这是一个成熟又略带羞涩、浪漫又略带以古非今遥英俊王子，这是一个高贵，典雅，时尚的现代绅士，这是一个26岁就传承意大利流行经典情歌的意大利人，一个完美的意大利情人。 　　 　　帕西奥，这位具有意大利血统的异国绅士，天生就遗传了意大利人的那种热情、浪漫的种子。他的歌犹如其人，好比一个浪漫的情人，缓缓道出永恒的爱情宣言。情歌王子帕西奥，用他那近乎经典的魅力，用歌声唱出爱的语言，跨越国度，来到你的身边…… 　　 　　精通六国语言、意大利与波兰混血的Patrizio，6岁和家人迁居维也纳，父亲Franco是把意大利pizza带入维也纳的第一人；他从小在最正统的意大利食物、音乐和五0年代美国电影、电视环境中长大，猫王、保罗安卡、狄恩马丁、汤姆琼斯都是他的偶像，也启蒙了他的表演生涯。 　　 　　2003年Patrizio认识了音乐制作人Christian Seitz，两人前往伦敦最知名的Abbey Road录音室，与皇家爱乐管弦乐团合作。经历18个月，融合传统拿坡里情歌以及五十、六十年代意大利式歌唱传统的[意大利情人]诞生，一发行便登上英国金榜Top 10。首支单曲“Il Mondo”展现超龄熟男魅力，唱出心中满溢的爱；翻唱英国一代抒情歌王汉普汀克的“A Man Without Love”深切道尽寂寞男子心声。 　　 　　专辑同名歌曲“L’Italiano”带你亲身游历、体验意国‘美丽人生’，改编自电影‘教父’的“Parla Piu Piano”轻声诉说心底秘密，“Na Sera E Maggio”则是Patrizio父亲挚爱的拿坡里民谣，俏皮可爱的“Home To Mamma”则对全天下的女性献上最真挚的赞美。 　　 　　Patrizio Buanne is veritably obsessed with the sound and style of the 1950s and '60s. As a child, he won an Elvis impersonation competition when he dressed as a young version of the King, and he grew up listening almost solely to Italian or Italian-inspired music from that same time period. And now, with his debut album, The Italian, he is able to sing many of the songs he loves. Recorded in London with the Royal Philharmonic, The Italian often harks back to the sound of the original recordings, like in Jimmy Fontana's "Il Mondo," Engelbert Humperdinck's "A Man Without Love," or Mario Lanza's "Come Prima," and Buanne sounds good, his baritone blending well with the orchestra. However, Buanne runs into problems when he tries to modernize the classics. While "Parla Più Piano," from The Godfather, starts out nicely, the addition of a dance-like drumbeat sounds corny and forced. Even worse is the cover of Fontana's "Che Sarà," which turns the song into an easy listening radio favorite, culminating in a gospely choral extravaganza, with alternating phrases from the crooning Buanne, who transforms the lines of leaving one's prospectless town (but with the intention of returning) into overly dramatic lovesickness, and the choir, whose sharp interpretation of the normally fluid Italian syllables gives a threatening feel to the piece. The only truly successful of these adaptations is "L'Italiano," which adds a nicely moving piano line, an electric guitar, and a brass section to the already great song, and sounds new but not kitschy. Unfortunately, the same cannot be said of "Home to Mamma," which Buanne helped co-write. It's a bizarre mix of "Funiculi, Funicula," Lou Bega's "Mambo No. 5," and the Italian male's devotion to his mother, and is more confusing than anything else. The same adjective can also be applied to the Italian-language version of Crowded House's "Don't Dream It's Over" (called "Alta Marea" here), or the closer, "Credi in Te," which is reminiscent of both Kermit the Frog's "Rainbow Connection" and Andrea Bocelli. Buanne has a fantastic voice, and his genuine love of the music is apparent, but he needs to stop trying to add so much to the songs, and just sing them how they were meant to be sung.