Claudio Baglioni opens the first Sardinian leg of the tour: music and emotion at the Teatro Lirico in Cagliari
After the inaugural appointment tonight, the singer-songwriter will return to the stage of the Lirico on February 23rd and 24th, before moving to Sassari on February 27th and 28th and March 1st.
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"One heart, one voice, ten fingers". Only him on stage, accompanied by his three pianos - acoustic, electric and digital - symbol of past, present and future. He changes them clockwise, so as not to fight against time, but to follow it, in the hope of moving towards what will be "the most beautiful years". This is how the first concert at the Teatro Lirico in Cagliari comes to life as part of "PIANO DI VOLO SOLOtris" , the latest series of solo recitals by Claudio Baglioni.
After tonight's inaugural event, the singer-songwriter will return to the Lirico stage on February 23 and 24, before moving to Sassari on February 27, 28 and March 1.
After "SOLO" and "SOLObis", "PIANO DI VOLO SOLOtris" represents the grand finale of the solo concert journey with the third, new and improved chapter of the live musical experience in classical theatres .
"SOLOtris", with 120 concerts that cross the Belpaese from North to South until the end of the year, touching the most prestigious and suggestive scenarios of 48 Italian cities, closes the SOLO trilogy. With a total of 300 performances, the live project will become the longest tour of Claudio Baglioni's career , completing the previous and historic solo recital tours: Assolo (1986), Incanto (2001), Diecidita (2011-2012-2013).
The evening's setlist retraced over fifty years of music, alternating timeless hits like "E tu come stai?", "Strada facendo", "Avrai" and "Mille giorni di te e di me" with lesser-known songs like "Signora delle ore nere" and "Con tutto l'amore che posso". Each song was introduced by an anecdote, a story that revealed its genesis, intertwining with the artist's artistic and personal life. Without a band, the melodies returned to their original essence, revealing new and intimate nuances.
The concept of the tour is developed around the metaphor of the "flight plan", with Baglioni in the role of pilot who guides the audience through an itinerary made of music and words. Each song becomes a stop, a point of reference on a route that passes through emotions and memories. Between one song and another, the singer-songwriter has woven together stories and anecdotes about his artistic and personal life, building a narrative thread that has made the concert a total experience. The formula of the "close-up concert of the third kind" proves to be a winning one: a recital that blends narration and music, rigor and improvisation, highlighting Baglioni's ability to entertain and involve the audience with the sole help of his voice and his hands on the keys. No special effects, just the power of his art.
The stage set, essential but studied in detail, contributed to creating a suspended atmosphere, with plays of light calibrated to underline the meaning of each performance. A singular concert, not only for the presence of a single artist on stage, but also for the uniqueness of his expressive modality. Baglioni establishes a friendly relationship with the audience, embracing them with his music and his stories, creating an intimate dimension that transforms the show into an encounter rather than a simple performance.
Not just a concert, but a journey through time and emotions, in which each spectator recognized a fragment of his own history. Claudio Baglioni's songs are precise coordinates in the map of collective memory: soundtracks of loves, waits, departures and returns.
