Juri Camisasca
Laudes

THE REVIEW

He had accustomed us to very long waits in the music market, but the Juri Camisasca of the last seven years seems to not want to stop. Three studio albums interspersed with the live performances Evoluzione interiore and Dal vivo dalla Cappella Palatina. Precisely in the phase of full maturity (he was born in 1951, therefore 65 years old in 2016), he shows himself more than ever, even participating in television broadcasts.

Laudes is the 2019 release, featuring brand new tracks, glorious rediscoveries, and traditional chants of the Catholic liturgy.

It opens with Laudes, almost recited, with a meditative style. A good calling card. Inno alla luce has a beautiful text, and the musical progression is similar to the previous track. Panis Angelicus is a traditional chant entirely in Latin. Good interpretation and arrangement. Oltre l'uomo: "the principle that unifies the multiple is never born and never dies", an amazing text and gentle music. But the jewel is yet to come... Exultet is another traditional piece, sung on Easter night. Then comes Nomadi, which, incredibly, Juri had never put on a record since 1987! It's very famous in the version by Franco, by Alice, and it is truly a privilege to hear it sung by the author, complete with a video. We then return to tradition with Israel, this time with a glance towards the East. Talita kum, meaning "little girl, get up", is instead a piece from the National Service of Music and Singing of the Renewal in the Holy Spirit. Flos Carmeli is the oldest invocation to Our Lady of Mount Carmel. This one too, naturally, all in Latin. Before two other classic liturgical pieces, Gloria Laus and Pange Lingua, there's the jewel mentioned before, L'impermanenza, for me the best of the album and the one that struck me the most already on the first listen a couple of years ago. Laudes features few unreleased tracks, but it is a valid and high-level product, worthy of 4 stars.