2023-09-19 18:01:35
Time.news – On stage for three hours singing over 30 of his most famous hits together with performers, dancerswith a live orchestra, scene changes for each song, lights, lasers, to create a show within a show, a total show that reaches the audience directly: here is “aTuttocuore” by Claudio Baglioni, a somewhat visionary rock opera show, placed between past and future.
The Roman singer-songwriter, at the age of 72, holds the scene like a thirty-year-old, every now and then he also indulges in choreography with the dance troupe, and always sings with that same timbre of voice that made him unique: from the baritone scratch that comes to quasi-soprano. “aTuttocuore” is a show that closes a trilogy opened some time ago, in some ways we would say self-celebratory as it should be for everything that Claudio Baglioni represented and represents in Italian music.
A rock opera show, which isn’t all that much rock, but as the singer-songwriter himself explained during a post-rehearsal press conference late at night, “it’s the context, the energy that is transmitted that makes it think” like an opera show rock. In fact the sounds are various: let’s go from rock, to pop, to swing, some notes of jazz, in the arrangements of his songs. For example, the interpretation of “Notti” with the wind instruments as the absolute protagonists of the piece is all to be seen and listened to.
The show offered on the occasion of “Porta Portese” was beautiful, where on stage it really seems as if there is the famous Roman market, very colourful, cheerful, lively, with all the characters that one happened to meet or still happens today. The performance of “The girls of the East” with dancers and Avatar images is entirely projected towards the future, testifying that everything changes, everything evolves and “the girls of the East – as Baglioni himself explained – are no longer those of before. They weren’t already when I wrote the piece.”
Three hours of concert is a long time, “make yourself comfortable – warned the singer-songwriter before starting the rehearsals – but time passes thanks to the show formula chosen. The most intimate moment is not missing, to leave room for example, for his greatest success of all time: “This little big love” which Baglioni performs alone, on the piano, without an orchestra. There are also medleys of other successes. After all, you can’t sing everything, because the songs that Baglioni wrote are so many: “I composed 350 of them – he explained – up until the second album I got by and managed to do them all, then little by little, we move towards the anthology formula. There are also five songs from the last year in this show. After all, now we’re back to the announcement pieces, as in politics…I’ve always found myself in difficulty with the setlists. When you make shows open to a larger number of people, it’s not just an audience of connoisseurs, so you make anthologies.”
Claudio Baglioni, after a minimalist and intimate period with “Dodici note Solo”, from Thursday 21 September will be at Roma, at the central Foro Italaco with this new show. In Rome he will perform on 21, 22, 23, 28, 29 and 30 September and then go on 6-7-8 October to Veronaon 12-13-14 of the same year Palermo and 20 and 21 a Bari. Then off to the indoor arenas as of January: a Pesaro, Milano, Torino, Padova, Bologna, Firenze, Eboli.
“aTuttocuore” is a project inspired and conceived with Giuliano Peparini who also takes care of the artistic and theatrical direction. The idea is to take up Wagner’s intuition of the total theater and that developed by Walter Gropius of the theater created by remodulating spaces and architecture. “aTuttocuore”, a stage art show, starts in a certain sense from the dawn of time to arrive at futuristic eras with ascents and descents along the scales of time, a red heart that dominates, beats and pulsates to make the spectator understand that the The only real time worth living is according to the beat and rhythm of the heart. The time of now, as Claudio Baglioni sings at the end of the show with his very famous song “La vita è ora”.
They then slide away 38 songs, with songs whose verses are in the imagination and common language of Italians and not only that, they have thrilled and continue to thrill old and new generations. Performers and dancers move to choreographies by Giuliano Peparini and Veronica Peparini which at times seem from the 70s, up to today’s modernity and with movements that recall great works. The costumes deserve a separate applause: there are 550 of them, original and made by Valentina Davoli and Silvia Oliviero and they are truly beautiful. The jackets worn by Baglioni while performing certain songs are unmissable:
“In fact, some – he explained – are from the period of that song. And then they comfort me, they are a uniform, a protection, a mask”. During a concert, we witness the scenographic fusion between cinema and theater, between costumes that also recall films such as “Mad Max” or “Code Genesis”, the staging of a “choir” almost from a Greek tragedy. “There are 101 of us on stage – said Baglioni – and then I’m there too. To be precise, there are 21 members of the orchestra (conducted by Poaolo Gianolio), 80 people including choristers, dancers, performers”. (28 come from the International Academy of Musical).
“aTuttoCuore” closes the trilogy opened by “Al Centro”, continued with “Tutti su” and therefore ends with a show that offers itself “with all its heart” to embrace and involve the public. “What I wanted to do now – explained Peparini – is to propose a new interpretation where all the technical and artistic resources of a great show can be changed on stage. I created the show in such a way that the spectator, from afar, has his eyes full of it With choirs and performers, dancers and videos, I imagined an immersive show.
“It is in a certain sense truly the final chapter of the trilogy – added Baglioni – it brings together the musical part that tries to find other visions, other paths and wants to go beyond the written song. It is also very fun to do a concert like this, I discover many things from rehearsal to rehearsal. Ultimately it is a sort of wonderland, it also marks the return to a pre-adolescent situation that is a pleasure to experience, the show is a game and I think that whoever comes for these three hours decides, chooses, to come and listen to us should be surprised and amazed, amazed by what he sees”. A show which, as Baglioni himself hinted, could be a sort of dress rehearsal to then return to the big stadiums.
“In fact it is – explained the singer-songwriter – we need to rediscover the dimension between stage and audience. Here there is a lot of sweat on stage. We are rehearsing to return to a larger space without losing this dimension of closeness with the audience. It is the result of a great work – commented the singer-songwriter – complex. The spectator must be helped to spend his money well. Covid had closed everything, now there is the great return to live performances, to shows, to the football stadium. spectator perhaps is afraid of having to go back inside, at home. The audience must be guided and we have a responsibility. This is a demanding concert, a total show. There are many languages, many meanings that can be seen in one sense or another. The skill of the poet or director is to make sure that the spectator makes his own interpretation. We don’t have to always do the same thing. When I don’t know what to do – concluded the Roman singer-songwriter – I start doing as I have already done, that is 156 concerts alone. Which is the true basis of my profession, the so-called trade union minimum. But then there is this, that is, the fact that we must not stop: a rock show that can be pop, can be whatever we want. We call it that to distinguish it. Rock works because there is dynamism, energy.”
And there’s a lot of energy coming.
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