The second part of Via dell’inferno (Hell Road/Road to Hell) where songwriter Davide Ravera creates an atmosphere of cold winter, tears, music, freedom, longing for home, and beginning again.

Alessio shows us how, now that we have the clefs, we can read music intuitively. And he explains why three different clefs are used in music.

Our music lessons continue with Alessio, who shows us the special tool for deciphering the notes on a pentagramma (staff). If the chiave (clef) changes, so do the names of the notes!

Tiziano Ferro talks about his relationship with pen and paper. Familiarize yourself with sonno and sogno, both of which have to do with the night.

Tiziano Ferro starts off his "eco-tour" sponsored by the Italian electric company, Enel. He suggests small ways in which each of us can save on energy.

What are the names of the notes in Italian? Alessio, a music teacher from Pisa, starts off his music lessons by explaining how these names originated in a Tuscan monastery in the 11th century.

Anna shares Giuseppe Verdi's tragic story of love, war and taboo in ancient Egypt.

Anna recounts the story of Tosca, an opera singer who is in love with the painter Cavaradossi. Puccini's opera was first performed in Rome in 1900.

Anna tells us the tragic story of Cio-cio-san, protagonist of Madam Butterly, an opera by Giacomo Puccini, libretto by Giuseppe Giacosa and Luigi Illica. The opera was dedicated to the Queen of Italy, Elena di Montenegro.

Video on Romina Power’s comments at a conference of the Animalisti Italiani [Italian Association for the Rights of Animals]. Power voices her complete disapproval of the abuse of animals killed to make fur coats.

Franco Commisso, an emerging Italian artist, talks about his latest song "Mai, mai ormai," [Never, Never by Now]. The interview covers subjects like his early start in music, competing at age three, and his performing in Korea. Video provided by PA 74 Music.

Marioni asks Sara for help with Matteo. In the evening, Matteo is out walking with his uncle who is being a bit over-protective.

Marioni tells the orchestra what he has in mind to help Matteo get integrated into the orchestra. The students involved begin to get organized by sharing their phone numbers.

During the orchestra rehearsal, a player makes a mistake and Marioni, the conductor, doesn't hesitate to press the point, in his usual cruel manner, that an orchestra is not a democracy.

Domenico Modugno goes to New York City, where he sees his song has taken over. It made history all over the world.