Carmen Consoli
Stato di Necessità

THE REVIEW

With "Stato di necessità," Carmen Consoli becomes known to the "general public," thanks also to the success of "L’ultimo bacio," the soundtrack of the namesake and wildly popular film by Gabriele Muccino. In 2000, the track indeed skyrocketed to the top of the Italian charts and succeeded in imprinting the name of the "cantantessa" even on the minds of the most skeptical. One might erroneously think that it was "L’ultimo bacio" that laboriously carried an album of which it was the only decent track. That is not the case.

The album is perhaps the most beautiful work by the singer-songwriter, demonstrating the "maturation" that occurred compared to "Mediamente isterica" from two years earlier: Carmen distances herself slightly from that aggressive style and arrives at a more reflective and calmer attitude, though equally provocative (Bambina impertinente, Stato di necessità, Il sultano), always expressing her ideas in a refined and elegant way, the result of a labor limae not seen for some time.

The complete abandonment to another person in "Parole di burro" crashes against the resentment and hatred of "Amado señor;" "In bianco e nero" forms a section of its own and describes the relationship with the mother in a melody that could hardly be unappreciated; crises in emotional interests are evident in the beautiful "L’epilogo" and in the closing track "Non volermi male," strengthened by a breath-taking piano intro. Tears come with "Orfeo," where the poor Eurydice calls her lover to help her, but she is unaware that he will not succeed (and this is what is most heartbreaking).

The result is a mélange of emotions that engage and transport the listener to a world made of pure feelings, penetrating the brain until reaching the still beautiful rough version of "Orfeo," which finally closes the album. It is probably one of the few consolations of Italian music.