Fabrizio De André passed away in 1999, but that has not prevented -- in fact, many would argue, it has spurred -- his record labels to release one posthumous collection after another.
Sogno Nº 1 is both one of the most interesting offerings, and the most controversial. Instead of repackaging previously available material for the umpteenth time, this record reimagines
De André's music in an orchestral setting. These are all new recordings, in which
De André's voice is superimposed on tracks performed by the
London Symphony Orchestra, conducted and arranged by
Geoff Westley, who has plenty of experience with Italian music, as he has worked with
Lucio Battisti,
Renato Zero,
Laura Pausini, and many others. Does the effort here work? Occasionally. There are several problems inherent in this project. First of all,
De André spoke more than he sang. This means that his delivery always remains at a constant volume, whereas the arrangements often include sweeping crescendos that cause an awkward contrast between music and voice, very much in evidence on the opener "Preghiera in Gennaio." Secondly,
De André was no stranger to the orchestra, as several of his early-'70s concept albums were almost structured as symphonic suites. Since the orchestral arrangements are supposedly what make this project special, why bother, then, with songs that already feature those arrangements in their original version, such as "Laudate Hominem"? Not coincidentally, the most compelling selections of
Sogno Nº 1 are those in which a stirringly different version is created, such as the wonderful reading of "Valzer per un Amore," which also features an inspired vocal contribution by
Vinicio Capossela. Finally, almost every
De André album had a concept behind it -- lyrically, but often also musically. Lifting songs off different records for this orchestral patchwork only weakens their original intent.
Sogno Nº 1 still dazzles in places ("Hotel Supramonte," "Disamistade"), but the overall feeling is one of an album quickly put together (it was scheduled as a holiday release), and an album that could have greatly profited from better choices; indeed, a better understanding of
De André's oeuvre. Most damningly, it may just be exactly the kind of project
De André, a notorious perfectionist, would never have approved. ~ Mariano Prunes