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Achille Lauro live, between identity and transformation

Divisive by nature. Deliberately provocative. But also intimate, profound and capable of slipping (without asking permission) among the innermost emotions of the listener. Achille Lauro that’s how it is. We all understood this, while we witnessed – in these first years of his career – his thousand transformations. And not only those brought to the stage of the Sanremo Festival (especially in 2020, including quotes to Saint Francis, to the Marquise Luisa Casati and to Queen Elizabeth I of England). But above all those of his soul, ready to question himself and deconstruct himself in passages with a strong emotional drive. Yesterday, Tuesday 7 December, Achille Lauro is back for his first official time on stage after the forced stop due to the Coronavirus. He did it with one of his “One Night Show“: A show event at the Teatro degli Arcimboldi in Milan, where he performed with his band and with the Magna Grecia Orchestra.

The occasion, therefore, is special. You can understand this from the way the artist (with a red Gucci suit) arrives on the stage, with a slow and sensual walk that shouts confidence but hides the emotion of this live return. “We are among the very first to be able to enjoy all this”, he says referring to the recent opening of the Government on the theme of concerts (capacity in theaters is now allowed 100%, without the interpersonal distance of one meter but with all the safety measures such as possession of the Green Pass and the use of the mask for the entire duration of the live).

The presence of the Orchestra della Magna Grecia manages to give this evening an important exceptionality. An emotional load of his own. The artist’s repertoire was rethought together with this symphonic ensemble with which Lauro had already performed at the MEDITA Festival in Taranto last September. In fact, there are many moments in which the sonic richness of the Magna Graecia Orchestra entrusts the songs with a new, involving body. In the refrain of Marilù, for example, the bows are powerful and of rare beauty. As well as all the work done on other moments, such as the orchestral intro of Bam Bam Twist (Claudio Santamaria and Francesca Barra, protagonists of the video clip of the song, also enjoyed the show in the front row).

its March 16, then, an important moment. «It is an indescribable emotion. For the first time in the world it will be revealed what a person feels on this stage, during a live. On the screen behind me you will see my emotions », Lauro anticipates. For the duration of the song, in fact, a digital picture unique in the world is projected which shows the heartbeat of the artist live. This creation will be put auctioned in the form of an NFT on crypto.com and the proceeds will be donated to the children’s cardiology department of the San Donato Polyclinic.

The live (lasted only one hour: too bad) continues with the charge of 1969, which pushes Lauro to unbutton (almost) his entire shirt. Then the medley that celebrates his two participations as a competitor in Sanremo (the third, this year, saw him as a regular guest for all five evenings of the festival) with I do not care e Rolls Royce. Worthy of note is the union between the sound of the Orchestra della Magna Grecia with Achille Lauro’s “super band” (as he himself defined it), formed by Marco Lancs, Rufio, Nicola Iazzi, Riccardo Castelli and Gregorio Calculli.

The song concludes the concert-event That’s life, anticipated by a choreography by the dancer Klaudia Pepa. With this One Night Show Achille Lauro – among the artists competing in Sanremo 2022 – has put the theme again the conflict between identity and transformation. He showed it with the musical choice of this special night, combining the grandeur of an orchestra with the determination of a band. But also through his songs – difficult to pigeonhole and often witnesses of his personal and sincere research – which always end up asking us who Achille Lauro actually is. Without giving us (perhaps fortunately) official or reassuring answers, but leaving us ready for any form of amazement. Ready to ask us: “What will he do now?”.

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