This production, shaped by the pandemic experience, sought to identify the revealing aspects of a time that humanity lived through in such an intensely experiential way—through illness and all the symbolism that this word carries with it on the level of mystery, enclosure, transcendence, death, and healing. Therefore, resurrection, again on a symbolic plane.
For the first time, illness was experienced simultaneously by the entire world, quickly becoming global—just like the principles that now govern economy and communication. It became an explicit symbol of the dangers of globalization and monoculture in every sense.

The challenge of Kum! is centred on a musical syncretism that combines contemporary language with that of our Mediterranean Sea—symbol of life and death—and with the musical traditions of the ancient Middle East.

For this reason, I chose the Gospel of Mark and the account of the resurrection of Isaah, the daughter of the rabbi of the synagogue.
The word Kum! is a spelling derived from the Aramaic and the Greek translation of the Gospel; it has ancient origins and contains a threefold meaning of life, resurrection (“arise,” “rise again”), and tribal vindication (“rebel,” “rise up”). It speaks of lived freedom and of a profound fraternity that consists in entering the fullness of life and the understanding of Beauty—thus the very heart of existence—passing metaphorically through death and resurrection.

Both the concert, held in 2020 in the Church of Sant’Agostino, and the recording session the following year, in October 2021, benefited from the presence of Greek musician Harris Lambrakis, a great master of the ney, the Turkish and Persian flute of which he is a leading virtuoso, serving for us as a precious bridge between Mediterranean and Middle Eastern musical cultures.