Mantua wasn’t really on my agenda this year; actually, it’s close to Brescia (about the same distance as Verona), and I really like the city of Mantua, but honestly, the impact of the Verona Arena is incomparable. So, I had decided to attend only the Brescia concert. Besides, around the time of the Mantua concerts (late September), I had planned a few days’ vacation at the seaside, since we hadn’t gone anywhere this year due to the excessive heat.
That said, a couple of months ago, my dear friend Janet from San Francisco contacted me; she had two tickets to Mantua for September 27th but had decided not to go, so she wanted to give them to me.
I absolutely must thank Janet for giving me this opportunity at the last minute, so my husband and I decided to spend a few days by the sea right after our trip to Mantua.
So, on the afternoon of September 27th, we’ve set off for Mantua, which is a good hour’s drive from Brescia.
We immediately found a parking spot right in front of the lion statues at the entrance to Palazzo Te, and since we had some time to spare, we headed into the city center, a beautiful historic city.
In this photo, my husband and I are in front of the Castle of Mantua.
After a snack and a walk around the city center, we headed off to the concert.
It was already 8:00 PM and the concert was scheduled for 9:00 PM, so I had plenty of time to meet up with various friends from different places!
Our seats were in the second row, truly excellent; thanks again, Janet!
I was delighted to see Ina and Katharina from Germany approaching. I had already met Ina last year, but Katharina was a new addition via Flight Crew.
From Poland, I met Anna, who is always traveling the world, and saw the lovely Alicja again!! (Sorry, Alicja, I didn’t get a photo.)
And from Spain, after years of chatting online, I finally met Professor Carmen, who is the administrator of the “Il Volo En Clase” fan page.
From Italy, the delightful Laura and Ugo!!
And from faraway Japan, I had the great pleasure of meeting Yukio and Kumiko, whom you’ll recall I had already had the honor to interview online!
親愛なるユキオさん、クミコさん、こんにちは！！
(Dear Yukio, Kumiko, hello!!)
As I’ve said before, meet-ups between fans from different countries, united by their love for Il Volo’s music, are a wonderful thing that fills my heart with joy! ♥️
But let’s get to the concert.
It was three hours of non-stop music; from start to finish, our three guys worked the beautifully set-up stage, singing, hosting, and laughing like perfect hosts.
Everything flowed beautifully, and the three hours flew by.
The setlist focused heavily on Italian songs, though there was room for other languages too: Ignazio sang in French, Piero in Spanish, and Gianluca in English.
They performed around thirty songs spanning various genres, with consistently magnificent vocals ranging from classical and crooner styles to rock.
Each night, one of our guys co-hosted the event alongside another presenter, and the concert title shifted from *Tutti per Uno* (All for One) to *Uno per Tutti* (One for All).
On the evening of the 27th, Gianluca served as host alongside Katia Follesa, a talented Italian comedienne who kept us laughing all night by pretending to be Gianluca’s favorite. 😂 🤣
I took photos and videos, but even though I was in the second row, they didn’t turn out well, so I’m using the photos taken by the talented Katharina, whom I’d like to thank. I’ll only post a few videos taken from you tube, though, because I don’t want to spoil the evening for you, as it will be broadcast on Canale 5.
I really appreciated this classic duet of Piero’s with soprano Miriam Battistelli, an Italian of Ethiopian descent.
TU CHE M’HAI PRESO IL CUOR
This duet with Ignazio, where they performed a beautiful song by Mino Reitano:
AVEVO UN CUORE CHE TI AMAVA TANTO
And this duet with Malika Ayane in Spanish:
CUCURRUCUCÚ PALOMA
This duet by Gianluca with violinist Alessandro Quarta is really beautiful:
L’ERA DEL CINGHIALE BIANCO
What can be said about this beautiful rendition of the Paolo Conte song?
VIENI VIA CON ME
And this lovely duet with Piero on the Neapolitan song:
ERA DI MAGGIO
From Ignazio, in French, the beautiful song:
VOILÀ
This solo from *Jesus Christ Superstar* is beautiful:
HEAVEN ON THEIR MINDS
And this beautiful rendition of the Fausto Leali song, which is pure poetry:
MI MANCHI
And then, when the three voices blend into a unique harmony:
L’IMMENSITÀ
NELLA FANTASIA
With the boy band BLUE they perform in 6:
A CHI MI DICE
The guys’ vocals were flawless throughout, and the three of them, true professionals, commanded the stage with charm, elegance, poise, and warmth.🥰
At one point, Piero stepped down into the audience and asked a 20-year-old woman some playful questions. 🥰
In another moment, Ignazio spoke about the meaning music can hold for someone who is lonely and sad. ♥️
Gianluca was incredibly entertaining alongside Katia Follesa, playfully humoring her romantic advances—it was full of laughter and comedy. 😂
The orchestra, the choir, and the entire crew all contributed to a truly memorable concert experience.
I’m not sure if the short videos I’ve attached fully capture the atmosphere, but the episodes airing on Canale 5 certainly will; I’ll be sharing all the details on those later, though for now, we only know that the first one airs on October 14th.
Additionally, during the evening, Il Volo announced a new Christmas album set for release on November 6th, and revealed that their tour of Italian arenas will be titled *Christmas Nights*.
I found wonderful reviews of all three evenings, published by MondoTV, which I am translating and sharing here, interspersed with lovely photos by Katharina (thank you, dear).
I chose these three reviews from among others because they were written with a keen critical eye. The author is Alice Fontana, a young writer with a passion for culture, television, and music.
All for One: A Review of the First Night of Il Volo’s Concert Event in Mantua
Last night, at Palazzo Te in Mantua, the first of three event-nights for *Tutti per uno* took place—a concert series starring Il Volo that will subsequently be broadcast on Canale 5.
I arrived with a few questions I hoped to answer. One stood out above the rest: does a show lose its spontaneity when it’s destined for television?
For events like this, I believe that question is the crux of the matter. Everything hinges on the delicate balance of spontaneity. If the singer is skilled, the cameras and all the non-musical elements fade into the background; conversely, if the event is packaged for the TV viewer rather than the live audience, that fact becomes glaringly obvious.
In Il Volo’s case, I find the execution to be excellent: the concert feels incredibly spontaneous without losing any of its vitality.
In my view, there are two main reasons for this.
The first is undoubtedly that the connection with the audience remains intact; it isn’t relegated to a mere backdrop that can be easily overlooked. While there is certainly an eye toward the TV broadcast, the live audience is never sidelined.
The second point is that, compared to previous editions of the show, the music takes center stage. I think it was the right move to strip away everything that made the concept feel a bit “contrived”: having a comedian appear each night in past editions made the event feel overly staged, even if it was entertaining.
This year, there is room for only one host per evening, but with a twist: the members of Il Volo take turns trying their hand at hosting, guided each time by the advice of a different professional presenter.
In fact, the show has been titled *Uno per tutti* (“One for All”).
Last night, it was Piero’s turn; he was joined by Amadeus and—rewinding to the Sanremo 2024 song lineup—he guided the audience through the tracks, making even the introductory segments particularly entertaining.
The songs are the heart of it all.
And if the songs are the heart of it all, everything surrounding them must rise to the occasion. And it does. The concert sounds superb: from the orchestra to the choir, every element seems perfectly placed. There is meticulous care in the arrangements, especially the covers, which might escape a less trained ear but is palpable in the way each track is constructed. It is not simply a matter of taking a song and adapting it for Il Volo’s three voices; there is precise craftsmanship in how each piece is rewritten, orchestrated, and presented to the audience. And it is precisely this kind of care, often invisible, that makes the difference between a well-executed cover and one that takes on a whole new identity.
An event like this splits Italian music wide open, delving deep to sift through genres, eras, and memories, ultimately offering the audience a broad and surprisingly vibrant snapshot of our musical tradition.
The other question I’ve always asked myself is: does having so many guests risk overshadowing the main artists?
There is—and will be—a vast array of guest artists appearing across the three nights. While this choice certainly adds value, it inevitably carries a risk: sharing the stage with artists possessing such strong personalities and musical legacies makes comparisons unavoidable. Yet, Il Volo managed to sidestep this by firmly maintaining the structure of a classic Il Volo show; the trio remained the focal point of the performance, alternating between their own songs, solo segments, and duets with their guests.
The first night featured a diverse lineup capable of spanning generations and the various styles of Italian music: Elisa sang with all three members; Mahmood performed with Ignazio and Gianluca; Fiorella Mannoia, Madame, and Riccardo Cocciante joined Gianluca; Alex Britti performed with Piero; Sarah Toscano sang with Piero and Ignazio; and Gianluca and Ignazio were joined by Ornella Vanoni’s niece and Roberto Colella, respectively.
Amidst the guest appearances, there was also room for personal memories. Gianluca, in particular, paid tribute to his grandfather, who had passed away just days earlier, bringing a more intimate, private dimension to the evening and demonstrating how channeling grief into art can sometimes be a source of healing.
It is precisely these moments, where the singer steps out of the role of performer to share his own personal story, that transform the show into something far greater than a mere succession of songs.
If I were to ask for something more from this event, however, it would be more room for *Ad Astra*, their latest studio album—a record that, precisely because it belongs entirely to the trio, would allow us to hear more of Il Volo without the presence of guests becoming the show’s main narrative element. Guests are an important part of the project, but I believe there is still much to be told through just their three voices.
For this very reason, rather than simply singling out collaborations, I would ideally divide the evening into two personal rankings: a Top 3 list of duets with guests and a Top 3 list of performances by Il Volo without guests.
As for the guests, Elisa and Riccardo Cocciante blended perfectly with the atmosphere and emotion that the event itself embodied.
I’d like to make a brief aside regarding Riccardo Cocciante. He is the favorite singer of my mother, who accompanied me to the concert. Seeing him interact with one of the artists I feel so close to turned the music into a sort of emotional bond between us. It was truly beautiful.
I also thought the medley featuring Gianluca and Fabio Concato worked wonderfully. It gave space to the purest form of singer-songwriter artistry.
When evaluating performances, I always ask myself: if someone unfamiliar with the song didn’t know who originally performed it, would they still be able to recognize the person singing it now?
If the answer is no—and in this case, it was a definite no—then, for me, the duet works. It means the artist didn’t simply interpret a song; they channeled it through themselves, adding a personal touch while keeping the song’s original identity intact.
As for the three of them individually, I don’t have a specific ranking. I find them consistently grounded in their respective musical niches—opera, singer-songwriter, and pop. While it’s always nice to step outside established boundaries, I believe it is essential to maintain a distinct identity even when performing covers, which make up a large part of their repertoire.
This is precisely where *Tutti per uno* strikes the right balance: in its ability to craft a show designed for television without losing sight of the fact that it is, first and foremost, a concert.
After an opening night like this, the question I started with seems to have found its answer: cameras don’t necessarily strip music of its spontaneity, provided the performers on stage manage not to let themselves be hemmed in by the machinery surrounding them.
And last night at Palazzo Te, Il Volo managed to do just that. Now, two more evenings remain to see just how far this journey into Italian music can go.
All for One: A Review of the Second Night of Il Volo’s Concert Event in Mantua
Last night, at Palazzo Te in Mantua, the second of three event-nights for *Tutti per uno* took place—a concert series starring Il Volo that will subsequently be broadcast on Canale 5.
To discuss and describe it effectively, I need to separate the music itself from everything surrounding it.
I make this distinction for several reasons: to fully dissect every facet of the show, one must focus just as much on the strictly musical events unfolding on stage as on all the elements that shape the audience’s experience.
On one hand, there is the music: the arrangements, the orchestra, the choir, the voices of Piero Barone, Ignazio Boschetto, and Gianluca Ginoble, the song selection, and the way the tracks are reinterpreted.
I will return to the music later; however, another aspect struck me as particularly evident during the second night: the show lacked a cohesive thread capable of binding its various elements together.
The evening was hosted by Noemi (Italian singer), who was also tasked with guiding Ignazio as he tried his hand at hosting, mirroring the role Amadeus played with Piero on the first night. And this is precisely where an issue arises, one concerning not so much the hosting itself, but rather the narrative of the format.
If the underlying idea of *Tutti per uno* is indeed to showcase—night after night—the journey of the three members of Il Volo toward a role that transcends that of mere performers, then this progression ought to be palpable in the show’s development as well.
During the first broadcast, with Amadeus alongside Piero, this dynamic was clear: there was a host acting as a guide, making space for the other and, precisely through their interaction, making the passing of the baton evident.
Last night, however, this element remained largely in the background. Noemi was meant to play the same role for Ignazio that Amadeus had for Piero, yet the dynamic of mentorship and “learning” never truly materialized over the course of the evening.
One is naturally led to wonder, then, what function this element serves within the overall narrative.
If the goal is to gradually transform the members of Il Volo into hosts, and, in parallel, to build the linguistic and narrative interplay that shifts the theme from “All for One” to “One for All”, then the audience should be able to witness this transformation. They should be able to see the three men growing comfortable in a new role, making mistakes, learning, and finding their own unique style.
Otherwise, there is a risk that the idea remains merely stated, without truly becoming part of the show’s narrative.
And perhaps that is precisely the impression the second night left me with: it wasn’t so much a lack of elements, but rather the absence of a thread to tie them all together.
While a unifying element was the main thing missing from the evening’s structure, the story was different when it came to the music. The music shone once again, and personally, I found the solos on this second night even more compelling than those of the first.
What struck me most was the musical journey undertaken by Gianluca, who managed to traverse vastly different worlds without ever losing his credibility. From Elvis Presley to Gino Paoli, taking in Bruno Lauzi and Riccardo Cocciante along the way, his path was that of a true chameleon: he changes his skin, his language, and his way of inhabiting a song, yet he always remains instantly recognizable.
This is perhaps one of the most interesting characteristics of his voice: the ability to move between seemingly worlds-apart repertoires without ever seeming out of place. He does not merely interpret different genres; rather, he seems to fully inhabit each one with a precise stylistic awareness.
Piero, too, found his niche, once again engaging with a musical realm that poses a greater challenge for him than the one more naturally aligned with his training. Venturing into pop requires extra effort on his part, making it all the more interesting to observe how he seeks to make songs his own, songs that demand an approach distinct from the operatic repertoire with which we usually associate him.
A particularly successful example of this was his duet with Nina Zilli on “Mi sei scoppiato dentro il cuore.” It was an encounter that allowed Piero to engage with a more distinctively pop style without sacrificing the unique qualities of his own vocal delivery.
Then came a moment that briefly shifted the evening’s focus from the realm of spectacle to something more intimate.
Ignazio presented a previously unreleased song written for his son Gabriele, who was in the audience listening. The song stems from a personal relationship and, for that very reason, took on a different resonance on stage compared to the evening’s other performances. It naturally brings to mind “La parte migliore di me” by Ultimo (Italian singer), not so much due to musical similarity, but rather because it centers on the bond between parent and child, originating as a declaration of love for that person.
It was one of the evening’s most tender moments, precisely because, for a few minutes, the stage ceased to be merely a venue for a grand spectacle and transformed into an intimate, personal space.
A particularly broad and diverse lineup of guests joined the three stars: ranging from the operatic realm represented by Katerina Bakanova and the Children’s Choir of the City of Chiari to artists such as Nina Zilli, Loredana Bertè, Nek, Francesco Gabbani, Noemi, and Emma.
Here, too, what is interesting, beyond the sheer number of guests, is the variety of musical worlds brought together. The evening thus continued to traverse opera, singer-songwriter traditions, pop, and performances by great Italian artists, maintaining that blend of styles that is a hallmark of *Tutti per uno*.
However, while I felt the narrative structure of the show lacked a clear, cohesive thread, the musical side remains far more solid: it lies in Il Volo’s ability to navigate diverse repertoires and—through their encounters with guest artists—craft a concert that refuses to be pigeonholed into a single definition.
The third night will be led by Gianluca; without wishing to put undue pressure on him, it will be interesting to see how he picks up the baton passed on by Piero and then Ignazio.
If the *Tutti per uno* journey truly aims to chronicle the transformation of these three performers into hosts, the final night will be the one to give this experiment a more fully realized shape. Following Amadeus’s stint alongside Piero and Noemi’s with Ignazio, Gianluca must find his own way to anchor the show and hold its various facets together.
Ultimately, I hope he manages to recapture the dynamic Piero and Amadeus established on the opening night, not necessarily to replicate it, but to restore the sense of continuity to the journey that was missing during the second night.
Because, in the end, the point isn’t to prove who is the better host. It is to see whether, by the third night, the *Tutti per uno* concept has finally evolved into something more than just a stated idea, becoming a journey that is genuinely visible on stage.
However, all of this stems from the unique perspective from which I am experiencing the project: I am attending all three evenings and, inevitably, viewing them not only individually but also as a whole, trying to grasp the connecting thread while already considering how they will eventually be transformed into a single television production.
For those simply watching the show, of course, the experience may well be different. Yet, beyond these observations regarding the format’s structure, *Tutti per uno* remains a high-quality, musically rich show capable of offering the audience a significant evening of entertainment. The issues I have highlighted relate primarily to how the three evenings, taken together, shape the narrative; they do not call into question the value of the show itself.
All for One: A Review of the Third Night of Il Volo’s Concert Event in Mantua
Last night, at Palazzo Te in Mantua, the third and final event-night of *Tutti per uno* took place—a major showcase starring Il Volo that will subsequently be broadcast on Canale 5.
Having covered the first two nights, the starting point this time is inevitably different. By the third night, one no longer looks solely at what is happening on stage at that precise moment, but also at the journey built across the three events.
While on the second night I felt a lack of cohesion regarding the hosting and the show’s format, the impression this time was different, bringing the experience back in line with the first of the three nights.
Gianluca led the evening, joined by Katia Follesa. The pair found a balance, particularly through the comedic interplay built around their relationship: within the show’s narrative, Katia appeared to be constantly making a play for Gianluca, while he responded to her advances with a slightly bewildered air that became an integral part of the gag.
The hosting approach did not attempt to turn Gianluca into a carbon copy of those who had hosted the previous nights; instead, it created a context in which he could simply be himself, and it worked beautifully.
Looking at the three evenings as a whole, the journey finally takes on a more coherent shape. Piero was paired with Amadeus, Ignazio with Noemi, and Gianluca with Katia Follesa: three different pairings, three distinct dynamics, and three ways of supporting the members of Il Volo in a role that differs from their usual one as performers.
In short, the thread that had seemed less apparent to me during the second evening became clearly visible again this time.
As with the previous two evenings, however, the heart of the event remains, naturally, the music.
The evening opened with Luca Carboni, who was entrusted with kicking off the show by singing three different songs—one with each of the group members. This opening immediately set a distinct tone for the evening before making way for the other guests.
Blue, Michele Bravi, and Malika Ayane also took the stage, contributing to that blend of musical genres and worlds that was one of the most striking features of the entire project.
There was one aspect of this third night that I particularly enjoyed observing: the presence of musicians who were not merely there as guests, but who played a tangible role in accompanying the music.
Among them were Nello Salza on trumpet and Alessandro Quarta on violin, both of whom took the spotlight alongside Gianluca during some of his solos.
It is a detail that might seem minor compared to the big names taking the stage, yet it effectively captures the true nature of the show: *Tutti per uno* is not just about singers taking turns; it also involves musicians and performers who help shape the sound of the evenings.
The sound of the entire show is meticulously crafted—this is one of the aspects most palpable in a live setting. Behind the massive scale of the TV production lies a complex musical engine made up of voices, an orchestra, and individual musicians capable of giving the performances a distinct identity.
Later in the evening, there was a moment that struck me as interesting, especially in light of what had been noted in previous reviews.
Ignazio spoke about how the three members of Il Volo divide up the songs, emphasizing just how natural this process is for them.
It is a detail that might seem almost trivial to longtime listeners, yet it actually reveals something about how they work together. Vocal parts do not appear to be assigned based on a rigid logic—such as “this is Piero’s song,” “this is Ignazio’s,” or “this is Gianluca’s”—but rather through a distribution shaped by the unique characteristics of their voices and what they can collectively bring to a song.
Perhaps this complementarity also explains why, despite the stark differences between the three of them, their collective identity remains so instantly recognizable.
There is also an element I personally always pay close attention to when attending a live show: the audience.
I enjoy observing their reactions—which moments resonate most, the level of participation, and, above all, whether the action on stage truly succeeds in eliciting a response from the crowd.
Last night, that response was particularly powerful.
The audience at Palazzo Te remained consistently engaged throughout the evening, demonstrating once again that the bond between Il Volo and their fans goes far beyond the typical relationship between artist and spectator.
It was precisely this connection that found its most beautiful expression in a moment I felt was among the most significant of the entire night:
Before performing “You’ll Never Walk Alone,” Ignazio delivered a speech that, to me, deserves to be singled out from the rest of the show.
He spoke about the meaning their music can hold for those who choose to attend their concerts, describing the idea of a song—or music in general—acting as an outstretched hand to anyone feeling lonely at that moment.
This is a particularly powerful concept, precisely because it shifts the focus, for a few minutes, away from the singer and onto the reason why a person has chosen to be there.
A concert is not merely a matter of someone stepping onto a stage while others watch; it can become a space where one feels part of something—sharing an emotion with thousands of people and, if only for the duration of a song, not feeling alone.
The performance of the song becomes almost a statement of intent directed at the audience: music can be a presence, a form of companionship, an outstretched hand.
And judging by the audience’s response throughout the evening, that message found a particularly receptive audience.
The third night also offered a chance to look ahead to what comes next after *Tutti per uno*.
During the show, *Our Christmas*—Il Volo’s new album of Christmas covers—was announced for release on November 6th. The album will be followed by an arena tour in December.
It is an announcement that effectively brings these three evenings full circle while simultaneously opening a new chapter. After three concerts built around musical fusion, guest appearances, and a television-oriented format, the trio will shift their focus to a specific repertoire—Christmas music—and take it to large indoor arenas.
Ultimately, this is the most compelling aspect of *Tutti per uno*: it is not merely a series of three isolated events, but a project that seeks to showcase Il Volo across various dimensions. These include the music, of course, but also the hosting duties, the interaction with guests and the audience, and the ability to craft a narrative around the songs.
Looking at all three evenings as a whole, the third one struck me as the occasion where these elements achieved the best balance.
At this stage, the real test lies in the television broadcast: seeing how three live events, each with its own distinct audience, atmosphere, and dynamics, will be edited and transformed into a cohesive narrative for Canale 5.
For that is precisely where the show must find its definitive form.
That’s all for the Mantua review; I hope you enjoyed coming along to the concert with me. I know it’s a very long read, but I hope it was worth it.
I’m writing to you from Tuscany, my long-awaited seaside vacation—and I brought my laptop along so I could give you an update right away.
A warm hug to you all, Daniela 🤗
Credit to owners of all photos and videos.