Latte e Miele -

Latte e Miele was an Italian symphonic-rock band that made the 1972/73 Polydor albums Passio Secundum Mattheum and Papillon, followed by the 1976 release Aquile e Scoiattoli. They continued through 1980 with four non-album singles.

Members: Alfio Vitanza (drums, flute, acoustic guitar, vocals), Oliviero Lacagnina (keyboards, piano, vocals), Marcello Giancarlo Dellacasa (electric guitar, acoustic guitar, bass, vocals), Mimmo Damiani (keyboards, guitar, vocals), Luciano Poltini (keyboards, vocals), Massimo Gori (bass, guitar, vocals), Dario Carlevaro (bass), Enzo Barbieri (drums)

Background

Latte e Miele (Milk and Honey) formed in 1971 in Genova, Liguria, as a classically informed rock trio rooted in symphonic composition and baroque structure. The founding lineup comprised keyboardist Oliviero Lacagnina (b. 1951, La Spezia), guitarist–bassist Marcello Giancarlo Dellacasa (b. Genova), and drummer–multi-instrumentalist Alfio Vitanza (b. 1955, Modena), who was just sixteen at the time of formation. Despite their youth, the members brought significant experience and ambition to the project, with Dellacasa having recently contributed guitar parts to Terra in Bocca, the politically charged concept album by I Giganti.

From the outset, Latte e Miele modeled themselves as a symphonic power trio with a keyboard-forward sound that echoed Emerson, Lake & Palmer and Italy’s own Le Orme. Their arrangements emphasized counterpoint, thematic development, and the integration of classical forms into rock structures—traits that would define their early discography. Within months of forming, the trio began composing and rehearsing the extended suites that would form their debut, incorporating Latin liturgical texts, narrative transitions, and operatic choral work alongside Mellotron, Moog, and church organ textures.

Their distinctive blend of sacred thematics and conservatory-level performance quickly attracted attention. By early 1972, Latte e Miele secured a contract with Polydor, which backed the recording of their ambitious debut Passio Secundum Mattheum, a modern oratorio based on the Gospel of Matthew.

Passio Secundum Mattheum

Latte e Miele released their debut album, Passio Secundum Mattheum [Passion According to Matthew], in 1972 on Polydor.

The album presents a narrative suite inspired by the Passion of Christ as told in the Gospel of Matthew. Structured as a continuous sequence of short movements, it blends symphonic structure with jazz-inflected interludes, operatic flourishes, and rock instrumentation. While its thematic focus centers on sacred material, the arrangement frequently veers into secular stylings, juxtaposing liturgical elements with theatrical and experimental transitions.

Marcello Giancarlo Dellacasa plays electric, acoustic, and classical guitar, alternating delicate chordal passages with distorted lead breaks and short violin figures. Alfio Vitanza performs drums, timpani, bells, bongos, and congas with persistent momentum and dynamic flair, and also contributes flute and vocal harmonies. Oliviero Lacagnina commands piano, Hammond organ, harpsichord, Moog, Solina string synth, Mellotron, and celesta, managing tonal continuity and arranging contrast between baroque and jazz sections.

All tracks are credited to Dellacasa, Vitanza, and Lacagnina. Lyrics derive from the Latin and Italian renditions of Matthew’s Gospel, structured into brief scenes with transitional narration and choral interjections.

The album opens with “Introduzione,” where stately harpsichord and drum passages underpin choral figures and segue into a concise electric guitar climax. “Il giorno degli azzimi” and “Ultima cena” compress their scenes into vocal ensembles over brief instrumental cues. “Getzemani” balances soft electric piano and spoken narration with abrupt percussive shifts and layered synth motifs.

“I testimoni” extends across two parts, beginning with acoustic arpeggios and call-and-response vocal textures before launching into a tightly phrased jazz-rock improvisation for piano, drums, and fuzz guitar. “Giuda” erupts with distorted chords and syncopated organ, leading into the climactic trio of “Il re dei giudei,” “Il calvario,” and “Il dono della vita,” which collectively integrate organ dirges, operatic refrains, and solemn acoustic motifs. The instrumental palette culminates with a reprise of the opening themes in the final section.

A1. “Introduzione” [Introduction] (2:19) — features choral build-up, harpsichord motifs, and electric guitar over marching percussion
A2. “Il giorno degli azzimi” [The Day of Unleavened Bread] (1:26) — operatic voices narrate the Last Supper preparations
A3. “Ultima cena” [Last Supper] (1:48) — choir and organ dramatize the eucharist ritual
A4. “Getzemani” [Gethsemane] (4:14) — electric piano, layered vocals, and delayed guitar over shifting percussive textures
A5. “Il processo” [The Trial] (1:30) — brief scene with operatic tenor and solo Moog lines
A6. “I testimoni (1 parte)” [The Witnesses] (6:02) — opens with acoustic and narration; shifts to jazz piano, Mellotron, and drums

B1. “I testimoni (2 parte)” (2:17) — reprises the rhythmic motif with variation and melodic synth overlays
B2. “Il pianto” [The Weeping] (1:48) — flute and acoustic guitar underscore lamenting vocals
B3. “Giuda” [Judas] (0:43) — brief distorted guitar and tom-tom driven eruption
B4. “Il re dei giudei” [The King of the Jews] (1:40) — sharp electric guitar solo over organ and drum fills
B5. “Il calvario” [Calvary] (7:04) — multi-part movement with church organ, male choir, and escalating percussion
B6. “Il dono della vita” [The Gift of Life] (3:43) — closes with flutes, acoustic layering, and vocal reprise of main theme

Sessions occurred in 1972 under the direction of producer Arnaldo Lombardo.

The original sleeve featured a die-cut gatefold with abstract cross and parchment imagery; artwork designer uncredited.

Papillon

Latte e Miele released their second album, Papillon, in 1973 on Polydor.

The album presents a theatrical suite on Side A, framed as a puppet fable with allegorical and moralist themes. Structured into eight scenes, Papillon depicts a carved wooden figure who escapes a traveling show, experiences joy and injustice, and ultimately transforms into a boy. Musical motifs cycle across reprises and interludes, alternating classical themes with jazz, pop, and operatic elements. The second half comprises a three-part orchestral fantasia and two standalone instrumentals that further explore the trio’s command of hybridized rock–classical form.

Marcello Giancarlo Dellacasa plays electric and acoustic guitar, violin, and bass, shaping melodic continuity between sung passages and solo statements. His guitar adopts a fluid, almost narrative quality, and the violin appears in both folk-like and symphonic textures. Oliviero Lacagnina manages piano, organ, clavinet, Moog, Mellotron, and vocal arrangements, guiding transitions between chamber motifs and amplified keyboard cadenzas. Alfio Vitanza propels the suite with cymbal rushes, tom-heavy changes, and jazz fills; he also handles subtle dynamic shifts in the album’s quieter moments.

The Papillon suite occupies the full first side. “Ouverture” opens with organ fanfare and marching figures, answered by keyboard–drum volleys. “La fuga” shifts into soft narration over acoustic guitar and string-synth, followed by “Il mercato,” where Papillon encounters village life in a staccato sequence of tonal shifts. “L’incontro” introduces a lyrical theme later reprised in “La trasformazione,” underscored by choral vocals and orchestral swells. “L’arresto” intercuts jazzy riff figures with polyrhythmic interplay. “Il verdetto” and “La trasformazione” integrate ensemble vocal drama with episodic instrumental development, culminating in the lively “Corri nel mondo.” A separate piece, “Divertimento,” closes the side with piano-led counterpoint and sudden tempo changes, blending chamber progression with syncopated jazz.

The three-part “Patetica” suite opens Side B with an extended keyboard fantasia. “Parte Prima” alternates classical piano voicings with Moog and organ sections. “Parte Seconda” reinterprets Vivaldi’s La Primavera with violin and full-band flourishes, including a syncopated clavinet motif and a central drum solo. “Parte Terza” begins as a pastoral interlude with acoustic strumming and soft vocals, then expands into orchestral swells and cadential horn figures. “Strutture” closes the album with a groove-based instrumental, built on piano vamp, jazzy intervals, and concise guitar voicings over a steady ride-cymbal pulse.

A1. “Papillon” (19:41)
— a. “Ouverture”
— b. “Primo Quadro – La Fuga”
— c. “Secondo Quadro – Il Mercato”
— d. “Terzo Quadro – L’Incontro (Rimani Nella Mia Vita)”
— e. “Quarto Quadro – L’Arresto”
— f. “Quinto Quadro – Il Verdetto”
— g. “Sesto Quadro – La Trasformazione”
— h. “Settimo Quadro – Corri Nel Mondo”
A2. “Divertimento” [Fun] (1:59)

B1. “Patetica”
— a. “Parte Prima” (4:30)
— b. “Parte Seconda” (6:21)
— c. “Parte Terza” (5:51)
B2. “Strutture” [Structures] (3:49)

Arnaldo Lombardo produced the album in 1973 for Polydor.

The original gatefold LP featured a theatrical sleeve design with pastel palette and puppet illustrations. Interior packaging includes track titles and cast-style layout for the suite movements.

Polydor issued “Rimani nella mia vita” as a radio broadcast excerpt from Papillon, though it did not appear on the original LP.

1974–76 Non-Album Singles

Following the release of Papillon in late 1973, Latte e Miele entered a transitional phase marked by continued live activity and a handful of non-album singles. They maintained a visible presence on the Italian concert circuit, supporting international acts such as Van der Graaf Generator during their Italian tour dates. A strong 1974 live set—featuring selections from both Passio Secundum Mattheum and Papillon—was later released by Mellow Records as Latte e Miele Live.

Between 1974 and 1976, the group issued three standalone 7-inch singles through Polydor, each pairing new material with excerpts or adaptations from their studio suites. The first, “Mese di maggio” / “Tanto amore”, appeared in 1974 and featured two concise, melodic tracks with lighter orchestration, distinct from their album work. That same year, they released “Rimani nella mia vita” / “Patetica: Parte Seconda”, coupling a vocal reworking of Papillon’s third quadro with an edited instrumental excerpt from the B-side suite.

Their final Polydor single, issued in 1976, was “Un mattino” / “Pavana”, which paired a new soft-rock ballad with an abridged version of their forthcoming epic from Aquile e Scoiattoli. These singles reflect the band’s shift toward more accessible songwriting while retaining symphonic textures in their instrumentation.

Aquile e Scoiattoli

Latte e Miele released their third album, Aquile e Scoiattoli, in 1976 on Magma.

The album marked the group’s return after a three-year hiatus, now led solely by original drummer Alfio Vitanza. Joined by Massimo Gori, Luciano Poltini, and Mimmo Damiani, the reformed quartet adopted a warmer, less overtly classical style with expanded instrumental roles and looser structures. Unlike the conceptual cohesion of the earlier works, Aquile e Scoiattoli presents a side of discrete songs followed by a single, extended suite.

Massimo Gori plays electric, acoustic, and slide guitars with a lyrical focus and folk-rooted phrasing; he also doubles on bass and lead vocals. Luciano Poltini commands Hammond organ, clavinet, Moog, and piano, shaping most of the album’s harmonic structure and ensemble coordination. Mimmo Damiani alternates between Fender Rhodes, Solina, and Eminent organ, and contributes guitar, secondary vocals, and soft orchestral voicings. Alfio Vitanza underpins the arrangements with driving drum figures, acoustic textures, and selective twelve-string motifs; he co-produced the album and arranged the extended suite.

The songwriting is divided between collaborative ensemble credits and instrumental themes, with lyrics alternating allegorical commentary and introspective motifs. The title track opens the album in understated form, with picked acoustic guitar and Rhodes motifs beneath reflective lyrics and soft Moog overlays. “Vacche sacre – false menestrello” introduces rhythmic clavinet, flute accents, and slide guitar within a shifting structure that critiques commodified ideals. “Menestrello” features multi-tracked acoustic lines and a rising instrumental passage anchored by violin and sustained electric guitar leads. “Opera 21” adapts the main theme of Beethoven’s Symphony No. 1 into a rock format with fluctuating harmonic backing and alternating tempo shifts.

Side B is occupied by the 23-minute “Pavana,” a continuous instrumental suite segmented into slow thematic arcs, contrapuntal interludes, and rhythmic climaxes. The opening alternates delicate acoustic phrases and Moog overlays with layered ensemble motifs. Sectional transitions build toward full-band convergence with Mellotron, Rhodes, and twin saxophones. The final segment integrates classical counterpoint, chromatic ascent figures, and a recapitulated minor-key theme that resolves into ambient fade.

A1. “Aquile e Scoiattoli” [Eagles and Squirrels] (3:39) — opens with acoustic guitar and Rhodes textures beneath Moog overlays and ensemble vocals
A2. “Vacche sacre – false menestrello” [Sacred Cows – False Minstrel] (5:12) — rhythmic clavinet and slide guitar support flute accents and alternating vocal sections
A3. “Menestrello” [Minstrel] (5:10) — acoustic guitars and violin lead to a sustained melodic electric guitar solo over Rhodes and drums
A4. “Opera 21” (5:03) — rock adaptation of the main theme from Beethoven’s Symphony No. 1, alternating between tempo shifts and harmonic backing

B. “Pavana” (23:45) — extended instrumental suite in multiple sections: alternates acoustic motifs, Moog passages, saxophone voicings, Mellotron layers, and ensemble build-ups around a recurring thematic arc

Recorded in 1976 with Alfio Vitanza as co-producer alongside Aldo Lombardo. Guest musicians include flutist Giorgio Karaghiosof (“Vacche sacre”) and violinist Divo Gori (“Menestrello”). “Pavana” feautures auxiliary reeds by flutist Vittorio De Scalzi and saxophonists Aldo De Scalzi and Leonardo Lagorio.

The original LP cover presents a stylized illustration juxtaposing eagles and squirrels as a symbolic motif; packaging includes musician credits and full track divisions.

1977–80: Final Years and Non-Album Singles

After Aquile e Scoiattoli, Latte e Miele continued as a four-piece centered on Alfio Vitanza with keyboardists Luciano Poltini and Mimmo Damiani, later joined by bassist Dario Carlevaro and drummer Enzo Barbieri. From 1977 to 1980, the group shifted toward a more commercial sound and issued four non-album singles, none of which achieved chart success.

In 1977, they released “Un silenzio diviso in due” / “Per poter vivere” on Polydor, a balladic single built on soft electric piano and layered vocal harmonies. This was followed in 1978 by “Sto volando con te” / “Restiamo insieme,” another melodic effort aimed at the mainstream Italian radio market. Both singles featured polished arrangements but lacked the formal complexity of their earlier albums.

In 1979, “Fiore di strada” / “Severamente proibito” introduced light funk and disco-inflected elements, marking the furthest stylistic departure from the band’s symphonic origins. Their final single, “Ritagli di luce” / “Métro”, released in 1980, was entered into the Sanremo Music Festival but failed to gain traction despite the exposure.

Additionally, in 1976, the group issued one single under the pseudonym LM Special on the Grog label: “Funky Prugna” / “Avventura”, a tongue-in-cheek instrumental release with funk influences. Though credited to an alias, this was in fact a Latte e Miele studio project in disguise.

Despite active touring and frequent television appearances, these later singles did not secure a lasting foothold in the Italian pop market. A full studio album recorded in 1979 by the trio of Massimo Gori, Luciano Poltini, and Alfio Vitanza remained shelved until 1992, when it was finally released by Mellow Records under the title Vampyrs.

Postlude

Latte e Miele reunited in 2008 with three founding members—Oliviero Lacagnina, Marcello Giancarlo Dellacasa, and Alfio Vitanza—joined by Aquile e Scoiattoli bassist Massimo Gori. Reviving their symphonic style for the stage, the group performed a series of concerts, including a Canadian date captured on the live album Live Tasting.

In 2009, the quartet issued a new concept album, Marco Polo – Sogni e viaggi, inspired by the travels of the Venetian explorer. Expanding their reach, the same lineup re-recorded their 1972 debut as Passio Secundum Mattheum – The Complete Work, released in 2014 with updated arrangements and unreleased sections, and featuring guest appearances from notable musicians in the Italian progressive scene.

In 2019, a new project under the name Lattemiele 2.0 emerged, led by Aquile e Scoiattoli veterans Massimo Gori and Luciano Poltini alongside Marco Biggi (drums) and Elena Aiello (violin). Their album Paganini Experience paid tribute to the Genovese virtuoso Niccolò Paganini, merging classical and modern symphonic elements in a new studio interpretation.

Discography: