Renato Zero appeared on Wednesday in Rome – and thus, in the words of Renato Zero, to the world – what will be the next two stages on his way to immortality; A career spanning fifty-five years, forty-four albums and five hundred songs. With an ever-changing voice and narrative atmosphere, alternating tones of the gladiator pitting the crowd against those of the priest confessing, the artist introduced for the first time act of faith, a literary and musical collection, published by Tateka; Then zero seventyA quartet concert scheduled for the fall.
As a place of appointment with the media, with the reserving of the Pope not necessarily having to choose the sphere between spiritual and temporal power, Renato elected the first (and only) exedra of Marcus Aurelius in the Capitoline and the Museums spoke from a small throne made of black leather, controlled only by the equestrian statue of the emperor honorary of the Chamber And by the sky of the Eternal City that seeped through the transparent cover of Carlo Imonino.
act of faith Available today in bookstores, record stores, and online counterparts, but not in digital form. It consists of a book and a double album with a sacred theme. It is no coincidence that Renato addressed the harshest words in his long talk into two categories: music streaming platforms and indifferent musicians. “Broadcasting is like marriage without being able to sleep with your wife. Only the physicality of the CD, and even more so vinyl, is a representation of the musicians’ possession to work.” Moreover: “I would like to leave my wand to young people who are creative and who do not always do the same things again. And above They all break the balls to the musicians: let them play, let them move, do not stop at the plug-ins. ”
force round act of faith It is unique in the contemporary music scene, light or not. It’s a massive movie of nearly forty tracks, of which nineteen are songs or choruses by a real orator who isn’t much pop (they have titles like The word is charity or thank you sir), interspersed with numerous recitations, read by actors such as Luca Ward or Giuliana Luddis and written by guests whom Renato identified as his messengers of communication: in alphabetical order, Alessandro Barrico, Luca Bottura, Petrangelo Botafoco, Sergio Castellito, Aldo Casullo, Lilla Costa, Domenico de Masi, Oscar Farinetti, Antonio Gnoli, Don Antonio Mazzi, Clemente G. Maimon, Giovanni Soldini, Marco Travalho, Mario Tronti, Walter Veltroni.
“I was a dancer, an actress, I worked in a nightclub with Fellini, I lived disco nights with Altromondo in Rimini. But today I have reached the goal I longed for: to pet God and praise Him for the way He treated me and kept my faith intact. Renato’s word. We have forgotten God for a long time. We let apathy and intellectual fatigue keep us away from him.”
Hearing the compositions gives the impression that you are before a mental spectacle, wrapped in an aura of powerful mysticism against an ecological background: a musical which is played in the depths of the conscience of its author also because, among the many appeared, the illustrious, the only real advantage is that of God.
The second project, if possible more ambitious than the first, is the glories of Rinatia programmed, in the Circus Maximus, for four evenings from 26 to 30 next September, which will end on the night of his seventy-second birthday, approx. For obvious reasons of covid and self-love, in Zerosettanta (“there are seventy cocos not a few”).
Renato introduces the new theme with the same earnestness paid to the other: “Thank you for being here in the name of Italian music and for the artists we lament on the stage and our closet, which is the dressing room.” The desire to return to performance is great: “My furs will come from all over Italy with pork loaves. Because on September 30 “this masterpiece was born!” He explains: «Fortunately for me the audience is a presence that is inseparable from informal confrontation, in the streets, in everyday life. But when I have to prepare for the liturgy at the concert, which is the most mystical, I am sure that I will surrender myself virgin to the expectations of the audience, with new feelings and sensations ». Renato is unstoppable: “Like every Christmas tree is different, my birthday party will have a different schedule for every evening, to allow those who are stubborn to celebrate with me every day.”
During the meeting, Renato was able to perform the miracle of speaking for himself in the third person and expressing relatively modest feelings, as when he called Giacomo Flights and Lorenzo Licitra, the two small musical guests on the album, who seem to be crazy about him. And a little dread: “So, this relationship with Renato, what was it like?”
A zero lecturer is a completely different zero than a televised zero, not to mention singing. In the absence of music, pure language dominates the action – and there are many occasions to pause and reflect on how rich the nuances, in their relative spontaneity, are those of Renato.
In the context of the Capitoline Museum, the Zyri lexical choices are distorted, with the shift to the borders of journalists, which often gives rise to many almost poetic licenses. “I must introduce you to the organizers (Adriano Benigno, n.d.). Come to Adrià, and tell who you worked with: Ornella Vanoni, Sal Da Vinci … No, first tell who you didn’t work with. Adria, can you tell us who you didn’t pass by? ».
Sometimes the entire language extension of Renato is included in a single exchange with technicians. The first request is more formal: “Can we dim the beacon?” The second is already more decisive: “Can you turn this cannon off?”. And the third is Renato, to whom no one can say: “Oh, are you going to take this monster from?”.
Towards the end of this pre-show, on the occasion of the audience’s questions, Renato Zero relaxed and now begins to veer towards the stand-up comedy format, but in a strict position.
They asked him how he would give concerts at Circus Maximus, compared to the tradition that he wanted to host names like Pink Floyd or Bruce Springsteen. And he doesn’t take the provocation: ‘Send me the links to these parties so that I won’t risk doing something similar to them again.’ If you ask Archimedes Pythagoras about me, he will tell you: We inventors, Renato Zero, bother us for life.” The mask of Marco Travalho, seated in the last row, bulges out like a bottle of laughter’s skin.
When asked his secret to intercepting such a large audience from a generational point of view (to be exact: “When we show you a video of teenagers, they answer: Mei, that’s better than Manskin!”), I. Renato is Fred who has a very quick answer: “Must The young man must understand that growing up is a right, but it is also a duty.”
But the most beautiful exchange of all is this: “How would you dress Renato?” “It would be the perfect fig leaf, because I put everything in it now.”