FAVERAVOLA

Faveravola come from Treviso and began life in 1998 on the initiative of Giancarlo Nicorelli and Adriano Durighetto. In the seventies both founder members militated in local bands that never had the chance to record an album, bands such as Diamond Red, Dinoterium and Dawson. After a long hiatus they decided to start playing again to make their musical dreams come true and so they gathered around them a new group of musicians to work on old and new ideas. In 2006 Faveravola finally released a debut album on the independent label Lizard Records with a line up featuring Giancarlo Nicorelli (keyboards, narrative vocals), Adriano Durighetto (bass), Paolo Coltro (drums, percussion), Alessandro Bonotto (acoustic guitar), Franco Violo (vocals), Consuelo Marcon (violin) and Gianluca Tassi (electric guitar) plus some guests such as Luca Boldrin (flute), Ivan and Nicola Durighetto (recorder) and Tiziana Carraro (vocals). The result of their efforts is an interesting concept album that tells of a metaphoric journey through the dreamy land depicted on the album cover and in the booklet by Marta De Martin. The overall sound is soft and folksy and conjures up calm, pastoral landscapes while the enthusiasm and passion of all the people involved in this project shines through...

The dreamy opener "L'antefatto" (Preamble) introduces the subject matter and sets the atmosphere. Every now and again it reminds me of Procol Harum and features narrative vocals explaining that what really matters in a man's life is his imagination. You have to follow your dreams, fighting for your freedom and against every form hypocrisy and conformism... All in all, who can be sure that fantasy never meets reality?

The slow paced "Lo specchio" (The mirror) tells of a man who looks at his face in a mirror... What is left of his dreams? Suddenly he feels his soul flying away, his reflected image breaks through the mirror and he's in some way catapulted in a fairytale world generated by his own dreams. The following "La Contea dei Cento Castagni" (The County of the Hundred Chestnut Trees) describes this dreams that come true with calm tones and soft organ passages that every now and again remind me of the liturgical atmosphere of a Catholic mass post Second Vatican Council. The man is now a knight who has to defend peace, love and justice...

Next comes "La foresta degli elfi alati" (The forest of the winged elves) where the rhythm rises and the music conjures up a light sense of mystery... Now the knight is riding in his new world and has to cross a forest where every leaf is an eye and an ear of the strange inhabitants of this magic place, the elves. These creatures warn the knight about the dangers that he'll find along his road, he has to cross an old gloomy world to meet his destiny, the real world will set ambushes and every sort of waylays... Only his generous heart and his honour can save the knight! The following "L'incontro" (The meeting) features a Medieval flavour and could recall some works of the Italian minstrel Angelo Branduardi. There are male and female vocals interpreting a dialogue between the protagonist and his soul. After the breakaway, the protagonist's soul comes back with words of hope and a particular gift, her eyes on the wings of the wind...

"Il sogno" (The dream) could recall Le Orme from the pre-Collage period. The music and vocals describe the gratitude of the protagonist for his new world where he can live his dreams. His voice soars like a prayer towards the sky... Next comes the long, slow "La Piana dei Temoli del Livenza" (The plain of the graylings of the Livenza River) that features lengthy narrative vocals and describes a surreal dialogue between the protagonist and the Livenza River that speaks words of wisdom and hope. The voice of the river here is interpreted by the special guest Aldo Tagliapietra, historic member of Le Orme.

The epic "Lo scontro" (The fight) describes in music and lyrics the fight between the protagonist and the enemies that are threatening his new realm: the ferocious, merciless Hypocrisy and Infamy... The fighting is hard, the sword of the knight breaks and his injuries seem to be lethal... But suddenly his sword comes to a new life, his injuries generate the notes of a powerful music that hits hard into the heart. Time stands still, the enemies are defeated and the dream lives on...

"Danza di Messer Reale e Madonna Fantasia" (Dance of Mister Reality and Lady Fantasy) is another track with a strong Medieval atmosphere that describes an imaginary dance between a clumsy, armoured knight and a beautiful lady, the metaphors of Reality and Fantasy... They dance all night long, until dreams and reality get mixed together... Then comes the melodic ballad "Leggenda della foglia, della vita e del vento" (Legend of the leaf, of the life and of the wind) where life is compared to a falling leaf, carried by the wind. Only if you will learn how to listen to its music that leaf would land on your hands and will live on...

"Neorinascimento" (New rebirth) is a nice ballad with a positive feeling that recalls Le Orme and that conjures up the image of a mother walking hand in hand with is little child... The knight now understands that building a new world based upon love is not impossible: an idea that once was nothing but a dream could come true... The dreamy closer "La strada ai confini di..." (The road on the border of...) invites you to search for your own way to the magic world of dreams: it could be a hard, long journey but you have to be brave and march forward along the borders of your imagination to reach your destination... There you'll meet the knight and his lady, it is there that you will discover if this magic country is just dream or reality...

On the whole, a pleasant album for Italian prog lovers who who prefer soft, calm atmospheres

I came upon this album by chance. The naive yet charming cover art caught my attention first, then seeing the Italian title I presumed it was another RPI band I didn't know anything about, and so having a definite soft spot for RPI I bought it without questioning the clerk about it. And the fact that it was in a bin of second-hand CDs made the deal even more pleasant. Since my wife and I were then on vacation, it took us a few days before we could listen to it. But when we put it into the CD player, we were both instantly under the spell !... It turned out, it wasn't RPI after all, but Prog Folk. But then, the album is not least great because I mixed up the labels !

A very good friend of mine claims that, basically, our musical tastes are experiential and, even though I'm not at all convinced that his theory applies universally, I must admit that it rings true in this particular case. When we listened to "La Contea Dei Cento Castagni" for the first time, my wife and I both recalled bands from the '70s that had weaved similar music infused with traditional tunes and/or instruments, such as Barde and L'Ensemble Claude Gervaise (both from Québec), or Alan Stivell and Malicorne (both from France). Now, Faveravola are neither Canadian or French, but absolutely Italian. All of which proves once again that, first, music knows no frontiers and, second, as far as folklore is concerned, even the roots of various ethnic or cultural traditions delve into some common soil somewhere.

The album was recorded in Venice in 2006. Since then, not a word from Faveravola, which is a pity because, given the generous pleasure this CD holds, it would have been great to have a sophomore album. One can always hope, but this time I think it won't ever come true. "La Contea Dei Cento Castagni" seems to be a one-off, and so it's best to enjoy it as it is.

Calling Faveravola a "band" is almost too limited a word, because Faveravola is made up of seven musicians, to which you add five guests (among which A. Tagliapietra !). In my book, 12 musicians make for a small orchestra ! Instruments include keyboards, bass, drums and percussion, violin, electric guitar, flute and recorders, and there are no less than four singers (including Tagliapietra).

Now I would've liked to know more about the storyline behind the album and the lyrics themselves, but I don't understand much Italian, and since all liner notes and the booklet are in that language. The only thing I was able to translate is the title, which would be "Tale Of The Hundred Chestnuts" (if I'm not mistaken)? On the other hand, one needs not to understand Italian to get into the music, especially when Faveravola has been generous enough to record about 73 min of pure musical delight on the CD.

Since other reviewers, obviously much more knowledgeable and articulate than I am, have taken the time to describe (accurately and passionately) the content of each song, I need not to by-pass or ignore them in order to add my own little two-bit. I'll simply say that, after listening numerous times to "La Contea Dei Cento Castagni", I can state that this album is unequivocally loaded with music "to make you happy" for the rest of the day. So, do yourself a favor and try to find a copy (though it seems not easy : I've been lucky). That is, if you believe being happy is important to you and those around you?

5 splendid chestnuts

Faveravola were found around 2002 in Treviso by keyboardist Giancarlo Nicorelli, bassist Adriano Durighetto, drummer Paolo Coltro and guitarist Alessandro Bonotto, all music veterans, who have performed with small bands in Italy during the 70's.The line-up was completed with ex-Asgard singer Franco Violo, Black Jester's Gianluca Tassi on electric guitars and Consuelo Marcon on violin.Based on a fantasy story with strong autobiographical notes written by Nicorelli, Faveravola debuted in 2006 with the album ''La contea dei cento castagni'', released on Lizard.Appearing in the album, delivering some narration parts, is also Le Orme's ex-leader Aldo Tagliapietra.

''La contea dei cento castagni'' is a beautiful album of gentle and emotional Italian Symphonic Rock with lots of pastoral passages, sometimes close to the likes of CELESTE, though always offered through a very professional and well-crafted musicianship.The whole atmosphere recall the glory days of the 70's, with vintage-influenced groups like IL CASTELLO DI ATLANTE or ERIS PLUVIA being good comparisons.The excellent arrangements with symphonic colors and folky overtones are characterized by dreamy organ and synth washes, extremely melodic violin drives and delicate flute parts, while Violo prooves to be the best choice behind the microphone with his ultra-sensitive voice.Electric guitars are used with measure and the album contains also plenty of atmospheric acoustic touches, often with a Medieval flavor.There is not much complexity in ''La contea dei cento castagni'', still the long tracks contain tons of variations with changing themes, from more dramatic lyrical sections to laid-back yet amazing musicianship.No need to mention some great melodies in the best Italian tradition are also included in this work.And the band shows a tremendous ability to transport its folky musical approach to the contemporary music stylings with comfort.

Faveravola appeared also in two compilation albums of the Musea label, ''Dante's Paradiso: The Divine Comedy - Part III'' and '' Decameron: Ten Days in 100 Novellas - Part 1'', but no further news have been heard about the band since then, although it seemed they were working in a follow-up album around the time.Hopefully their first album is not also their last, but if so, be sure to grab one of the best examples of melodic Italian Symph/Folk Rock of the modern era.Great melodies, fantastic vocals, tight arrangements.No less than highly recommended.

Another fine album from Italy.

For some reason I do not get, this band is listed as prog folk. Their music is Rock Progressivo Italiano through and through though. I feel the Rock Progressivo Italiano fans is missing out on a fine band here. Just some early morning grumbles from an office rat......

Faveravola is playing vintage Rock Progressivo Italiano. No wonder, this album is the product from some fine 1970s Rock Progressivo Italiano musicians. Castello Di Atlanto is a good reference point. But you can also add PFM to the mix. The difference is that Faveravola's music is far more folk and pastoral orientated than the more hard rock bands in the scene.

The flutes and the keyboards is pretty dominant here together with the lovely vocals. There are no real killer tracks here and that is my real gripe with this album. It is by all means a very good album, but it lacks the dot over the i to make it a truly great album. But this is still a recommended album and I hope to hear more from this band.

3.75 stars

It took 30+ years for Italian progressive rock to produce the mellow yet potent masterpiece that is Faveravola's debut. The band's members are mostly veterans of the scene who have seen it all - the symphonic sweeps of Celeste, the bombastness of Le Orme, the devilish organs of Metamorfosi and New Trolls, the Hammond-nostalgia of Men of Lake and plenty of Anglo influences like Procol Harum and the Moody Blues. But what Italian prog so often failed to do was pay homage to the folk idiom, which is where Faveravola has earned its place, influenced by countless artists unknown to this writer, but also reminiscent of Horslips and Tri Yann, to name an Irish and Breton giant among others. In addition, while the aforementioned all know something of romance, and romantic fantasy in the broad sense, Faveravola revels in it in a way reminiscent of Eris Pluvia and Hostsonaten, but magnified n-fold and conveyed in Italian.

It is rare that any album contains so many gorgeous and timeless melodies that many listens will be required to absorb its full breadth. Luckily this is not a chore but a blessing. The rich production and the delicate fullness are a reward each time. The vocals are mixed just right. The organs are splendorous and often dominant. Several of the longer pieces show considerable development and tend to rock out a bit more, in particular "La Foresta Degli elfi alati", which is where echoes of the great Irish masters Horslips can be discerned. It is also one of the tracks where the flutes are on display, necessarily evoking Jethro Tull. "Lo Specchio" is one of the showcases for Consuelo Marco's fragile violin not to mention a slightly martial percussive quality, but it also includes some of the album's more expressive lead guitar licks by Gianluca Tassi. The outro is thankfully laid back and unwilling to be rushed. The fiddle and the narrative aspects of this release remind me of the excellent "Inner Dragon" by the current French group Silver Lining, but this one is more consistent and benefits from the use of the native tongue. The title cut is also a dripping gem, while "L'incontro" benefits from the insertion of female vocals for variety in timbre if not style.

"Il Sogno" is like "A Whiter Shade of Pale", or Procol's "Homburg" gone Mediterranean and even more textured than the originals. The main melody on organ may not be the album's best, but it might be the hardest to get out of your head afterwards. The only song where an understanding of Italian would have helped me is "La Piana dei Temoli del Livenza". Even narration from Aldo Tagiliapietra of Le Orme cannot keep me from becoming restless over the course of 9 minutes. But "La Scontro" is a real rocker that provides the necessary pickup. Again featuring a bombastic and insistent organ riff and superb vocal contributions from Franco Violo, it recalls the masters of the 70s while proudly proclaiming itself, much in the manner of Men of Lake a decade or so ago. The lead guitars shine again as well. In its 7 and a half minutes it transitions through a variety of moods, including a romantic violin led segment to return to the original statement skillfully.

The most medieval sounding tune is "Danza di Messer Reale e Madonna Fantasia" which is led by luscious harpsichord, and reminds me so much of Tri Yann, the great Breton folk rock group, that I simply have to mention it. I dare say even non folk fans could be moved by the progressive production and layering on this lovely piece. "Leggenda della Foglia, della Vita e del Vento" is another majestic song with plenty of grandiose vocals, flutes and keys, while "Neorinascimento" starts off like another ballad before moving several notches up tempo, and reminds me of the wonderful one off by "Foglie di Vetro" from the early 1990s. The rhythm guitars provide a welcome muscularity while remaining in a polite exchange with the gentler parts. The album closes with the mostly reflective and all emotional "La Strada ai Confini di...", whose three dots hopefully signify the end to this installment only. The middle part is absolutely cracking, where Violo really cuts loose.

Certainly the album of 2008 for me, Faveravola's debut will be hard to beat. If you love the ancient, the old and the new blended together and can handle mellow folk oriented symphonic prog with mere shards of heaviness, it could become a favorite for you too.

A pleasant journey.

Many of us listen to albums that are "foreign language" to us personally and speaking for myself, I am generally able to enjoy them as much (or more) than albums in my own tongue. Italian albums are some of my favorite prog albums. But there is an important distinction that applies to this album. When listening to prog in a language other than our own, the music must really touch us since we are missing out on the story and lyrical content.

Faveravola's "La Contea" is a hugely ambitious journey of an album with 12 tracks spanning 73 minutes, a large team of musicians, and a wonderful booklet detailing the story. The problem for those who don't speak Italian is that we cannot understand the unfolding story through the continuous vocals and narration, and we cannot read the lyric booklet which is in Italian only. That is not usually a problem for enjoying an album because with most Italian albums the music is great enough to win us over anyway. In fact on most of the many non-English albums I love I am quickly won over and don't really care that the lyrics are lost on me, the music is the big prize.

Not so in this case, I'm afraid. This album is really about the story with the music being secondary. Don't get me wrong. The music is pleasant, well played, and easy going. But it's just a background for the story. Most of the music is just nicely done soft rock with a steady beat and safe, somewhat generic new-agey mood, and really not that remarkable. Occasionally someone will break out with a lovely interlude or an impressive guitar solo but those moments are few and far between. It's just not going to knock you out like your favorite PFM or QVL album. Now if you are looking solely for that mellow, pastoral experience to relax to then maybe this will work for you. But even for that objective there would be preferable releases to this one.

I am not dissing what seems a perfectly pleasant piece of work by dedicated artists. But I am suggesting that if you are looking for the best Italian progressive and you do not speak Italian to get the story being told, then there are literally many dozens of other titles that should command your attention before you buy this one. But you have to love the fabulous cover art!

Our two "Prog Archives" colleagues from Italy, both named Andrea (Salvador and Cortese) have every reason to crow once again, as their storied country has come up with another fine prog nugget. Sadly, outside of the recent PFM-Stati and La Maschera di Cera's Luxade , both massively impressive releases, nothing really new has come out of the Italian school for quite a while now. I thought winning the World Cup would fire up their musical juices but I guess they are still too busy victory-partying. They know how to live, let me tell you! Faveravola proposes a rare, over 60 minute long CD, where the overall mood is very respectful of the "tradizione", with a somewhat muffled old-school production, crushingly beautiful melodies crammed with tons of hooks, lots of Michael Giles influenced cymbal work, evocative lead guitar solos, bewitching flute and numerous violin details, mounds of classic vintage analog keyboards and way above average vocals courtesy of ex-Asgard Franco Violo. This is dressed up in a Medieval- Renaissance veneer, beautifully evoked with the rather splendid fairy-tale artwork (gorgeous booklet and cover) and featuring riveting Italian Folk "Canzioni"(Songs) of the highest order. The proceedings kick off (soccer pun!) with a stellar opener, setting the table with an achingly simple main theme, pied-pipered by a lively flute that you swear you may have heard before, churning organ and Eminent (a much heralded Italian version of a string-synth), crisp guitar playing, steady bass and drums prancing the tune along. Because of the occasional narration, all 12 tracks pleasantly flow in harmonious continuity, with special mention to the 4 epics (between 7 and 10 minutes in length), the first being "Lo Specchio" and its where this CD really takes off, a romantic extended foray into pure Italian Symphonic prog of the highest caliber, reminiscent of CAP, LeOrme, Malibran etc., with a shiveringly emotive vocals , a bolero-like motif ending with a 4 minute long guitar led instrumental flight, leading to a long violin solo of exquisite beauty. Wow! The title cut is where Violo's vocal prowess graces center stage with sheer delicacy and supreme passion, coated again in a highly orchestral violin-led arrangement, ending with "la musica.la mia ragione."! Whispering children introduce "La Foresta degli Elfi Alati", a full scale 9 minute blow out, featuring a bewitching bluesy jam (picture a Traffic-Tull hybrid but in Italian), with a brazen Hammond leading the way, making room for some juicy guitar caresses and liquid flute flights, this is exceptional quality prog! But it only gets better! With "L'Incontro", the pace continues unabated, a folky acoustic piece that edges towards the medieval madrigal, with female-male vocals dueling with ebullient passion. "Il Sogno" is another major highlight, a beguiling melody with a hook the size of the Coliseum, a befuddling piece that exudes simplicity, charm and elegance. The next piece is the core jewel, a romantic 9 minute mini-operetta featuring more intense narration and the guest vocal participation of Le Orme's legendary Aldo Tagliapietra, with a dreamy orchestral backdrop of violin, flute, piccolo and gentle percussion. Only Italians could pull off such delicate splendor. Rainstorm effects and a call to duel prepares the rockiest epic track, "Lo Scontro", a colossal operatic prog-aria, with the Hammond conducting once again, more bluesy guitar leads, aching violin support and more kick ass vocals from Signore Violo, who is a true revelation. A magical harpsichord-led pastoral minuet dance piece is next up, another Renaissance nod to the rich folk tradition, with the dual sexed vocals that are so characteristic of this type of musical genre. Already 10 tracks in and no weakness, no filler and like a good Italian dinner, it just goes on and on, one great dish after another. The final 3 tracks nail down the "cinque stelle" (five stars): "Legenda" features a nifty and nagging synth solo that is unexpected and deliriously effective. "Neorinascimento" is another extraordinary vocal gymnastic routine that score high both on artistic and technical merit, adding a slippery lead guitar solo to the pot. The curtain goes down on the final piece, a piano/violin-led gentle ballad with plaintive vocals, majestic peaks and valleys, wind effects and the last words being "Il tuo cuore": your heart. Amazing

This is a new Italian band but the musicians are veterans who made already music in the Seventies. Their debut CD is a concept featuring Aldo Tagliapietra from legendary Le Orme doing the narration. The 12 melodic and tasteful arranged compositions sound very pleasant with the emphasis on creating a warm atmosphere by lush organ waves, sensitive electric guitar and inspired vocals. To me the songs evoke the debut albums by Men Of Lake and Abiogenesi and the sound of famous Seventies Italian Prog bands Metamorfosi (album E Fiu Il Geste Giorno) and Celeste. The integration of instruments like the violin, acoustic guitar and flute give the music folky and Medieval overtones, on those moments you can dream away by the wonderful cover painting featuring a night on a horse who is on his way up to a castle in a green landscape. In general the music sounds mellow and dreamy but some tracks contain bombastic eruptions or accellarations delivering powerful soli on organ and guitar. My highlights are La Foresta Degli Elfi Alati (beautiful interplay between guitar and organ), La Piana Dei Temoli Del Livenza (compelling with soaring keyboards and moving violin), Danza Di Messer Reale E Madonna Fantasia (wonderful harspsichord-like sound in Medieval climate), Leggenda Delle Foglia (alternating with strong vocals and a great synthesizer solo) and the bombastic Neorinascimento (propulsive with fiery guitar solo and powerful organ waves). Don't expect complex music like Gentle Giant, virtuosic soli like ELP or dynamic songs like Rush, just enjoy the warm and pleasant atmosphere, perhaps we can create the category 'pastoral prog' for this beautiful music! My rating: 3,5 stars.

www.progwalhalla.com

Let me start of as this band debut cd is from italy,and they r prog-folk,Here we r taken on ride thru over 60 mins of muisc that is in italian.this is no jethro tull wannabes so to let u know this know.. this band reminds me of the band cast from mexicos singer and put into folks muisc except its in italian not spanish..One can expect to hear catchy melodies and rhythm ans hooks thru out this cd,The keybords r dominating factor here they r what keeps music alive for over this 60 min journey.Without them this cd would be boring as hell that my opion to me it would be boring as hell..

From the look of the alblum cover one can see this is like concept cd of some kind as u see the horse,and man riding thru to new land,an land that full of rich happiness and folklore.this has J.R. Tolkien vibe to it and it very good make u want to dance. while also having celtic feel to this disc also u can just close your eyes picture the story taking place in italian here in your head.. Some of the best music is in languages u dont know, it keeps it mystery music is more enjoyable to us the listners we get to be deiciders of whats taking place where it gonna take us. All the more this is must have disc for any fan of Italian prog and folks music of it self with celtic influece also.....

I Give This Cd 4 stars out of 5.. An must have cd for italian prog rock fans...

Faveravola's debut is a mellow and gentle symphonic effort with strong reminiscences of the italian symphonic tradition but more melodic and soft, as it clearly appears since the very first minute of the opener "L'Antefatto". Vintage keyboards never become too loud but build up dreamy soundscapes along with some sparkling and sparse electric guitar's incursions as in the interesting "La Foresta degli Elfi Alati". The band clearly takes inspiration from the classic, from the softer side of Le Orme to the medieval-folky vein of Angelo Branduardi and even remebering famous proto-prog acts such as The Moody Blues (the band also played in some tribute cds).

As I said, the album is generally more symphonic than folky but the most peculiar thing does not lie in music or in arrengements. The unusual alternating between singing by Franco Violo (ex Asgard) and narration by keyboardist Giancarlo Nicorelli. The story is about the imaginery journey of a medieval knight and it's important to remember the guest appearence of Aldo Tagliapietra (Le Orme's voice and bass player) who provides recitative vocals as the spirit of the Livenza river in the "La Piana dei Temoli del Livenza".

All in all a relaxing opus with no harder parts, despite some "serious" electric guitar playing in "La Foresta degli Elfi Alati" (as I said) and in "Lo Scontro". Keyboards are never bombastic.

P.S. this is the first record to be published under the "Locanda del Vento"'s label which was thought by the lizardrecords' boss as containing the gentler side of italian contemporary prog bands.

A nice one that surely will please many.