The gramophone weeps
Shipwrecks, loves bought or stolen, relationships that end, hopeless romances. At the heart of this melodramatic style that was rather popular in the first half of the twentieth century there is a whole gallery of cruel female characters or, on the contrary, victims of destiny: dolls, young girls, innocent maidens, Madonnas, little saints and foreign blondes. The only exception to this series of female figures is Pierrot, with his trademark tear on the cheek. Here is a concentrate of the melodramatic genre inaugurated by Armando Gill’s centenary song Come pioveva (1918) by, the prototype of the Italian torch song.