In this period of apparent calm and lack of concerts, I’m offering you the translation of three wonderful interviews with our guys.
The first was published in the newspaper LA GAZZETTA DI MANTOVA.
Il Volo: “Fascinated by Palazzo Te. We’ll have many guests on stage.”
The internationally renowned trio talks about themselves before their live dates scheduled for September 24th, 26th and 27th at the Esedra.
This year, the Esedra of Palazzo Te will once again host the fourth edition of Tutti per uno, scheduled for September 24, 26, and 27. This project, organized and produced by Friends & Partners and conceived by Michele Torpedine, features Piero Barone, Ignazio Boschetto, and Gianluca Ginoble. In short, Il Volo, an internationally renowned group, talks about themselves in this interview with the Gazzetta.
When asked why Mantua was chosen for the second consecutive year, the immediate response is a quip:
“They forced us.”
It’s enough to break the ice and transform the interview into an informal chat, consistent with the direct and spontaneous nature of the three artists. Immediately afterward, however, the tone changes:
“Mantua was truly surprising. Palazzo Te is a magical place. Honestly, we didn’t know it well, and when we arrived, we were amazed.”
They add:
“Seeing it on television was even more wonderful. We came from the Verona Arena and other very important contexts, but Palazzo Te managed to maintain the level we desired. When things are going well, you have to ride them, so we decided to return.”
The guests for the next edition are still top secret for now. The trio emphasizes that there are still several months to go and many confirmations to be made. “We can only say that there will be guests from previous editions, but also many new ones,” explains Piero. One thing is already certain, however: around 90 songs in total on the setlist.
The new single
Then comes the new single “Cuerpo sin alma,” created with Carlos Rivera, one of the most important voices in contemporary Latin music. The song, out Friday, May 22nd on all digital platforms, is a reinterpretation of Riccardo Cocciante’s “Bella senz’anima,” revisited with an Italian-Latin twist and already available for pre-save. “It’s a project designed primarily for the Latin American and South American market,” explains Gianluca. “Carlos is a friend of ours, and we were looking for something to do together. He suggested this song, which was very famous in South America in the 1960s and 1970s.”
The idea, adds Ignazio, is twofold: “On the one hand, to bring this music back to those who experienced it in those years, on the other, to make it known to new generations.”
The human journey
Speaking about future tours and their many years of career together, the three reflect on their personal and artistic journey. “We’re no longer the same as when we were 15. Traveling the world for 17 years shapes you so much.” Today, they feel more mature, more patient, and more willing to listen. “Living together teaches you so much,” they emphasize.
Finally, they reflect on the theme of mistakes: “Today, everyone wants everything right away, but on the path to a dream, there are inevitably mistakes and failures. And it’s precisely that middle part that’s the most beautiful, because it’s the path that makes you grow.”
The second interview was published by the newspaper LA GAZZETTA DEL SUD and reports an interview with Piero and Ignazio, enjoy.
“Sometimes he says stupid things that you’d just tell him to shut up.” Il Volo on allergies, missed trips, and solo dreams: “If it were just a business, it would have ended 10 years ago.” THE INTERVIEW
An interview with the two members of the popular Sicilian trio. Piero Barone and Ignazio Boschetto announce their new summer tour, debuting in Syracuse and returning to Taormina, and discuss what has kept them together for 17 years.
“Have you ever wanted to go on stage dressed as bad guys and smash everything?”
The question remains there, hanging, to break the ice and the cliché.
Piero Barone smiles with the composure of someone who truly feels that jacket is tailor-made for him. Ignazio Boschetto, on the other hand, allows himself one of his trademark grimaces, the kind of grimace of someone who respects the script but knows where to write his own part. Gianluca Ginoble, the third point of the Il Volo triangle, is missing. “No purge,” they both joke, “today we’re playing with a majority of Sicilians.”
Roots flourishing now that talk of the new, upcoming summer tour is underway (dates that precede the fourth edition of “Tutti per uno” – September 24, 26, and 27 at Palazzo Te in Mantua, subsequently broadcast on Canale 5. The return to Italian arenas is in December, while a new European leg involving the continent’s major capitals is planned for the fall of 2027). Meanwhile, two dates weigh more heavily than the others on the World Tour calendar: July 11 at the Greek Theater in Syracuse and August 22-23 in Taormina.
If Taormina is a homecoming, a perimeter where every stone and every acoustic reverberation is familiar, Syracuse is the unknown. A complete debut, almost a flash of light that would dazzle even those who have graced stages across the globe.
“We’ve taken the best seats,” confesses Piero. But it’s not just a matter of homeland; it’s more about children, and therefore about people, about the audience.
There’s a certain rhetoric about the Italian warmth, but what is it that’s really missing in Italy abroad?
“It’s not love or the way to show it,” they explain. “It’s a question of codes, of gut instinct. Even if we’re abroad, we still think in our own language and in translation; instinct gets lost in that transition. In Italy, you speak the way you eat. Interaction is spontaneous, immediate. It’s part of us.”
Then we return to that almost need for control that Barone asserts without embarrassment. “I am what you see. I like to have everything under control, to experience things calmly but precisely. I also have a sense of humor, it’s just that my teammates often don’t understand it.” “Ironic?” Ignazio immediately cuts him off with a laugh. “Sometimes he says such stupid things that you just want to say, ‘Please, shut up.’ But yes, in his rigidity, he’s hilarious.”
No smashed guitars, then, at least in the near future. No rock and roll thrills. Just a straight-laced discipline, despite the twists and turns of the road. And a lot, a lot of awareness (which rhymes with professionalism). Also because, “if you indulge in excess the night before, you pay for it the next day.” No scotch in the glass, just hazelnut coffee (Piero’s new passion, which he sips throughout our chat).
The question is there. Whether being together for 17 years, crammed into such an all-encompassing group identity, isn’t ultimately a forced democracy. A golden cage for cashing in.
Ignazio’s answer is clear and direct: “If it had been just business, it would have ended ten years ago. We have an almost messianic mission: to keep this musical genre alive, to bring it to young people, to reawaken the nostalgia of those who lived through the Pavarotti era. This unites us beyond any misunderstanding. Today, the world is moving toward individualism, but we exist and resist as a group. This is what is sometimes hard to understand.”
Yet the gnawing sting of personal ambition is human. Sooner or later, someone in every band wants to step out of the common car and travel on their own.
Piero doesn’t hide: “It’s a legitimate question. Gianluca has his inclinations towards pop music, and perhaps one day, if it’s ever possible, I might want to indulge in the whim of producing an opera. But today we know that our center of gravity is Il Volo. Today we know that together we have a strength we could only dream of alone.”
They became famous before they even wanted to.
A sliding door called “Ti lascio una canzone,” which they crossed at just 15 years old. When asked what they missed from normal life, the answer is clear. Ignazio had an adolescence, between scooters and hanging out with peers. Piero less so. “I never went on school trips. Never been to Selinunte, for example. I was severely allergic to dust, I couldn’t risk it. The only trip I ever took was to the Alcantara Gorges, and I came home speechless. A disaster.”
Now that they’re adults, the balance sheet closes with a game of mirrors. No mincing words, just a blunt concept dedicated to each other. Piero looks at Ignazio and says, “Honesty.” Ignazio returns the look and says of Piero, “Perseverance.”
The third interview was published by IMUSICFUN, enjoy reading it.
Il Volo, a never-ending journey through melody and bel canto: “We’re not just ambassadors, we love music.”
A musical journey spanning seventeen years, uniting generations and bringing the Italian opera-pop tradition to the world’s most prestigious stages. Following the extraordinary success of their leg in arenas across the United States and Latin America, Il Volo is preparing to conquer the summer of 2026 with a tour spanning Italy, Greece, and Spain.
In a detailed interview with La Gazzetta del Mezzogiorno, Piero Barone, Ignazio Boschetto, and Gianluca Ginoble open up about their new single, their deep connection to Italian tradition, and their highly anticipated performance in Barletta, Puglia, on August 7th.
The new single: “Cuerpo sin alma” featuring Carlos Rivera
The trio recently announced the release of their new single “Cuerpo sin alma,” a stunning international reinterpretation of Riccardo Cocciante’s classic “Bella senz’anima,” performed in a duet with Mexican star Carlos Rivera. The song features the prestigious production of Julio Reyes Copello, a multiple Grammy award winner who has previously collaborated with icons such as Marc Anthony, Jennifer Lopez, and Ricky Martin.
Regarding the genesis of this collaboration, the trio explains:
“Meanwhile, the collaboration with Carlos Rivera was spontaneous. We’d met for dinner and promised to do something together, also because his father was an admirer of Cocciante. Traveling the world, we realized that abroad they love what they don’t have and can’t have or create for cultural or anthropological reasons. A heritage like the Italian one, born in a country that laid the foundations for creating music in every aspect, is fascinating. And we, in our own small way, try to continue the tradition of bel canto because there aren’t many other singers our age who bring it to the world.”
Ambassadors of Bel Canto around the world: a great responsibility
Often described as the true diplomats of Italian music abroad, the three artists live by this label with extreme humility but also with great awareness. When asked if they truly feel like “ambassadors of Italy to the world,” they respond:
“It’s a subjective matter, but a great responsibility, for example, is to try to keep our enthusiasm alive when we sing, to be as consistent as possible with the choices we make. It’s true, some call us ambassadors of bel canto, but that’s only a consequence of how we feel and experience music.”
A success that is not only aimed at a nostalgic audience, but is also reaching an increasingly younger audience thanks to the timeless power of the melody:
“Just see one of our concerts. It’s true that initially, our television career, especially, was followed by an older audience, but our goal has always been to bring this genre to our peers, because today’s platforms offer more commercial tracks, but the melody is absolutely transversal. There’s a significant segment of the audience that has grown up with us.”
From Pavarotti to Operatic Pop: Great Collaborations
Il Volo’s stylistic hallmark lies precisely in their ability to break down barriers between musical genres, a path already blazed in the past by the giants of classical and pop music.
“Obviously, we took inspiration from Luciano Pavarotti; he was the first to do so and to understand the true power of this music, which could reach a wider audience. In Italy, we’re so accustomed to melody that we almost reject it; in England, for example, Adele’s most-listened-to songs are all ballads with orchestra. It’s also not true that romanticism is dead, and perhaps we should start talking about it again, offering less frivolous content. It’s not a war, absolutely, because there’s light music and more challenging music depending on the moment, but, as far as we’re concerned, we like to mix genres, singing with those artists who have become friends today.”
A perfect balance that requires obsessive care of the most important instrument: the voice.
“It takes self-love. In the past, there were times when we were a little more distracted, but today we take singing lessons, we follow a more defined path, we’re always trying to improve. People think that singing is simple, you lean in and breathe, but it’s precisely that knowledge of yourself and your body that makes the difference on stage, and if you don’t take care of it, you won’t have a very long career.”
The 2026 summer tour
The summer tour will see Il Volo perform in Italy’s most evocative historic locations. Among the most anticipated events is the fourth edition of “Tutti per Uno” (a format created by manager Michele Torpedine and produced by Friends & Partners), which will take place on September 24, 26, and 28 in the splendid setting of Palazzo Te in Mantua.
“We decided to celebrate these 17 years together and promised to do something together, but then we got carried away and added more dates. Summer tours in Italy allow us to see wonderful places, and the food in areas like Puglia and Basilicata is so good…”
The secret of 17 years of success together
Starting an international career at a very young age and pursuing it together for nearly twenty years is a rarity in the contemporary music scene. So, what is the secret to Il Volo’s longevity?
“It takes intelligence, not just from ourselves, but also from the people around us. It helps eliminate that ego, because in a group, egos can’t exist; you have to work as a team. We’ve learned this in all these years traveling the world: there’s nothing more beautiful than sharing emotions and goals. And we, who experience such high adrenaline rushes, when we achieve something, we want to celebrate it with others.”
And the last interview is a nice video with English and Hungarian translations. In it the boys talk about their upcoming summer concert in Malaga in July.
I hope you enjoyed these four interviews. Our three guys are on vacation, relaxing with family and friends, and we don’t want to disturb them, but soon they’ll be guests at an event with many singers.
That’s all for now, I’m also translating a long interview Luca Maggiti did with Gianluca, very serious and different…..see you soon!!
A beautiful opening ceremony recently took place in L’Aquila (the capital of Abruzzo) marking the year 2026 in which L’Aquila was named “Italian Capital of Culture.”
The opening ceremony was attended by our President of the Republic, Sergio Mattarella, and all the mayors of the province of L’Aquila.
Gianluca Ginoble, a true Abruzzese, contributed to the event by singing the beautiful and sad Abruzzese song “AMARA TERRA MIA” on stage. During his performance, a beautiful video of the Abruzzo region was shown.
Here’s the entire moment of Gianluca’s speech. (translation captions can be activated)
Beautiful lyrics in this sad but truthful song.
The landscapes that pass by in the video are stunning, and what can I say about Gianluca’s voice and emotion?
Fantastic! He sang a single verse in the Abruzzese dialect. Bravo, Gianluca!
Did you notice Maestro Leonardo De Amicis, who conducted the orchestra? He’s also from Abruzzo and a longtime friend.
Gianluca’s speech at the end of the song was absolutely sweet, extending greetings to President Mattarella, also on behalf of his companions, Ignazio and Piero.
Gianluca also wrote a beautiful article for the newspaper IL CENTRO that I’m translating for you.
Gianluca Ginoble: “L’Aquila, the city that accepts the responsibility of flying.”
The singer writes for Il Centro: “Destiny in the name has never abdicated the upward striving.” Quotes from Jung, Battiato, and San Giovanni: “This is a land to be proud of.”
GIANLUCA GINOBLE
Myths are not a thing of the past. They still influence human affairs, dramatize our internal struggles, disrupt our character, and inhabit our lives even when we’re unaware of it. Carl Gustav Jung said that “the gods have not disappeared, they have transformed into illnesses”: into inner forces, tensions, desires, and ambitions that we simply cannot control or eliminate. Myths, in fact, represent archetypal ways of existence: symbolic forces from which we can neither escape nor fully recover. In cultures founded on myth, the gods were inhuman and eternal: the Immortals, as the Greeks called them. Forces that, precisely because they were eternal, made certain traits of the human soul indelible. If there is a mythical figure capable of embodying the tension of ambition, of impetus, of the desire to rise, it is the Eagle. The Eagle carries with it a name and a symbolic destiny. Ancient texts describe it as an animal with a hot, dry temperament and a voracious appetite, always associated with sacred contexts. It’s no coincidence that John, the most spiritual of the evangelists, is traditionally represented by an eagle: a creature that flies higher than all others, that gazes far ahead, that approaches the light without fear. The eagle is the bearer of the spirit in its highest form. It is ambition at its fullest extent: an instant bathed in the shining light and immediately ready to be reborn, to take flight again with the future still ahead. Even in Egyptian hieroglyphics, the letter A is represented by an eagle. Not a simple coincidence, but a sign. This is the symbolic power of a city that bears such a meaningful name.
This symbolism is almost inevitably accompanied by the thought of Franco Battiato (Italian singer), for whom the eagle has never been merely an image, but a key to access. Eagles, in his work, certainly recall a hit song, but above all a symbolic constellation deeply dear to him: that of birds, of the play of wingspans, of secrets revealed only to those who accept the risk of heights. Eagles are destined for unpredictable flights, sudden ascents, imperceptible trajectories that trace a sort of existential geometry. They are called to change their perspective on the world, to use his words. Walking, for an eagle, is an unnatural gesture: its vocation is flight, approaching the sky to intuit its secrets. L’Aquila is the city that rises, that observes from above, that accepts the responsibility of flight. A city that knows the risk of getting too close to the sun, of getting burned, but that never abandons its striving for the sky. Like the eagle, precisely. And Abruzzo is a strong and gentle land, reflecting this same archetype, as Flaiano described it: a harsh, severe, silent land. A region that seeks not to please, but to remain true to itself.
A simple, archaic place, unprone to rhetoric, where the landscape and its people share the same sobriety. A land that has given voice, art, thought, and resistance. A land to be proud of. Because L’Aquila is a city that has learned to rise again, to rebuild itself, to take flight again, always with wings stretched toward the sky. Despite its wounds, despite its difficulties, it has proven itself to be a people capable of strength and vision. Just like its founding myth: the eagle. Always in flight. Always alive. Always with its head held high.
And this is the beautiful moment when Gianluca shakes hands with the President of the Italian Republic Sergio Mattarella!
This article about the event published by IMUSICFUN is also very nice.
Gianluca Ginoble enchants L’Aquila: a solemn and distinctive inauguration for the Italian Capital of Culture 2026.
L’Aquila inaugurates 2026 as the Italian Capital of Culture in the presence of President Mattarella; emotion and identity with Gianluca Ginoble and “Amara Terra Mia”
L’Aquila officially opened its year as Italian Capital of Culture 2026 with an intense, solemn ceremony deeply rooted in the region. On Saturday, January 17, at the Auditorium of the Guardia di Finanza, the Abruzzo city began a journey that looks to the future, starting from memory. The ceremony was attended by President Sergio Mattarella, Minister of Culture Alessandro Giuli, Mayor Pierluigi Biondi, and President of the Abruzzo Region Marco Marsilio.
But more than a celebration, the event felt like a foundational act, a choral narrative intertwining music, words, and images. And among the most moving moments of the morning, Gianluca Ginoble, the singer of Il Volo, undoubtedly stood out, giving the audience a powerful and meaningful reading of “Amara Terra Mia.”
Gianluca Ginoble and “Amara Terra Mia”: The Voice of Emigration and Roots
Conducted by Maestro Leonardo De Amicis, Gianluca Ginoble—a native of Roseto degli Abruzzi—brought to the stage a song that symbolizes Abruzzo’s identity. “Amara terra mia” (Bitter Land of My Love) is more than just a song: it’s a chant of emigration, toil, and nostalgia, born in the early 1900s as a work song for olive pickers in the Maiella area.
Also known as “Nebbia alla valle” (Nebbia in the Valley), “Addije, addije amore” (Addije, Addije Amore), or “Casca l’oliva” (Let the Olive Fall), the song has been passed down through various choral harmonizations and made famous thanks to Giovanna Marini’s work in the 1960s. Ginoble’s interpretation captured the full emotional power of this oral heritage, transforming it into a moment of great civic and musical intensity.
It is no coincidence that the artist wanted to symbolically remember all his “fraternal colleagues”, underlining the collective value of music and shared memory.
Well, Gianluca, we’re here to congratulate you once again.
The event dedicated to your hometown was certainly welcomed with affection and enthusiasm by you, you who always sing the praises of your homeland.
You are a sensitive man who never forgets where he comes from.
We admire you greatly for all this and also for remembering your friends and brothers Ignazio and Piero in your greetings!!
We continue the review of small interviews, news and comments, as we approach the start of the Sanremo Festival.
In this video, Piero, Gianluca and Ignazio are asked to compare Capolavoro to a painting.
PIERO= If Capolavoro were a painting I would imagine a horizon.
GIANLUCA= ehhhhh….THE FALLEN ANGEL (painting by Cabanel), it probably could be.
IGNAZIO= He hurt himself? 😂😂
GIANLUCA= I know him, in fact, as his name is Cabanel.
IGNAZIO= A parachute (always referring to Capolavoro)
PIERO= (to Gianluca who is still looking for the painter’s name) Don’t think about it…
GIANLUCA= It is one of the most famous paintings in the world…
IGNAZIO= It was better that you said GUERNICA, okay, come on!
GIANLUCA= Ok, Capolavoro is a song that talks about how important connections are in life, and this feeling which is the engine of life itself, how suddenly, as if falling from the sky, there are people, there are situations that they can really save your life and make your existence better.
PIERO= It’s that strong feeling that comes suddenly and you realize that until the day before you experienced a great void.
IGNAZIO= Can I say something or did you say everything?😁
PIERO= Go…
GIANLUCA= It’s because there are three of us and we divide ourselves….
IGNAZIO= If I may say, it is that love that you feel for anything or anyone, therefore for a man, a woman, for a son, a father, a mother…..
GIANLUCA= A universal love…
IGNAZIO= A universal love and we compare it to the boom we hear when we feel love.
And then this announcement, which I think is satirical news, because on the video it says: “VERY UNRELIABLE NEWS ABOUT SANREMO 2024”
I really admire the fact that our kids always want to have fun. 😁😁😁
GIANLUCA= Hi guys, we are Il Volo.
PIERO= (imitating Gianluca’s manner) Hi guys, we’re Il Volo.
IGNAZIO= I don’t know if you know, let’s give a spoiler, on Sunday morning, after the final, we will do a concert together with the LA SAL group in the square…..😁
GIANLUCA= THE SAD!! 😂
PIERO= LA SAL, LA SAL, but is it possible? 😂
GIANLUCA= LA SAD, sorry, guys, Ignazio is from another era…😂
IGNAZIO= No, because Sunday morning it will be LA SAL, however we will have a concert in the central square of Sanremo at 10.30 in the morning. We are waiting for you all there.
PIERO= Ignazio will be there alone! 😁
This is the punk group LA SAD that will be competing in Sanremo, it is famous for its songs with vulgar words that talk about drugs and sex. Evidently a concert with Il Volo is unthinkable, so it’s a joke. 😁
One of the members of LA SAD, the one with the green hair, is from Brescia and is 37 years old 😩.
What I attach below, however, is a short video that was broadcast on TG1, and talked about two Sanremo singers: EMMA and IL VOLO.
(I translate what our guys say)
Emma and Il Volo, two different emotions, two great victories in the history of the Festival (Emma also won a festival). In 2015 they were even together on that stage, although in different roles (Emma was presenter that year).
GIANLUCA= It’s as if it were the first time, we’re almost thirty years old, we’re growing up too.
G+I+P= CAPOLAVORO
IGNAZIO= Everything can be a Capolavoro, you will discover it by listening to the song.
PIERO= Here, can I book? I will introduce LA SAD. (This year the singers, on the evening that they are not competing, must also present other singers)
LA SAD= We are the new Il Volo!
GIANLUCA= Or Il Volo will be the new Il Volo of itself.
And this is a nice article already published in English.
Reading the various Facebook pages, I found this comment from my friend Luce..
Luce is Sicilian, married for a couple of years and is now expecting her first child, Giosuè, whose birth is scheduled for February 7th, just the days of Sanremo, it will be her masterpiece……best wishes Luce, a hug. ❤️
“Universal Love, the one that is not only contained in a couple’s fairy tale, but expands to an infinite horizon of love towards those who suddenly arrive and change and illuminate our lives…
Poetry, not only that, hope towards something that brings good. What can I write about such depth of thought which is the essence and soul of the music of a group that always exceeds all expectations…
Yet here we are, still reading sentences that don’t describe them, that don’t reflect either their talent or their person.
And between one thought and another, a beat and a thousand in it, I follow our incomparable trio, also reading here and there the news relating to the Festival, the curiosity of listening and of this mysterious “different” or “2.0” increases who have been meditating for some time and letting us understand, regarding the beauty of the text and interpretation, I am sure they are unsurpassed, even just by reading two sentences and hearing them talk about it… many poor, confused, incompetent pen languages full only of gratuitous malice will not be able don’t recognize it… but let’s spread a quilt on this suitable for a winter night in Alaska.
I was very pleased that they have metabolised and decided to look forward, they have certainly always demonstrated their value by working, improving every day and walking with their heads held high, the best response to silence any unjust and undeserved offence. This increases in me the esteem, respect and great love I feel towards them. Chapeau! Piero, Ignazio and Gianluca! Sanremo is an opportunity, a showcase to show your artistic evolution and celebrate 15 years of career where everything started, that once upon a time that changed your lives forever… even if you don’t have any of the Festival need because your stage is now the whole world. In any case, you have already received the first truly worthwhile applause from the orchestra and the next ones will follow in flight… it cannot be otherwise… and we will be the first to jump from our seats clapping until our hands hurt.
And I, among a thousand and more thoughts, emotions that move as if on a swing that touches and caresses the sky, waiting or perhaps it would be more correct to write at the mercy of waiting for the most important and significant event of my life, of that arrival… my little one. ❤️
Here Piero and Gianluca were photographed leaving the Arcimboldi Theater on January 16th.
January 22nd was also Il Volo’s first day of rehearsals in Sanremo, where they are arriving at the Ariston Theatre, the rehearsals already done with the orchestra were not necessarily done inside the Ariston theatre.
IL Volo was welcomed with great enthusiasm.
Now the town of Sanremo is starting to see more and more the presence of singers.
But then it happens,to my great pleasure, that IMUSICFUN publishes an article with a series of questions to the well-known music critic Paolo Zaccagnini, on the topic of Sanremo and journalists’ report cards for singers.
And here’s what he said, and I will translate only the part of Il Volo.
Is everyone ready for February 6th? If the musical ship is now ready to set sail, so are the controversies, it needs certain report cards from the first listens, which almost in unison rejected the song by Il Volo and Ricchi e Poveri.
Why does some of the press snub Il Volo?
It’s the usual acrimony towards those who are truly successful abroad. I read the pre-listening report cards… Some journalists go to Sanremo to be seen and then sell themselves better. It is the mirror of an Italy adrift where Luca Dondoni’s arrogance reigns supreme. To think that he used to DJ at Armani fashion shows…
I saw their podcast – PIECES: INSIDE MUSIC (by Andrea Laffranchi, Dondoni and Paolo Giordano) and I laughed a lot.
(These three journalists all gave below passing marks to Il Volo, one of them Andrea Laffranchi in 2019 was one of the journalists shouting against Il Volo.)
I was so pleased that someone, in particular an authoritative critic and not a simple journalist, spoke out in favor of Il Volo.
For the rest there are only 15 days until the start of Sanremo and the euphoria is rising!
I also want to give space to love and to a young couple who are currently floating above a cloud: Ignazio and Michelle. Sunday 21st January was a sunny day and our two lovers went to the beautiful Lake Como, here is their wonderful shot…..but how beautiful are they???
Daniela❤️❤️
Credit to owners of all photos and videos.
Come in and share the love of life, friends and Il Volo!
