Cicco

Third album by this Italian prog band that circled around Alberto Radius, Gabriele Lorenzi, and drummer Toni Cicco. Radius and Lorenzi were later members of IL VOLO. "Sognando e Risognando" is said to be their most progressive and best album…

Formula 3 (also spelled as Formula Tre) is an Italian prog-rock band, mainly successful in the early seventies. The group formed in 1969; produced by Lucio Battisti, they were the group that accompanied Battisti in his rare live concerts, and was originally made ​​up of Alberto Radius (guitars and vocals), Tony Cicco (drums and vocals) and Gabriele Lorenzi (keyboards). Their first hit was the song "Questo folle sentimento", which ranked fifth at the Italian hit parade in 1970, and which was followed by a series of top 20 hits, notably "Io ritorno solo" (third at the Italian hit parade) and "Eppur mi son scordato di te" (second at the Italian hit parade), all composed by the same Battisti.

Una compilation con i maggiori successi tutti da ascoltare nell’imminente 2020 è Hit Mania 2020. La compilation è stata mixata da Luigi Mastroianni. Ecco la cover del nuovo disco, in uscita venerdì 13 dicembre.

Formula 3 (also spelled as Formula Tre) is an Italian prog-rock band, mainly successful in the early seventies. The group formed in 1969; produced by Lucio Battisti, they were the group that accompanied Battisti in his rare live concerts, and was originally made ​​up of Alberto Radius (guitars and vocals), Tony Cicco (drums and vocals) and Gabriele Lorenzi (keyboards). Their first hit was the song "Questo folle sentimento", which ranked fifth at the Italian hit parade in 1970, and which was followed by a series of top 20 hits, notably "Io ritorno solo" (third at the Italian hit parade) and "Eppur mi son scordato di te" (second at the Italian hit parade), all composed by the same Battisti.

The Montecassino Monastery recently hosted the score of this comic opera by Leonardo Leo, one of the leading Neapolitan composers of the 18th century, who introduced new stylistic elements to the genre. Cirillo shows in a very exciting way in his direction how nothing actually happens in this opera - apart from a very subtle play of the relationships between the seven protagonists. As with Marivaux, this is about the social differences when the middle class turns to the servants and vice versa, and as in a Feydeauschen comedy, they wander on stage (and leave again) to spy, to portray themselves, or to court someone until everyone is eaten away by doubt.