Carmen Consoli
Terra Ca Nun Senti

“Sam, are we there yet?” Not that this slow descent along the valley of Morgantina on this fiery August evening isn't pleasant—at least here the air is nice. Certainly, it's strange; from my memories in such a place, in the evening a sweatshirt was a must, huh?! However, the magic of a place that has retained the beauty of the times when the Greeks raised sheep here, as they still do today, remains unchanged.

We've had the concert tickets since March. The date is perfect, returning from Salina: Antonello’s arancini and the concert. The time has passed savoring the atmosphere given by the blend of an enchanting place, the Archaeological Park of Morgantina, and live music. And then there's Carmen Consoli!!! We both really like her.

In the ekklesiasterion, the spotlight illuminates Carmen dressed in black and for me, it's no coincidence, not even the cut of the dress. The place and the mise reveal an Electra ready to vivisect “La Madre” with acoustic guitar blows, ethnic flutes, and tambourines. Singing of its decadent beauties, the magnificent past, and the miserable present in an August night of passion and magic.

Although during the concert all the great classics of Carmen Consoli's career were given space—not missing famous songs like “L'ultimo bacio” or “Venere” and “Parole di burro”—as suggested by the title itself (“Terra ca nun senti”), the concert-event was, above all, a narrative in notes of Sicily. So much so that, to her great hits, Consoli alternated her less known texts along with traditional Sicilian songs and songs by artists born in her land, like Franco Battiato and Rosa Balistreri.

Thus, there find space tracks of the 'songwriter' functional to the vivisection of Mother Sicily. A surgical decomposition of Trinacria executed with the skillful use of the “liccasapuni” (sharp Sicilian blade) that, if your name is “Cammela”, you must know how to wield. With the awareness that, just like the killing of Clytemnestra did not restore final order, likewise, the execution of Sicily may only generate further disorder.

It starts providing the “instructions for use” and the concert opens with “Masino”, a Sicilian folk tale about superstition, to immediately clarify how Sicilians like to turn the worst tragedies into laughter, never taking themselves too seriously. Because otherwise, you risk going crazy!

In “Mio zio” the denunciation of violence against women. The malice in “Maria Catena”. But the most precious jewel is “A’ finestra”, fully comprehensible in its subtle nuances of language and pronunciation, only by those who live in Catania and surroundings. Carmen observes the world from her window: a critical and introspective vision of society whose sole purpose is the pursuit of profit. Where the erosion of human relationships generates the consequent need for empathy and understanding.

Among the borrowed songs, a beautiful execution of “Caruna (I pirati a Palermu)”, a flagship of Rosa Balistreri but whose verses are by Ignazio Buttitta. The text narrates the Turkish invasions, but in a broad sense, it is aimed at the annexation of Sicily by the Italian state. Pirates have stolen everything, nothing remains but to cry, Sicily weeps.

For “Rosa canta e cunta” it suffices to quote the verses: “C’è cu t’inganna c’è cu cumanna/e cu ‘n silenziu mutu sinni sta/è lu putiri ca ‘nforza li putenti/è lu silenziu c’ammazza l’innuccenti/grapu li pugna, cuntu li dita/restu cu sugnu scurru la vita”.

And then “Terra ca nun senti”, a land generous with foreigners and stingy with its children. You don't want to live there but can't stay away. There are those who seek revenge in abandonment, those who cannot detach themselves and swallow bitter pills daily. Thus arises the distinction between Sicilians of the rock and the open sea: “those of the rock are those who, if they move away from Sicily, experience strong withdrawal symptoms and must absolutely return. Those of the open sea are those who make their ‘Sicilitude’ a kind of personal heritage and use it to live a different life. They return to Sicily because it is in their heart but choose to project themselves onto another horizon” (from Marcello Sorgi's interview with Camilleri).

The wait of this Sicilian of open sea was rewarded. Siniscalco on bass and double bass, Puccio Panettieri on drums, Adriano Murania on violin and acoustic guitar, and Massimo Roccaforte on guitars and mandolin, who deserves a special mention for the measured and indispensable presence, accompanied Carmen in enhancing the great treasure of Sicilian “world music”.

Returning to the car, the pleasant descent became a strenuous climb. It happens, I only now notice that the brambles and bushes bordering the sidewalk made with EU funds completely invade it for over two kilometers. After all, we are in the peak tourist season in an Archaeological Park recognized as a World Heritage Site by UNESCO. And in the region with the highest number of rangers …

“Chi non dovevi, uccidesti; e ora, quello che non dovresti patire, patisci [...] Io non ho altro premio di questa vittoria che una triste sozzura”

August 11, 2024 - Barbablù Fest in Aidone (EN) - Archaeological Area of Morgantina

Tracklist

• Masino
• Per niente stanca
• Fiori d’arancio
• Il pendio dell’abbandono
• Mio zio
• Le cose di sempre
• Parole di burro
• Pioggia d’aprile
• L’ultimo bacio
• Caruna (I pirati a Palermu)
• Rosa canta e cunta
• Stranizza d’amuri
• Geisha
• Maria Catena
• A’ finestra
• Terra ca nun senti
• Blunotte
• Confusa e felice
• Bonsai #2
• Amore di plastica
• In bianco e nero
• Venere