Amadeus’ worst “first”, characterized by self-referred monologues and stale-tasting gags, was partially saved for a corner by Blanco’s header
-The curtain rises on the Ariston stage and the television event of the year begins, now in its 73rd edition. Ready go and Amadeus, at the fourth consecutive conduction, drops his axes between the sacred and the profane: Sergio Mattarella for the first historic presence of a President of the Republic in the audience; Roberto Benigni and shortly after also Chiara Ferragni. Forward-looking paper choice, since prime time ratings are historically decisive in determining success or failure (in terms of viewers) of an edition. We can, indeed we must, discuss surrender instead. To Auditel the arduous sentence;
–Let’s face it right away: without Blanco’s delirium it would have been difficult to get to the end of the evening. His (idiotic) moment of great involuntary comedy, which leads him to vandalize roses and vases present on stage due to an audio problem, cuts through the Ligurian night and makes us rediscover even the booing of the audience as at the time of the throwing of the scores from part of the orchestra. Immediately comes to mind the San Remo 2001that of the total lack of communication between a festival stopped at a 1960s liturgy – conductors included – and its guests, when Brian Molko of Placebo smashed a guitar at the end of the performance in defiance of the prim and bejeweled audience in the hall. Too bad that Blanco, from Molko, has “neither the credibility, nor the talent, nor the team of lawyers behind him”. Nevertheless her senseless eruption turns into the leitmotif of the evening and soon becomes the lifeline to ward off any moments of embarrassmentmaking even the (unusual) drools of Amadeus go quietly, who continues to get the names of the singers wrong.
–To be good, in short, we have seen decidedly better prime time evenings, despite the fact that there is a bit of everything in the blender: trashy moments and awkward gags, guests and monologues that ooze “Italy” from every pore, music for the nostalgic and even for the youngest, some beautiful songs and even some hints of emotion. What missing, in an important way, is a modern writing of the dialogues and above all the imprint of the guests (White apart). Chiara Ferragni’s choice is perfectly understandable, considering that a “heavy” name was needed to try to stay in the wake of the record ratings of the past editions, and the queen of influencers is. However, I wonder, since you have declared that you have refused participation in Sanremo several times because you did not feel ready, the reason why in all these years of preparation hasn’t looked for a ghostwriter capable of writing her a better monologue than the letter to herself that we had to put up with, between moments in which she seemed to have returned from a childhood spent under the bombs and a perennial scent of a “serious serious ostentation of me, me, me”, as Jep Gambardella would have defined it. Spinoza writesrightly so, which looks like a format by Andrea Scanzi.
–The presence of Gianni Morandi as co-host, despite his sympathy, adds nothing. He seems perpetually bewildered, even more so than he was as a presenter in his editions, and at times even listless. The hosted by Pooh it serves to keep close to the historic Sanremo public who risk being displaced by the (courageous) artistic choices of the last decade that have also made the Festival a social phenomenon and for Generation Z. The desire to promote the products of the flagship network is understandable, but even the moment with Sofia Elena Ricci in the role of profiler is one to be forgotten as soon as possible. Small off topic: “Flowers above Hell” is a well written book with good ideas, but for those accustomed to reading crime novels, 30 pages are enough to identify the villain, and it doesn’t seem like a work written for transposition (also serial) television. Why?
– Coming to the first 14 artists in the competition, it is always difficult to express a judgment after just one listening, even more so considering the obvious audio problems that have characterized several performances (therefore, in a nutshell, I will be generous and the votes may change over the course of the evenings ). However, we don’t have to wait long to hear the two favorites from the eve. If already from the first listening pieces like “make noise” and “chills” had made it clear to everyone who would be the winner, we still don’t have any certainties here. Mengoni (8) it confirms itself of another category, even compared to what we had to hear next. His song requires a few more listens to arrive with greater strength, but it remains hard not to imagine him on the top step of the podium. Last (6) will appeal to his large audience of loyalists, for the benefit of which he gesticulates like a seasoned politician to simplify concepts to his constituents, but it was reasonable to expect something more. Also pay attention to Coma Cose (7) and Mara Sattei (6.5) are candidates for possible outsiderswhile the always good Elodie (6.5) deserves a does not seem to have an irresistible hit in his hands.
-The always thankless task of opening the dances belongs to Anna Oxa (5), which delights us with a well-arranged piece with an obviously vintage flavor, in which the challenge – accessible only to United Nations translators – is to try to guess more than the 5 words spoken. The scream of those who give away when the exhibition is almost at the end credits, however, is already history. gIANMARIA (7, but why is it written like this?) brings a beautiful text and an intense interpretation, even if the emotion puts it to the test. The boy will. Mr. Rain (5,5) gives a Zecchino d’Oro moment with an indisputably paracula song, while Leo Gassman (5) he is forced to wear an oversized suit, since he sings a song written by Riccardo Zanotti (of the Nuclear Tactical Penguins) which has the defect of being sewn on Riccardo Zanotti and not on his vocality. Aries (5) is always recognizable, but both his performance and the song appear inadequate. Olly (5,5) Tagadà enters the quota to replace Ana Mena and is preferred to the other “rookies”, the Colla Zio (5). For the critics prize watch out for Grignano (6) in an intimate version with tips by Califano, from which however it is legitimate to expect something better in live. Like the rest of the next evenings.
