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Il titolo di questa storia lo prendo a prestito da un bellissimo docufilm di Claudio Cabona, che si intitola “La nuova scuola genovese” e da qualche giorno si può vedere anche su Prime Video, dopo aver riempito i cinema lo scorso anno anche grazie alla presenza in sala di alcuni dei protagonisti come guest star di questo racconto.
E la storia sta tutta qui, già nel titolo. Perché “nuova” scuola genovese?
Perché è come se, in modo del tutto casuale, incidentale, alcuni artisti si fossero messi d’accordo ieri e oggi per ritrovarsi e condividere arte e compagnie.
In un determinato tempo e in un determinato luogo, coincidenti fra loro a distanza di decenni.
Quelli di ieri sono noti e si muovevano soprattutto fra le panchine di via Cecchi, alla Foce, Boccadasse e i vicoli del centro storico, una generazione unica e inimitabile che scrisse per anni la storia della musica italiana: Fabrizio De Andrè, ovviamente, e poi Luigi Tenco che scendeva al mare da Ricaldone, Basso Piemonte, e Umberto Bindi, Gino Paoli e Bruno Lauzi e tanti altri, con amici vicini come Riccardo Mannerini, indispensabile per capire Faber, e Vittorio Sirianni, l’inventore del talk show prima ancora di Costanzo, che era l’alter ego insostituibile di Paolo Villaggio che insieme a Fabrizio scrisse il divertissement su Carlo Martello che torna dalla battaglia di Poitiers.
Poi, ci fu la generazione successiva che fu quella dei New Trolls, di Vittorio De Scalzi e di Nico Di Palo, ma soprattutto di Ivano Fossati che non a caso è colui che comprende meglio la nuova scuola genovese e lo racconta ammirato insieme a Marracash negli ultimi cinque minuti del film di Cabona.
E poi, per l’appunto, il gioco del film è quello di fare incontrare quelle generazioni. E così Dori Ghezzi si confronta con Izi, che ha firmato a Sanremo la splendida “Via del campo” insieme a Madame quest’anno nella serata delle cover; Cristiano De Andrè si incontra nel negozio museo dedicato a suo papà di via del Campo 29 rosso, con Bresh. Ma, soprattutto, Tedua si incontra a Sant’Ilario con Gino Paoli in un incontro generazionale dove Gino dice le parolacce e sembra un diciottenne e Tedua è timido e tenerissimo di fronte al venerato maestro.
Ecco, questo è il quadro
Ma la storia continua con gli allievi che superano i maestri e oggi sono i trionfatori dell’estate degli streaming e delle date live: Bresh, Andrea Brasi, che è di Bogliasco, ha fatto due sold out nella rassegna “Live in Genoa”, organizzata da Duemilagrandieventi e da Nicolò Sasso, Caterina Surace e Paola Donati, gli eredi musicali del presidente di Assomusica Vincenzo Spera, senza i quali nulla di tutto questo sarebbe possibile, e se fosse stata organizzata anche la terza data all’Arena del Mare al Porto Antico di Genova sarebbe arrivato anche il terzo esaurito. Per dire, negli stessi giorni e nello stesso posto, nomi più altisonanti hanno fatto fatica a riempire anche solo metà dell’arena con una data sola. E ci sono intere rassegne che hanno faticato a fare gli stessi paganti sommando tutte le date.
E poi c’è Tedua. Che è il fenomeno di quest’estate
E l’immagine da cui voglio partire per raccontare tutto questo è proprio il palco della seconda serata di Bresh: se la prima sera c’era Izi come maggiore ospite, la seconda è salito sul palco proprio Tedua.
E vedere questi due ragazzi partiti insieme, partiti dal basso, partiti dal nulla, ai vertici delle classifiche di streaming e altro, è qualcosa che ha fatto partire i ricordi, anche i loro: “Siamo partiti dal basso” dicono all’unisono. E Bresh chiede al suo pubblico: “Quanti di voi hanno aspettato la Divina Commedia?”, riferendosi al disco attesissimo di Tedua, che nasce come concept album e poi, un po’ alla volta, con una serie di straordinari feat è diventata anche la personalissima Divina Commedia di Tedua, anima sensibile.
Un viaggio, in qualche modo, dalle tinte anche caravaggesche, e forse non è un caso che l’esordio cinematografico di Tedua sia avvenuto nel film di Michele Placido “L’ombra di Caravaggio” dove interpretava, a fianco di Riccardo Scamarcio, uno dei pochi personaggi aggiunti rispetto ai documenti storici: Cecco, modello, assistente, amico e certamente innamorato di Caravaggio e amato da Caravaggio.
E Tedua ha la faccia e la bellezza giusta per farlo.
Raccontano, reciprocamente, “sono stati anni difficili e tu – e vale indifferentemente per Tedua e Bresh – lo sai, ma ora il bello arriva per tutti”. E Tedua, che è il più filosofo della musica italiana, spiega: “Non conta in quanto tempo arrivi, ma come ci arrivi”.
Entrambi potrebbero raccontare storie di featuring estivi rifiutati che avrebbero accorciato e semplificato la strada verso il successo, ma che avrebbero probabilmente snaturato la loro storia.
Se di Bresh abbiamo detto, i numeri recenti di Tedua e della sua Divina Commedia testimoniano di permanenza in vetta alla classifica FIMI per quattro settimane consecutive e Disco di Platino.
Un percorso iniziato con “Vita vera mixtape: Aspettando la Divina Commedia” e col singolo “Intro la Divina Commedia”, in una storia che è diventata quasi un obiettivo di vita e di arte da parte di Tedua.
E il primo posto negli album è stato subito tale anche nei singoli, con Hoe, dove lo accompagna Sfera Ebbasta. E tutti i 16 brani sono stati immediatamente nelle prime 17 posizioni della Top 50 Italia, una traccia nella chart Top 200 Global di Spotify e sul il podio della classifica Spotify Debut Global. E, in una sorta di proprietà transitiva dello streaming trionfale, il concept album di Tedua, è un successo anche su Apple Music, con tutti i brani nella top 20 e primo negli album.
E, del resto, basta leggere la lista dei feturing di Tedua in questo disco per capire quanto sia monumentale e fondamentale quest’opera nella nuova scena musicale: Guè, Marracash, Salmo,ovviamente Bresh, Geolier, Lazza, Rkomi e Sfera Ebbasta, Baby Gang, BNKR44 e Kid Yugi, e Federica Abbate.
Insomma, anche in questo caso, dopo le collaborazioni di Fabrizio De Andrè con Francesco De Gregori e Ivano Fossati, la Nuova scuola genovese è un seguito ideale del lavoro della storica scuola genovese.
Non si chiamavano feat., ma era già quello.
