An evening without many frills, focused on the songs: Mahmood and Diodato shine in Sanremo, while a timeless Bertè triumphs in the press room. Annalisa risks self-plagiarism but remains a very strong candidate for the final victory.
The curtain rises on the 74th edition of the Sanremo Festival, and it does so immediately with an intense and decidedly demanding evening, in which all 30 competing singers performed. Amadeus, in its fifth consecutive run – with which it has achieved the record of Pippo Baudo and Mike Bongiorno – has chosen to focus heavily on music – or at least on names – for what will also be its last event in Sanremo. If last year we had witnessed a “heavy” first evening, with the presence of cumbersome guests such as Roberto Benigni and Chiara Ferragni, tonight everything seemed to flow in a more fluid and rhythmic manner, despite the marathon only ending after two o’clock.
Music, as mentioned, seems to play a more central role than in the past. This was made possible above all due to the great work carried out by Amadeus – also aided by the trend already traced by Conti and partly also by Baglioni – in the previous editions, which gave the Festival an unprecedented appeal (at least in recent times), and an ability to attract big names who in the past would have only participated as guests. The entertainment component maintains its importance – the Festival represents a 360-degree television show and not a mere musical contest – but the share of these moments appears to have been significantly reduced. Judging by most of this evening’s sketches, one might say fortunately.
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Marco Mengoni takes on the arduous task of opening the evening: he does it visibly excited, then he loosens up and confirms himself as a stage animal, capable of being more than a sidekick for Amadeus. Ibra’s appearance follows the same score as three years ago, and is all in all negligible. Coming to the competition, it immediately becomes clear that there is already a big loser: the splendid Ariston orchestra, poorly valorised – if not relegated to a corner – by the overdose of songs with “straight drums” so requested by the radio. Instead, as expected, Loredana Bertè triumphed in the press room’s judgment and could leave her mark on this edition. So let’s get to the first one report card of the Festival, with a fundamental note: the songs need to gel and it is rare that they strike at first listen, therefore the opinions may undergo variations over the course of the evenings.
Clara 6 – inaugurates the 4/4 festival with an easily forgettable piece. However, she was not intimidated by the responsibility of having to break the ice, she gave a good performance.
Sangiovanni 5 – the operation is clear: he is in Sanremo not to place high but to demonstrate that he has grown, in an attempt to gain a wider audience of adoring 18-year-olds. Some doubts remain about the success and artistic maturity; the title (“Finish me”), an invitation to the listener, does not help.
Cleaver 6 – she appears barefoot and sings as if she were around a bonfire. In some passages the song dangerously recalls “One step away from you” by Celentano, filled with a series of lists worthy of Salvini in his golden days. Clearly, it is impossible to object to the technical skill.
La Sad 5 – the song starts off well, but soon turns out to be a sort of punk in Sanremo style, closer to Finley than to other references.
Rhythm 6 – ballad in the wake of “Wherever you will be”, whose appreciation could grow over the course of the evenings.
Negramaro 7 – Giuliano Sangiorgi’s voice is unmistakable, he could even sing the telephone directory and be credible. It works even if it doesn’t rock, but making comparisons with their greatest hits would be a pointless exercise.
Annalisa 6.5 – It may be an unpopular opinion, but “The world before you” was a more refined song and better highlighted her beautiful vocals, with the only flaw of having brought her on stage when her celebrity was not yet at its current levels. “Sincerely” it seems like a frivolous piece with a straight bass drum which will in any case go very well on the radio; however, it remains a shame to see an interpreter of her level having to always sing the same things, as if in an interminable loop. It is difficult to say whether she will be able to respect the predictions of the day before who see her as the favourite, but the third place given by the press room votes seems promising.
Mahmood 7,5 – con “Gold suit” remains in the comfort zone, which in truth would be complex for 99% of the performers. The song has the now unmistakable pounding rhythm and offers the usual burst of novelty and internationality, even if it does not reach the heights of “Money“. He probably won’t be able to score a hat-trick, but he remains a champion.
Loredana Bertè 7.5: imperfect performance, like a true rock star. “I don’t need anyone who forgives me, I do it alone” seems like a sort of spiritual testament for the Sanremo audience; standing ovation, with the press room giving her a predictable first place. Who knows, maybe she won’t be able to close the circle with a triumph.
Diodate 8: when he sings there are always shivers (and he never misses a note), the only doubt is whether these are linked only to his voice, or whether the song also plays an important role. The chorus deserves a second listen to understand if it can take it to the podium area, where it deserves to be.
Oiler 7 – he was one of the most anticipated and did not fail, despite the arduous task of challenging the sacredness of the Ariston with the local Neapolitan.
Alessandra Amoroso 6.5 – true to itself, it brings a melancholy song that requires more than one listen. For the rest, see under “Negramaro”.
The Kolors 6 – they understood how to churn out a hit and don’t worry about abusing it, so much so that they present themselves with the B-side of Italo Disco. Guaranteed success and important SIAE revenues guaranteed for this summer.
Flight 7 – the usual, retro in a short cup shaken with a bit of fiddling. The song they bring is solid and they completely own the stage: the Ariston audience seems to like it and the televoting audience could do so too. Woe betide you if you underestimate them.
Angelina Mango 7,5 – a young one popstar coming from Amici which debuts in Sanremo presenting itself with the cumbia, rather than taking refuge in the safety of the cliché romantic song, can only deserve praise. She has personality to spare and is a credible candidate for the final victory, also considering the boost that will come from the cover evening.
Level 5 – the musical rendering of the smell of old people’s homes so dear to Jep Gambardella.
Emma 6,5 – she also takes part in the Case Festival; “As soon as” brings together the typical rhythms of Italian songs with Swedish House Mafia. It is clear that the pen is not Manlio Sgalambro’s, but in the end it remains in the head.
Rich and Poor 6 – they enter wrapped in a red blanket and for this reason they give us a dream. The rest will make a splash in the dance halls, but is it really that important?
Mr. Rain 6,5 – has found its Sanremo stylistic signature and repeats what has already been done with Supereroi with a piece that aims to be touching. He tells the story of a father who lost a son: the theme is heavy but he tackles it delicately.
Gazelles 6.5 – One of the few to exploit the presence of the orchestra, almost adapting his style to it. The beginning with the piano is nice, perhaps he lacks the “killer” refrain but he confirms himself as a pen – as well as an interpreter – of a high standard.
Dargen 6,5 – this year it represents the “committed song” portion of Sanremo and does so with its unmistakable style. To a casual listener it may seem like a light-hearted piece, but instead it contains a strong and direct (and appreciable) social denunciation. Too bad for the final monologue that was self-indulgent and made the populistometer: he talked about migrants and threw in a “ceasefire”, all that was missing was a mention of world hunger.
Bnkr44 6,5 – there are many and it is not clear whether they are all necessary, they are at the level of “cannon fodder for Sanremo” to avoid the last positions of the many big names in the race, yet in the end they leave some good feelings and a bit of good humor. Surprise.
Rose Villain 6,5: melodic part, then she returns to her strings and faces the stage boldly, gathering applause
French Saints 7: the most mature among those coming from Sanremo Giovani. The arrangement dream pop it’s beautiful and brings a breath of fresh air to the stage, or at least it’s “not very Italian” quoting Stanis Larochelle.
Manini 7: one of the most beautiful pieces Sanremoexecuted with grace and precision.
Alfa 6,5: we thought it was definitely worse, but instead it gives us some interesting folk sounds.
The Three 5.5 – It may be the time, but it appears impalpable.
The article Sanremo, Tuesday – Considerazioni Sparse comes from Sportellate.
2024-02-07 02:13:03
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