LE ORME

The concept album "Felona E Sorona" by the Italian band Le Orme is considered by many as a masterpiece, with its passionate fusion of Genesis and especially ELP, placing it at the top of Italian prog in the 1970s. In my opinion, this album is indeed the numero uno from the land of the boot. The fourth studio album by the Venetian trio is a short one, lasting only 33 minutes and 33 seconds. This was not uncommon at that time, unfortunately, including for Le Orme. However, this has resulted in an incredible density of creativity. There are no weak moments on "Felona E Sorona". It showcases the immense compositional talent of Le Orme.

Compared to their previous album "Uomo Di Pezza", there is a greater coherence in the material, with all the musical elements perfectly aligned. Aldo Tagliapietra's full-bodied bass guitar not only provides support but also contributes to the melodies. The fact that the album is a concept has brought out the best in the three musicians. Tagliapietra, as a singer, has truly outdone himself. With his velvety voice, he sounds like an incredibly inspired John Wetton, only higher. The lyrics are in Italian and it's best to let the music speak for itself in terms of their meaning. The concept itself is quite dusty. The story revolves around two opposing planets. Felona is a pleasant place, while Sorona exudes a somber atmosphere. Initially, the planets revolve around each other, but eventually, harmony is achieved between the two. Blah blah blah.

The musical ambiance in which this story unfolds feels rounded, especially since the band's keyboard-driven symphonic style lacks the angularity of an electric guitar. This feeling is further enhanced by the rolling, often exhilarating drumming of the masterful Michi Dei Rossi, as well as the galloping organ play and chirping Moog lines by Toni Pagliuca. The keyboardist demonstrates more control on this album than on any other Le Orme release. His themes are relatively manageable and they serve the compositions along with his underlying chords. Nevertheless, his playing still possesses flamboyance and adventurousness.

From the orchestral seconds of the album's intro to the accents in the frenetic finale, there is a comfortable foundation that allows for infinite possibilities. In the opening track, Sospesi Nell'Incridibile, Le Orme incorporates classical passages, spacey sounds and psychedelic blips, all intricately woven into the band's magnificent prog tapestry?exuberant and ethereal. If there's one thing the band excels at, it's being seamless in their intricate musicality. The album, with all its twists and turns, forms an emotionally artistic whole. There are moments with acoustic guitar, mysterious sounds and melancholy, but there's also grandiosity and euphoria.

"Felona E Sorona" is not the type of album where individual tracks are discussed, but let's highlight one strong song: L'equillibrio. The Moog synthesizer delivers some awe-inspiring goodness in a way that we've admired for years within our beloved genre. There's also a successful integration of jazz elements in this case. The piano ventures into that territory with its chords, without the band losing their way. And while I'm at it, the end of All'Infuori Del Tempo features a beautifully composed moment that builds up to the album's closing track, Ritorno Al Nulla, which serves as the grand finale of the entire work.

Le Orme is often mentioned alongside the bands Premiata Forneria Marconi and Banco Del Mutuo Soccorso as the triumvirate of Italian prog in the 1970s. In my opinion, this status is well-deserved. Le Orme has earned it entirely through their refined body of work. It's clear why "Felona E Sorona" is considered by many as the pinnacle of their achievements.

Orginally posted on www.progenrock.com

With "L'Infinito", dating from 2004, the Venetian prog band Le Orme completes its triptych about the origin of humanity. The albums "Il Fiume" (1996) and "Elementi" (2001) have already been released in this context with the aim of making music that appeals to the atmosphere and sound of the albums from their heyday. The concept fits the band like a glove, which means that both imagination and feeling oozes in full glory from these albums, this certainly applies to the "L'Infinito" reviewed here. Yes folks, this is an album that is immersed in endless beauty in a time frame of only 45 minutes.

Since the formation of the band in 1966, Aldo Tagliapietra has been behind the microphone, first as a guitarist, later as a bass player. Over the years his voice has acquired a beautiful warm sound fitting perfectly with the heavenly grandeur of the music. The fact that Tagliapietra left the band a few years after "L'Infinito" in favor of pursuing a solo career, puts a melancholic layer over the album. So we're talking about his last studio album together with the band.

Most songs have vocals, only a few pieces are instrumental like opener Il Tuono E La Luce. It's a mighty track that will make your jaw drop. The guitar solo does not come from a stringed instrument, but from a specially designed keyboard. Michele Bon plays this guitar simulator and it's indistinguishable from the real thing. Even the touch of the right hand is perfectly emulated. Unbelievable. The simulator appears regularly on the album and you should be glad. The simulator in the subsequent ballad La Voce Del Silenzio is very beautiful and not only because the beautifully sung track has a title that appeals to me, but simply because the solo always manages to blow me away.

The splendor of the album flows beautifully from your speakers everywhere in the well-varied whole. Take for instance the strings in the organic title track and meanwhile let yourself be carried away by the magnificent drumming of Michi Dei Rossi in the bolero piece. There is superb quality throughout the entire album, clearly reflected in the many organ pieces which, in addition to the euphoric horn sounds, are extremely characteristic of Le Orme. The absolute culmination of the album is the elegant Si Puo'Immaginare, which is full of keyboard solos on synthesizer, guitar simulator and organ. The instrumental Il Tempio Sul Lago, with its piano and strings, is very reminiscent of an album like Florian. Time and time again you can hear that the performance is the epitome of mastery. La Ruota Del Cielo puts the sitar center stage and it is Tagliapietra who sends these conjuring sounds into the world.

The final three songs clearly form the finale of the piece. From the sweltering and stunning Tra La Luna E Il Sole to the mighty choir in the bombastic reprise of the title track, you will be on the edge of your seat.

"L'infinito" is a great album that has been created with care, love, craftsmanship and taste. This work deserves a place in the hall of fame of fine art, to remain there forever.

Originally posted on www.progenrock.com

Le Orme, the legendary Italian band, continues its legacy with one of the three original members remaining (five in the debut album). Frontman and vocalist Aldo Tagliapetra left the band over 15 years ago, and several have tried to fill his shoes in the different lineups of the 2000s. His iconic voice was a hallmark for the band, and its absence is noticeable in the albums released after his departure. For this latest work, which the band members themselves have suggested might be their last, they bring in Luca Sparagna on vocals and bass. And what can be said about him? An impeccable choice, with a timbre reminiscent of Aldo's, an excellent vocal range, and a vibrant and colorful personality.

We are possibly witnessing the best Le Orme album in the past 15 years, or even longer, not since the farewell of their original keyboardist, Antonio Pagliuca, has there been an album of this magnitude. This record revives all the pastoral magic, the candid interplay between acoustic guitars and synthesizers, and the sweet, evocative melodies that paint delicate and natural landscapes. The flexible yet direct compositions bring to mind classic albums like "Felona e Sorona" or "Uomo di Pezza," with contemplative and sweet pieces that resonate closely with both us and the broader Latin American prog community. There is undeniably much of Le Orme's influence seen in latin-american bands, Los Jaivas, Sui Generis, and Crucis.

The organs?whether they are tube, harmoniums, or Hammonds?are a delight throughout the album and contrast perfectly with the set of digital synthesizers and orchestrations (we have strings and a choir). The album has strong emotional points like "Rosa dei venti" and gentle introspective songs like "Lucciole di vetro," offering a broad spectrum of sensations while always maintaining a clean, melodic, and pleasant aesthetic for any listener. The solos are incredible, just as the classic ballad choruses are.

"Ouverture" is, as the name suggests, an opening piece for this tremendous work. It's simply an instrumental track filled with keyboards that serves as a palate cleanser and introduce us to this phenomenal album.

"Acqua di luna" is the first standout track. Everything we expect from a Le Orme song is here: a voice reminiscent of Aldo gliding over acoustic guitars and bowed strings, delivering memorable melodies later echoed by the synthesizers. A smooth and airy track that showcases the value of simple and dynamic production with high emotional impact, achieved through its compositional arrangements.

Without warning, we are hit with hard rock, Hammond organ, and all the glory of the '70s. "Ferro e fuoco" is sharp and lethal with its unforgettable piano/Hammond counterpoints. The vocals take a backseat as the instrumental madness takes over this progressive marvel.

An ethereal sense of comfort takes hold with "Lucciole di vetro." Luca's incredible voice transforms the choruses into true gems that will linger in memory. A song driven by grand piano and vocals, where nothing can go wrong.

"L'alba della partenza" is another progressive track heavily driven by keyboard counterpoints. It presents itself as more delicate and ominous, with minor melodies that move unpredictably. The soft vocal sections strongly remind us of Charly García's inflections or that pastoral Le Orme from "Collage."

And now, the strongest contender for the best song on the album, "Rosa dei venti." This composition offers beautiful themes, keyboards, open, reflective, and emotional ambiances. After almost four minutes of precious sonic undulations, we transition to the final section where a choir sings the chorus, flooding us with happiness and magic.

The album's final track is the most experimental. Michi dei Rossi unleashes his creativity, adding drums and various percussions to the mix, enhancing the atmosphere created by pads and '80s guitars drenched in reverb. The icing on the cake is the Hammond organ at the end, ready to blow out our speakers, another spectacular climax that reassures us, one last time, that if this is indeed Le Orme's final album, they are going out with a bang.

This album is a spectacular reimagining of the best of Le Orme from the '70s. It's for fans of "Contrappunti" and those who were left wanting more after being captivated by the incredible interplanetary love story of "Felona e Sorona." A return to that timeless sound, filled with counterpoints, as classic, elegant, and romantic as ever.

Originally written for: Nacion Progresiva.

Often considered the Italian Emerson, Lake & Palmer for its strong power trio dynamics, LE ORME was also one of the 70s Italian prog scene's biggest sellers and most popular abroad along with fellow Italian proggers Premiata Forneria Marconi (PFM) and Banco Del Mutuo Soccorso (Banco). While starting out as a rather uninspiring psychedelic beat band on its 1969 debut "Ad Gloriam," LE ORME was one of the earliest bigwigs to release a bonafide prog album when it upped its game in 1971 with "Collage" but even then the prog was set to simmer and tended to focus on jamming sessions and less complex arrangements. By 1972 the band had advanced its craft manyfold and the following UOMO DI PEZZA ( Rag Doll Man ) found LE ORME in full-blown progressive rock mode which launched the band into the Italian spotlight. The album was also the band's biggest seller and set the course that would be taken over the next several albums.

Taking things to the next level of sophistication on many levels, the band not only enjoyed the technological advantages of the newest and swankiest recording opportunities but also adopted a greater inspiration of classical musical scores most notably the chaconne of Johann Sebastian Bach as the introductory phrasing that opens "Una Dolcezza Nuova." Graced by the same poetic prose of chief songwriter and lyricist Aldo Tagliapietra, the Italian lyrical delivery offers a varied roster of tales about "a woman" but not always in a flattering or desired manner despite the dreamy romantic lyrics narrating in a display of controlled softness. Despite existing as a mere trio at this juncture LE ORME featured super competent musicians who delivered all the goods with gusto and a prog sophistication that only the top dogs of the era could unleash. The contrast between Tagliapietra's subdued vocals and the heavy percussive workouts along with the oft raucous keyboards offered a tension unlike the much larger Italian prog bands of the era.

The album featured seven tracks that only added up to a mere 32 minutes but UOMO DI PEZZA doesn't waste a moment delivering highly catchy melodic song constructs accompanied by crazy demanding instrumental workouts allowing the musical flow to meander from soft airy passages to wild turbulent rides fueled by frenetic drumming wizardry and varied keyboard techniques that shifted from elegant slow oozing flows to unhinged and even offered violent virtuosity especially on tracks like "La Porta Chiusa." The album seems to thrive on the battle between placidity and organized chaos. As far as Italian prog of the era goes LE ORME delivered all the goods with romantic vocals delivered with a dynamic range and a heavy reliance on the world of classical music for its compositional crafting. Add to that all the heavier elements of rock and an unbridled passion to erupt into frenetic outbursts of virtuosity and hairpin turns all elegantly structured in amazing efficiency.

Despite the moments of energetic eagerness, the album retains its mellow flow throughout its run as even the virtuosic wizardry sounds relaxed and in good taste no matter how raucous. The sounds Antonio Pagliuca manages to eke out of his organs, synthesizers and mellotrons is no less than breathtaking with classic vintage sounds existing next to heavy fuzz-laden passages as well as Bach inspired tones and timbres from his most famous works. The use of accent instruments such as the clavichord and celesta add brilliant spices to an already enriched menu of pure Italian prog. While the guitar has never been a dominant instrument for Le Orme, the use of plushly strummed acoustic guitars and the occasional electric and bass offer more diversity to the sound palette but it is by far the various keyboards sounds and the drumming prowess of Michi Dei Rossi that offer the most dynamic musical performances on the album.

While LE ORME can certainly be too dreamy and pastoral for its own good, UOMO DI PEZZA delivered the perfect amount of contrast via the varying percussion performances as well as the wide range of organ and mellotron dynamics. The album would bring the band great success which would only grow for another two albums before the so-called trilogy was concluded. While many cite the band's following "Felona e Sorona" as LE ORME's top achievement, personally i find UOMO DI PEZZO to be the band's masterpiece as it just flows perfectly from beginning to end and offers everything that is great about Italian prog in a very unique way that made LE ORME stand out. This album rightfully belongs in the top releases of 70s Italian prog as it is flawless in how it comes together in a beautiful display of contrasts and mastered the perfect recipe for an Italian prog paradise that doesn't miss a beat until the the closing all-instrumental perfection of "Alienazione" closes the album's run. Best of the best! One of those albums that blows me away every time i hear it.

ELP with emotion ?

For me 70s Le Orme is one of the prog bands that come close to the magic of the most legendary and pivotal UK prog formations Yes Genesis, ELP, Pink Floyd and King Crimson, The Prog Big Five. In his amazing book Rocking The Classics the US author Edward Macan writes about femine (warm and mellow) and masculine (more agressive and bombastic) elements in prog, Le Orme delivers that with tender Italian vocals, acoustic guitar, sitar and Mellotron as the femine part, and fiery electric guitar and the sumptuous sound of Hammond organ and Moog synthesizer as the masculine part, evoking lots of tension and dynamics in the music.

In 2005 Le Orme was invited to perform on the annual Nearfest Festival in the USA in order to present their new line up (including original members Aldo Tagliapietra and Michi Di Rossi) and latest album L'Infinito (2004). It turned out to be a legendary gig with Le Orme at their artistic peak and a mouthwatering setlist, wow!

Le Orme starts with songs from L'Infinito and then switched to playing the 'classic 70s tracks'. My highlights.

The instrumental Il Tuono E La Luce features majestic choir-Mellotron samples and then propulsive drum beats, fiery guitar and intense runs on a 'keytar', and the musical brainchild Aldo on a wonderful double-neck.

La Voce Del Silenzio with howling guitar and beautiful work on piano and Hammond.

The very compelling and impressive titletrack with great classical orechestrations, Mellotron choirs and fat synthesizer flights, and finally Aldo on the distinctive sitar in La Ruota Del Cielo.

Una Dolcezza Nuova contains a sumptuous church organ intro, then lush Hammond, along varied piano play and warm vocals.

In Gioco Di Bimba Aldo plays on the 12-string guitar of his double-neck.

A breathtaking version of the mainly instrumental La Porta Chiusa with exciting bombastic keyboards: the vintage Hammond and Moog, and a church organ sound.

Cemento Armato is loaded with excellent soli on violin, the 'keytar' and Hammond.

And finally that epic classic composition that the crowd was waiting for the entire evening: the complete version (9 parts) of the mindlbowing magnum opus Felona E Sorona, carrying you away to Prog Heaven with lots of varied and flowing shifting moods, wonderful dual keyboard work, and a splendid 'grand finale'. I remember a mesmerized crowd, blown away by the absolute highlight in Classic Italian Prog, goose bumps! By the way, that was in 2005, in 2013 Le Orme performed in The Netherlands, near my hometown The Hague, in the prog rock venue De Boerderij, a prog dream came true!

The DVD features the same track list, I am impressed by the beautiful lightshow, the use of several camera positions (including some multi- screen images) and a good sound quality.

THIS CONCERT IS ONE OF THE HIGHLIGHTS IN ITALIAN PROG HISTORY!

While "Uomo Di Pezza" had solidly displayed Le Orme's progressive credentials, the conceptual "Felona E Sorona", their fourth album, went a step further, reaching the band's creative peak. The fanciful story of two planets, Felona and Sorona, opposing and at the same time complementary, contrasting the prosperity and happiness of one with the gloomy despair and sorrow of the other under the supervision of a superior entity, serves as narrative inspiration for the instrumental deployment of a proposal that metaphorically and without stridency or labyrinthine developments conveys the circular concept of life. The extensive and introductory "Sospesi Nell'Incredibile" masterfully describes the coexistence of both planets in the universe, making use of the cosmic keyboards of Antonio Pagliuca accompanied by the percussion of Michi Dei Rossi with a final solo included and by the melodious and welcoming voice of Aldo Tagliapietra in between; while the festive "Felona" with Tagliapietra's luminous and comfortable acoustic development and the sorrowful "Sorona" with Pagliuca's dramatic and thick keyboards, differentiate the two realities. That troubling disparity is observed in the vaporous melancholy of "La Solitudine Di Chi Protegge Il Mondo" and the reflective "L'Equilibrio", and leads to the discontent of Sorona's inhabitants reflected in the tense "Attesa Inerte", dissipating with the light of hope that the mysterious "Ritratto di un Mattino" brings and that "All' infuori Del Tempo" with Tagliapietra's acoustic guitars and Pagliuca's keyboards transforms into happiness for Sorona just when Felona starts the reverse process. The instrumental and overwhelming "Ritorno al Nulla" with the growing drama that the moog and the rest of the keyboards and percussions bring, closes the work epically.

Although Le Orme kept the trio format similar to the referents E,L&P, "Felona E Sorona", one of the cornerstones of Italian progressive rock, follows a path with more melodic components and less grandiloquent structures than those of the British, shining with its own light, and projecting the band to the Anglo-Saxon market by releasing the English version of the album afterwards.

4.5 stars

Moving away from the beat and psychedelic sixties sounds of their discreet debut album "Ad Gloriam", the five-piece turned trio Le Orme tucked themselves into the shelter of the huge shockwave that the effervescent progressive rock movement coming from the British Isles brought with it and released "Collage", their second album and one of the seminal works of the Italian side of the genre. Dazzled by E,L&P's performance at the legendary Isle of Wight festival in 1970, Le Orme, like many Mediterranean bands of that time, took the band led by Keith Emerson as one of their references for the development of their proposal and tinged it with melodic elements of their own.

That sense of epic grandiloquence indebted to Emersonian influences is what starts the album with the instrumental baroque piece of the same name, a demonstration of Antonio Pagliuca's skill on keyboards, with Michi Dei Rossi on percussion as an ideal ally, to which are added the daring reflections in the lyrical voice of Aldo Tagliapietra both in the sombre and changing "Era Inverno" and in the melancholic initial verses in the environmentalist critique of "Cemento Armato", a piece that in between finds the trio building an intense and solid wall of sound, one of the best on the album.

And if the lysergic experimentation of the instrumental "Evasione Totale" plagued by synthesised keyboards brings Le Orme closer to the most psychedelic Pink Floyd, their most personal and peaceful side is exposed in the beautiful fragility of "Immagini" with Tagliapietra's megaphonic voice backed by Pagliuca's celestial keyboard, and in the infinite sadness of "Morte di un Fiore", which concludes the album by fading into the horizon.

"Collage" is an excellent album that, despite not having a profuse diffusion and recognition, helped superlatively to underpin the way for the take-off of Italian progressive rock in the early 70s.

4 stars

After the very good "Collage", Le Orme takes a leap in quality with "Uomo di Pezza", their third album, released in 1972. The band focuses on women's stories that in some cases metaphorically describe harsh dramas of abuse and mental disorders, which are surprisingly compatible with melodies of great sonorous warmth, gentle acoustic developments sprinkled with melancholy and a generous range of keyboards, following the predominant characteristic of Mediterranean bands of the genre, and also stripped of the decibelic contribution usually generated by electric guitars.

The delicate "Una Dolcezza Nuova" with the organs of Antonio Pagliuca, the classical piano of producer Gian Piero Reverberi and a relaxed instrumentation with epic overtones, marks the beginning of the album, which continues under the leadership of Aldo Tagliapietra and his vocal line harmonised with the acoustic character of the melodies, as in the aching ballad "Gioco Di Bimba" with its rhythmic guitar accompanied by harpsichords and mandolins, in the hypnotic half-time of the baroque "Breve Immagine" and Pagliuca's suspenseful mellotron, or in the arpeggiated and watery "Aspettando L'Alba".

And linked to this feeling, the synthesizers claim their share of protagonism, as in the anguished insanity of "Figure di Cartone" and Pagliuca's moog taking over the surrounding atmosphere, and with greater forcefulness in the claustrophobic and mysterious "La Porta Chiusa" and, to conclude the album, in the instrumental and super progressive "Alienazione", a piece structurally influenced by the E,L&P referents with Tagliapietra, Pagliuca and drummer Michi Dei Rossi replicating the schematic pattern of the British trio.

"Uomo di Pezza" is an excellent work that, in spite of barely surpassing the half hour mark, solvently transmits its rough proposal, and places Le Orme on the podium of the most relevant trio of Italian progressive rock, sharing honours with Banco del Mutuo Soccorso and Premiata Forneria Marconi.

4/4.5 stars

Review #148!

Of all The most-recognised RPI records, this is the proggiest. Crazy technical, rapidly changing in mood, style, signature, and tempo, and highly conceptual, this makes for what ought to be a quintessential prog album. And by golly, it is! The concept is about two planets that orbit each other, one the beautiful Felona, and one the dark, under shadowed Sorona. The album consists of nine tracks, each amazing in their own way. The first is 'Sospesi Nell'Incredibile', which translates in English to "in between''. It's a mini-suite of sorts, an interstellar journey through heavy synth- and percussion-led passages of pure prog concentrate. The second is the first of many interludes in this album, entitled 'Felona', a beautiful (fittingly) one-minute acoustic ballad with a slow build to blow one away. The third track: 'La Solitudine Di Chi Protegge Il Mondo' (The Loneliness of Those Who Protect the World'), a somber, short, and beautiful song, but not an interlude, per se, wonderfully leads into the next track: the much heavier' L'Equilbrio', or "the balance". This feels like a fusion of Emerson, Lake, and Palmer and Tangerine Dream, more on the ELP side. Extremely intense; short but good. 'Sorona', the fifth track and second interlude on this album, an electro-acoustic belt-out for the vocalist that aptly captures the pain Sorona experiences. 'Attesa Inerte' is a Hammond-led synthy groovefest, and unfortunately one of my least favorite songs on this album. 'Ritratto Di Un Mattino', or 'portrait of a morning' is a step back into the amazing. It begins slow, melodic, empty, then in a seemingly triumphant transition (I don't know, I can't understand the lyrics as they're sung in Italian), builds into a proggy, technically impressive, yet altogether beautiful ensemble segment, where every instrument gets to play. The song finishes with piano and leads into the soothing guitar intro of 'All'infuori Del Tempo', or "outside/out of time", is a bit more happy, but the lack of the heavy drums that you hear on the rest of the albums brings the song down. 'Ritorno Al Nulla', in English "return to nothing/naught", is the unintentionally melodramatic, yet still wonderful closing to the album. It is extremely high-octane, drum-heavy and technical.Something to make a proghead smile. Overall, this is a wonderful album. I'm appalled at myself for not reviewing this sooner ? this is stellar! In my research, I found a few cool coincidences and fun facts surrounding this album, like: in Malagasy (the national language of Madagascar), Felona means 'felon', and Sorona means 'sacrifice'. Also, (this shouldn't surprise anyone, but it's news to me, but) Peter Hammill of Van Der Graaf Generator wrote and translated the lyrics for the English version of this album, which I might just give a spin next. To wrap it up, this was a great record. Definitely worth any progger's time, and possibly a mainstay in my extensive catalogue of 'come-back-to-later' records. A new favorite in the RPI subgenre. Prog on.

The return of a legend! Rather a project initiated by Enrico VESCO, faithful collaborator of the Venetian group for almost thirty years who brought together Michi DEI ROSSI and Tony PAGLIUCA to try to bring together all the important musicians in the musical history of LE ORME (except one..... ..) for what will probably be the last album of the transalpine group but also the first double album of unreleased songs in its entire history.

A special and moving quote for the participation in this album of a musician from LE ORME who has been missing for thirty years: Germano SERAFIN. A rendition of him recorded at the time appears on the album.

Main question; Was it useful to publish a box set of 3 CDs since around ten titles are not real and new LE ORME? The five titles composed by Tony PAGLIUCA will add nothing to the glory of the group, only one being sufficiently "classy" to feature in a worthy place in the Ormes repertoire. The initial idea was certainly good, its implementation is much less so. We're not going to throw the baby out with the bathwater, that's not the goal, simply a simple album with unreleased tracks would have been more than sufficient in my opinion.

So let's talk about the first CD called "Il Leone e la Bandera" and where we find the best of what is offered to us. After the "Ouverture", we move on to one of the pearls of the project with "Acqua di Luna" where we meet Luca SPARAGNA the new singer who has the privilege of replacing and making us forget Aldo...Question sound recording and mixing, no doubt we are there. ''Ferro e Fuoco" is much more energetic but nevertheless listenable. Bis repeat of the second title with "Lucciole di Vetro" by pure LE ORME with an astonishing keyboard score (piano and organ) by Michele BON and a magnificent singing by Luca in the terminal part, overall the honor is safe.

"L'alba della Partenza" is a successful combination of "Verita Nascoste" (the title track) and an Emersonian piano, and then this vocal phrasing which delights me, well done Luca SPARAGNA! The following piece "Rosa dei Venti" is in the same version except the choirs in the second part which make it passionate and exciting, I would even say captivating...The concluding instrumental track "Caigo" closes this album in style , flooded with the protean keyboards of Michele BON who proves her immense talents as an instrumentalist and joins Mr. SPARAGNA at the top of the bill for this album which honestly could stand on its own, but I am not a marketing specialist!

A good point for the iconography which recalls on the one hand the Venetian origins of the members of LE ORME, on the other hand the jacket of the cover of "Felona e Sorona" from 2016. Conclusion the first disc alone is worth an 8.5 but the rest barely reaches 7 (being nice) so an average of 7.5.