Levante’s “Opera Futura”: A Tangible Exploration of Life’s Turning Point | Album Review

Enveloped in an aura of mystery and hope, Levante’s latest album, “Opera Futura,” released February 17th, offers a compelling sonic journey. Preceded by the Sanremo entry “Vivo,” a candid – and for some, enigmatic – portrayal of disorientation amidst life’s transitions, the album’s evocative cover art, featuring the artist cradling a swan against a verdant backdrop, sets a poignant tone. Levante explained her choice of green: “I painted everything green because I know nothing about the future except hope. Green allowed me to detach and project myself where I desired, because the path to ‘Opera Futura’ was shrouded in darkness, with only the hope of emergence guiding my way.” The swan symbolizes not only hope but also beauty and lightness, transcending gravity and feeling equally at home in the heavens, on earth, and in water. This deliberate symbolism extends to the album’s meticulously crafted tracklist. The ten songs within explore a near-bipolar duality: a nostalgic yet joyful reflection on the past juxtaposed with the thrilling, yet terrifying, anticipation of the future. From the self-reckoning of “Invincibile” to the insomnia-fueled longing of “Mi manchi” and the verbal sparring of “Fa male qui,” the album’s narrative evolves. “Metro” offers a more figurative account of a post-breakup encounter, clashing pride and pain with the present joy of motherhood. In the subsequent hit “Leggera,” Levante sheds her fears, feeling “vast skies beneath her feet,” only to find the tempo slowing with the almost liturgical choruses of “Alma Futura,” a testament to her newborn child, poignantly concluding with “I leave you my voice.” Beyond the familial, Levante satirizes the pursuit of online validation in “Capitale mio capitale” and examines the imperfections and vulnerabilities of motherhood in the universally relatable “Mater.” The album concludes with the metaphysical pairing of “Iride blu” and “Cuore liquido,” contrasting materiality and fluidity without offering definitive conclusions. Ultimately, “Opera Futura” (Parlophone/Warner Music Italy) transcends immateriality, marking a departure from “Magmamemoria” to present a physical representation of a moment, even if that moment remains undefined.