Teorema was and still is the piece by the Como-born singer-songwriter (Casasco d’Intelvi, 28 July 1949) Marco Ferradini, who absolutely represents it the most.
Theorem: emblematic song of the unforgettable 80s
The extraordinary success of a emblem song of those 80s in which, even the words that accompanied a music, in deeply different times from these, they could afford “Licenses” and freedoms which today, compared to the facts of current life, would assume a totally different meaning.
Theorem: freedom and licenses of a single musical period
Or you would even run the concrete risk of incite misleading behavior. When instead the intent of the song, the “light” and purist spirit with which it came to us and still resists the inexorable passage of time, they were and are completely different. These last thoughts and reflections come from the mind and mouth of Marco Ferradini, who in a recent confession-interview with a specialized magazine, clarified that today he could never write such a song. He wouldn’t have the courage. He wouldn’t feel like doing it.
- Name: Marco Ferradini
- Date of birth: July 28, 1949
- Birth place: Casasco d’Intelvi (Como)
- Zodiac sign: Leone
- Profession: singer and lyricist
- Sons: Marta Charlotte
- Musical genre: Pop / Light
Theorem: this is why the author would never rewrite it today
The reference is clearly ai “Femicides” and those words of the song they say “Take a woman, treat her badly”, the meaning of which is purely symbolic. Phrases that today, however, would trigger an uproar, according to Ferradini himself. A real shame that the news and real life risk, as in this case, of condition the thoughts, feelings, intentions of a songwriter who is naturally the son of another era, as is the song. And even today anyone who listens to it knows exactly where Ferradini wanted to reach e which heart strings he wanted to touch.
A wounded man who no longer wants to give himself to love
The man of “Teorema” is wounded, was disappointed by the woman he loved, seeks exclusively one vendetta which of course it is not physical but moral. He hopes that those who have made him suffer so much will suffer in turn. And then he pours his resentment on a new love, making the latter “pay” for the suffering he suffered. By making sure to be desired and loved without giving himself and his weakness in turn. Without falling victim to the loss of one’s certainties. Without ending, as often happens, in love, at the mercy of the wind.
Theorem: redemption, the return to the purest feeling
But the song eventually shows a man who “redeems himself”, who understands that in love there are no tricks, there are no “rules” and in fact there are no theorems. But it only takes open the door of your heart to someone. And sooner or later you will find the right person who can tiptoe through that door. A hymn to love that is divided into two parts: the wounded and ruthless man on the one hand, the rational and conscious man on the other, which ultimately does not abandon the pathos, the sentiment. And he is ready for a new “adventure” despite the suffering he has suffered. Why, says the same passage by Ferradini, for to make a woman fall at her feet no schemes are needed. But only the strength of the heart.
Ferradini and the surprise of an unprecedented success
Ferradini has confessed several times that he did not imagine that his bravo would climb the charts and enter the cult of Italian music by right. Today the young people, the twenty-year-olds sing it, and for the singer-songwriter Marco Ferradini it is a huge satisfaction.
In the song it is clear the figure of a man who first meditates “revenge”, which invites other men not to fall in love. To make the female gender suffer. But then there is redemption and the ability to accept oneself, to accept one’s limits, seeking with the heart and sincerity a new love, remaining oneself and trying to give everything one has.
According to Ferradini himself today man does not accept defeats, is weaker than 40 years ago, and this leads him to be violent and not accept the choices of others. And that’s what we are for lucky that Theorem has been written in the 80s and that she is the daughter of an extraordinary musical period. In which everything was freer, lighter, more carefree.