An album that invokes protection against the transience of existence returns to life in a place that has become an eternal symbol of both mortality and permanence.

On Monday, July 13, 2026, Vinicio Capossela will perform one of the most beloved works of his career, Ovunque Proteggi, in its entirety, twenty years after its original release. This unique and unmissable concert will take place in the only setting capable of fully embodying the spirit of the album: the Amphitheatre of the Archaeological Park of Pompeii.

Pompeii is a city reclaimed from time and restored to sight. A buried body. An intact memory. A place where destruction has not erased form.

Here, beneath the open sky of the ancient amphitheatre and within the framework of BOP – Beats of Pompeii, Ovunque Proteggi will resonate once again. Not as a celebration, but as a summons.

As Capossela explains:

“We decided to perform Ovunque Proteggi twenty years after its release, on a special occasion. This is not a museum operation, but open-heart surgery. There are many profound and urgent reasons why these songs are still alive and still bleed. The chosen venue for this gathering of wonders is the Roman amphitheatre within the archaeological site of Pompeii. The choice owes more to the terminal lava flow than to any desire to emulate Pink Floyd.”

Born from antiquity itself, the album finds its natural echo among ruins. Pompeii reminds us simultaneously of humanity’s greatness and its fragility. The everyday lives that once filled this place, suddenly interrupted by catastrophe, have been projected into a still and enduring eternity—a condition to which we remain perpetually exposed.

For Capossela, Pompeii is the place where the ancient wisdom of hevel havalim—vanitas vanitatum, the “breath of breaths” of Ecclesiastes, translated and interpreted by Guido Ceronetti—can continue to resonate forever within the sacred emptiness of eternity.

Released in 2006 as Capossela’s sixth studio album and awarded the Targa Tenco for Best Album, Ovunque Proteggi is widely regarded as a landmark of contemporary Italian songwriting and one of the defining works of his discography.

Described as an album “of biblical and visionary language, gathering and hurling words of stone, flesh, pain and blood,” it established Capossela as one of Europe’s most original artistic voices. The Sunday Times famously observed that he “sings like Tom Waits and writes like Ovid.”

The album marked a turning point for Italian music in the new millennium, becoming an unexpected chart-topping success in an era before streaming platforms transformed the industry. It remains a work that influenced an entire generation of singer-songwriters.

Created during a period of constant travel, Ovunque Proteggi emerged through intuition, pilgrimage and encounter. Recorded nomadically across churches, caves and temporary locations, it moves freely between sacred scripture and pagan mythology, anthropology and archetype, constructing a rich universe of places, symbols and visions.

It is an album that continually questions the relationship between what is sacred and what is mortal.
Twenty years later, Ovunque Proteggi does not return to be remembered. It returns to be inhabited.
Because some invocations do not age. They remain suspended in time, continuing to offer protection—everywhere.