Sting brings the sounds of the world and his glossy pop to the Arena. The singer is traveling the world to promote 'Sacred Love'. Fourteen thousand people in Verona for the opening of his short Italian tour. The English star's second and final show tomorrow in Rome...

Marinella Venegoni, correspondent in Verona. Sting performed last night at the Verona Arena, a temporary temple of the smoothest pop music available for a few hours. An appropriate setting, in terms of elegance, for a sold-out concert in the 14,000-seat capacity, somewhat glossy but not without its beautiful music. Let it be clear, however, that the singer doesn't care about venues, and goes where the market sends him: after cancelling the Modena date due to time constraints that prevented the transportation of his production, tomorrow he will conclude his very short Italian excursion at the free Cornetto Free Festival in Rome, where at least 100,000 people are expected. Since late January, Sting has been touring the world promoting his latest album, "Sacred Love," inspired by the feelings that tormented him after the tragic events of September 11th. Greeted with cautious enthusiasm even by his most die-hard fans, the album occupies a considerable portion of the concert, and not the most exciting, despite the musicians' skill and their effort to make the rather monotonous material enjoyable. The title track, dedicated to a hopeful communion between beings and human races, is transformed into a long suite that explores both oriental sounds and energetic rock (featuring the brilliant guitarist Dominic Miller) before morphing into a sort of ambient sound. Jason Rebello's piano becomes jazzy for "Never Coming Home."

But other new songs don't always have the same appeal: "Send Your Love," which opens the concert, is a bland and trendy electronica cavalcade; "Whenever I Say Your Name," released on CD as a duet with Mary J. Blidge and here with backing vocalist Joy Rose, disappoints with a somewhat watered-down version of pop; "This War" is as heavy as a plate of poorly seasoned spaghetti, even when underscored by the excellent war cartoons projected on three large vertical screens behind him. To curry favour with the crowd, he nevertheless delivers a rousing Italian rendition of "This is my favourite theatre in the world."

Since leaving the Police a million years ago, Sting has gradually developed his own fusion style, later widely copied, which has punctuated significant moments that have become true classics: "An Englishman in New York," for example, sounded light and smooth in its impeccable construction, highly enjoyable live; and so does "Fragile," which captures the human condition of recent years so well. He also graciously indulges in "Synchronicity II," "Roxanne," and "Every Breath You Take" from the Police era: they seem freshly composed, with a darting modernity. In his more recent albums, the star's energy has dried up somewhat, or at least it's been sucked into the coils of a precise yet aseptic formalism.

The verses are always "politically correct," supporting the soft, dark voice that never attempts virtuosity, but the feeling is that Sting now composes more out of duty than out of an intimate need. His penultimate album, "A Brand New Day," was supported above all by Cheb Mami, who lent him a hand on the Arabian-tinged "Desert Rose" (also a highlight of yesterday's concert); But in a vast anthology like a concert must be, the gap between the classic hits and the new repertoire is stark.

As time goes by, Sting continues to enjoy exceptional media coverage, partly because he remains a good-looking guy, partly because he's very rich and doesn't hide it, partly because of those famous seven hours of yoga-enhanced sex he confessed to years ago and now denies in vain at every opportunity. Recently, a DJ skilled in interviews was fired from the US radio station where he worked because he managed to get his wife Trudy Styler to confess that the star isn't averse to partner swapping. That's how you reward good professionals... Upcoming concerts: tomorrow in Rome, Cornetto Free Music Festival.

(c) La Stampa by Venegoni Marinella

Some 14,000 fans of British singer Sting came to his concert at the Arena di Verona...

Some 14,000 fans of British singer Sting came to his concert at the Arena di Verona are in Verona, northern Italy on Wednesday night and although the singer of Bring on the Night was seemingly far from his best he was celebrated by the fans who came from all over northern Italy.

The Verona concert was the first on the Italian leg of Sting's European tour, which is to end in Rome on Friday.

Sting, 52, is beyond the age with which he could make a living on new wave or appear as a rock adventurer. He can now afford to show the reverse side of his personality, the one of the intellectual and of the mature, romantic and inspired rock and roll man. He can also afford to wink at the time, when he was a mod.

Wearing 1960s style stovepipe trousers and a shirt with white collar and white cuffs Sting presented the Sacred Love album, his latest which to a certain extent reveals the creative weariness of the former frontman of The Police. Bearing in mind that the amount of CDs sold worldwide even after he left The Police secures his income Sting did not make exceptional efforts on the stage remaining still almost all the time. It was a clean, flawless performance as a good head of a family should give.

''I am glad to be here in Verona, in the world's favourite theatre,'' was the only Italian phrase, which Sting, who has a house in Figline Valdarno, near Florence, said.

The show's scenography was very poor and was dominated by black. There were three video screens at the bottom of the stage, behind the band continuously showing dancers engaged in sinuous movements as well as other psychedelic pictures recalling kaleidoscope figures.

Sting's band was of a good level.

Some of the 18 ''thoughts'', which Sting sang in the two-hour performance certainly lacked appeal and others probably did not deserve to be part of the concert.

Wednesday's concert started with the 'Sacred Love' album. Then in one of the rare flash backs to Sting's Police period the show continued with a song from the 'Synchronicity' album, which was characterised by an obsessive rhythm. After that Sting came back to the present with 'Inside', 'Dead Man's Rope' and 'Whenever I Say Your Name', which was accompanied by the rhythmical clapping of the 14,000 spectators.

Sting's voice made a masterly accompaniment to the harmonies of 'Well Be Together', 'This War' and 'Fragile', which was performed with an acoustic guitar arpeggio and was loaded with a melody typical for Sting, who still knows how to thrill when wants to.

There was the black style and other sound elements belonging to the past jazz period of Sting, who managed to deliver an excellent interpretation of 'Fields of Gold'.

In a delightful balance between electric and acoustic sound as in 'Sacred Love' and 'Desert Rose' respectively the wisely conservative Sting sang about love, friendship, about the city and its contradictions and about modern life giving them all a musical expression which has never been guided by the fashion but has been based on essential arrangements and full-bodied but light and limpid melodies.

As an artful master of British music Sting managed to absorb within his own expressive form what the musician has defined as The Police's white reggae style enchanting the public first with 'Englishman in New York' and then with 'Roxanne', the masterpiece from the time of The Police's debut 'Outlandos d'Amour' album, when the band was competing with groups like Clash and Talking Heads.

Still the first tones of 'Roxanne' caused adrenaline to go high, which inevitably recalled Sting's past success with The Police. The song was performed in a wholesome remix with a hypnotising rhythm, which ended in crescendo. It was very different from the musical style of Sting's more recent works, in which the musician has get lost in a very exotic jazz language as for example in 'Never Coming Home' with the outstanding variations on a theme performed by Jason Rebello on the piano.

Sting seems to have begun thinking too much about his mentors, who directly or indirectly have nourished him with their harmonic sap.

Leaving the Arena di Verona theatre many Sting's fans were singing to themselves 'Every Breath You Take', which was performed shortly before.

(c) ANSA English Media Service

An Englishwoman in Verona...

After a very early start to catch our flight from Stansted to Verona we are walking through winding cobbled streets, bathed in 30 degree heat, I could hardly believe I was here in Verona. We spot Dominic sitting in one of the many street cafes with a friend. Shortly after passing through a Roman gate the Arena hogs the horizon, surrounded by scaffolding as renovation work is going on but still casting a very impressive sight non the less. I can't wait to see it in full entertainment mode later in the evening.

Think of the arena as a very ancient Royal Albert Hall , circular, lots of doors and not sure which one is used for what!?, just where do we pick up our tickets!?. Through one of the arches the stage could just be seen, everything else was still being set up and it was impossible to know where to go and with the heat was wearing us out, it was time to stop for a cool drink outside a restaurant opposite the venue and watched the world go by. Band sighting number 2... Kipper, seen happily chatting with some people at another table.

At around 4.30pm we head out into the heat for the arena again and we find a discreet spot to watch the sound check. Dotted around the venue were a few other lucky fans and workers doing the same thing. Various band members were appearing at this point, Keith was high up on the edge of the arena taking what I can imagine are amazing photos of the city, Dominic was sitting in the seats beside the stage enjoying the sun and Rhani in the red seats near the front which would in a few short hours be filled with lucky fans. I wonder where our seats will be? Sting is smartly dressed in black pinstripe suit being photographed over the other side of the arena.

Soon Sting appears on the stage more casually dressed in baggy green combats, grey t-shirt (strangely in this heat a black jacket which he kept on throughout the sound check) looking tanned and healthy. He wanders around the stage, greeting band members. Danny brings him his familiar battered fender bass and they are ready to start. They start to rehearse 'We'll Be Together' stopping and starting to try different parts and then a bit more warmed up 'Send Your Love'. For most of the sound check the band had Stings undivided attention as they try to perfect their sound, but during 'Send Your Love' a little audience of familiar faces had moved to seats near the front, Sting spotted them and sent a bit of love their way. It was a very special treat to see this sneak preview unhindered by anyone else. The sound check is too quickly over.

At around 8pm, we go to collect our tickets, not at the box office, there is some mix up, we do not speak the language and time is ticking by. Sting is already on stage when we finally get in we find a spot at the far side of the stage to get a unique view of the gig. To be honest I was relieved to have seen the show up close at the RAH as here I couldn't get a true picture of the stage or see very much of the band but the sound was good and it was just a joy to be there... still very exiting.

We had almost the same view as the band. The Roman arches glowing at the back of the venue, twinkling lights and cameras flashing. The audience were mainly seated and were kept that way by security, but we spotted Lydia, Dominic and their crowd front centre giving it everything. The front row was quite some distance as the stage was very high so no-one was too close to the huge stage, which extended further on each side towards the seats. Dominic ventured over to play on our side a couple of times (we hopefully have some photos of the scene) and we could see many people snapping away at the front so there is bound to be some memory of the show on the website later.

Sting almost came over but security suddenly doubled and he headed back to the centre stage. Sting spoke to the audience entirely in Italian which sounded impressive to me (he was wearing the same outfit as RAH).

The set was very similar to RAH, but no 'Walking on the Moon' and 'We'll Be Together' was slotted in. 'Roxanne' still brilliant with 'King of Pain' emerging in the middle and there were new filmed backdrops. My favourite songs were 'Roxanne', 'Never Coming Home', 'Send Your Love', 'Desert Rose', 'A Thousand Years'... most of them really :0)

After the show we walked back to our hotel, chatting excitingly about the gig in the warm night, stopping for a much needed ice cream. We pass Rhani walking in the opposite direction, he smiles and I smile back still hearing all the songs - A very special night to remember.

(c) Linda Thackray for Sting.com

Enthusiasm for the past...

Sold out at the Arena for the first Italian leg of the tour. A very "English" show that gave little room for imagination, Sting, enthusiasm for the past...

The crowd is especially fired up by the Police's old hits.

The "sacred heart" of Sting fans is focused primarily on the past. The English singer-songwriter has placed all, or almost all, on the present for this extensive world tour, which includes only two Italian dates, but he hasn't counted on the tastes of his Italian fans. At least fourteen thousand people flocked to the Arena last night to applaud him: men and women alike (though the latter were more brazen in shouting "you're hot"), ages 15 to 50, decked out in low-waisted jeans, or rather very low-waisted ones, and flip-flops, or sequined dresses fresh from the closet. Fans who, especially to the tunes of Sting's hits as a "cop" or early solo artist, really got fired up, and not because of the muggy heat that hung over the amphitheatre. Or because of the rush of anger felt when presented with the bill for a rubber sandwich and drink (8 euros). Or 3 euros for a glass of popcorn, the only real sour note in an evening that went smoothly, perhaps even too smoothly. English, if you will: in the sense that Sting, though inspired by the Arena, didn't quite take flight. It was precisely 9:30 PM when Sting materialized on the Arena stage.

Brown pants, a gray jacket, and a white shirt with oversized cuffs and collar, short hair, and sex appeal that would make a twenty-year-old envious, the former Newcastle police officer chose a blistering start to his setlist. A compelling juxtaposition between the present of "Send Your Love," performed to the dance rhythms familiar from the "Sacred Love" album, and the past of "Synchronicity II."

A perfect, meticulously crafted synchronicity also exists between the musicians' music (Jason Rebello, Dominic Miller, Abdelrhani Krija, Mark Eldridge, Bryan Carlock), the vocals of Patricia Gardier and Joy Rose, and the images - some in colour, some in black and white - projected in the background behind the band, alternating with close-ups of Sting. Images rich in computer-generated special effects, cartoons, sensual women centre stage, or women lost in thought, space-age or bucolic landscapes that accompany the lyrics written by the English professor. Like the white ghost-dancers, for example, who dance to the tune of "Inside," the opening track of the "Sacred Love" album. Sting finally addresses the audience, in still-fragile Italian, to say "thank you, hello everyone" and that he's "very happy to be here, because this is my favourite theatre in the world."

Just imagine the people of Verona... Another intimate moment with "Dead Man's Rope," in which Sting accompanies himself on a small guitar, and then the rhythm builds again with "We'll Be Together," which the fans prove they know by heart. Then there's a duet, "Whenever I Say You Name," with Joy Rose, who ably replaces Mary J. Blige and overshadows - in certain passages - even the former police officer, who doesn't seem particularly comfortable with the fast passages and sudden wordplay that are his trademark.

A new guitar solo with Senses, which benefits from a pure jazz-style coda, with a lovely keyboard interlude. Then comes the most political song from 'Sacred Love,' "This War," accompanied by illuminating images: expanses of oil wells and flocks of fighter-bombers dropping tons of bombs. And the final message: "Don't do nothing." An unmistakable guitar chord introduces "Fragile," and the Arena crowd rises to their feet and follows Sting in unison, while cell phone cameras and digital cameras immortalize the historic moment.

Reminiscences of the past with "Fields of Gold," then on to "Sacred Love," set in a sort of modern-day Moulin Rouge. It's time for another old hit, "Englishman in New York": the audience is enthusiastic, Sting demands and gets the refrain "be yourself, don't matter what they say," but the climax of the participation comes with an early Police hit, "Roxanne," performed with softer arrangements. Sting remains himself, unruffled: not a note or word out of place, not a flight of fancy. This is, unfortunately, the downside of well-established shows that have been on the road for almost a year. The first half ends with "Never Coming Home," enriched with jazz influences, and at 10:50 pm, Sting bids everyone farewell.

The usual rant from the audience, and after three minutes, here he is again with perhaps the most successful song—musically and visually - of the Arena evening, "Desert Rose." Then it's time for "Faith in You" and "Every Breath You Take," which brings everyone to their feet. The grand finale is "A Thousand Years." Many thanks, Mr. Sumner. See you next time.

(c) Il Giornale di Verona by Paola Colaprisco