Zai saman

Zai zai zai saman Ialla nuzur al ahel Schufi addii Keber el weld Schufi el nas mahneia 'a zara' E di domenica tutto si fa quieto Usciamo insieme come una volta A fare visita ai parenti "guarda com'è diventato grande!" Ho visto gente curva sopra i campi Mietere il grano Famiglie intere unirsi I giorni di vendemmia Per la raccolta delle olive Zai zai zai saman Ialla nuzur al ahel Schufi addii Keber el weld Schufi el nas mahneia 'a zara' E una domenica ti incontrai per caso E mi scoppiò un indescrivibile Piacere di conoscerti Guarda cos'è il Destino! Vuoto di senso crolla l'Occidente Soffocherà per ingordigia E assurda sete di potere E dall'Oriente orde di fanatici Zai saman © 1988 Franco Battiato

Like we used to, we go visit the family. Look how big the boy is, look at the people, how they gather the flowers. And on Sunday everything gets quiet. We go out together like before to visit the relatives – “Look how big he’s become!” I saw people bent over the fields sowing the grain, entire families coming together, the days of harvest for collecting the olives. Like we used to, we go visit the family. Look how big the boy is, look at the people, how they gather the flowers. And one Sunday I encountered you by chance and out of me burst forth an indescribable “Nice to meet you.” Look what is Destiny! Empty of sense, the West crumbles. It will suffocate from greed and absurd thirst for power, and from the East hordes of fanatics. English translation © 2020 Dennis Criteser Fisiognomica was released in 1988. After 1985's Mondi Lontanissimi, Battiato changed course once again and dedicated himself to working on an opera based on Genesis, a project he'd already begun in 1983. The opera was nearly all-consuming for the next two years and was finally mounted in 1987. Battiato then committed to writing another opera based on the myth of Gilgamesh. However, some non-classical songs were beginning to reappear in his writing, and he decided to produce another "pop" album (the word "pop" must always be in quotes when applied to Battiato), though one that unites pop, operatic, classical, and contemplative music. One that also places spirituality at the core, with lyrics and music that are serious, refined, intimate and more personally direct than Battiato was previously willing to be in his former years of word play, irony, hard-to-understand esoteric references, and fragmentism.

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