The lyrics - “I have no children/I have no husband/I have no reason/To be alive/Oh, give me one… - foretold a child custody battle after the dissolution of her marriage to Brad Albetta, her former bassist and the father of her sons, Francis and Arcangelo. One such song is “Far Away,” which Wainwright released in 2005 and which, most recently, she has been regularly revisiting on the stage. “Some are like tarot cards… because they predict what is going to happen to me before it even happens.” Wainwright’s memoir clarifies which songs offer clues on how her discography foreshadows her biography. Then, there are those “prediction songs,” she says.
“I had to come to terms with the fact that some of my songs are sleepers,” she admits. This late-to-be-embraced phenomenon is something Wainwright has since grown accustomed to, although, as her book chronicles in detail, it tormented her for years.
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The observation from The Guardian can easily be applied to Wainwright’s songs, such as “BMFA.” Embraced more than a decade after it was recorded, “BMFA” was subsequently rediscovered when it was included in the soundtracks of HBO’s Emmy-winning series Big Little Lies and Netflix’s Orange Is the New Black.
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Also of note is how Wainwright’s six-album, 25-years-plus career has garnered critical praise, same as Magnani’s movie scenes, with reviews like “unbridled” ( The New York Times), “Herculean” ( Toronto Star), “self-empowered” (Pitchfork) and “ahead of her time” ( The Guardian). Wainwright herself recorded a brilliant collection of Piaf songs in 2009 on her all-French album, Sans fusils, ni souliers, à Paris: Martha Wainwright’s Piaf Record.
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The actress was first a singer, and dubbed, in her salad days, the Edith Piaf of Italy, learning how to emote by performing heartbreaking, dark-humoured Roman folk songs à la Piaf. Magnani, like Wainwright, never formally studied her craft. Referencing her connection to the Italian actress isn’t that far off. I never saw myself as Sophia Loren but Anna Magnani,, while still beautiful, isn’t about being an ideal feminine archetype of sexuality. didn’t try to be in control of her emotions or her art. “In movies she was in, like L’Amore, I see myself as very Magnani-like, the way she openly and outwardly shows her franticism and intensity,” Wainwright says. It is also where she first saw, on TV, Anna Magnani’s rage theatrics, subtitles and all.
It’s the birthplace of hundreds of songs written by her and her famous family, which includes her Aunt Anna, her brother, Rufus, and her father, Loudon Wainwright III. She’s speaking from the living room of her home in Montréal - a rambling Victorian house bought some 25 years ago by her late mother, Anna McGarrigle (of the famed sister folk duo Kate & Anna McGarrigle). “I know it’s ridiculous to pair myself up with one of the greatest dramatic actresses in history,” Wainwright says, via Zoom, laughing while trying to explain the context of her text message. Out of the one-liners in her memoir, Stories I Might Regret Telling You, the Canadian-American singer-songwriter Martha Wainwright claims that one particular self-observation speaks volumes: “I’m less Sophia Loren and more Anna Magnani.”
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