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Neuffer and Rachmaninoff
With her unique handwriting, Fr. Neuffer has this time created a novelty among the fragrances - which are dedicated to the citric notes - because such a creation under the hesperidian sky, where agrumes of the most diverse provenance have been virtuously performing in the solo role in a well-tempered orchestral interplay for so long, has not yet come to my attention.
The market seems to be saturated, especially with regard to the many hesperidic soliflor fragrances, and with regard to the varied egg incorporation of citric essences in the top notes, so this fragrance initially met with no particular interest from me either, since oranges seem to me to be best kept freshly pressed from the fridge in the morning.
I also got to know and appreciate Enrico Buccella's fragrances last year, who goes by the name of Sigilli and Cerchi Nell`acqua, where several citrus scents jumped right into my eyes - or rather my nose - and had to move in with me.
Hesperia as a freshly radiating typical lemon scent with orange blossoms and woods, E*5 a scent where Neroli, Petigrain with citrus oil / bergamot form a great symbiosis, and LÈxotique which for me with its bitter orange / mandarin / ambroxan delivers a great performance - and which I perceive as very long lasting and of high quality. In this respect my need for citrus freshness seemed to be covered for further years.
Only I would classify Enrico Buccella's creations, as far as their development on the skin is concerned, mainly in the group of monochromatic fragrances.
Monochromatic here is in no way to be understood as disrespectful or monotonous, only they lack the Agrumen Virtuoso in orchestral performance, which seems to be the strength and uniqueness of Vermilion Orange.
The various orange essences were incorporated here by the perfumer as a very long-lasting and slightly tart and fruity bitter odeur, iridescent and iridescent as a soloist and, translated into music, show parallels, or rather have direct similarities with the difficult octave runs of a pianist, which made the 2nd and 3rd movements of Rachmaninoff's 2nd Piano Concerto so famous.
Rachmaninoff, as a representative of the High Romantic period, transcended traditional harmonics in his works and gave top priority to individual emotional emphasis, adding unusual acoustic subtleties to create an even more overwhelming impression in new harmonies.
In addition to solid keyboard virtuosity, the pianist must use not only the strength of his fingers, but also his entire body weight to create tone colours and new sound possibilities.
Vermilion orange - in its hyper-associative melodic and olfactory opulence that has been present from the beginning - shows us just this overwhelming impression as it was striven for in the Romantic period. The fragrance is full of inner strength in its virtuosity and full of harmonic effects in its course and new in its instrumentation.
The top note is characterized by an invigorating freshness with bittersweet tips - pepper and ginger notes seem to contribute here, but at the same time the fragrance is also characterized by warmth and security from the outset, probably introduced by cinnamon and leading to the floral heart of the trail.
The trio of blood orange, wild orange and bitter orange never runs out of air until the end and for me it is a mystery how, with all its well-known fleetingness, it is possible to incorporate the essences of citrus fruits into a fragrance so long and so present that there is never too much fruity element
Without experiencing it, it is difficult to describe its course by means of the ingredients, because this work of art is so interwoven and full of olfactory subtleties and at the same time so classic in its opulent clarity - seen from above - and surprises again and again by the fact that the bitter orange takes the sceptre in its hand and comes to the fore, despite the omnipresent harmonious superstructure that extends from the heart note to the base note and is characterized by the balsamic-sweet velvety warm resin and wood tones, which appear glissando-like, like a group of finely tuned violinists.
Vermilion orange has a high recognition value and I think it is nice that this time there is no beeswax component in this fragrance, as this only emphasizes its independence even more.
A certain sensuality cannot be denied in Vermilion orange, my associations with Rachmaninoff's 2nd Piano Concerto Opus 18 C minor also coincide here, since passages from the 2nd and 3rd movements have also been used in the film music and both in the film " Menschen im Hotel" with Greta Garbo, shot in the 1930s, and Marilyn Monroe was seduced to Rachmaninoff's Piano Concerto in 1955 in " Das verflixte 7th Jahr".
The market seems to be saturated, especially with regard to the many hesperidic soliflor fragrances, and with regard to the varied egg incorporation of citric essences in the top notes, so this fragrance initially met with no particular interest from me either, since oranges seem to me to be best kept freshly pressed from the fridge in the morning.
I also got to know and appreciate Enrico Buccella's fragrances last year, who goes by the name of Sigilli and Cerchi Nell`acqua, where several citrus scents jumped right into my eyes - or rather my nose - and had to move in with me.
Hesperia as a freshly radiating typical lemon scent with orange blossoms and woods, E*5 a scent where Neroli, Petigrain with citrus oil / bergamot form a great symbiosis, and LÈxotique which for me with its bitter orange / mandarin / ambroxan delivers a great performance - and which I perceive as very long lasting and of high quality. In this respect my need for citrus freshness seemed to be covered for further years.
Only I would classify Enrico Buccella's creations, as far as their development on the skin is concerned, mainly in the group of monochromatic fragrances.
Monochromatic here is in no way to be understood as disrespectful or monotonous, only they lack the Agrumen Virtuoso in orchestral performance, which seems to be the strength and uniqueness of Vermilion Orange.
The various orange essences were incorporated here by the perfumer as a very long-lasting and slightly tart and fruity bitter odeur, iridescent and iridescent as a soloist and, translated into music, show parallels, or rather have direct similarities with the difficult octave runs of a pianist, which made the 2nd and 3rd movements of Rachmaninoff's 2nd Piano Concerto so famous.
Rachmaninoff, as a representative of the High Romantic period, transcended traditional harmonics in his works and gave top priority to individual emotional emphasis, adding unusual acoustic subtleties to create an even more overwhelming impression in new harmonies.
In addition to solid keyboard virtuosity, the pianist must use not only the strength of his fingers, but also his entire body weight to create tone colours and new sound possibilities.
Vermilion orange - in its hyper-associative melodic and olfactory opulence that has been present from the beginning - shows us just this overwhelming impression as it was striven for in the Romantic period. The fragrance is full of inner strength in its virtuosity and full of harmonic effects in its course and new in its instrumentation.
The top note is characterized by an invigorating freshness with bittersweet tips - pepper and ginger notes seem to contribute here, but at the same time the fragrance is also characterized by warmth and security from the outset, probably introduced by cinnamon and leading to the floral heart of the trail.
The trio of blood orange, wild orange and bitter orange never runs out of air until the end and for me it is a mystery how, with all its well-known fleetingness, it is possible to incorporate the essences of citrus fruits into a fragrance so long and so present that there is never too much fruity element
Without experiencing it, it is difficult to describe its course by means of the ingredients, because this work of art is so interwoven and full of olfactory subtleties and at the same time so classic in its opulent clarity - seen from above - and surprises again and again by the fact that the bitter orange takes the sceptre in its hand and comes to the fore, despite the omnipresent harmonious superstructure that extends from the heart note to the base note and is characterized by the balsamic-sweet velvety warm resin and wood tones, which appear glissando-like, like a group of finely tuned violinists.
Vermilion orange has a high recognition value and I think it is nice that this time there is no beeswax component in this fragrance, as this only emphasizes its independence even more.
A certain sensuality cannot be denied in Vermilion orange, my associations with Rachmaninoff's 2nd Piano Concerto Opus 18 C minor also coincide here, since passages from the 2nd and 3rd movements have also been used in the film music and both in the film " Menschen im Hotel" with Greta Garbo, shot in the 1930s, and Marilyn Monroe was seduced to Rachmaninoff's Piano Concerto in 1955 in " Das verflixte 7th Jahr".
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