Pino Donaggio
Recital

I particularly wanted to focus on this character. Pino Donaggio represented the musical alternative to rock'n'roll that was all the rage in the 60s alongside Luigi Tenco. And precisely together with the latter, he was fundamental in the transition to the 'modern' song, as we understand it today. By this, I don't mean that he didn't attempt approaches to 'youth' music, but the era almost demanded it. There were quite a few almost dance pieces by the Venetian singer-songwriter. But his best, for which he is still remembered today, was due to other types of approaches to song.

Raise your hand if you haven't heard of 'Io Che Non Vivo (Senza Te)'. Now raise your hand if you know that the author of the song is named Pino Donaggio. Maybe here you know, but in an environment where music is not breathed, I would have definitely tricked them all. A song that we can define as timeless, one of the pillars of the Italian song perhaps on par with 'Volare' or 'Sapore di sale'. Presented in 1965 at the Sanremo festival and ranked first for three weeks, the song had a sensational impact even on people's lives. A bit like Julio Iglesias and his 'Se mi lasci non vale', Donaggio's records were flying off the shelves, people just wanted to hear the song playing on the radio. Later recorded by Dusty Springfield, obviously in English as 'You Don't Have To Say You Love Me', it began to achieve success even outside of Italy.

Pino starts as a singer-songwriter. Yes, it wasn't usual at the time, it was easy to have lyrics written by others, especially at the beginning. Music was in the air at his home, and he also studied violin. He began recordings in 1959, just as a bit afar 'Oh Carol' by Neil Sedaka and the songs of Paul Anka were being released. In an attempt to Italianize the thing, he recorded his first tracks without much success until 1961, when his first album, called 'Recital', was released. We were talking about Bisonti. If Bisonti's debut was a mixture of melodic pop and Italian beat, this record is a blend of classic Italian songs and dance music. The first track 'Cane di stoffa' is atypical, a charming song but nothing more. But already things change with the second song, 'Tu Sai', very Tenchian, with a suffering text regarding a woman who escapes. Many 'dance' episodes, like 'Non ti posso lasciare', which were very fashionable at the time but did not bring fortune to the singer-songwriter. Beautiful also is 'Sera D'Inverno', recorded a few years earlier as a single, worth rediscovering. Perfect music and a stage voice, among the peaks of the album and the early Donaggio production, exciting and wintry. Still, dance music deriving from the era with 'Pera Matura', but it is undoubtedly the last song that is worth the price of the album. It is 'Come Sinfonia', undoubtedly the most famous song of the early career of the singer-songwriter. Almost like a response to Celentano's 24mila baci, it is a delicate love song supported by a beautiful string movement. The song was later sung by Mina, which undeniably made the song a classic of the Venetian singer-songwriter's repertoire. Mentioned (together with 'Io non vivo (senza te)') in the song 'Souvenir' by the Santarosa, incredible how much Tenco is present in the song. Inspired and beautiful lyrics like few others (I listen and see you even closer/ the music I hear is like a symphony). Of more than relevant sweetness, also sung by the Cugini di Campagna in the 2003 film by Nini Grassia precisely called 'Come Sinfonia'.

Who is Pino Donaggio today? Incredible but true, from the stages of Sanremo, he even got to record soundtracks, and quite important ones too! I remember the most famous, namely 'Carrie, lo sguardo di Satana' by Brian De Palma, 'Non ci resta che piangere' with Troisi and Benigni, the TV series 'Don Matteo', but really, there are many titles. Director with the most collaborations? Brian De Palma, even 6, between famous and less significant ones. Quite an impressive resume for Pino, an artist who goes beyond the usual well-known songs.