Laura Pausini, from girl to woman (and warrior) in Sant Jordi

Laura Pausini, from girl to woman (and warrior) in Sant Jordi

The beautiful young woman who won in San Remo in 1993 gave way to the scarred woman without losing her smile, fighting life and the stage: voguing, vocal bellowing, scripts about values ​​and survival. Laura Pausini She is as much an artist as a person, we know almost everything about her emotional biography and at her concerts she can unpack herself in a powerful song and a minute later shares the family video in which she announces her husband (Paolo Carta, guitarist and band manager) and triumphantly flaunts her wedding ring.

And what can be cheesy and cloying gives it a strange air of nature. She berates herself for making the mistake of approaching him like a piano (“I feel bad”), Improvisation happy birthday For the admirer and combines colloquial languages ​​with piety: “Déu-n'hi-do, how many people are we” “Colon, what a night.” Announcing that this concert would be based on “fidelity” touches some red lines (this value is practiced, not stated), but the crowd last night in Sant Jordi (close to being filled with chairs on the court) didn't seem to take it into consideration.

Pausini came to commemorate him 30 years of career And it worked A colorful show, on a budget, influenced by the air of a televised celebration, with sequins, a catwalk and dancers in wetsuits. (First step on the moon) Or butterfly wings (In Volveré junto a ti). Circular ephemeris, yes, and traces of the present with this new album, Almas Paralelas, on which we see her move from bolder dance-pop to intense ballad, her strongest record, as Durar. And the main rock: Más allá de la superficie, a surprise song (there's one every night).

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Many of the ballad singers seem to have heaviness in them, an example being the guitar mix that culminates in the head-rhythm style of Emergencia de amor. About forty songs, some of which are compiled into those medleys that might irritate most coffee drinkers but work to great effect. For all that, the session was anything but linear, with the ever-eager Bossini rocking us with 2000s disco landmarks (Surrender) and reveling in her romantic frenzy (I'll Never Leave); Who wove some verses in tribute to Rafaela Cara and reproduced the hand gesture “to ask for help against violence against women” in Yo sí (a song he composed with hitmaker Diane Warren).

Despite all this, Bossini, the divine neighbor and slave girl, is still for the common people the young woman whose heart is broken by a petty man named Marco (the episode evoked in La Soledad). But how could the world be so cruel and treacherous? Laura, neither forget nor forgive.

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