The line from an interview was enough, “I can’t say anything, but there is a nice microclimate in Liguria in February”, to catapult Irene Grandi on the stage of Sanremo Festival. Is the song you presented to Conti really titled “Microclima”? Ah, to know. In the meantime, however, “Irek” is in concert tomorrow at the Manzoni with the Fiera di Me Tour, the round of concerts with which he celebrates thirty years of a career that began right on the Riviera with fourth place among the New Proposals of his “Fuori”.
All in all, she fared worse than Bocelli, first with “Il mare calm della sera”, but better than Giorgia, seventh with “E poi”.
“I was lucky not to be overcome by emotion on stage, but to remember exactly what to do, how to look into the eye of the fixed camera and ‘dialogue’ with the mobile camera of the operator who was moving around me. This despite the dry mouth and the shivers experienced a few moments earlier in the backstage when entering the stage. In addition to singing well, it seemed that I had full control of myself and of the scene, a characteristic that would always characterize me throughout my career. Thanks to a lot of experience, but also to a natural nature to which I am grateful.”
It was ’94. The previous year the Festival had graduated Laura Pausini and Nek, while the following year it would be the turn of Neri per Caso, Gianluca Grignani, Daniele Silvestri. In short, a true Golden Era.
“First of all, it must be said that the record companies had valid artistic directors. Laura and I, for example, owe a lot to Fabrizio Giannini, at the time in Cgd. Just as Tiziano Ferro owes him a lot. But there were also experienced producers, Dado Parisini in my case, able to guide you with a firm hand along the way. Once upon a time talent was found and brought to the scene, while in the era of social media and talent shows it is sought directly on the scene. This is apparently more democratic, but also dangerous, because maybe someone wastes three years of their life before discovering that that is not their path.”
Irene Grandi was born in Florence in 1969
If it hadn’t happened like this, have you ever wondered what you would have done?
“Maybe I would have discovered meditation earlier and become a great yoga teacher.”
Well, it is.
“I am a teacher. In education for the practice of yoga there are three levels: instructor, teacher and master, but I don’t think I will ever become one, because I have too many vices, too little asceticism, to aspire to that much.”
Does he hold any lessons?
“No. I limit myself to teaching some asanas, some breathing exercises, to my mother, my sister-in-law, to some friends every now and then, perhaps on holiday, if they feel like it”.
Returning to Sanremo, where she competed five times (almost six let’s say, come on). Disappointed by Baudo’s no in 2007 to “Bruci la città”, which later became one of his greatest successes?
“No, not too much. I’m a bit fatalistic about certain things, I don’t sit there kneeling over chickpeas or blaming this or that. On that song written with Francesco Bianconi of Baustelle, however, I felt a rare unanimity and his ability to bring colleagues, record companies and producers into agreement made it special to me. Anyone can make mistakes, even SuperPippo, even though he seems infallible.”
Bollani, Jovanotti, Ramazzotti, Vasco, Daniele, Bianconi, Copeland. How important was growing up in good company in your artistic life?
“Very, very much. I was lucky enough to meet many of them when I was a girl and to shape part of my character by taking advantage of their teachings. The fact that such important artists trust you helps your self-esteem a lot, gives you courage and confidence.”
If we could add anyone, who would have wanted to?
“Probably a superwoman like Sade, my first soul icon and the musical world to which I owe certain colors of my voice. But also Annie Lennox, who in 2000 I had the fortune of touching on the stage of Pavarotti & Friends”.
On November 22nd he republished “Christmas Songs” in digital format (on December 6th in physical format), one of the very few collections of songs with the rosette capable of overcoming the traditional Italian indifference towards the genre.
“The right choice was probably to give it an Italian soul, focusing on songs rooted not so much in the American tradition but in ours, starting with Modugno, Mina or a song such as ‘More than words’ by Extreme reinvented in the version made in their time by Luca Carboni and Jovanotti”.
That 2008 album returns embellished with “Last Christmas” by Wham!.
“Great English success, but also Italian which influenced an entire generation. Light, pop, but classic at the same time, especially in the acoustic version.”
Next album?
“Works in progress. I hope by next autumn.”
