The subject of this review, is a lavish well composed Progressive Rock opera based on the life and travels of Giordano Bruno an Italian Dominican Friar. Certainly not one of the world’s best known historical characters never-the-less his story has been adapted here into a musical production based on his life as a philosopher, mathematician, poet and great European traveller. But alas in 1593 due to his deep cosmological theories he was tried for heresy and the denial of several core Catholic doctrines thus leading to his subsequent execution.
The opening scene of the concert starts with the heretical friar in solitary confinement awaiting his ultimate fate of execution at the Campo dè Fiori in Rome. Here in his cell he starts reminiscing about his life from a young monk and his subsequent life and travels all of which are captured as separate scenes both as separate stage productions and as tracks in this epic recording.
Certainly from a music perspective the whole affair is richly drenched in melodic charm with beautifully arranged keyboard passages. These are in turn intermingled with tastefully effective choral effects generated from both human voice and synthesizer. Movement too is a key aspect throughout the concert, with pace being a distinct measure of time as the music and individual sound passages carry you forward as Giordano’s epic journeys unwind. Such pace is strengthened with the smart but not overpowering percussion and superbly tuneful bass lines which are a real delight to absorb as they unfold in support of the lead instruments. The main body of the music comprises a multitude of chord progressions which are all delightfully delivered within a series of melodic piano and organ sequences. Thus the output of the musical score is a distinctly keyboard led symphonically styled production throughout. There are though many other stunning moments to savor and enjoy. For example the introduction of a distinctly medieval feel is generated within the body of the music from the rigorous yet tuneful influx of flutes swaying aloft to a background of lushly arranged keyboard proliferations. Whilst a more rock inspired wall of sound is cleverly introduced throughout with a series powerful saxophone embellishments that lift the music to enjoyable heights of durable excitement.
The lyrics follow a strict pattern whereby the language sung on each individual track changes to suit the actual geographical location of Giordano’s travels at that point of the concert proceedings. Here lies another delight with the vocal contributors all being truly amazing. A host of fine international vocalists share the individual lead vocal spots in addition to band leader and composer ’Jerry Cutillo’. We have on this recording Richard Sinclair, Sonja Kristina, Maartin Allcock and Jenny Sorrenti. All of whom add their individual flair and vocal stylisations to the production. The music and vocal arrangements are all beautiful constructed and totally capture the passion and spirit of the storyline brilliantly.
Summary: An exciting, well thought out and executed recording of a new Progressive Rock Opera based on the life of an Italian historical character.
Artwork: (Based on my press release) Comprehensive and informative booklet with Colourfal artwork.
1. Campo dè Fiori 5.23
2. Viator temporis 4.44
3. Liber in Tiberi 5.50 (vocals Jerry Cutillo)
4. Angeli senza ali 2.16 (vocals Jerry Cutillo)
5. Circe 7.19 (vocals Jerry Cutillo)
6. Diana/Morgana 5.40 (vocals Sonja Kristina, Jerry Cutillo)
7. La cena delle beffe 5.46
8. Dreams of mandragora 4.39 (vocals Richard Sinclair, Jerry Cutillo)
9. Danse macabre 3.20 (Saint Saens)
10. The globe 4.44 (vocals Jerry Cutillo)
11. Wittenberger Fuchstanz 7.59 (vocals Jerry Cutillo, Jenny Sorrenti)
12. Un valzer pe il Mocenigo 5.32
Post Note From Internet In Case You Wondered : Poor old -Giordano Bruno was burnt alive for heresy, and all of his works were placed on the Index of Forbidden Books by the Holy Office. In 1889, Ettore Ferrari dedicated a monument to him on the exact spot of his death: He stands defiantly facing the Vatican and was regarded in the first days of a reunited Italy as a martyr to freedom of thought. The inscription on the base reads: A BRUNO - IL SECOLO DA LUI DIVINATO - QUI DOVE IL ROGO ARSE ("To Bruno - the century predicted by him - here where the fire burned"). The body of theologian and scientist Marco Antonio de Dominis was also burned in this square in 1624.