A great voice like that of Raffaella Luna and a great guitarist as Franco Morone, could only make a real jewel of grace and originality where a guitarist plays with unique style and a gentle voice of rare beauty, are the main ingredients.
Salvatore Esposito – Blogfolk
Castle music … Morone and Luna presented in full their cd Songs we love, American and British songs of the late twentieth century, together with moments of pure Bel Canto, magistrally interpreted by Raffaella Luna (impeccable versions, but not mannered, of Plaisir of amour and Caro mio ben). And it’s also perhaps the alternation of registers, combined with feats of Morone as soloist, to impress: two requests for bis and an audience almost touched.
Ma.Gu. – Club Tenco
Raffaella’s voice is powerful, passionate and confident … the guitar of Franco, touch, sound, taste in the arrangement are unique … draws stylish plots accompanied with unisons and harmonizing … a lesson in style.
Mario Giovannini – Chitarre
Luna has a great agility, crystalline timbre and perfect English diction. Franco is the guitarist who each interpreter would take his side, for ductility and controlled virtuosity.
Giovanni Choukhadarian – Kataweb Musica
Their Songs We Love is a disk to love and, live they are a delicate strength of the nature.
Antonio Feliciano Silva – Sanremout
The intensity and nearly innocent intimacy of acting in combination are almost too beautiful to be true.
Die Intensitaet und fast unschuldige Intimitaet des Zusammenwirkens scheinen mitunter fast zu schoen um wahr zu sein.
Michael Lohr – Akustik Gitarre (D)
Franco Morone’s guitar and Raffaella Luna’s angelic voice fit Together like cheese and wine. Both taste excellent and are getting better with time. They will promote their album “Songs We Love” at several festivals during an extensive European tour. If you want to be well prepared, just listen to the beautiful songs on this album and enjoy every minute of it.
The final conclusion can not read other than an irresistible, fascinating class product.
New Folk Sound (H)
Her voice has the strength, energy and originality that make the interpretations of these timeless songs into something special.
Wenn ein Gitarrist und eine Sängerin ohne Unterstützung weiterer Musiker ein Album aufnehmen und dies vom ersten bis zum letzten Ton bewegt, muss vieles stimmen. Vor einigen Jahren nahm Franco Morone mit Road To Lisdoonvarna ein wunderschönes Album mit dem Untertitel Celtic Fingerstyle Guitar auf. Auch das exzellente, filigran expressive Fingerpicking des aktuellen Werks atmet die Luft der Grünen Insel und verleiht den fast ausschließlich nord- und mittelitalienischen Traditionals eine besonders warme Note. Raffaella Lunas Gesang könnte man vereinfacht mit „schön“ bezeichnen. Da ist kein unnötiges Pathos, aber ihre Stimme verfügt über die nötige Kraft, Energie und Eigenständigkeit, die die Interpretationen dieser zeitlosen Lieder zu etwas Besonderem machen. Wer die Musik piemontesischer Gruppen wie La Ciapa Rusa oder Paroplapi kennt, wird hier mit Genuss einige der Lieder aus ihrem Repertoire in neuer, reduzierter Form wiederentdecken. Abgerundet wird dieses hervorragende Album durch das Beiheft mit englischen Textübersetzungen und Quellenangaben aller Lieder.
Franco Morone is een Italiaanse gitarist die al heel wat schijfjes op zijn naam heeft staan. In het verleden was het repertoire vooral afkomstig uit de Keltische wereld. Morone bewerkte de songs en tunes, onder andere van O’Carolan, tot instrumentale kunstwerkjes. Want één ding kan je Morone wel meegeven en dat is gitaarspelen. En behalve virtuoos altijd met een zeer mooie sound en vooral een dot emotie. De techniek staat in dienst van de melodie en niet andersom, wat je veel bij de moderne akoestische gitaristen tegenkomt. Morone is ook de man van de fraaie harmonieën. Zijn tunes zingen zonder woorden. De laatste jaren verbreedde Morone de paden en kwamen ook langzamerhand andere traditionele stijlen en streken aan bod. Canti Lontani nel tempo is het laatste product en verrassend genoeg is deze cd gevuld met traditionele liederen uit Italië. Dat laatste is wat bescheidener als het er staat. De meeste songs komen uit het Noorden, een enkele uit meer zuidelijke provincies en een eenling uit Sardinië. Morone is groots in de begeleidingen. Fraaie harmonischen, knappe bassen in een vol geluid door de open stemmingen waarin het gespeeld wordt. De verrassing zit hem in zangeres Raffaella Luna. Heerlijke heldere stem met diepte, een frasering op zijn tijd, maar niet overdreven en kraakhelder. Een vergelijking met Julie Murphy (Fernhill) dringt zich op en dat is als compliment te beschouwen, Ook qua sfeer kan je die link leggen. Wie het verschil tussen Italiaans en Welsh niet zou horen of kennen, zou bijvoorbeeld zweren dat een lied als Sotto l’albero del Piemonte door de Welshe groep werd uitgevoerd. Een serene rust, maar meeslepende uitvoering dus. En dat gaat zo de hele cd door. Er passeren gekende nummers als La Bergera, La Turineisa (oa Ciapa Rusa), Prinsi Raimund en uiteraard Dona Lombarda. Deze uitvoeringen doen niet onder voor meer bekendere. Een zelfs een kapot gecoverde song als Bella Ciao krijgt hier met een wat afwijkende, originele tekst een heel verrassende bewerking. De eindconclusie kan niet anders luiden dan een onweerstaanbaar, boeiend klasse product.
Last year when on the occasion of the publication of “Back To My Best,” we interviewed Franco Morone, revealed us in preview that he was working on the selection of some tunes of the Italian musical tradition, that they would go to compose his next album. After almost a year is not a surprise for us to find ourselves in your hands “Canti Lontani Nel Tempo”, a cd that puts it in line sixteen tracks, recorded together with Raffaella that in wide part dusts off the successful formula that made “Songs We Love” one of the most popular disc production. Obviously the object of the reinterpretazions, but it would be better to say re-inventions, is different where there were songwriting tunes in English, this time absolute protagonist in scene is the Italian narrative song.
If only in appearance this disk can seem a challenge that is unlikely, looking overall at the career of Morone, it perfectly results us consistent with the spirit and the curiosity that he has animated its search to everything round on the guitar. Well afar therefore to fall in the already heard (and how could ever happen?), and above all bringing himself out from those who flaunt the banner of authenticity, Franco Morone re-read every single song through his peculiar style and his shimmering guitar technique, while to embellish every passage has thought the voice of Raffaella Luna, whose sung versatile and elegant it opens to the popular culture with great generosity. The listening is so a flight through the history of the Italian musical tradition, that spaces from the lyric air “Babbino Caro” of Giacomo Puccini to the traditional Sardinian “Not Potho Reposare”, passing by “La Bergera,” “Prinsi Raimund” and “Bella Ciao”, up to touch the song of the trenches “Era Una Notte Che Pioveva, it was a night it was raining” and narrative songs like “Donna Lombarda” and “Tre sorelle, Three Sisters”. In short “Canti Lontani Del Tempo” is exactly what we’d expect from Franco Morone, a refined guitarist, as well as expert of the music both International or Italian folk.
In Italy, the musical and lyrical approach to traditional heritage has always happened along three main routes. The ‘folksy’, the most damaging and commercial, animated only by sinister opportunism massacre perpetrated by many recording companies, around the years ‘ 70. There are no names to do: the pirullalerolallero and the sciur padrun are still in the ears of many. Let’s quote it first just to get rid of it right away. The ‘ popular ‘, animated by good intentions and motivations, but soon contaminated from so so many collateral rivulets to be lost identity and direction. Here the name can be revealed, however in certain meritorious way, The Nuova Compagnia di Canto Popolare. The ‘folklorico’, understood in the noblest and scientific sense of the term, fed of search on the field, analysis and rigor, also in the present risk always of the academicism or of the niche. Without going back too far we quote as emblems Roberto Leydi, Diego Carpitella, Alan Lomax. Talk to last to keep it more easily in memory, because it is needed.
The work of Raffaella Luna and Franco Morone (which, let’s face it immediately and without half terms, it’s beautiful) finds a personal and charming way, while paying proper tribute to the scientific tradition mentioned above (the proof is the touching dedication to Roberto Leydi). But here there are no Academy risks because the approach is essentially philological in the substance (respect and love) rather than in form. And the form speaks of Raffaella Luna’s vocal intensity powerful performances, but always checked in to never overflow without the residual stains so much ‘ popular ‘ and very careful to delineate the extraordinary variety of concepts, characters, humanity, political and social history that leans out from texts of great incisiveness and thickness. And a musical background (on guitar) of great originality and refinement obviously to work of Franco Morone) ranging from echoes ofof beating guitar to obstinate bluesy to arpeggios and lyrical accents and inspired, and rigorously fingerstyle without disdaining more than a glance to the classical one Executions, above all, that have privileged the lack of artifice by recording room, as to recreate a sort of spontaneity ‘on the field’: very few overdubs as scrupulously annotated in the booklet packed with news and the texts with translations into Italian (for those in the local dialect) and English (have you ever seen …).
Coming to the content we note that the tracks belong to almost everyone in the Centre-North Italian, between Tuscany, Emilia-Romagna, Lombardy and Piedmont. The most known (“Bella ciao”, “my Mother give me one hundred liras, Mamma mia dammi cento lire”, the first restored to its strong social value of song of the padane’s husks) alongside originals rediscovered as “Un bel giorno andando in Francia, A beautiful day going in France” (whose melody was later readapted to texts on emigration and resistance) and proposals like “Ameme mi dona lombarda, Love me Dona Lombarda”, famous Italian ballad already visited by another great (and shamefully taunted) duo (Sergio Endrigo e Mia Martini). Set among all these tracks (impossible to describe them all here but all firmly anchored in our ancestral memory even after a first listen) the gem of “Non potho reposare”, the extraordinary love song of Sardinia which yields to the real emotion, listening to the tribute by standing ovation that Luna/Morone owe to the aching voice of Andrea Parodi, among the last ones to have tuned it. We also report the suggestive motivation of the insertion of the air “Babbino caro” from Gianni Schicchi by Giacomo Puccini as evidence of contamination typically Italian, among some ‘cultured’ music and ‘popular’ world. In short weather you like or not, this is the blues, I mean the root of Italian music. Thanks to Raffaella Luna and Franco Morone to have bravely remembered us.
Roberto Leydi would be happy to listen to this new record work of Franco Morone and Raffaella Luna, entirely devoted to the study and the re-interpretation of the narrative song of the Italian tradition. Certainly or one as Franco Morone, fine guitarist with a “soloist” pedigree to international level and a discography where you struggle to find the falls of tone, embark on an adventure so “unlikely” must have been quite a challenge. Difficult repertoire that of the narrative song, if only because you have to contend with “lessons” played, Sung and recorded dozens of times over the last fifty years, and easy to fall into banality and in the pure and simple calligraphy. Travel on the tracks of pure tradition, or wear it as a dress “made to measure” risking to turn up their noses at the “purists” too often plastered on standard “scientific?”
A dilemma that Morone has beautifully resolved always placing side by side to the crystalline guitar the very beautiful and precise voice of Raffaella Luna, that interprets with great personality these ballads with intelligence, away from the nearest tastes – and often discounted – to the popular culture. Also the repertoire has been select with care,
challenging the most known melodies to national level as “Donna Lombarda”, the Sardinian “Non potho reposare”, “Bella ciao” and still “Un bel giorno andando in Francia” eand proposing narrative songs maybe less known as ”E quei briganti neri” of the Val d’Ossola or “Era una notte che pioveva” dedicated to the partisan movement and the fighters of First World War. The icing s decidedly the air pucciniana “Babbino caro”, demonstration of how the lyric is profoundly tied to the feelings and people, perfect blend of classical music and tradition. A great disc.
Considered one of the maximum international exponents of the fingerpicking, Franco Morone, has picked up along his career numerous recognitions, has published the CD Songs We Love with his wife Raffaella Luna, classically trained singer, crystal clear voice and excellent tonal agility. The disc, which follows the two instrumental collections dedicated one to Italy, the other to the Celtic tradition, was presented at the most important festivals of traditional acoustic music receiving a great success. As widely understandable by the title, the disc features a selection of fifteen pieces from those that the couple love the most, and it is surprising to note how the duo moves with agility, passing by magical interpretations of songs from American songwriters to autograph compositions up to touch on the end the theme of Nuovo Cinema Paradiso by Ennio Morricone. The listening is dense of emotions, it starts with an intense and engaging version of Caledonia, to pass to Roses Skies Blue by Raffaella Luna that does the pair with the amazing one proposed My Name Is Luka by Suzanne Vega. Well executed are the two covers of Bob Dylan’s It’s All Over Now Baby Blue and Forever Young, A Case Of You by Joni Mitchell in which Raffaella Luna as prooved of being a vocalist of great elegance and charming, to All the Diamonds of Bruce Cockburn. Among the surprises we also find Plaisir d’amour and Caro Mio Ben, passages of the bel canto tradition, in which guitar of Morone magically takes the parts of the orchestra. In short a great voice like that of Raffaella Luna and a great guitarist as Franco Morone, could only make a real jewel of grace and originality in which a guitar played with unmistakable style and a sweet voice of rare beauty, are the main ingredients.
The fingerpicking in Italy are, for the most, the fundamental tabs published by Andrea Carpi on Ciao 2001, Stefano Rosso (a history of dishonest, 1976; but he still plays in certain fabulous Roman’s little clubs) and obviously Goran Kuzminac tonight the air is fresh of 1979. In reality, the things are not so and it testifies the long, glorious and eventful career Awards, that Franco Morone is conducting.
This Songs we love, released for Acoustic Guitar Records, is credited to him and to Raffaella Luna. Luna comes from classical studies, has remarkable agility, crystalline timbre voice and english diction near to perfection. After two instrumental albums, one dedicated to Italian tradition, the other at Celtic, Morone sounds exactly the songs you love – they love, he and Luna. The choice is very varied: 2 Dylan (It’s all over now, baby blue and Forever young, deeply felt by Raffaella Luna), the unlikely My name is Luka by Suzanne Vega, a spectacular version of Caledonia (a super-classic of Dougie McLean, listened and sung in all pubs from London up).
Together, even things decidedly less predictable: A case of you by Joni Mitchell, taken today by a disk almost forgotten as Blue, or All the diamonds by Bruce Cockburn. Even more surprising like Plaisir d’amour and Caro mio ben, especially as accompanied by an acoustic Schenk, if nothing else because, as mentioned in the acknowledgments, Luna comes from the Bel Canto. Just in this the disk of Morone plays original and new. Just in case were needed the usual terms of comparison, a voice so reminds together the popular line of Joan Baez and that aristocrat of Anne Briggs or Shirley Collins. Franco Morone is the guitarist that each interpreter would take at side, for ductility and controlled virtuosity. Beautiful disc, Morone is in tour the whole summer, often with Raffaella Luna beside.