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Rating: Hello everyone, today we're talking about a singer who very well describes a certain professional and personal trajectory: the sweet and charming Wilma Goich, a Ligurian singer of Dalmatian origin who, in her recent and past photos (see on the side), resembles a family friend or even an aunt, one of those always ready to host us at their homes and cook us delicious treats.
Goich debuted in the 60s, successfully participating in Sanremo with "Le colline sono in fiore". She later teamed up with another champion of the era - someone I've neglected so far but who knows in the future - like Edoardo Vianello, creating, in the '70s, the duo "Vianella" with original pieces alternating with a repertoire of Roman folk songs. Subsequently, following the separation from her husband, she reinvented herself in the '80s television revival, successfully partnering with Mike Bongiorno in some Mediaset broadcasts. All this without neglecting some tours and a recording activity, which, though reduced, rewards the fans of the charming Wilma.
Wilma is rarely talked about, sometimes her presence in some TV show is taken for granted (which has been scarce lately), but in my opinion, this is a great injustice to the interpreter from Cairo Montenotte: she is, in fact, a polite singer with a beautiful and bright voice, well-trained, who without overdoing it, has been able to interpret various successful songs over a now forty-year career, serving as a model for all the performers who, in recent years, alternate between TV presenter and singer: from Rita Forte to Luisa Corna, to name a few, albeit with differences in styles and tastes.
In this beautiful anthology, you will find the best of Goich, starting from the mentioned "Le colline sono in fiore" - a beautiful piece in full '60s style, with sweet and evocative tones, almost like a lieder, to the equally well-known "Se stasera sono qui" (written by Tenco), with rhythmic and almost vaudeville tones, indicating the crossover of which Wilma was a pioneer in act-singing-presenting, with greater humility and feeling than the more celebrated Mina. No less noteworthy are the other tracks, among which I highlight, always for Wilma's interesting interpretations, "Ho capito che ti amo", "Dolcemente", and "Piccolo fiore".
Since, as you should well know, I do not like praising the days gone by, nor practicing the art of glorification, I can only make a couple of conclusive critical notes on Goich, highlighting why, to this day, she remains a minor figure, albeit a forerunner, of Italian pop: probably our Wilma was surpassed, in the '60s, by technically more endowed figures (Mina, Vanoni, Zanicchi), and by others more in tune with the young audience (Caselli), remaining thereby, as a secondary figure compared to her more accredited colleagues. Perhaps she was not favored by an excessively simple image - although genuine, and in this extremely appreciable - and the absence of that aura of stardom which, even today, seems to be the fortune of people lacking in substantial and relevant qualities.
In any case, when I see and listen to Wilma Goich, it seems I perceive a serene and balanced soul, a beautiful example of style and education that even today would have something to tell us, and in synthesis, a small icon of that minor (and minority) Italy of which often, with the rise of the Tatangelo of the turn, is forgotten.
Sentimentally Yours
Il_Paolo
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