panapp

Obvious masterpiece.

An almost moving review for an artist whose value everyone recognized on the Ariston stage, but then she didn’t go on with Gigi D'Alessio, and thus she fell into the oblivion of the mainstream. Not the underground, fortunately, and in fact, I bought her album about a year after that Sanremo, and I still listen to it today with great joy. I knew that the new album was still in the works when she passed away, so it gives me great pleasure to read that it’s actually finished, very well. À propos: this year at Sanremo, they bid farewell to everyone, from Mino Reitano to Claudio Villa and others, but the only one who remembered to say goodbye to Valentina Giovagnini was Ania, the winner of the Sanremo Web contest.

@ SoraLudovaika: every year the Festival concludes with a special episode of "Domenica In" where all the songs are sung again and there’s a general recap with all the journalists, singers, critics, and so on. This year they finally made it clear that the "critics' prize" is actually voted by the entertainment JOURNALISTS from "TV sorrisi & canzoni", "Chi", and all the other magazines that attend the event. NOT by music critics. And indeed, every year the right one wins, yes, but only because those guys notice it’s the most let's say "alternative" and feel compelled to vote for it. On masturbation: but in reality, all men have always known, there has been a centuries-long repression that is still far from being overcome (the word "sex" is now even used in prime-time TV shows on Rai Uno, but the word "masturbation" is not).

@ SoraLudovaika: when I said I didn't understand his poetic style, I meant it in general about all his songs, but thank you really for this enlightening analysis (I reread the lyrics and it makes sense). Regarding the double meaning of "pene": I thought I was the only one to notice it, he screams it at the top of his lungs and Bonolis didn't notice anything when he chose the song??? XD

A wonderfully graceful song, and musically I like it a lot, but unfortunately I can't grasp the literary poetry of this undoubtedly intelligent singer-songwriter. I am perfectly aware that this is my issue.

Congratulations on your choice of theme to review, and also on your writing (very thorough and quite in-depth). I fully agree with Aldro Grasso: it is clearly a great show where the songs occupy 90% of the time, but that 10% is often the most interesting part; practically, Sanremo has become what "Canzonissima" was in the '60s. Having said that, I am generally in agreement with your judgments, I would also like to share my impressions: I am a huge fan of Sanremo, every year I lock myself in at home for six days a week (festival + "Domenica In" where it's commented on) and I follow everything with passion. This year was a nice show hosted by the genius Bonolis who recycled many of his historic and stale gags with Laurenti, cited Alberto Sordi beyond the limits of tolerability, and invited the most useless television personalities ever seen on the Ariston stage; on the other hand, Bonolis certainly knows how to manage a program and has perfect comic timing honed over the years, thus delivering shows that are well conducted and managed. Regarding Laurenti: everyone said he was "a revelation", but a revelation of what, considering he has been doing the same character for 10 years? Who knows. About the songs: as always, some were beautiful, some were ugly, some were memorable, some forgettable, some well performed, some poorly performed; as far as I’m concerned, Nicky Nicolai & partner brought a delightful song, Dolcenera deserved to win, Marco Masini warranted attention, the Afterhours maintained that quality they didn't need to prove, and Patty Pravo was truly elegant with a really elegant song. On the contrary, Francesco Renga overdid it, Albano was annoying with his whines, the trio had noble intentions but only mediocre results, Povia had catchy music but a simply obnoxious, false, homophobic retrograde text, and also quite boastful, and Sal Da Vinci is the poor man's Gigi D'Alessio (which says it all). Fausto Leali, Tricarico, Alexia, and Gemelli DiVersi have their reasons, but I simply don’t like them. Finally, the man with the geometric hair, Marco Cartaigenica, doesn't deserve comment, nor does Mario De Filippi, who with his two fingers of plaster on his face and slicked-back hair has once again proven to be the ugliest woman in the world. The final night of the Festival definitively demonstrated that we find ourselves in a Raiset situation, where the programs are decided together, the schedules must not clash, the news is censored by mutual agreement, and even the characters come and go because there’s no competition (no competition -> no progress). Regarding the fact that the Giovani were better than the Bigs, that’s a given; all of Italy thought so: they all sang well, had intriguing songs, sometimes beautiful, sometimes very beautiful; Arisa deserved to win, but she certainly owes a lot to being a character. Cartaigenica's victory was more than predictable since, according to surveys, 80% of the votes come from an audience aged between 12 and 20 years: the bimbeminkia triumphed on "Amici di Mario De Filippi," on "TRL," in record charts, and now even at Sanremo. And that’s it. I give it a 4 to raise the average a bit.

Premise: I love Mina. Comment: a brief yet comprehensive review of an album I haven't listened to but can easily imagine, knowing Mina's songs and voice, and 2+2=4. Therefore, I give it a 3 because, as highlighted in many of the comments above, Mina is an exceptionally talented artist who has deserved all the money and success she has had, and still today deserves all the attention she receives because she is objectively the best singer in the world. HOWEVER, she is wasted. As Rettore and Patty Pravo say, for decades she has devoted herself to more or less experimental things that, in most cases, simply become boring and didactic albums where she sings beautifully over ugly stuff. Her albums until the '70s were exceptionally beautiful, those from the '80s decently bizarre, and those from the '90s onward, I'd say useless. This album serves to show that she has a voice, but it does not fulfill an artistic function. It's as if Raphael had only painted sloppy subjects, but with great technique: the average is barely passing. And it is precisely because I love Mina that I say these things: abandon Massimiliano Pani and the other mediocre musicians you surround yourself with and start working with excellent people; no one would refuse to work with you, come on!!!