Rosalía conquers the Unipol Forum in Assago like a vision suspended between sacredness and desire, discipline and vertigo . The Milanese audience, 11,500 spectators in a sold-out crowd, welcomes her like an apparition: motionless, sculpted in light, white leotard, pink tutu, en pointe like a ballerina from an Impressionist painting. Around her, a twenty-piece orchestra arranged in the center of the audience, in a cross-shaped pit, sealing the almost liturgical nature of the "Lux Tour." Then the body comes alive and the concert ignites.

For two acts and ten songs in total, Rosalía dominates the stage with a magnetic, powerful performance, constantly balancing spiritual tension and carnal impulse. Songs like "Divinize," "Mio Cristo piange diamanti," and the rousing "Berghain" convey the full force of an ambitious artistic project, both cultured and popular, capable of blending flamenco, electronic music, and operatic influences. Until that moment, nothing suggests what is to come.

The artist appears in complete control, vocally impeccable, and scenically mesmerizing. But shortly after 10 pm, during the performance of "De Madrugá," the first signs of difficulty appear: a few coughs, a sudden loss of energy. The audience senses a change, albeit subtle. Rosalía tries to grit her teeth and continue, but the discomfort intensifies. After a brief pause, she returns to the stage, visibly exhausted, and addresses the audience: "I feel sick. I tried to continue, but I have to stop the show. I wanted you to have the best experience possible. I've never felt this before."

She apologized several times, explaining that she was unable to continue: "I pushed the show, but I have to physically stop. I can't continue. I did my best." It was food poisoning that forced the Catalan artist to permanently interrupt the concert, leaving it unfinished after the first two acts. Amid the applause and support of the audience, Rosalía left the stage, deeply saddened.

(Unioneonline/D)

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