Domenico Modugno made his debut in Turin with the show Rinaldo in campo on September 12, 1961. This was a very pleasant episode in his carrier, not only because of the success he received but also because his colleagues in the show were all friends: from Delia Scala to Paolo Panelli, from the veteran Giuseppe Porelli to the early appearances of Franco Franchi and Ciccio Ingrassia. An exceptional cast for an exceptional show, written by the Italian golden couple of musical comedy, Garinei and Giovannini, with choreography by Broadway’s Herbert Ross and stage design by the great Giulio Castellacci. The interview conducted by Leoncino Leoncilli that features in this CD refers precisely to that 12th of September. Rinaldo in campo managed to bring together the best talents of Italian variety shows of that period. Modugno loved to recall how at the most dramatic moment of the show, when Paolo Panelli playing the lieutenant was dying on stage, Modugno was supposed to lay his hands on the wound. And well, every time the mischievous Panelli hidden under his costume would cast a scrap of paper, laces, or other material… and every time they would have to suppress pangs of laughter. So the setup of Rinaldo the burglar and hero was amongst his most cherished memories. After the first edition in 1961 that toured Italy for ten months, the show was revived in 1966 when RAI television bought the rights to for six consecutive broadcasts. The preview to the musical comedy Rinaldo in campo, featuring interviews with Domenico Modugno, Delia Scala, Paolo Panelli and Giuseppe Porelli, taken from the program Novità da vedere is not the only pearl to crown this CD. This disc starts and finishes with two segments from Il mio spettacolo, from October 28, 1961 by Gian Francesco Luzi. This was an exceptional period for Mimmo (as he is affectionately called) with triumphs at the Sanremo song festival and international recognition, especially in the US. With reference to these precious moments leading to the American success we could not miss out on the announcement by Gianni Agus for the 1958 Sanremo victory on the 1st of February. This moment would initiate a perpetual adventure for the song Nel blu dipinto di blu – known internationally as Volare. This interpretation was described by the literary critic Giulio Nascimbeni as an abstraction of all the elements that had preceded the song “ … besides the novelty in the music and lyrics, Modugno performed a gesture that today we look upon as a dare. At the refrain - Volare oh, oh / cantare oh, oh, oh, oh! - instead of pressing his hand against his chest, a typical Italian traditional gesture, Modugno spreads out his arms high up as if he was drawing swords.” An effort worth accomplishing since even today the song never fails to entertain and to move its listeners. Moreover Mimmo was a Capricorn and he knew how to inflict sacrifices upon himself. Difficulties used to spur him forward as other episodes demonstrate in this CD. Even when Modugno is already an international celebrity, accustomed to selling millions of records with number 1 hits all around the world, he does not loose sight of his identity as an author and performer. This version of Sole, sole, sole (E vene ‘o sole), written with his old friend Riccardo Pazzaglia was captured during a recital at Teatro Gerolamo in Milano on the 7th of June 1958. Two years later in 1960 he sings Le morte chitarre, to the lyrics of Quasimodo who had just been awarded the Nobel Prize. This track is moving also due to the unforgettable voice of Mario Riva, who unfortunately passed away only a few months later, as well as for the voice of the poet himself. Four big hits from different periods are extracted from the 1977 program Show Down: Vecchio Frack, Stasera pago io, Il vecchietto and La donna riccia, a song that should be re-evaluated. Perhaps few people know that this song is amongst the first compositions of Modugno who was originally from Puglia. When he arrived in Rome in 1950, during the first commemoration of the Holy Year after the war, he pretended to be a pilgrim in order to stay in the Carmelite convent. There in the courtyard he thought about his first song La donna riccia. During the early eighties Modugno had naturally achieved fame and glory but he was still curious, not only about the development of new singers (who were all indebted to him in one way or another) but also about the transformations of the musical environment as a whole. His comments are never superficial and he would predict and emphasise issues that would eventually develop into a predicament. Modugno never abandons his activity: records, tours, television and fortunately also radio. In 1982 he is the protagonist of the program Le indimenticabili, with the brilliant accompaniment of the RAI orchestra conducted by maestro Gino Conte. Amongst the most distinguished songs we find Io – a song that he should have presented for the 1960 edition of the Sanremo song festival (had followed his wife’s advice) but which nonetheless enticed Elvis Presley to produce his own unforgettably cover version. The repertoire extracted from the program Via Asiago Tenda, belongs to the same year with Modugno as a folk singer during the fifties with songs like Lu pisce spada before the Sanremo success. We also have the artist’s return to the charts with Meraviglioso which attracted the attention of many jealous critics. In this period Modugno was working in collaboration with Enrica Bonaccorti with the songs La lontananza and Amara terra mia. Finally we have Tu si ‘na cosa grande, the winning song of the Napoli Song Festival of 1964 introduced by Stefano Satta Flores who interviews Modugno. After this moment, Modugno does not release all that many interviews. The ones featured on this CD carry historical significance for the unique approach of Sandro Ciotti and the simple, articulate answers, always precise, dry and ironic embellished by the characteristic honesty of the Modugno. The folk persona and image of Domenico Modugno represent yet another facet, especially after listening to this CD. Modugno, his wife and his biographers know very well that he would have preferred to be an actor rather than a singer. In fact during his first years in Rome, between 1950 and 1955, he was much more involved in cinema than singing and songwriting. The artistic response of Mimmo back then was that he needed to personalise his interpretation. The profile of the artist as a folk singer recalls a more emotional Modugno, connected to his province, especially Sicily, which is perhaps more generous in its poetic and instrumental tradition. Like many other colleagues of his connected to the folk traditions, Modugno used to appear in public playing the accordion: he used to go to weddings and baptisms singing out aloud. Even in those early days he sang so loud that he drowned the organ and the priest used to protest. The newly weds used to fill up his pockets with sugar-almonds which he tied in garlands to give away as gifts. Perhaps Maurizio Costanzo was right in saying, many years ago while commenting on one of the albums by Modugno with arrangements and orchestrations by Luis Bacalov: “Domenico Modugno represents the memory of many Italians. Those who are more than fifty years old were lucky to grow up with a soundtrack composed by a great artist. Other generations were less fortunate” A recommendation to the listener: do not set apart the popular songs from those that almost perished. Song after song, fragment after fragment, you will realise that Domenico Modugno has narrated life. His and also our own.