Barra: “With “Cipria e Caffè” I celebrate theater and madness” – Culture and shows

Peppe Barra excites the audience of the Festival dei Barbuti, now in its 37th edition, and does so with a two-hour concert presented by “Salerno Soul of the Mediterranean” on the occasion of the publication of his new album “Cipria e Caffè” (Disco Lazio) . Accompanying the Maestro in concert in Salerno were Paolo Del Vecchio (guitars, mandolin), Luca Urciuolo (piano, accordion), Ivan Lacagnina (percussion), Sasà Pelosi (acoustic bass), Francesco di Cristofaro (ethnic wind instruments).

Maestro Barra, what is the experimental element that comes out in your new album?

The disc is double, it has the name “Cipria e Caffè”. “Cipria” is identified with the theater, with the Baroque, and includes several pieces that I performed with the NCCP electronically reworked by Mario Conte and Paolo Del Vecchio. “Il Caffè” instead symbolizes reality, all theatrical because the language is always the same, a language that separates me from singing.

Since the days of NCPP, you have always been an experimenter…

The great Eduardo used to say: “Exams never end.” And it’s true. Everything I’ve done has always been reworked, recreated, like the fables of Basile that I recreated and adapted for a more direct understanding of the public. Every time I step on stage I recreate in that moment, there is always an innovation, otherwise I wouldn’t have fun.

In the album there is also a collaboration with Tosca, interpreter, with her superb voice, of “Se ce cienti ‘na parole” by Mario Tronco …

With Tosca it was a beautiful meeting. She is an elegant, attentive, rigorous singer. What I noticed with Tosca, which I unfortunately don’t notice with the other singers, is the perfect intonation. She has a very clear voice, coherent and everything she sings manages to convey to the public with great intensity precisely because she is also an attentive and refined student of what she interprets.

Maestro, this year Italian literature and Naples bid farewell to Raffaele La Capria, interpreter of the story of the Neapolitan bourgeoisie. Silvio Perrella, his dear friend and scholar of La Capria’s work, said that his lesson was to be able to use the critical but tempered spirit of irony. How do you remember him?

Raffaele La Capria was a dear friend of mine. What struck me more and more about him was the extraordinary humility typical of all great men. Then he was a person you could talk to about any subject, it was a real pleasure to talk to Raffale and despite his age he looked like a child. I got to know him, to admire him and he always posed in a very sweet way. It was really a serious loss.

Stefano Pignataro

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