"The Gaber of the end of the Seventies knows two essential things. One: artistic life should not be thrown away. Two: the song isn't just something you sing in three minutes. It must enter into a discourse, into a dialogue that takes on even more live. Gaber understood that the song is not just an object to be sold, and since it brings people into people's homes it should be experienced together with these people. In a suitable place. And from these assumptions comes the bringing of the song to theatre, his greatest discovery. [...] Giorgio gives lightning importance to the words and concepts that he expresses with them. The music, although spot on, almost only dresses them up. What matters is the word, which becomes magical the moment fifteen hundred people are united in a theater listening to it."