saridda

The other evening they aired it on LA 7. The sensations it evokes in me every time I watch this masterpiece are always so intense that they leave me drained, empty. It encapsulates the paradox of a time that clings tenaciously in memory alongside the remnants of its inexorable twilight. But not just a snapshot of those years, of the so-called boom, although that is true; there is the anxiety of living, the fear of old age, the elevation of 'divertissement' as an antidote against death, so elusive in behavior yet subtly evoked by the fragile existential fabric of the protagonist, an immense Vittorio Gassman.

Review: a fun pastiche between Gadda and Céline, put through the sieve of Fuorigrotta, I would say.
The album: not available as it cannot be obtained (speaking of neologisms)

Tosca is an opera that faithfully respects the Aristotelian unities of time, place, and action. The unity of action, in particular, is that ironclad logic that, through a tight web of events, relentlessly leads to the death of the three protagonists (plus Angelotti himself). Anecdote: it seems that after reading Sardou's text, Puccini exclaimed, "Four deaths one after another! All that was missing was for Spoletta to die too!"
Respect for the classical dramatic rules, I was saying, but at the same time, a work of great linguistic modernity, so much so that its exaggerated realism, almost expressionist, intrigued Schönberg himself, someone who understood avant-gardes well.
As for Callas, in addition to the performances mentioned by Enea, I would like to mention the two splendid "Lucia di Lammermoor," in which she is directed respectively by Karajan and Serafin. A greeting to MariaElena and a compliment to her sensitivity.

Tosca is an opera that faithfully observes the Aristotelian unities of time, place, and action. The unity of action, in particular, is that ironclad logic that, through a dense plot of events, inexorably leads to the death of the three protagonists (plus Angelotti himself). Anecdote: it is said that after reading Sardou's text, Puccini exclaimed, “Four deaths one after the other! We just needed Spoletta to die as well!”
Respect for classical dramatic rules, I was saying, but at the same time, it is a work of great linguistic modernity, to the point that its exaggerated realism, almost expressionist, intrigued Schönberg himself, someone who understood avant-gardes well.
As for Callas, in addition to the performances pointed out by Enea, I would like to mention the two splendid "Lucia di Lammermoor," in which she is conducted respectively by Karajan and Serafin. A greeting to MariaElena and a tribute to her sensitivity.

Absolutely agree. Until next time!

I completely agree with the review. Although it's not a compilation, since it includes everything that has already been published, it certainly has the feel of one. But how can you dissect certain albums? The more time passes, the more I am convinced that one of the paradoxes of Battisti's later work is that it is a production that seems so cohesive, at least according to common perception, yet is actually profoundly marked by the uniqueness of each of its five extraordinary moments.

CSAR is an absolute masterpiece, filled with disorienting and unsettling atmospheres while, at the same time, devoid of any hint of emphasis. It’s music (?) that offers nothing to anyone. Take it or leave it. And what can be said about the title track, with its razor-sharp edges that are like hem lines, the most shocking piece of the Battisti-Pannella era, unjustly underrated, in my opinion. CSAR or the apologia of anti-rhetoric (the score of 5 feels tight on it...)

And I am a tsarist! Hegel more captivating than penetrating, CSAR an absolute and unmatched masterpiece from the LB-PP company.

Battisti's absolute masterpiece. And I've been saying this since 1974, the year the album was released. Maximum inspiration, a swaying between the deafening silences of the first piece (Abbracciala abbracciali abbracciati) and the melancholic dance of the title track. But allow me to spend a word on that gem "Gli uomini celesti"... that timbral enchantment, those guitar riffs, those dreamy atmospheres crafted by the synth, the beautiful lyrics by Mogol!

I discovered it today... An emotion, indeed an indescribable commotion. It's truly one of the most beautiful things ever written by Battisti. As for dating, I would be more inclined to place it in the era of Don Giovanni, due to the way the piano is used and certain arrangements of the string section (I don't believe they are synthesized). Although the strong thematic definition could indeed support the thesis of a very late Battisti, eager to find a synthesis between the melodic past and more recent rhythmic achievements; in this regard, I am struck by the strong analogies with certain rarefied atmospheres of "La batteria, il contrabbasso, eccetera," particularly with that underrated masterpiece "Dove arriva quel cespuglio."