Gli anni sono passati per tutti, anche per lui, ma Tommy Emmanuel non li maschera con orpelli e colori: si presenta al suo pubblico, con la naturale semplicità che contraddistingue i purosangue perchè lui è proprio, permettendomi l’uso di un modo di dire, un cavallo di razza.
Il suo pubblico è composto da musicisti nonchè estimatori di musica, da molti padri alcuni dei quali accompagnati dai figli, ai quali vogliono dimostrare fin dove si possa arrivare nello suonare uno strumento come la chitarra attraverso l’uso delle dita.
In abito scuro abbraccia una delle sue tre chitarre e inizia a suonare, dimostrando da subito la sua capacità artistica e musicale. Risulta un’estasi l’esibizione che manda in sollucchero tutti gli spettatori, molti dei quali musicisti essi stessi. La sua grandezza regale attraversa la semplicità della presentazione rendendo il personaggio carico di un’aura carismatica di notevole potenza.
I suoi virtuosismi rapiscono gli animi attraverso l’incanto dei suoi giochi con la chitarra. La musica, il suo sorriso e la sua quiete profondono un senso di serenità; l’ammirazione per le sue capacità musicali fanno rimanere spesso gli spettatori a bocca aperta, ma non è la prima volta che si esibisce a Trieste. Il pubblico triestino ha avuto modo di vederlo già nel 2004, ovvero dieci anni prima, in piazza Unità d’Italia, ad ingresso gratuito una sera d’estate splendida, sotto una luna splendente.
Da quella volta il tempo ha maturato ancora il suo modo d’esibirsi. Oggi si presenta più sicuro della sua eccellenza e offre una esibizione più pulita da giochi e da dimostrazioni e porge la purezza del suono nella capacità delle sue dita, perchè in questo lui è maestro. Appresa l’arte dalla madre, Tommy Emmanuel, ha portato nel mondo il suo modo antico di suonare la chitarra, senza l’utilizzo del plettro o di altri untensili intermedi. Sul palco per questo suo concerto ha presentato due giovani, dando loro un’immensa opportunità. Il primo ad esibirsi è stato un chitarrista e cantante che gli ha fatto da supporter, Anthony Snape, australiano, il secondo un talentuoso bambino croato di otto anni, Frano, che lo ha accompagnato per parte del concerto.
Una carellata di esecuzioni continue con l’utilizzo dello strumento anche come base di percussione ha sollevato il pubblico in tripudio.
What a Wondorful Life ha generato un’ovazione di folla, e così Borsalino.
Una serata strepitosa che ha portato uno dei più quattro più grandi chitarristi al mondo al teatro Il Rossetti di Trieste, e che ha lasciato l’entusiasmo nel pubblico che si è portato a casa e nel cuore la musica di Tommy Emmanuel.
“È uno dei migliori chitarristi al mondo il pluripremiato Tommy Emmanuel protagonista – venerdì 2 maggio alle ore 21 – di un incandescente concerto al Politeama Rossetti. L’evento è presentato dallo Stabile regionale e Veneto Jazz in collaborazione con la Casa della Musica di Trieste e FVG Festival”.
È iscritto nella rosa dei migliori chitarristi al mondo, Tommy Emmanuel, che gli appassionati avranno la gioia di applaudire dal vivo venerdì 2 maggio al Politeama Rossetti, protagonista di un concerto in esclusiva regionale, che resterà sicuramente memorabile fra gli eventi programmati dal Teatro Stabile del Friuli Venezia Giulia.
L’appuntamento è alle ore 21 dunque, sotto le “stelle” del Politeama Rossetti con i fan di Tommy Emmanuel, due volte candidato al Grammy e pluripremiato: nel 2008 Guitar Player Magazine e Acoustic Guitar Magazine lo hanno nominato miglior chitarrista acustico e nel 2010 Readers Choice Guitar Player lo ha premiato quale Miglior Chitarrista acustico per la seconda volta…
Nato in una famiglia di musicisti, Tommy Emmanuel ha ottenuto la sua prima chitarra all’età di quattro anni ed ha imparato a suonare dalla madre. A sei anni stava già lavorando come musicista professionista nella band di famiglia (in varie formazioni, fra cui The Emmanuel Quartet, The Midget Surfaries e The Trailblazers). Quattro anni più tardi in Australia era già molto noto.
Chet Atkins onorò Tommy Emmanuel con il titolo di “Certified Guitar Player” per il suo contributo come chitarrista alla musica, una distinzione molto rara condivisa solo da altre quattro persone nel mondo.
Dopo una straordinaria performance con il fratello Phil alla Cerimonia per la chiusura delle Olimpiadi di Sydney, il mondo voleva sapere di più su questo virtuoso chitarrista. Nel 2001, ha pubblicato il suo primo album da solista in acustico. Ben presto la sua popolarità è cresciuta a passi da gigante aiutata da un tour non-stop in giro per il mondo. Il suo album The Mystery gli valse poi un’altra nomination ai Grammy.
All’inizio di quest’anno, Tommy Emmanuel ha pubblicato The Colonel and the Governor, un album jazz registrato in duetto con l’altrettanto talentuoso Martin Taylor. L’ultimo album è l’attesissimo CD/DVD combo live, Tommy Emmanuel cgp: Live and Solo in Pensacola, Florida, registrato dal vivo nel primi mesi del 2013 e composto da successi vecchi e nuovi.
Suonare dal vivo per i suoi fan è estremamente importante per Tommy Emmanuel: lo ha dimostrato esibendosi in più di 300 concerti ogni anno negli ultimi sette anni! I suoi spettacoli dal vivo sono noti per l’umorismo, per la sua passione e la gioia contagiosa.
Il concerto di Tommy Emmanuel è in scena alla Sala Assicurazioni Generali del Politeama Rossetti venerdì 2 maggio alle ore 21 per un’unica serata. L’evento approda a Trieste grazie a Teatro Stabile del Friuli Venezia Giulia e Veneto Jazz con la collaborazione di Casa della Musica di Trieste e FVG Festival.
Biglietti ancora disponibili presso i punti vendita e i circuiti consueti dello Stabile regionale e sul sito del teatro www.ilrossetti.it.
TOMMY EMMANUEL INTERVIEW EXTENDED VERSION
R. P. What are we likely to hear during this gig in Trieste? Are you playing plenty of tracks from your latest “The Colonel and the Governor” or rearranged songs, old songs? What are we likely to hear?
T. E. Actually the show has songs from all my albums and a lot of new songs as well. So I’m still playing stuff from my early albums but near the start of the show I play a lot of new songs as well and of course – you know – I improvise a lot in the show, so – you know – some of the songs that I play like “Guitar boogie” and things like that, I’m just having a good time with them and improvising – you know – just letting them fly, I think so: that’s a big part of the show too.
R. P. And how are you going to translate, to transform the complicated pieces of music which were written for two people in one guitar? Well, “The Colonel and the Governor” was written for two guitars and how are you going to translate, to transform these two guitars in one?
T. E. Oh, I see. No, I won’t be playing stuff from “The Colonel and the Governor”; that’s when I worked with Martin Taylor. There’s a couple of tracks on it which I play solo, but most of the stuff I play is my own songs.
“The Colonel and the Governor” was a very special project that I did with my friend Martin Taylor and just earlier this year we finished a long tour to promote that album. So now this is my . . . I’m back playing solo. And actually I have a young Australian singer songwriter who’s on this tour with me, his name is Anthony Snape and he will be playing the first part of the show and I wanted my audience in Italy to hear him: he’s brilliant. And we are from the same town in Australia.
R. P. So this is good to hear. I would like to go to something totally different: you are a legend when it comes to rehearsing and practicing and studying and everything like that; and in fact I was impressed when – during one of your show – you said, talking about . . . you were talking about fingerpicking technique and you said “Once your thumb goes alone, after two or three or four months you can practice on other fingers”. And that was hilarious and funny and true. Would you like to say something more about your habit of studying and studying and studying.
T. E. Well, I thing it’s like anything else: if you want to be good at anything you need to be working at it all the time. And so I never get the feeling like: “Ok, I’m good enough now, so thank you, I can stop practicing.” I could never think that way – you know. I’m always hungry to be better and to have more knowledge about what I’m doing. And so that’s why I think when I play with other people like Martin Taylor or Frank Vignola or John Jorgenson, people like that who are really great, it’s good for my playing because it makes me play in a different way and it pushes me and so when I come back to playing my solo style I try to make it better and newer all the time. And so I have just done a long tour and so technically I’m in good shape, I’m physically in good shape and I feel ready to really deliver the best I can on the stage and when I come to Italy that’s what I’ll be doing: I’ll be absolutely reaching as hard as I can to be the best I can for the audience.
R. P. And yet this has a pretty interesting and terrific message especially to young generations: “You have to strive to achieve, to accomplish some goal”. And this not something we usually hear, but it’s very important in my opinion.
T. E. Oh, absolutely, well, thank you for that; I appreciate that. This is a situation where I can speak from my own experience and I live in the real world and the real world is: if you want to achieve something it’s up to you. You have to get up and you have to do the work. You cannot expect things to be given to you on a plate: life does not work like that. And this is a problem with this generation and also the kind of media attention, that attests who come up on these shows like “The Voice” and “America’s got talent” and shows like that: this is not reality. Reality is: we have to make a living, we have to provide for our family, we have to be a working person, and that’s reality. And even . . . like, the other day I had a meeting with Dodi Battaglia, from Pooh and Dodi is a very good friend of mine but also an incredibly successful man and he’s exactly the same: he’s always looking for ways to make what he’s doing better. He’s looking for better songs, he’s looking for better sound, he’s trying to find ways of getting better at what he’s doing and that’s why Dodi Battaglia is the success he is. And nobody gets anywhere easy; everything is difficult and you must be there for the long run – you know.
R. P. Absolutely; and this is what I was thinking and thank you for delivering this message. Moving to another different topic: I read something about you on the web so my usual formula is that: “you allegedly said” that “money feeds the family and recognition feeds the soul” and this was something very nice, very sweet to me.
T. E. It’s nice to be recognized for your efforts but it’s not everything. What I meant by that was . . . I believe that was a comment when somebody asked me about how does it feel to win all these awards and bla bla bla. And I said:“Look, awards are very nice and it’s nice to be recognized, but they don’t feed the family”. It’s work that feeds my family and provides a house for them and schooling and clothes and all the same things. In the contest of what I said, it’s this: awards and recognition is very nice and I appreciated it but it doesn’t feed your family: what feeds your family is work.
R. P. At the same time it is important to find a good balance between these two aspects, right?
T. E. Of course, of course. And the older I get, the more I’m getting that balance, which is really a wonderful thing for me. And my children are growing up and that’s also a different dynamic: my eldest daughter is getting married this year and my youngest daughter is in her third year at high school, so – you know – my kids are not kids anymore, they’re adults. And so that’s a different dynamic. And also I’m feeling that maybe I would maybe move out ofAmerica and come back to England and be located back in Europe again now that I have done so much in Americaand America is building so well. I feel like I would like to work more in Europe.
R. P. So we’ll have more chances to see you.
T. E. I hope so. As you know . . . you may have read somewhere, but the truth is that when I came to Europe nobody knew me and it was the love and support of the Italian people and the German people that really got me started here, and I started very small, playing in music shops, playing in small clubs, doing guitar festivals and building an audience – you know – slowly. And so it’s a great thing and I feel that I have such a faithful following in Italy and inGermany and it’s still a long way to go – you know.
R. P. Yeah, but at the same time I can testify that people are really happy, they enjoy you so much and it’s a great show.
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