We asked a classical music expert to break down Rosalía’s Berghain

Classical musician and broadcaster Linton Stephens unpacks the classical influences and references on Rosalía’s new single.

The epic lead track from her forthcoming album Lux features a rapid-fire violin sequence performed by the London Symphony Orchestra, a dramatic chorus sung by the youth choir Escolania de Montserrat, and Rosalía’s own operatic vocals, sung in German. Drawing on the dramatic strings of Vivaldi and the Italian baroque era, Rosalía adds her own signature experimental pop style, including contributions from Björk and Yves Tumor.

“She drops down the octave and the genres begin to morph from traditional to modern,” says Linton Stephens, who is the host of the Southbank Centre’s new podcast, So, Hear Me Out. “That’s what innovation is all about. The amalgamation of your life and experience to piece together new and original art.”

Here, Stephens discusses the track’s traditional classical elements, Rosalía’s formal training, and the pieces and composers we should explore next.

Which era of classical music do you think Rosalía’s Berghain draws from most strongly?

It instantly transported me to the sound world of Vivaldi’s concerti or the orchestral music of Rameau. The vibrant textures and rhythmic vitality are characteristic of the Italian Baroque.

Are there any particular classical works that Berghain reminds you of? 

The arpeggiated opening reminds me of Vivaldi’s most famous Bassoon Concerto in E Minor, but when the choir enters, it also evokes the grandeur and richness found in Bach’s sacred works – or even Handel’s oratorios, as well as more modern choral music.

Does the track follow or reference any traditional classical forms?

The sound world of the orchestra combined with voices is evocative of a requiem or mass. Rosalía’s solo line is aria-like and moves fluidly from the classical realm into something more stylistically modern, yet it feels entirely natural and never out of place.

For listeners drawn to the classical elements in Berghain, what pieces or composers should they explore next?

Definitely seek out the instrumental works (especially concerti) of Vivaldi. If it’s the choral elements, Carl Orff’s Carmina Burana has moments that offer that same kind of compelling raw emotion of massed voices.

How do you see Rosalía’s formal classical training background shaping her approach to composition and vocal performance on the track?

You can hear that the foundation of this work is rooted in classical traditions and built up from that. What’s unique is how Rosalía then brings in her own style and influence. She drops down the octave, and the genres begin to morph from traditional to modern. That’s what innovation is all about.

Do you think we’re entering a moment where more pop artists are engaging seriously with classical music? In your opinion, what might be driving that trend?

Not necessarily classical music, but live, instrumental and orchestral music, yes. I think it’s a way of adding some robustness and gravitas to live performances and recordings of genres that are generally more pared back. Also, I think with the introduction of AI, instrumental collaboration from the orchestral world reminds us that it’s authentically human-made.