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La Dottrina Degli Opposti biography
Founded in Genova, Italy in 2018

LA DOTTRINA DEGLI OPPOSTI (The Doctrine of Opposites) is a creative project by Genoese multi-instrumentalist and composer Andrea LOTTI, a founding member of LA COSCIENZA DI ZENO, who performed on their self-titled debut from 2011. The ensemble formed for this work sees the participation of more than thirty musicians, including members of fellow modern Italian progressive acts such as the above mentioned LA CONSCIENZA DI ZENO and IL TEMPIO DELLE CLESSIDRE, and the orchestra of the G.F. Ghedini from Cuneo.

On this first album, 2018's `Arrivederci Sogni' (`Goodbye Dreams'), much of the keyboard-dominated arrangements are accompanied by an orchestra, and the taste of the album definitely embraces the same ambitions of many great classic albums of Italian progressive music of the Seventies - think IL ROVESCIO DELLA MEDAGLIA's `Contamiazione', LATTE E MIELE's `Passio Secundum Mattheum', BANCO DEL MUTUO SOCCORSO's `...Di Terra' and the NEW TROLLS `Concerto Grosso' works with their fusion of classical, orchestral and prog-rock flavours all together!

The melodies and gentle shades of the album bring a very smooth and dreamy mood, and a common lyrical thread that links the various themes of the album is the transition from adolescence to adulthood, enchantment and disenchantment, dream and awakening, hence the confronting title `Arrivederci Sogni' (Goodbye Dreams). Make no mistake - this wondrous, sophisticated and luscious first work from this joining of LA CONSCIENZA DI ZENO and IL TEMPIO DELLE CLESSIDRE makes for one of the finest Italian progressive works of 2018, and is sure to be a favourite among RPI followers who happily embrace the modern works just as much as the classics.

Biography by Michael Hodgson (Aussie-Byrd-Brother), Italian Prog Team.

See also: HERE

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3.95 | 68 ratings
Arrivederci Sogni

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Showing last 10 reviews only
 Arrivederci Sogni by DOTTRINA DEGLI OPPOSTI, LA album cover Studio Album, 2018
3.95 | 68 ratings

Arrivederci Sogni
La Dottrina Degli Opposti Rock Progressivo Italiano

Review by andrea
Prog Reviewer

4 stars La Dottrina degli Opposti is the brainchild of Genoese composer and multi-instrumentalist Andrea Lotti, former member of La Coscienza di Zeno. The first fruit of this project is entitled Arrivederci sogni (Goodbye dreams) and was released in 2018 on the independent label Fading Records. It was recorded by Andrea Lotti (piano, keyboards, guitar, mandolin, accordion) with the help of Gabriele Guidi Colombi (former member of La Coscienza di Zeno and Il Tempio delle Clessidre) on bass, Paolo Tixi (former member of Il Tempio delle Clessidre) on drums while Francesco Ciapica (current member of Il Tempio delle Clessidre) took charge of the vocal parts. Along with them there's the orchestra of the conservatory Giorgio Federico Ghedini from Cuneo that provided a classical touch to the arrangements in tradition of Italian symphonic prog. The music draws on seventies influences with an updated sound and in my opinion fans of bands such as Premiata Forneria Marconi will surely enjoy this album, a conceptual work dealing with the transition from adolescence to adulthood, enchantment and disenchantment, dreams and reality...

The delicate, short opener 'Dove Dio dipinge le nuvole' (Where God paints the clouds) is a beautiful instrumental track that sets the atmosphere perfectly blending piano and synthesizers with the sound of the orchestra. It leads to the complex 'Nero, grigio e tu' (Black, grey and you) that describes in music and words a new dawn and the beginning of another dull working day. Night dreams get drown and melt away in a cup of coffee while in the streets people start to move following their usual routine like faceless, tearless shadows. You try to act like them but you can't, you miss the freedom of your childhood and set your fantasy free, now the desire to take off and fly away in the sky is overwhelming... In my opinion, here some musical passages have been deliberately composed to pay a tribute to PFM and other sources of inspiration like Lucio Battisti but the piece is excellent despite a faint sense of déjà vu.

'Equilibrio' (Balance) is an ethereal, short interlude with the orchestra in the forefront and the following 'Sulla via del ritorno' (On the way back) is another good instrumental piece with strong PFM influences. Then it's the turn of 'La riconquista della posizione eretta' (The reconquest of the upright position) that depicts in music and words strange soaring forms, new identities floating in the air, between sky and earth, light bodies flying among the clouds, running one after each other trying to feed their soul with colours and hopes...

'Quiete' (Stillness) is another short instrumental interlude that introduces the last track, the long, articulate 'Fra le dita' (Between the fingers) that tells of a meeting in a caf' between a young man and a woman. The young man is a shy student, a dreamer that can't find the right words to express his feelings... Well, the art cover by Eloisa Giacosa in some way depicts this meeting better than my words and fits the music very well giving an idea of void and melancholy in a world where too often dreams clash against reality.

All in all, Ithink that this is a very good album and that it is really worth listening to.

 Arrivederci Sogni by DOTTRINA DEGLI OPPOSTI, LA album cover Studio Album, 2018
3.95 | 68 ratings

Arrivederci Sogni
La Dottrina Degli Opposti Rock Progressivo Italiano

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars A lineup of all-stars from AltrOck/Fading Records with full orchestral support, start to finish, all conceived and orchestrated by LA COSCIENZA DI ZENO founder Andrea Lotti. The "mature" and "classic" voice of IL TEMPIO DELLE CLESSIDRE vocalist Francesco Ciapica gives this beautiful music an almost classical, operatic feel.

1. "Dove Dio Dipinge Le Nuvole" (3:28) a very pretty predominantly-orchestral instrumental piece that sets a mood for something like a drama/romance. (4.5/5)

2. "Nero, Grigio E Tu" (9:10) opens with a laid back spaciousness while drum, keys, and percussives slowly play out a theme. In the third minute things shift for a vocal section. It's very theatric, like the opening scene of a stage play. At 3:33 the music bursts forth for a nice chorus before settling back into the piano-based theme for the next verse-- which surprises by coming at us with some power and almost operatic feel. By the sixth minute a new theme is established with two male voices singing the lyrical lines together in different registers. The seventh minute sees the arrival of a proggy/theatric jazz instrumental weave. It's okay; it feels too contrived as if for a on-stage dance interlude. At the seven minute mark all stops for a brief, simple piano interlude before the chorus returns one more time. The outgoing final minute is begun with solo piano before Francesco Ciapica's voice is vaulted to the fore in a dynamic finish. (8.5/10)

3. "Equilibrio" (2:31) solo cello and full orchestra alternating themes in a gorgeous, swelling, overture-like Italian love song. (5/5)

4. "Sulla Via Del Ritorno" (5:42) full on Italian prog with rock ensemble, soloing Arp synth in the lead and orchestra in full support. The unfortunate thing about this song is that fails to hook the listener as well as to develop anything exciting or inviting. (Why did they retain this as an instrumental? It seems ripe for a vocal.) There are a few nice dynamic shifts but the accompanying melodic shifts fail to engage or attract. (7.5/10)

5. "La Riconquista Della Posizione Eretta" (5:22) a pleasant ballad for singer Francesco Ciapica that does more to follow expected formats and predictable choices. (8/10)

6. "Quiete" (2:36) a gorgeous piece of acoustic guitar, human breathing, piano, and synth. (5/5)

7. "Fra Le Dita" (11:09) opens like a Keith Emerson piece composed for the stage, piano and then orchestra. When Francesco's gorgeous vocal joins in in the third minute it's just perfect. At 3:25/3:35 the music takes a big step into BANCO DEL MUTUO SOCCORSO territory--piano riff, winds, percussives, and orchestration (instead of or with synths). The music gets drama-big at the five minute mark but then settles down for a slightly more amped up vocal section. At 6:20 there is another shift into a cool instrumental section. Still quite theatric but great melodies throughout. The following vocal section is meant to present the powerful crescendo but it doesn't quite pack the punch one would like to see/hear. Still, this song is easily the high point of the album. (9.25/10)

Unfortunately, the best songs on this very theatric album are the brief instrumental interludes, while three of the four longer songs manage to meander more than gel or coalesce. So much beauty but such unrealized potential!

Four stars; a near-masterpiece of progressive rock music.

Thanks to aussie-byrd-brother for the artist addition. and to Quinino for the last updates

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