In Italian music, Riccardo Sinigallia would take more
«That of the singer -songwriter, in my opinion, is not an activity that includes television, radio and newspapers. It’s another thing ». The essence of Riccardo Sinigallia – and his lesson, too – is all here, in these few words. When in 2018 the photographer and videomaker Fabio Lovino dedicated a documentary to him, he titled him “Backliner“: Summarized all the attitude of the Roman singer -songwriter, an anti-feenanian, a true craftsman who has always preferred other dimensions to the media exhibition, starting from the recording studio. In his, a happy island located on the hill of Monte Mario, in Rome, A good part of the Italian music of the last twenty years has passed: the records of the
Tiromancino (if “the description of a moment”, the album of “Two destinies”, was a best-seller, the merit was also of his magical touch), of Max GazzèOf Niccolò FabiOf Coez and of MottaThe soundtracks of Renato De Maria’s films, Gabriele Salvatores, Ginebra Elkan, Mina and Celentano’s hits (for which she signed “Amami Amami”, the Italian adaptation of “Ma’galim” of the Israeli musician Idan Raichel in Israeli ). Of him Coez, for which in 2013 he produced the album “They were not flowers”, the one that marked the songwriter of the rapper and represented a paradigm change in the Italian pop song (years before the indiex of the indie), he said: “He is the only manufacturer that I also consider a bit like a mentor. I know that mentor is a big word, but Riccardo is one of those people who in the path of an artist, in addition to the disc in and for himself, to the project, leaves you a slightly more ranging baggage». Must have understood it too Brunori saswhich in Riccardo Sinigallia has chosen to entrust the production of his new album “The tree of the walnuts”, named like the song that the Calabrian singer -songwriter presents in the race at the Sanremo Festival. In the evening of the covers he chose to share the stage with him (they will sing “the year that will come” by Lucio Dalla together with Dimartino), allowing him to make peace with an emblematic chapter of one’s past.
Yes, because in Sanremo, in 2014, One of the most painful pages in the story of Riccardo Sinigallia was consumed At that festival, the songwriter, musician and Roman producer came to us from Outsider.
Fabio Fazio, conductor and artistic director of that edition, focused on him as the most naive of the artists of an ultranaïf cast, Rai3-Oriented, of which in addition to pop characters such as Arisa, Noemi, Francesco Renga and Giusy Ferreri were part of artists Like Raphael Gualazzi and The Bloody Beetroots, Renzo Rubino, I disturbance, Antonella Ruggiero, Giuliano Palma, Ron. The Roman singer -songwriter had recently signed a contract with the Sugar of.Caterina Casellithat “sponsored” him. The stage of Ariston, in reality, had already trod once, fourteen years earlier, when in 2000 he had presented himself together with the Tiromancino competing among the “new proposals” with “roads”: they had arrived second (behind Jenny B , launched by different twins with their reinterpretation of “give me only one minute” of the Pooh). As a regulation, the big names of that edition of the Festival had to present two unpublished songs to the public and after the first performance on TV would have been the juries to choose with whom the two artists would actually compete in the event. Sinigallia chose two songs from the album that would shortly release for Sugar, “For all”: “Before going away“And” a regeneration “, both signed together with his right arm Filippo Gatti. He passed “Before leaving”. But on the eve of the final, a news indelibly marked Sinigallia’s participation in the Festival: It was discovered that “before leaving” had already been played in public before the festival, so it was not an unpublished song. Sinigallia had made the song listened to during a show, to a hundred people. The sentence was unappealable: excluding. “A sin of naivety, in absolute good faith“He commented on, that he assumed all the responsibility of the story. “My record company did not know and I didn’t tell him. I will not appeal, but “Before leaving” I want to thank everyone because I was very well here, “he said.
“Before leaving” has become a small cult of Italian music of the last twenty years. Gabriele Muccino In 2018 he included it in the final scene of his “at home all well” and the following year he also ended up in the soundtrack of “maybe” of Geneva Elkann: «I have a lot of response from the directors, the actors and producers.
Evidently they feel a cultural and expressive closeness with my music. When I work on a song, the stretch a bit like it was a dramaturgical thing and perhaps they recognize this thing, a little old style ». After that participation in the Sanremo Festival, Sinigallia looked after a four -year -old record silence, far from social media, from TV, from the need to get noticed at all costs (continuing to work, as a true craftsman, in his laboratory – Among other things, the Deproducers project carried out, the collective formed together with Max Casacci, Vittorio Cosma and Gianni Moroccolo): «.The most difficult thing is to detach yourself from the idea of yourself as an artist who must somehow make a record. It’s not that if you don’t make a record your life doesn’t make sense, eh. Quite the opposite».
When in 2018 he returned to the record scenes with “Ciao Cuore”, Rockol told, remembering that Sanremo: «What happened was very annoying. Perhaps it was also a question of karma. I feel that mine, of karma, is to be the excluded of this history of Italian music of the last twenty years. Before Sanremo I had thought of stopping. That album, “For everyone”, had ended up for two years, but no things interested in my record house. Fifteen people came to concerts, eight of whom are bored. I felt bitterly, it seemed unfair to me compared to what I saw around me. At the same time, however, I told myself that it was part of the path I had chosen ». They would like it more, by Riccardo Sinigallia.
