CASANOVA POP OPERA
I came to this project in a completely unique way: on the contrary, as I always do, that is, starting from the bottom… actually from the shoes.
Following the industry news, I read that Politecnico Calzaturiero will make eighteenth-century style shoes for Casanova Pop Opera and I found it an initiative worthy of applause, considering the great opportunity given to the students.
We are in the District of the Riviera del Brenta: a highly specialized footweaar production area, made up of leading companies at the forefront of Made in Italy, also strong in a complete and integrated supply chain.
But let’s go back to Casanova, and this time maybe let’s start from the head: Red Canzian.
The first guitarist, then actually bassist, that I have known, I think, as a child, joined Pooh to replace Riccardo Fogli.
1973: they record the album Parsifal and from then on it’s history.
Red has always maintained a strong bond with his places of origin, even if very often the final syllable of his surname is pronounced with a not typically Venetian accent … I know something about it …
Seriously, it is no coincidence that his words “Veneto is a state of mind that cannot be told” ring true and heartfelt.
Veneto therefore, and above all Venice, precisely on the occasion of its glorious 1600 years.
Veneto. Venice. The scenes are entrusted to Massimo Checchetto artistic director of the 2020 Carnival.
Veneto again: Matteo Strukul.
Red speaks about his book
Have you ever read Giacomo Casanova, the sonata of broken hearts, or any of his other books?
Me unfortunately not, but I hope to remedy this shortcoming soon.
In the meantime, I would like to point out Sugarpulp: more than a blog, a real complete microcosm.
Lyrics by Miki Porru whose debut is linked to Red Canzian, and arrangements by Phil Mer who received his first drums from Red when he was 4 years old.
Directed by Emanuele Gamba, of whom I read about collaborations with Daniele Abbado so I would pass the word to Matavitatau in case he wants to give us his opinion.
The choreographies are entrusted to Roberto Carrozzino and Martina Nadalini who have already collaborated for Discoteque Machine after Martina’s great liberating gesture which remains the reason why she is mainly remembered and therefore I will not mention: her growth is visible not only as regards the known raven hairstyle.
They say they have already fallen in love for Casanova Pop Opera and are sure we will fall in love too.
I would say that the ingredients are there and the expectations too: in general I have a weakness for musical transpositions and this Casanova intrigued me, what do you think? Can we expect beauty?
“Praise the beautiful for their intelligence and the intelligent for their beauty.“