Castrum Zumellarum is
Favravola’s second studio album and was released in 2024 on the
independent Lizard Records label with a renewed line up featuring
Giancarlo Nicorelli (keyboards, piano, narrative vocals), Adriano
Durighetto (bass), Paolo Coltro (drums), Alessandro Secchi (vocals),
Consuelo Marcon (violin), Gianluca Tassi (electric guitar), Renato
Bettello (flute, sax) and Flavio Miotto (acoustic guitar) plus the
guests Bianca Luna (vocals) and Sant’Anselmo Choir. This is a
pleasant and interesting prog opera with strong melodic shades and
symphonic passages with the organ and piano in the foreground, a
concept album that tells through music and words a legend linked to
the castle of Zumelle, located in the province of Belluno. The art
cover by Marta De Martin and the picture in the booklet try to give a
visual form to the musical content...
“Anno
Domini DXXXV”, the short opening piece, features the sound of a
church organ and a choir. A narrator, the voice of a ghost appearing
on the castle walls, introduces the story. The choir sings Latin
verses that recall the castle's construction. The following piece,
“Anno del Signore 2024”, brings us back to the present with
Italian lyrics and a ballad that also recalls the legend of the
castle's construction... The Castle of Zumelle rises up on the top
of a hill with a sheer drop down to the river Terche....
A combination of history and legend recounts that the main centre was
rebuilt and enlarged by the Goths (the work of Genseric) around 540
AD... Genseric was a mysterious character and the
right-hand man to Amalasuntha, queen of the Ostrogoths. After the
tragic death of the sovereign, killed on an island on Lake Bolsena by
assassins sent by her husband Theodahad, Genseric fled to the north
with Eudosia, a lady-in-waiting, whom he married and with whom he
settled down in the district of Mel... Legend
goes on to tell of two twins, from which the place name Zumelle is
derived, who were born from Genseric and Eudosia
(from the official website of the Castle - link).
 |
| Zumelle Castle |
In any case, as the narrator points out, the story told here is not about the love between Genseric and Eudosia. In fact, the castle is linked to another legend and is said to have been haunted by a ghost for centuries. This is said to be the spirit of Count Murcimiro, in love with the beautiful Atleta, daughter of Tucherio. Legend has it that, during the Longobard reign of Liutprand in the VIIIth century, Murcimiro, madly in love with Atleta, who was destined by her father for another man, decided to kidnap her and take her to the castle of Zumelle. His father-in-law never accepted his daughter's relationship with the count and, at the right moment, took revenge for the outrage by killing Murcimiro. The next piece, “Murcimiro”, introduces the character of Count Murcimiro, giving him voice. The piece begins with just piano and violin, a slow pace and a melancholic, dreamy atmosphere. Murcimiro gazes out over the landscape from the top of his castle tower. Then the rhythm picks up and Murcimiro recalls being a young knight of twenty and how people admired him for his successes in jousting tournaments. His lance always at rest, his heart unshaken, his heart unshaken. He also won at Castel d'Ardo when he saw Tucherio's daughter for the first time. Then the rhythm slackens and the atmosphere becomes bittersweet as Murcimiro recalls his flame's smile, how he fell madly in love with her and how he damned himself for love...
The
next track, “Atleta”, gives voice to the female protagonist of
the legend, masterfully performed by Bianca Luna. The rhythm is calm
and dreamy, Atleta walks in silence breathing in memories that fill
her mind with sweet thoughts. She recalls the moment she saw
Murcimiro on his steed, smiling at her, opening her heart and
transforming her soul into a song of love. Then comes a vocal duet,
melodic and romantic, in which Atleta's memories intertwine with
Murcimiro's, evoking the dream of a love that reality seemed destined
to smother. The piece ends with the two lovers' resolution to do
anything to make their dream of love come true, even if it means
going through hell...
“L’attesa”
(The waiting), with its nervous rhythm, portrays in music and words
Murcimiro in his castle, scanning the horizon in the throes of his
passion as the days pass by empty. Even the wind that ruffles his
hair seems to speak to him of that seemingly impossible love that is
becoming a nightmare for him. Perhaps it isn't right, but now the
decision to take Atleta by force, to free her from the fate of an
unwanted marriage and make her his, grows stronger and stronger...
“Il
rapimento” (The kidnapping) is a long, complex piece describing
Murcimiro's feelings and reflections before his beloved's kidnapping.
The vocals attempt to express his anger, his love, and his
ever-growing determination. Murcimiro rebels against Atleta's
father's decision to marry her off to an old man. He is determined to
fight fate to have his beloved with him and he refuses to give up
until he sees her smile shine again. The decision is made. By the
time Tucherio discovers what has happened, it is too late. The lyrics
do not describe the action or the bloody battle which is left to the
listener's imagination (legend tells that Atleta's brother, Orleo,
was killed during the kidnapping)...
“L’amore
conquistato con la spada” (Love won by the sword) is a calm, dreamy
ballad that opens with a delicate piano part reminiscent of Banco del
Mutuo Soccorso. The song expresses all the sweetness of Murcimiro,
who, having obtained what he so desired, leaves behind his anger and
seems reborn like the sun after the night. The poignant
interpretation and melodic lines clash with the turmoil of emotions
that brought the two lovers together after the act of force. We hear
the regret for the violence that was necessary and the hope for a
love that will soon bear the fruit of a new life...
According
to the legend, Tucherio, blinded by grief and desire for revenge,
repeatedly armed an army and laid siege to the castle of Zumelle, but
never managed to conquer it. Not even the marriage between Murcimiro
and Atleta and the birth of their son Adelardo could bring him peace.
However, one night, taking advantage of a betrayal, he managed to
enter the castle. Silent as shadows, his soldiers killed the sentries
and anyone else they encountered. Murcimiro died fighting to defend
everything that mattered to him. Tucherio, having recovered his
daughter and grandson, set fire to the castle and watched it burn.
“L’assedio (L’amore ucciso dall’odio)” (The siege - Love
killed by hate) gives Murcimiro voice once again and allows us to
experience the final moments of his life. The song opens with the
image of a crow circling over the castle, a harbinger of doom.
Betrayal lurks in the folds of the night's cloak. There are shouts
and agitated voices, the battle rages and Murcimiro fights to the
bitter end. The enemies are too many and they ultimately prevail.
Before dying, Murcimiro asks the court minstrel to sing of his love
for Atleta...
The
final track, “Canto d’amore di un menestrello” (A minstrel's
love song), closes the circle, bringing us back to the beginning of
the story. The minstrel, enchanted by Murcimiro's courage and love,
composes the notes and verses that recall the figure of the
unfortunate lord of Zumelle. Words and notes carved into his heart by
love itself and still remembered today. Bianca Luna's voice, this
time used just as an instrument, gives the song an ethereal, almost
otherworldly atmosphere... The castle of Zumelle was later rebuilt by
Tucherio to place Adelardo in charge and the latter, incited by a
paternal uncle, killed his grandfather avenging his father's death.
However, it is said that the ghost of Murcimiro still wanders the
halls of Zumelle, unable to find peace because that mad passion that
made him lose everything still burns within him...
On
the whole, an excellent work that deserves its place in an
Italianprog collection.
You
can listen to the complete album HERE
Faveravola:
Castrum Zumellarum (2024). Other opinions:
Ken
Levine: While fans of the grittier less melodic prog forms might
balk, if you love the Hammond and its place in the glorious history
of rock and prog rock, I'd say it's worth crossing the moat, where
the folk and RPI audience will already be waiting for you within...
(Read the complete review HERE)
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