The theater of the horrors, live: feeling part of something

“The magic of his music? Feel part, all together, of something “. It is in those words, pronounced by the stage of the Venaria Theater of Turin by Pier Paolo Capovilla to present “The song of Tom”, a song of love for a friend who is no longer therethat the deepest sense of the music of the music is hidden Theater of horrorsreturned to the scenes after ten years of stop. There are those who pogue and embrace each other from the first, dynamitardy, “My life”those who sing at the outskirts the self -awareness of their mistakes with “It’s my fault”who clings to a memory linked to a precise song in the lineup, who prays secularly on “Our Father”rock celebration successful first in Italy only to the CCCP with “mother”, who dreams of the liberation from the “slavery of work” on “Work tired”who chases a love on “I look for you”: the audience of the theater, under the stage is found in the same ideal community through which exorcise precisely “horrors” or finding a moment of light. Which is exactly the magic of a rock concert: create a union, today more than ever fundamental in this fragmented society. Many over thirty, but there are also young people. “So here we are not all boomers, even if this word does not make sense …”, Ghigna at the beginning Capovilla. “We did this concert together”then says full of pride on the ending of “Maria Maddalena”.

Those who maliciously think and think they are in front of a clumsy or submissive band, put back on their feet only for this tour, must change from the first songs: Lamps on stage and infernal red lights are the backdrop to a very sharp group that sounds for two hoursstaging a close, powerful and challenging live towards him and in those of the public. Gionata Mirai, Giulio Ragno Favero and Francesco Valente are close and in great shapeexactly like that Devil Provocator of Capovilla. It is paradoxical, but the phrase “as if the weather had stopped”, it is not worth: why? Because this theater, that of today, is more surgical and aware of that of ten years agoit is better than that of the past when the live, sometimes, could become messed up or derail between sprolques and performances not entirely on fire on several fronts. Today’s theater keeps its electric and exciting charge intact, Capovilla plays a little with her character but keeps it at bay, and proposes a more shiny live than those of many years ago. The one staged is a concert of noise, of sounds that come like slaps, but also of words to pay attention to and that the public respects, as evidenced by the reception manifested for reading-canzone “Living and dying in Treviso” and “Majakovsky”.

Another of the secrets of the theater are the songs. These are still very current songs, just think of “long sleep”pieces that do not need a particular aesthetic or staging. That of theater is a reunion that, at the level of welcome and historicity, For example, it is not comparable to that of the CCCPbut it is still, net of all differences, paradoxically more true and more successful on a musical level because it is far from exclusively laid on the past. Is it worth seeing them? Yes, absolutely. Also because concerts that respond to the word “rock” with the same driving force as the one released by the theater, are now more than rare treasures. If the story goes on, if a new album arrives, we will see it. Meanwhile, you can restore yourself into a universe where certainly nostalgia It has a role, but it is not that of absolute protagonist. To get out of it is a rock tribe whose components, under the stage, are recognized by looking into their eyes.

Scaletta:
My life
My God
And she came!
Disinterested and indifferent
Two
It’s my fault
Work tired
Tom’s song
Different directions
The third world
Living and dying in Treviso
Majakovsky
I look for you
Long sleep (open letter to the Democratic Party)
I can’t wait
Companion Teresa
Our Father
Cold -blooded
Never say never
Music lesson
Maria Maddalena