The concert started
at 20.00 , and knowing the German punctuality, it really started on
Angelo was dressed in his wide black trousers and white shirt and
All the spoken text was in German and also 2 songs: Sonnenlied
(Cantico) and Il lupo di Gubbio. The other songs were in Italian,
and on both sides of the stage the German lyrics were projected, but
they were always a bit too late.
Our seat was very good to see everything, specially Angelo, always
singing with his eyes closed, but it was difficult to concentrate
also on all the other things happening on the stage. We did not get
an overall view, so eyes and attention switched from one to another,
making it all a bit confusing.
The German Lauda was more or less the same as the Italian Lauda's
that I have seen, but also in Italy there were often changes.
One of the changes was that at a certain point, when the music plays
the tune of Entrada del temps clar (Futuro Antico I) , the scene
with the puppets, in Italy it was (and correct me if I'm wrong)
only a short part, the melody, and now Angelo actually sang the
On the stage there was a second ramp, on the left side, so
ballerina's could also use this.
Of course the actors were German. I liked very much Bernardo, who
was very lively and merry and laughing a lot. Francesco was a bit
timid, quiet, almost unnoticed, but his death-scene was impressive.
There were 6 ballerina's and one male dancer, that I had not seen
before. His Wolf of Gubbio was not as good as the ones I had seen
before. Sometimes the Italian ballerina's had to speak some German
texts, which was not always easy for them :-)
There were some other little changes, I remember a scene in Italy
where on the right side of the stage they are <building a house from
wood> , I did not notice this now.
One of the big changes was, that Angelo used his new toy, a harp
guitar (see photo). A very large guitar, that made Angelo seem very
small. It looked quite heavy when he carried it. The information
that Angelo gave about this instrument, later after the show, was
that it has 16 strings (and 20 strings are possible) and it was made
specially for him. It originates from around
1820, but was never
very popular. Angelo went <shopping> for this guitar in America,
where it would take 5 years to make it for him (long waiting list),
Japan, and in the end it was made for him in Italy. He seemed really
happy and proud to have this instrument in his collection, and
indeed the sound was very good.
I had the impression that Angelo played more often than before as
support for the actors and the dancing, the melody of Stella
Angelo seemed relaxed and to be enjoying himself. Sometimes he
danced a bit with the ballerina's and acted a bit like the clown
that he likes to be, maybe to make it all a bit less serious.
The audience was not quite sure I think if they should applaud after
every song, and it seemed strange to me, that they were quiet most
of the time. Only after the more lively songs, they applauded. And
even at the end, everybody stayed sitting, not applauding standing,
After the Lauda it was time for some specials. First Pulce d'Acqua,
first singing some lines and then instrumental. The audience helped
the rhythm section by clapping on the beat. During this music the
ballerina's could show their ballet skills by dancing individually
and showing us some really special dancing techniques. After a while
Pulce turned into an Irish reel, and everything became even more
enthousiastic, and more dancing.
Then Angelo played on the violin the introduction that he has been
playing at the beginning of the accoustic part of the Altre ed
Altrove tour, going over in Alla Fiera dell'Est. When all the
performers took their last bow, Davide suddenly spotted us in the
audience, a big smile and then.... the threw
drumsticks in our direction. I was lucky to catch one, and the other
stick will also go to Holland, because Ronald caught it!
And the very special last song was Stella Mattutina, played on the
harp guitar and sung by Angelo, a very emotional song and perfect to
end the evening.
After the concert
Steph and I went to the artists entrance and waited there. First we
talked for a while with Davide. He seemed quite happy with the
response of the Lauda in Germany and said everything was going fine.
Then Angelo came, very happy and relaxed. We had a lot of time to
talk to him, because he was waiting for a taxi, which did not
We talked about his new instrument, about the Lauda, about the way
the Lauda was received in Germany. An interesting thought maybe: in
the south of Germany, where more catholics live, the theatres were
completely sold out, and the fans were very enthousiastic. The more
north they came, the less people came to the Lauda. The north is
only about 10% catholic (I don't know if this is correct, these are
Angelo's words) and people are not so interested in a figure like
San Francesco. In Italy SF is more a national symbol, in other
countries a lot less.
He also said this German tour was purely <promotional>, and of
course we were stupid not to ask what this exactly meant. Maybe it
was just to satisfy the many German fans, who had not seen him for
quite a while. I didn't get the impression that there would be more
tours to Belgium and Holland, not to mention France or Spain.
About the future, he did not go into any questions concerning <what
After about half
hour (maybe not so long, but it seemed a long time) the taxi had not
arrived yet and in the end Gianluca took Angelo with him in his car.
Angelo told us , if his taxi would come, that we could take it.
He had just left when the taxi arrived. Steph and I walked up to it,
and the driver said the taxi was for a Herr Bran-du-ar-di... (obviously
he had never heared the name before). We told him it was ok, Herr
Branduardi had left and had said that we could take his taxi :-)
All in all a great evening, good performance and many surprises.
The lauda in Köln was in the Philharmonie, really one of the highest
theatres that I have ever been in. The seats seemed to go right up
to the sky. Steph and I had seats in the 14th row, good seats but
because of the height we were quite far from the stage. But this
time it was very good to see a total view, and less tiring. So it
was good we had two times to be able to see everything.
The lauda was the same as the evening before, the only change I
noticed was that he sang Cogli la Prima Mela and not Alla fiera
The audience was very enthousiastic and applauded after every song.
And also at the end the gave a standing applause.
For me the most exciting part had been the acoustics, really every
note sounded perfect!
After the Lauda we went outside again to wait for Angelo and the
other artists. This time we did not have to wait so long in the cold,
because everybody seemed to be in a big hurry to go to the bus that
was waiting for them. Last as always Angelo came and talked to us
for a couple of minutes. Then he embraced both of us, we thanked him
for two perfect evenings and then he left.
Steph was so lucky to see him again in Berlin, so maybe she has a
little more to add to this report. And Steph, if I have forgotten
something, please add!!!
Sorry for this long and detailed report, but I know many of you like
to read about all the little things J