Sanremo Festival: there are those who love it and who mind
Who did not live the Sanremo 2022 festival as a breath of liberation and joy, did not really realize how our life needed a return to normal.
The 25 songs in the race this year are extraordinarily catchy and the interpreters seem to be much more mature than the past years. The reason could enclose in the growing popularity of a music festival that seemed to have lost enamel in past years.
That same bright and rockettaro enamel that use the international artists Maneskin, making us shut up and good. Their success led us to make us re-confirmed not only for food and gestures, but finally, again, for music and voice, especially in countries where Italian culture rarely, but above all the musical tastes of the country Tricolor, they manage to take root.
But if on the one hand the bar rises and the share is frighteningly tall for each evening of the festival, the Italian song is missing by Sanremo who makes us say "beautiful this! From Sanremo ". During the evening cover, Maria Chiara Giannetta brought us back to a not indifferent musical mix, making us enjoy on the stage of an extraordinarily fun piece, composed only of titles and verses of songs that we all know and that with the ear, we would recognize without no difficulty.
But think about it, there are some Sanremese songs that although they arrived in the final without victory, or others in the last positions, have kidnapped our heart and our heads, so much so that they continually humming them in the shower or at the traffic light on radio off.
There is no season for a "cursed spring", there is no time to "I would like to meet you in one hundred years", there is no anger to "lose love", there is no quantity for "money". The performers dreamed and agpognate the Ariston stage even more than the Jalisse have been doing it for 25 years without ever succeeding.
And while Francesco Monte Rosica for the non -acceptance of him in Sanremo's song, we had to put up on Ana Mena with all the guests at the 18th year to which Rocco Hunt played. So what is the real problem? Singers who have unforgettable singing skills are missing.
While Elisa, Giorgia, Arisa and other wonderful interpreters are the exception, on the other hand the "show" comes first of the singing and vocal quality of the interpreter itself. We do not have the new Riccardo Fogli, Mina, Loretta Goggi, Anna Oxa, Mia Martini and many many others.
The standing ovation is now rarely connected to the artist's qualities only, but they have to do with all the show and the context that is created. Although it is now difficult to identify the high quality, can we define ourselves citizens of a new standard, called to look at the performance complex, to have an opinion about the singer? My answer is positive.
Who is not missing a nice voice, specifies, perfect in their qualities and without any smudging? Yet, to date, the emotion must also be recognized to those who in that moment brings its uniqueness to 360 degrees, in texts that hide joy or suffering and that make you reflect and/or dance. Sanremo opens slowly, finally, to an international way of living music, in which there is the need to detach from the Baglionian versions of a few years ago.
The young singers, histrionic artists and over the top, are getting used to a new way of living music, detaching us from simple listening and making us enter the desire to see and know words, gestures and colors to the end. The commitment behind each performance must be what pushes us to live that moment without any prejudice, avoiding questions like "But who is this here?", Because I remind you that Renatone Nazionale, Fiorella Mannoia and Rita Pavone were nobody.
We are witnesses of a sudden change that I think can bring us more often beyond the sea, making us unique and inimitable, so that our beautiful Italian voice can also be a bulwark at an international level.
It is appropriate to say it: Sanremo is (a new) Sanremo.
