Laudano Nero Tiziana Terenzi 2014

Bottle Design Tiziana Terenzi

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8.0 / 10295 Ratings

Laudano Nero is a popular perfume by Tiziana Terenzi for women and men and was released in 2014. The scent is woody-spicy. Projection and longevity are above-average. It is being marketed by Cereria Terenzi Evelino.

Perfumer

Paolo Terenzi

Fragrance Notes

Top Notes	Absinth Cognac Rosemary Latakia tobacco Myrtle Black amber
Heart Notes	Red rose Acacia honey Cedarwood Iris Sandalwood Rosemary Flowering ash Slate Cashmere Camphor tree
Base Notes	Frankincense Oud Gum rockrose Vetiver Musk Oak Bourbon vanilla Bay leaf Caper

Ratings

Scent

8.0295 Ratings

Longevity

8.9265 Ratings

Sillage

8.4273 Ratings

Bottle

8.2251 Ratings

Value for money

6.553 Ratings

Submitted by Apicius, last update on 14.10.2021.

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Reviews

03/20/2021

6
Scent 9
Longevity 8
Sillage 8
Bottle

Schallhoerer

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Schallhoerer

The drunk italian at the chocolate fountain

My first from the house of Terenzi. Probably also the last. But more about that later.
The bottle in any case makes something here. Looks chic, has a sympathetic DIY attitude by the wooden label and is nice and heavy. The sprayer is also good. There is nothing to complain about.

The scent, however, leaves me a little perplexed. Nero. Since I expect something dark, black. The name should actually smell really nice nasty morbid. But it doesn't. After the first spray, a very engaging cognac note greets you. It's well done, but too strong for me to start with. For me, this note remains constantly present over the course of the fragrance, though fortunately it takes a step back in the drydown and makes room for the other notes. Then it's joined by a pleasantly smoky note, very distantly reminiscent of Tom Ford Tobacco Oud. A bit of that ashtray DNA. However, with Tobacco Oud, this is clearly blended in a more stylish way. Gradually, the fragrance becomes a little woodier, gaining profile and becoming more distinctive. As the fragrance progresses, however, the tide turns. Now a penetrating sweetness emerges that gets on my nerves very quickly. Laudano Nero then gets a powdery-chocolate note, which so does not want to fit this fragrance.

At the latest then Laudano Nero has lost for me. The sum of its parts does not give me a coherent picture. The opening with the strong alcohol accord too dominant, the drydown with the smoke not blended well enough with each other and the basic DNA, when the fragrance becomes skin tight, much too sweet.

Flacon: high quality DIY look. Seems solid and pleasantly processed.
Durability: 8-10h without problems
Sillage: room-filling with a few sprays
Price-performance: for 100ml Extrait de Parfum I find my paid just under 80€ very fair

3 Replies

02/26/2021

5
Scent 8
Longevity 6
Sillage 8
Bottle

Burak46

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Burak46

Bitter disappointment

I bought the fragrance because of very good feedback and reviews of youtubern and must honestly say that it was a complete failure for me at the price. The opening begins very cognac and woody, it smells partly as if coffee would be in it while there is none. After the opening it smells consistently the same until the end. Although I own similar perfumes from the fragrances I absolutely did not like ... Before a blind purchase I would definitely advise against, and would test the extensively whether he really likes one or not.

2 Replies

11/22/2020

9
Scent 10
Longevity 9
Sillage 9
Bottle

Soap

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Soap

Arrogance and self-knowledge

Sometimes you just have to get rid of names: buy music by ear, browse books off bestseller lists, with perfume anyway: just let your nose decide - here you can't help it, because you have to wear the stuff.

But often enough I observe with myself that there is a wishful thinking to approve of certain brands, to support the acceptance of mediocrity as well as of the unspeakable.

Olfactory destructive measures live from the dialectic of art (or money?): you want to be a philistine last. And expensive things don't like to be banal. Conversely, one's own willingness is all the greater to frivolously deny the supposedly "nameless" or less popular candidate's genius: You can't be a philistine, not in art!
This is how straw becomes gold in the hands of one person: there is the ordeal of searching for the best straw in the world, the tedious distillation, the path of asceticism and the pure, unadulterated natural product - the essence of the essential, beautifully captured and offered in the smallest quantities. Very exquisite, if you already have everything else. If you erase all that and put this product in the hand of someone else, at best you are left with nothing but straw: unimaginative, simple, musty, unbearable; who wants to smell like that?

All too often, art seems to be a story that we tell each other. And the more unique this story is, the smaller the print run, the more valuable the product.

Much of this type of product has to be theoretically justified, and cacophonies can then no longer be perceived as such - one only needs to know the background of the work. On the other hand, the intellectual growth that is evident in the unambiguous pursuit of olfactory horizons cannot be negated. New things are not always easily accessible for the senses. What was straw can become gold.

Of course, one is chained to one's perception, and this is by definition judgmental; as soon as thoughts appear as a companion to the observed, opinion is formed. If one is outside this mechanism, there is nothing that must not exist. And this is not an easy exercise.

In the purely observational mode, a dreaded honesty often comes to light, which is otherwise reliably concealed by one's own ideas about the supposed special nature of the brand: there, one recognizes straw as straw, and gold as gold. But then the one is not more valuable than the other. Both are art. A nice side effect.

One way or another, more or less successfully, I tried to proceed when testing Laudano Nero.

My first acquaintance with Tiziana Terenzi was Orion, and out of disappointment I decided that it would be the last. The best thing about it was that my mind immediately formed Tiziana Terenzi into an amorphous sound structure - with the addition of Luca Turin and Tania Sanchez - which in turn allowed the strange conviction to mature: "Yes, this Tania Turenzi perfume is not like that, but her book is quite good. She can write, but perfume is not so good
Such arrogance runs deep. Well, Tiziana Terenzi is something else after all
Blindly exchanged, my first concern was that Laudano would turn out to be Orion Nero. Full of awe at the rehearsal, my relief resembled an enlightenment: Wait a minute, that's a good one! Yeah, but is it really good? Isn't that Titiano Turino?! Can he even do that?!

Camphor and bitter green herbs, sweet berries, ashes and cognac - all in one incredibly pompous appearance! Judgmentally I combined further names and impressions. But in order to completely surrender to the scent, at some point all this Turino-Turenzi nonsense in my head had to be switched off.

The "resolute arrogance" of Laudano Nero, I would adore in the case of one grandmaster, and probably shamelessly chalk it up to anyone else. Thank you, education
And then I thought that could easily be Tom Ford. "Bold" in appearance he is, if it weren't for his fabulous mutability. Oriental, smooth, herbal, resinous. At the very end, there's labdanum and the slightly oily vanilla. Ford or not Ford?

For me, this fragrance is avant-garde, similar to what I attribute to the makers of Tonka Fever and Type Writer - even if the olfactory results differ, the way of thinking seems to be similarly radical.

I recognize fine gourmand parallels to Dolce di Giorno, although Laudano Nero follows a completely different concept: his dark, bitter side has absolutely nothing to do with desserts.

Compared to Black Afgano, this fragrance is more coarsely meshed, but structurally by no means more unstable. Black Afgano is more subtly balanced, finer and more multi-faceted - a sensitive poet, so to speak. Laudano Nero is more sparkling and paradoxical in his overall appearance: a poet and fencer, if you like - even drunk, he's sure to stand on his feet!

[...]

Well, if you want to allow yourself the "arrogance" of Laudano Nero, you can throw brands and names overboard in a self-experiment and get rid of all the bizarre stories; if you go all the way, you can discover the same thing for yourself and rethink your own dusty story - if you don't want to be just a name, let alone a brand

2 Replies

02/07/2020

9
Scent 10
Longevity 9
Sillage 7
Bottle

MikeMike
36 Reviews

MikeMike

So rich so intense like you can cut it with the knife

Black Laudanum historic medicine containing approximately 10% powdered opium by weight.

And yeah there is something narcotic here. There is much of everything here, the opening is so rich that it is overflowing, sweet notes of alcohol, quality one like brandy, cognac with notes of gum, hot plastic. Than smell of incense, but by no means church one, this is sweet and spicy almost compelling.

During dry down, it goes more into the dry phase and develops very nicely. The performance is outstanding!

It reminds me of a bit Bentley for Man Intense, which I'm a fan btw. but more complex.

Great one and complex for winter

10/27/2018

9.5
Scent 10
Longevity 10
Sillage 9
Bottle

Profuma

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Profuma

Very helpful Review 14

The mysterious evening in the castle...

The room in the castle is illuminated only by a few dripping candles in antique and curved iron stands. A fire burns in the fireplace with a soft flicker. Here and there it spits a few sparks that hardly perceptibly die away in the air above it. I almost overlooked the hesitantly moving outlines and the shadow by the fireplace, the light in the room is so diffuse. Almost motionless she stands there, the figure. Grown tall, facing the fire and leaning slightly against the ledge of the fireplace. Small artefacts and portraits stand on them, which almost seem to move in the shadows cast by fire and candlelight. But not the figure by the fire. The long cape can only be seen on closer inspection. Black as the night and just as enveloping it embraces its wearer. I have the feeling that I am standing at the entrance to the old throne room for half an eternity looking at the scenery. I'm kind of trapped in her. The space, the people in it and the artefacts fascinate and captivate me. Whoever moves seems to do it for my perception in slow motion or simply limited to a minimum and with sublime, almost reverent elegance. The outlines perceived in the beginning are now slowly transformed into shapes. They are invited guests who either talk to each other very quietly with words or just by looking at each other. They're all dressed in black. The ladies in long, lace-trimmed robes, collars that lie broadly over the shoulders and let white skin shine out on the décolleté. The arms are wrapped in translucent lace and reaching far beyond the fingertips, so that one can hardly see hands or fingers holding the glasses with the dark amber liquid. The gentlemen are almost without exception dressed in noble black suits. Shirts from darkest red to black and with stand-up collar form the contrast to pale skin. Above the top button there is a pin with a sparkling and glowing red garnet. A gramophone lets a dusty old plate rotate on its plate, which besides the waltz also gives off a soft crunch and creak when the needle pulls over grooves with more dust. In the meantime I have gone ahead as if in a trance and stand in the midst of the guests. Only now do I perceive it, this scent. Cognac from the glasses is in the air. The candles, which have formed themselves into threatening creatures in their holders, let incense-like swaths run through the old walls. Just now a group of service personnel enters and makes its rounds in cumbersome aisle but hollow cross in the crowd. Each carries a silver tray with short-stemmed glasses and white liquid and a bowl of sugar cubes. One comes up to me and invites me wordlessly but with a benevolent nod to take a glass. The smell of absinthe gets into my nose, but also mixes with the other scents that move in the room. I refuse thankfully, because since I don't know if I am already in a dream, I don't want to deceive my senses any more. Meanwhile the room has become more filled with people. I push against a gentleman whose dark red rose on his lapel is velvety and soft against my nose. While he apologizes and makes his way through the crowd to an acquaintance, the scent of his rose follows him. Somewhere, snacks are served, I perceive spices. Those with characteristic aromas such as rosemary, laurel or fine pepper. The kind that can sometimes pull into soap. The formerly rather cool room has warmed up over time with the accumulation of people. The wafting scents resonate in the warmth and seem to change. All of them are becoming more and more one. One with the scenery, one with the guests and one with oneself. I almost feel dizzy and recognize the large oak table in front of me, which had been standing almost alone in the room before, before the guests arrived. His wood exudes a warm and homely and well perceptible smell and one of the high-backed chairs catches me in my dizziness. A dizziness that also carries a sense of well-being with it. In spite of the somewhat eerie scenery and the many unknowns, I know that nothing can and will happen to me here. I feel safe and secure amidst the scents and impressions. Now I only perceive the music in passing, the murmur of the guests seems to devour it partly, so that only fragments of it can be heard. Some of those present have found couples and are turning in waltz time. In front of me, her black robes become more and more shadowy outlines, even veils that unite in space. I close my eyes. I hear the robes rushing over the stone floor, the soft grinding of the leather soles during the waltz step. The scents that had taken me before continue their work and completely rob me of my senses. I give myself to them and let them carry me on their silken veils through space and time.
The next morning I still can't tell if I dreamt or not. In the evening I meet with friends. I feel the strange feeling of having to wear something black. Which scent do I take with me? My view through the bathroom gets stuck on a cube-like dark bottle. I've never seen him standing there before. Maybe one of my friends left it for me? He's a good fit visually. But what happens next? To be on the safe side, I only sniff the atomizer timidly. I'm scared. I'm going back. This can't be happening. Is it possible? I'll put the sprayer on my skin. That scent! As if I had traveled in a time machine in seconds, I see myself again in the castle of last night. Again I stand at the entrance, again there are only few guests and again the tall figure stands facing the fire by the fireplace. But now she slowly turns to me. The gentleman with the cape puts his glass on the ledge and approaches me almost floating. Shortly before me he stops, takes my hand and leads it to a kiss close to his lips. I still feel the breath of his warm breath on my skin when he looks up at me and quietly says: "Good evening, my dear, it's nice to see you again..."

4 Replies

12/09/2014

Myhorses
33 Reviews

Myhorses

Top Review 10

Laudano Nero or Black Cashmir

Talking about amber perfumes wintertime is the best time of the year for taking them out into the cold world. At the end of November when winter starts to show its teeth I’m bringing out of hibernation my big dark ambers: Tom Ford’s discontinued Amber Absolute, Opus VI from Amouage and Ambra Mediterranea of Profumi del Forte. I love them all but, in my opinion, they are all still missing some sweetness that can bring softness to these beasts so I’m in a permanent quest for that big dark and sweet amber, my cashmere amber.

Laudano Nero seems to be close to my ideal amber perfume. More than that, I think it’s the most complex amber scent I ever tried until now and it’s dark, really dark. It really deserves the word Nero

The first notes burst very strong on my skin bringing out a boozy amber, cognac being easily recognized, with tobacco and some herbal touch of rosemary giving just a bit of stringency very well balanced by the sweetness of wormwood. There is also a hint of coffee in the top notes beside the cognac and tobacco and some licorice creating an almost gourmand sweetness.

As the perfume further evolves the stringency from the top notes completely disappear and Laudano Nero becomes sweeter with a delicious chocolate note. In the same time a dark powdery vibe like cocoa dust appear on my skin making this perfume an ambery gourmand one surrounded by darkness.There is something vintage in this scent , it reminds me somehow of vintage Shalimar extrait not in the sense of having similarities in the way they both smell but in the sense of giving to the wearer the same feeling – sensuality and mystery.

After the boozy amber and the dark chocolate accords another key note of Laudano Nero – the oud enters the stage. Far from having that medicinal sour smell the oud plays different in a soft manner. It contributes to the woody character of the base together with sandalwood still keeping the sweetness from the first notes and the softness with the help of vanilla and laudanum. During the first 2-3 hours it is a strong scent but in time it looses the strong character, after 6-7 hour changing into a skin scent that still lives for other 6 hours on my skin.

Laudano Nero can be defined as a dark amber scent with gourmand and vintage vibe having oud facets. Compared with Tom Ford’s Amber Absolute which acts on the skin like a monothematic amber scent, Laudano Nero it is complex amber, evolving on the skin, in a constant change from the first masculine notes to the final soft and feminine notes. The feeling wearing this scent is like wrapping into a soft black cashmere blanket sitting in front of the fire place.

In spite of the fact that is marketed as a masculine scent Laudano Nero is much more than a unisex amber, women who love amber will like it, its darkness lending to the person wearing this perfume a mystery aura.

Amber lovers looking for a gourmand amber to keep warm during winter please do give a try to Laudano Nero and you will not regret.