{"id":18460,"date":"2026-04-01T06:27:50","date_gmt":"2026-04-01T05:27:50","guid":{"rendered":"https:\/\/roglacup.com\/klaus62\/?p=18460"},"modified":"2026-04-01T06:33:30","modified_gmt":"2026-04-01T05:33:30","slug":"morning-songzucchero-il-volo","status":"publish","type":"post","link":"https:\/\/roglacup.com\/klaus62\/2026\/04\/01\/morning-songzucchero-il-volo\/","title":{"rendered":"Morning song#Zucchero #Il Volo"},"content":{"rendered":"\n

Zucchero is a puzzle. Critics, especially Italian ones, have always snubbed him, dismissed him as a pop phenomenon, unforgiving of the bluesman label he’d self-appointed at the height of his success in the late ’80s, convinced he didn’t belong, that Emilia wasn’t Mississippi, and there was no path from there to the genre. The fact remains that he’s the only Italian to have achieved any degree of success worldwide, in terms of accolades: he’s a personal friend or has collaborated with the likes of Sting, Eric Clapton, Joe Cocker, and Miles Davis, he’s the first Westerner to have performed at the Kremlin after the fall of the Berlin Wall, and he gave the greatest concert by a foreigner in embargoed Cuba, among many others. When asked about it, he would hide: “We give little consideration to what we do, and we overestimate the work of others, ending up being afraid to put ourselves forward,” he said in an interview with the Italian website\u00a0
Linkiesta<\/em>\u00a0in 2016. On other occasions, he said that he was evidently “nice” to other artists.<\/p>\n\n\n\n

There are other reasons why Zucchero is misunderstood and underappreciated, especially in Italy (the discovery of Andrea Bocelli, for example), and perhaps after this documentary, he will finally ascend to the role of revered maestro\u2014for now, partly due to a certain natural difficulty standing on a pedestal, he hasn’t quite managed it. The fact remains that at least we can now put his music into perspective: his two breakthrough albums, Blue’s<\/em> (1987) and Oro, incenso e birra<\/em> (1989), which sold nearly five million copies between them, remain, yes, enormous albums that have never been fully historicized, but whose driving force is now understood (“now my ex-wife wants the royalties,” he jokes); there are pieces that are worth a career, but both the sad ballads like Senza una donna<\/em> , Hey man<\/em> , Diamante<\/em> , and the vitalistic, almost dirty and vicious pieces, like Diavolo in me<\/em> , Il mare impetuoso al tramonto<\/em> and Solo una sana e coscienza libidine<\/em> , carry something broken inside, a deep evil that makes you sick and fascinating at the same time, in joy and in pain, in the search for pleasure and in frustration.<\/p>\n\n\n\n

Miserere<\/em>\u00a0, from 1992, however, pays the price of depression the hardest, with everything else almost paralyzed, aside from the masterpiece of the title track. From then on, for a while, he only succeeds in producing slow, melancholic songs (\u00a0Il Volo<\/em>\u00a0, again for his ex-wife, and\u00a0Cos\u00ec celeste<\/em>\u00a0, both from 1995), before settling down a bit, feeling much better, and proving right those who consider him overrated. But perhaps the key was all there, in those songs that were hugely successful commercially and yet, despite this, remain a misunderstanding for many: like when you’re feeling terrible inside, and no one around you notices.<\/p>\n\n\n\n

Posted from:https:\/\/www.rsi.ch\/cultura\/musica\/speciali\/Zucchero-%E2%80%9CDentro-ogni-successo-la-mia-malinconia%E2%80%9D–2068913.html<\/a><\/p>\n\n\n\n

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