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Hello guys, I'm back to discuss music for you, trying to revisit an excellent singer like Christian, somewhat forgotten by the general public today.
Officially named Cristiano Rossi, born in Palermo, with a past in the local football team, by the late '70s, Christian seemed poised to become the Italian counterpart of Julio Iglesias, both for their shared roots in the world of football (the Spaniard with Real Madrid), and for their alluring sentimental/romantic repertoire and unabashed Mediterranean charm, which captured the hearts of many women, naturally boosting record sales and radio or television airplay.
In the '80s, Christian was also a regular contender in the Italian song festival, with a certain media allure that made him one of the most well-known faces of popular pop music, comparable to a Cutugno or a Fogli. However, he never had the pleasure of a Sanremo success.
Notable at the time was also his relationship, which resulted in a decade-long marriage and the birth of a son, with the former showgirl and singer Dora Moroni, who was Corrado's partner in the early editions of Domenica In.
In the '90s, however, the general public seemed to have forgotten about Christian, due to a general shift in musical taste towards decidedly less melodic sounds - and the competition within his niche from all-encompassing artists like D'Alessio - although he continued to perform live and produce records with a certain regularity. During these years, Christian's fame persisted in the Latin American and Eastern markets - even in Japan - exponentially increasing the value of his old vinyl records, never reissued on CD.
The album I'm reviewing, released in 2004, marks a grand comeback of Christian in discography, with a suitable mix of old hits and new interpretations.
The Palermitan singer's style stands out in the album tracks for its soothing character, never excessive and often intimate tones, reconnecting with the tradition of the Italian "bel canto," where melody, Mediterranean echoes, and romanticism blend into a prestigious unicum. Among the songs I like to remember, and that surely some of you have not forgotten, are especially "Cara" and "Daniela", Christian's warhorses, romantic pieces aired repeatedly on the radios - and car radios - of the '80s.
A fair judgment on the album and the Palermitan singer's career obliges me, however, to some final critical considerations. Christian's repertoire seems perhaps, on the whole, derivative of the traditional models of melodic music, lacking differential elements compared to other contemporary authors, like the already mentioned Cutugno and Fogli, but, for example, also a Minghi or a Leali. Perhaps Christian may appear, in terms of vocal delivery and stage presence, as a rather anonymous singer, although the elegance that distinguishes him well compensates for possible compositional deficits.
After all, we are essentially talking about an interpreter rather than an author, with all the limitations attributed to this artistic category.
In summary, a recommended work to rediscover traces of our music; although, thinking in absolute terms, we cannot stray far from a 2/5 for the more seasoned readers of Debaser.
Always Yours
Il_Paolo
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