age, and because the voice, even at nineteen, was already powerful, already emotional, already unmistakable. The debut album, Laura Pausini, released in 1993, included La solitudine, and it was a success, in Italy and in Spain, and it gave Pausini a career, and the career began, not with a failure, but with a win, and the win is the foundation of everything that came after.

Strani amori and the Spanish Career

Pausini followed La solitudine with Strani amori, strange loves, performed at Sanremo in 1994, a song that came third in the festival, and that became one of her most famous, a song about loves that are strange, that do not work, that are difficult, and the song is the story of Pausini’s early career: a young woman who sings about love, about the difficulty of love, and who does it with a voice that is powerful, that is emotional, and that the audience believes, because she is young, because she is in love, in a way, with the idea of love, and the believing is the performance. The album Laura, released in 1994, included Strani amori, and it was a success, and it proved that La solitudine was not a one-off, that Pausini could make a second album, and that the career was not a moment but a life.

The Spanish career began early, because Pausini recorded Spanish versions of her albums, she sang La soledad, the Spanish version of La solitudine, and Amores extraños, the Spanish version of Strani amori, and the Spanish audience loved her, because she sang in their language, because she respected them, and because her voice, in Spanish, is as powerful as in Italian. The Spanish albums sold millions, in Spain and in Latin America, and Pausini became a star in the Spanish-speaking world, a woman whose name was known in Madrid, in Mexico City, in Buenos Aires, and the knowing is the fame, a fame that is bilingual, that is Italian and Spanish, and that is, in the end, the reason she is one of the most famous Italian singers in the world, because her music travels, it crosses borders, it speaks two languages, and the speaking is the gift.

Le cose che vivi, La mia risposta and the 1990s

Pausini released Le cose che vivi in 1996, an album that includes songs that are personal, that are about her life, about her loves, and the album was a success, and it proved that she could make a third album, and that the career was growing, not shrinking. She followed it with La mia risposta in 1998, an album that includes Un’emergenza d’amore, and the album was a success, and it showed a woman who was now a star, who was confident, who was experimenting, and who was willing to take her music in new directions, towards pop, towards rock, towards a sound that was more mature, more complex, and more personal. The 1990s were Pausini’s decade of learning, of touring, of becoming a performer, and she learned how to hold a stage, how to sing live, how to connect with an audience, and the learning shows in her later work, because the woman who won a Grammy in 2006 is the woman who learned on the road, in small venues, in front of audiences who did not yet know her name.

The 1990s albums matter because they show a career that is building, album by album, song by song, and the building is the foundation of the 2000s, when Pausini became a global star. She was not an overnight success; she was a slow success, a woman who won Sanremo, who made albums, who toured, and who grew, year by year, into one of the most important singers in Italy, and the growing is the story, a story of patience, of work, and of a voice that got better, year after year, because the singer kept singing, kept writing, and kept learning.

Tra te e il mare, From the Inside and the English Album

In 2000 Pausini released Tra te e il mare, an album that includes the title track, a song about love, about the sea, about a woman who is between a man and the sea, and the album was a success, and it proved that Pausini, in her mid-twenties, was still making great albums, still writing great songs, and still, at twenty-six, one of the best in Italian music. In 2002 she released From the Inside, an English-language album, an attempt to break into the American market, a record that includes Surrender, a song that was a hit on American dance charts, and the album was a risk, a woman who sings in Italian and Spanish trying to sing in English, and the risk did not fully pay off, the album was not a huge success in America, but it showed Pausini’s ambition, her willingness to try, to sing in a third language, and to trust that her voice, in any language, is powerful enough, and the trust is the point, even when the market does not agree.

The English album matters because it shows Pausini’s courage, her willingness to fail, to try something new, and to learn from it, and the learning is the foundation of her later work, because she returned to Italian and Spanish, to the languages where she is strongest, and she made better albums, because she knew, now, where she belonged, and the belonging is the point: a singer who knows her language, who knows her audience, is a singer who will last, and Pausini has lasted, for thirty years, because she knows where she belongs, in Italian, in Spanish, and in the hearts of her audience.

Resta in ascolto and the Grammy

In 2004 Pausini released Resta in ascolto, an album that includes the title track, and Vivimi, and the album was a success, and its Spanish version, Escucha, won the Grammy Award for Best Latin Pop Album in 2006, the first Grammy for an Italian woman, and the award is the proof that Pausini is not just an Italian star, but a global star, a woman whose music is recognised by the American recording industry, and whose voice is, for the Grammy voters, one of the best in Latin pop. The Grammy matters because it is official, it is the American music world’s way of saying that Pausini is great, and the saying is deserved, because the album is great, because the voice is great, and because the career is great, and the greatness is the reason the award came, after more than ten years of work, and the ten years are the proof that the award was earned, not given.

The album also shows Pausini’s maturity: she is now in her thirties, she is writing songs that are more personal, more reflective, and more adult, and the adult is the point, because a singer who grows up, who writes about her life, about her loves, about her family, is a singer who will be listened to for decades, because the audience grows up with her, and the growing together is the foundation of a long career. The Grammy is not the end of the story; it is a chapter, a recognition, and the recognition is the reason Pausini kept going, kept writing, kept singing, and the keeping going is the career.

Io canto, Primavera in anticipo and the Duets

In 2006 Pausini released Io canto, an album of covers, songs by other Italian artists, that she sings in her own way, and the album was a success, and it proved that Pausini could take someone else’s song, and make it hers, with her voice, with her emotion, and the making hers is the talent: a great singer does not just sing, she interprets, and Pausini interprets, she takes a song, she lives it, and she gives it back, changed, and the changing is the art. In 2008 she released Primavera in anticipo, an album that includes a duet with James Blunt, Primavera in anticipo (It Is My Song), a song that became a hit, and that showed that Pausini could work with an English singer, and hold her own, singing in Italian, while he sings in English, and the two voices together are the song, and the song is the hit.

The duets matter because they show Pausini’s generosity, her willingness to share the stage, to sing with a man, and to let him shine, and the generosity is the mark of a professional, a woman who knows that a duet works when both artists are themselves, and Pausini is herself, in Italian, and James Blunt is himself, in English, and the two together are the song, and the song is the hit. The albums of the 2000s are a time of maturity, of a woman who is now a star, who is confident, who is experimenting, and who is willing to take her music in new directions, and the experimenting is the point, because a singer who does not experiment will fade, and Pausini has not faded, she has grown.

Io sì, the Golden Globe and the Oscar Nomination

In 2020 Pausini recorded Io sì, released in English as Seen, a song for the film The Life Ahead, known in Italian as La vita davanti a sé, starring Sophia Loren, and the song won the Golden Globe for Best Original Song, and was nominated for the Academy Award for Best Original Song, and the award is the proof that Pausini, at forty-six, was still making great music, still singing with a voice that is powerful, that is emotional, and that is, in the end, unmistakable. The song is about being seen, about a person who wants to be recognised, and Pausini sings it with a honesty, a warmth, that makes the audience believe it, because she has spent thirty years wanting to be seen, as a singer, as a woman, as an artist, and the wanting is the song, and the song is the reason it won, because the audience hears the truth in it, and the truth is the power.

Io sì matters because it is a song for a film, a song that is not on an album, but that is a statement, a woman who sings for Sophia Loren, for a legend, and who holds her own, and the holding is the proof of her status: Pausini is now a legend herself, a woman whose voice is trusted to carry a film, to give it emotion, and the trust is the award, even before the Golden Globe, even before the Oscar nomination. The song is now part of her legacy, a song that will be remembered, that will be played, and that will be sung, because it is true, because it is about being seen, and because everyone wants to be seen.

La Voz and the Coach

Pausini has been a coach on La Voz, the Spanish and Mexican versions of The Voice, and the role shows a different side of her: a mentor, a woman who listens to young singers, who advises them, who helps them, and who does it with a warmth, a honesty, and a humour that the audience loves. The coaching matters because it shows Pausini as a teacher, a woman who has learned her craft over thirty years, and who is willing to share what she has learned, and the sharing is the point: a great artist is not just a singer, she is a mentor, and Pausini is both. The young singers who work with her learn about singing, about performance, about the business, and they learn it from a woman who has done it all, who has won Sanremo, who has won a Grammy, who has been nominated for an Oscar, and who knows the difference between fame and work.

The television work also shows Pausini’s popularity: she is a familiar face in Spain and in Mexico, a woman the audience trusts, and the trust is the foundation of her career, because the audience that trusts her as a coach will also trust her as a singer, and will buy her albums, will go to her concerts, and will sing along. The coach is not a separate thing from the artist; it is the artist, grown older, grown wiser, and willing to give back, and the giving back is the mark of a woman who knows that her career is not just hers, but part of a larger story, the story of Italian and Latin music, and that the story continues through the young singers she teaches.

The Tours and the Stadiums

Pausini’s tours are a central part of her career, and they show a performer who loves the stage, who loves the audience, and who knows how to hold a stadium. She has toured the world many times, playing arenas in Milan, in Rome, in Madrid, in Mexico City, in Buenos Aires, in Miami, and the audiences are large, they are passionate, they sing along in Italian and in Spanish, and they know every word, of La solitudine, of Strani amori, of Vivimi, and the singing back is the point, because a singer’s songs belong to the audience as much as to the singer. The show is intimate, even in a stadium: Pausini sings, she talks to the audience, she tells stories, and the audience listens, because the stories are true, because the songs are true, and because the woman who sings them is true.

The touring matters because it is where Pausini earns her living now, and where she has always earned it, even when the albums were selling millions. A singer who tours is a working musician, a woman who shows up, who sings live, who gives the audience its money’s worth, and Pausini does that, night after night, year after year, and the consistency is the mark of a professional. The tours also show her stamina: she is in her early fifties, she has been touring for thirty years, and she still performs with the energy of a young woman, still sings, still moves, and the energy is not an act, it is the joy of performing, and the audience can feel the joy, and it responds to it.

Family, Paolo Carta and the Daughter

Pausini has been in a relationship with Paolo Carta, a guitarist and producer, since 2005, and the couple have a daughter, Paola, born in 2013, and Pausini has spoken about motherhood with a warmth that is genuine, about the joy of being a mother, about the way her daughter has changed her view of her work, and about the importance of being present, and the honesty is refreshing, because a singer who talks about motherhood as a job, as a responsibility, is a woman who has grown up, and Pausini has grown up, from the nineteen-year-old who won Sanremo to the fifty-one-year-old mother who still sings, still tours, and still, at fifty-one, is a star. She keeps her private life private, she does not share it on social media in detail, and she lets the work speak, and the choice is a statement: the artist is not the gossip, and the gossip is not the art.

The family matters because it is the anchor, the place Pausini returns to after the touring, after the stadiums, after the fame, and the anchor holds. She has spoken about her father, Fabrizio, about the piano bars, about the importance of home, and about the need to protect her daughter from the public eye. The family is the source of her songs, too: many of her best songs are about love, about family, about the things that matter, and the songs are true because the life is true, and the truth is the reason the audience believes them.

The Voice and the Place in Italian Music

Pausini’s voice is the key to her career: it is powerful, it is emotional, it is warm, and it is immediately recognisable, and it is a voice that can sing a ballad, a pop song, a rock song, and make each one sound like Pausini. The voice is not a trained opera voice; it is a piano-bar voice, a voice that learned in front of a small audience, and the learning is the point, because the audience hears a woman who sings like them, who feels like them, and who is, in the end, one of them. The audience hears the voice and knows, at once, that this is Laura Pausini, and that there is no one else who sounds like her, and the recognition is the foundation of a career that has lasted thirty years.

The voice is the legacy: Pausini has a voice that is now part of Italian culture, a voice that is sung at weddings, at funerals, at parties, a voice that the audience knows by heart, and the knowing is the achievement. She has shown that an Italian singer can sell tens of millions of records, can fill stadiums around the world, can sing in Italian and Spanish, can win a Grammy, can be nominated for an Oscar, and can do it for thirty years, and the showing is the achievement. The title, one of the most beloved Italian singers, is earned, and it is earned by the work, by the albums, by the tours, by the songs that the audience knows by heart.

The Legacy of La solitudine and Io sì

The legacy of Pausini’s career is La solitudine and Io sì, a first song and a film song, that are now part of Italian culture, that are sung by millions, that are known by heart, and that will be sung for generations. The audience that listens to La solitudine now still believes in it, still feels the loneliness, still understands the girl who sings it, and the believing is the legacy, and it will last. The audience that listens to Io sì still feels the desire to be seen, still understands the woman who sings it, and the understanding is the legacy, and it will last, because great songs do not fade, they grow, and Pausini’s songs have grown, year after year, into the classics they are.

My Take:

The first thing to say about Laura Pausini is that she learned to sing in a piano bar, and the piano bar is the foundation. She grew up singing with her father, Fabrizio, in front of a small audience, night after night, and the small audience taught her more than a school could, because a small audience is honest, it listens, it applauds, or it does not, and the singer learns, quickly, what works, and what does not. The learning is visible in her performances, in the way she talks to the audience, in the way she holds a microphone, in the way she makes a stadium feel like a piano bar, and the feeling is the point: Pausini does not perform for an audience, she sings to it, and the singing to, not for, is the difference between a star and a singer, and Pausini is a singer.

The second thing is La solitudine, and the loneliness. The song, performed at Sanremo in 1993, is about a girl whose boyfriend leaves, and who is alone, and Pausini, at nineteen, sang it with a honesty that made the audience believe her, because she was nineteen, because she was alone, in a way, on a big stage, in front of millions. The song is still played, still loved, still sung by audiences who know every word, in Italian and in Spanish, and the knowing is the legacy: a first song that becomes a classic is a rare thing, and Pausini’s first song is a classic, because it is about a feeling that does not age, loneliness, and because the voice, even at nineteen, was already powerful, already emotional, already unmistakable.

The third thing is the voice, and how powerful it is. Pausini’s voice is powerful, it is emotional, it is warm, and it is immediately recognisable, and it is a voice that can sing a ballad, a pop song, a rock song, and make each one sound like Pausini. The voice is the instrument, and Pausini plays it well, and the audience hears it and knows, at once, that this is Laura Pausini, and that there is no one else who sounds like her. The voice is not a trained opera voice; it is a piano-bar voice, a voice that learned in front of a small audience, and the learning is the point, because the audience hears a woman who sings like them, who feels like them, and who is, in the end, one of them.

The fourth thing is the Spanish career, and how important it is. Pausini recorded Spanish versions of her albums, she sang La soledad, Amores extraños, and the Spanish audience loved her, because she sang in their language, because she respected them, and because her voice, in Spanish, is as powerful as in Italian. The Spanish albums sold millions, in Spain and in Latin America, and Pausini became a star in the Spanish-speaking world, a woman whose name was known in Madrid, in Mexico City, in Buenos Aires, and the knowing is the fame, a fame that is bilingual, that is Italian and Spanish, and that is, in the end, the reason she is one of the most famous Italian singers in the world, because her music travels, it crosses borders, it speaks two languages, and the speaking is the gift.

The fifth thing is the Grammy, and what it meant. Pausini won the Grammy for Best Latin Pop Album in 2006, for Escucha, the Spanish version of Resta in ascolto, the first Grammy for an Italian woman, and the award is the proof that she is not just an Italian star, but a global star, a woman whose music is recognised by the American recording industry. The Grammy matters because it is official, it is the American music world’s way of saying that Pausini is great, and the saying is deserved, because the album is great, because the voice is great, and because the career is great, and the greatness is the reason the award came, after more than ten years of work, and the ten years are the proof that the award was earned, not given.

The sixth thing is Io sì, and the Golden Globe. Pausini recorded Io sì for the film The Life Ahead, starring Sophia Loren, and the song won the Golden Globe for Best Original Song, and was nominated for the Academy Award, and the award is the proof that Pausini, at forty-six, was still making great music, still singing with a voice that is powerful, that is emotional, and that is unmistakable. The song is about being seen, about a person who wants to be recognised, and Pausini sings it with a honesty that makes the audience believe it, because she has spent thirty years wanting to be seen, as a singer, as a woman, as an artist, and the wanting is the song, and the song is the reason it won.

The seventh thing is the English album, and the courage to fail. Pausini released From the Inside in 2002, an English-language album, an attempt to break into the American market, and the album was not a huge success, and the not succeeding is the point: Pausini tried, she sang in a third language, she trusted that her voice, in any language, is powerful enough, and the trust is the mark of an artist who is willing to fail, to try something new, and to learn from it. The learning is the foundation of her later work, because she returned to Italian and Spanish, to the languages where she is strongest, and she made better albums, because she knew, now, where she belonged, and the belonging is the point.

The eighth thing is La Voz, and the mentor. Pausini has been a coach on La Voz, and the role shows a different side of her: a mentor, a woman who listens to young singers, who advises them, who helps them, and who does it with a warmth and a honesty that the audience loves. The coaching matters because it shows Pausini as a teacher, a woman who has learned her craft over thirty years, and who is willing to share what she has learned, and the sharing is the point: a great artist is not just a singer, she is a mentor, and Pausini is both. The young singers who work with her learn about singing, about performance, about the business, and they learn it from a woman who has done it all.

The ninth thing is the tours, and the stadiums. Pausini’s concerts are intimate, even in a stadium: she sings, she talks to the audience, she tells stories, and the audience listens, because the stories are true, because the songs are true. The live show matters because it proves that Pausini is a performer, not just a recording artist, a woman who can hold a stadium with her voice, and who can make a large audience feel as if she is singing to them alone. The performance is the proof of the training, of the years of touring, of the discipline, and the audience that sees her live knows that it is watching a real singer, not a studio creation, and the knowing is the reason the audience keeps coming back.

The tenth thing is the motherhood, and the daughter. Pausini has a daughter, Paola, born in 2013, and she has spoken about motherhood with a warmth that is genuine, about the joy of being a mother, about the way her daughter has changed her view of her work, and about the importance of being present. The honesty is refreshing, because a singer who talks about motherhood as a job, as a responsibility, is a woman who has grown up, and Pausini has grown up, from the nineteen-year-old who won Sanremo to the fifty-one-year-old mother who still sings, still tours, and still, at fifty-one, is a star. The family is the anchor, the place she returns to after the touring, and the anchor holds, and the holding is the reason the songs are true.

The eleventh thing is the Solarolo identity, and how it survives. Pausini is from Solarolo, a small town in Emilia-Romagna, and she has kept that identity even as she became a global star, even as she lived in Milan, even as she toured the world. The identity matters, because it gives her a home, a place that is hers, and the home is the anchor. The global fame could have made her a citizen of nowhere, a woman who belongs to the internet, but she belongs to Solarolo, to the piano bars, to her father, and the belonging is the point. The audience in Solarolo claims her, and the audience abroad claims her, and both claims are true.

The twelfth thing is the longevity, and how rare it is. Pausini has had hits in four decades, in the 1990s, the 2000s, the 2010s and the 2020s, and the longevity is the achievement, because pop music is a young person’s business, and a singer who is still making great music at fifty-one is a rare thing. The longevity is not an accident; it is the result of work, of touring, of writing, of singing in two languages, and of knowing when to sing in Italian and when to sing in Spanish. The girl from Solarolo who won Sanremo in 1993 is still making music in 2023, and the music is still good, and the audience is still listening, and the listening is the proof.

The thirteenth thing is the influence, and how it is already visible. Young Italian singers cite Pausini as an influence, young women see that a girl from a small town can become a global star, can win a Grammy, can be nominated for an Oscar, and the seeing is the influence. The influence is not a matter of copying; it is a matter of permission, of Pausini giving other artists permission to sing in Italian, to sing in Spanish, to be themselves, and to be honest. The permission is the gift, and it is a gift that will last longer than any single song, because it changes what other artists believe is possible.

The fourteenth thing is the future, and what it might hold. Pausini is in her early fifties, she has released Anime parallele in 2023, she still tours, she still sings, and she has the freedom to choose, and the choices she has made suggest that she will keep singing, keep touring, and keep building a career that is hers. The audience should expect more albums, more songs, more of the honesty and the warmth that have marked her career, and the expectation is a happy one, because Pausini has earned it. The girl from Solarolo who sang in piano bars became one of the most beloved Italian singers in the world, and the becoming is not over.

The fifteenth thing is the emotion, and how it carries the songs. Pausini’s best songs, La solitudine, Strani amori, Vivimi, Io sì, are emotional songs, songs about love, about loss, about being seen, and the emotion is real, it is not performed, it is felt, and the audience feels it too. The emotion is the key to the longevity: a singer who sings with emotion will be listened to for decades, because the audience returns to the emotion, to the feeling, and the feeling does not age. Pausini sings with emotion, and the emotion is the reason the songs last, and the reason the audience keeps coming back.

The sixteenth thing is the legacy, and what it will be. Pausini’s legacy is La solitudine and Io sì, a first song and a film song, that are now part of Italian culture, that are sung by millions, and that will be sung for generations. The legacy is not just the records; it is the proof that an Italian singer can be a global star, that a girl from Solarolo can become the voice of a generation, and that the work, done patiently, is the way. The audience that listens to La solitudine now still believes in it, still feels the loneliness, and the believing is the legacy, and it will last.

The seventeenth thing, and the last, is the lesson. Pausini’s career says that a girl from a small town can become one of the most beloved singers in the world, that a singer who learns in a piano bar can win a Grammy, and that the work, done patiently over decades, is the way. She sang with her father, she won Sanremo, she made albums in Italian and Spanish, she won a Grammy, she was nominated for an Oscar, and she never stopped, and the never stopping is the point. The lesson is not that talent will always be recognised, but that the work, done with honesty and with a voice that is yours, is its own reward, and that the reward, when it comes, is deserved. Pausini’s reward has come, in the form of a Grammy, of a Golden Globe, of a global audience, and the audience that listens to her now knows that it is listening to a great singer, and that the greatness was earned, in Solarolo, in Sanremo, and in every piano bar where she learned to sing.

Frequently Asked Questions

What was Laura Pausini’s breakthrough song?

La solitudine, performed at the Sanremo Music Festival in 1993, won the newcomers’ section when she was nineteen, and it became a classic in Italian and in Spanish as La soledad.

Where was Laura Pausini born?

She was born on 16 May 1974 in Solarolo, a small town in the province of Ravenna in Emilia-Romagna, Italy, and she grew up singing in piano bars with her father Fabrizio.

What Grammy did Laura Pausini win?

She won the Grammy Award for Best Latin Pop Album in 2006 for Escucha, the Spanish version of Resta in ascolto, the first Grammy for an Italian woman.

What is Io sì by Laura Pausini?

Io sì, released in English as Seen, is a song Pausini recorded for the film The Life Ahead, starring Sophia Loren, which won the Golden Globe for Best Original Song and was nominated for an Academy Award.

What is Laura Pausini’s most famous song in Spanish?

La soledad, the Spanish version of La solitudine, and Amores extraños, the Spanish version of Strani amori, made her a star in Spain and Latin America, where she records Spanish versions of her albums.

Who is Laura Pausini’s partner?

She has been in a relationship with Paolo Carta, a guitarist and producer, since 2005, and they have a daughter, Paola, born in 2013. She keeps her family life private.