Camerata Mediolanense – Le Vergini Folli

For over twenty years the Camerata Mediolanense has been one of the most pleasant musical anomalies in our country. An anomaly because, despite a style that shuns any hint of noise or modernity, the ensemble has always gravitated in the sphere of enjoyment of the band of rock and metal listeners with a natural propensity for impacting sounds from the emotional point of view. To all this, then, contributes the entry in the new decade of Camerata Mediolanense in the roster of Prophecy Productions, German label that proposes every time discs of extraordinary quality afferent to genres that go from black metal up to neo folk or precisely, to the neoclassical derivation that we find elevated to its maximum expression in this Le Vergini Folli. As stated by Elena Previdi, founder of the collective, the album may appear dated for sound and approach because it is to all intents and purposes, placing itself well outside of any temptation to fashion: precisely for this reason Le Vergini Folli is addressed to a selected audience, whose primary objective must be to enjoy the stylistic and poetic purity of a work that stops the passage of time, forcing to listen to music stripped of the instrumental and compositional conventions of our time, even more on this occasion that does not provide any intervention of percussion, very important instead in the economy of previous albums. To dominate the scene are therefore the piano of Previdi and the interweaving of the female voices of Desirée Corapi, Carmen D’Onofrio and Chiara Rolando that, together with the male voice of 3vor, interpret the six poems written by as many anonymous female authors of the past, as well as two sonnets of Petrarca that prove, however, a welcome appendix to Vertute, Honor, Bellezza, released in 2013 and entirely based on the lyrical work of the Tuscan poet. What strikes, in the work of the Camerata Mediolanense, is the exhibition of a compositional clarity that can not leave indifferent, with the crystal clear voices of the beautiful interpreters who declaim verses written in an Italian full of an expressive richness destined, inevitably, to decline in step with the ethical and social degradation. The eight pieces reconcile with art, thanks to an approach that has nothing of the intellectual snobbery of certain elitist proposals, but reports directly to the essence of music, that which shines in particular in the conclusive Quando ‘l Sol, where Petrarca’s poetics is sublimated in a transposition of dazzling beauty, thanks to the vocal interpretation of Desirée Corapi and to the piano talent of Elena Previdi. Mi Vuoi is also magnificent, with its mocking and enthralling ending, while the other track inspired by the poet is Pace Non Trovo, perfect in its duet between female and male voice: also for these two tracks, in addition to the already mentioned Quando ‘l Sol, as many videos have been shot, worth watching also for the care of details that distinguishes them. Le Vergini Folli is an album not to be missed, it’s a flash of poignant poetry that becomes music (in the most literal sense) and being in some way artistically placed in the past, for an ideal listening needs abstraction from a present that does not contemplate excessive pauses for reflection.

2017 – Prophecy Productions