AA.VV.
Festival di Sanremo 2009

Introduction: this review shouldn't only bear my signature. It is the result of a four-handed work, besides myself, there's the in-depth analysis by Filippo Campolo. A dear friend and user of Debaser whom I asked for his expertise on technical matters and his knowledge of the Festival's history. Such an in-depth work deserved logical and necessary support and collaboration; a dialogue that took place over 1000 km apart (Brescia-Reggio Calabria), something unique and pleasant. Now we can move on to the key question: why watch Sanremo? Does it make sense nowadays? Well, yes, despite Baudo's recent flops, the absence of the Dopofestival (we miss Elio, he returned with Dandini) and many other things that made people frown.

We are talking about a historical event of Italian Song, which always has elements of charm and interest and remains, despite everything, a mirror of our country. As usual, it was approached with strong controversies, quite normal and physiological, and many doubts that plagued critics and enthusiasts who in the end couldn't resist and chose to enjoy it, some with Bonolis, others with Gialappa’s. A technical glance first of all. Once the stereophonic broadcast began and the Eurovision theme started, we immediately noticed something pleasant: finally Rai broadcasts in native 16/9 (and it was about time for the Festival). The photography was simply stunning, thanks to Gaetano Castelli’s scenography which, perhaps due to Bonolis's presence, seemed more beautiful than those of past editions. The camera glided over the stage directed by Stefano Vicario’s direction and it seemed they spared no expense despite the climate of crisis hovering in this historical period. The orchestra conducted by Maestro Bruno Santori was this year located in two pits under the stage, a perfect choice both acoustically and aesthetically; frequently the Maestros were involved in musical interludes that delighted us and showcased to everyone the professionalism these musicians possess and the preparation of Rai's sound engineers. The audio was particularly well-crafted, and listening to the broadcast with a stereo system allowed for the appreciation of the good dynamics and even better mixing done by the sound technicians. Music first of all (Bonolis repeated this often) and indeed, such good sound has never been heard in a program produced by Rai. Speaking of direction: 8 cameras operated by Stefano Vicario moved sinuously over the stage, often framing the orchestra (focusing often on the excellent Maurizio Dei Lazzaretti, a man showing all his joy while playing, glancing at the drum score, counting beats out loud), which in past editions seemed practically non-existent. Some missteps occasionally with cameras entering the frame, or threatening shadows during steadycam shots, but they fit well in the end.

This year’s motto was naturalness and simplicity, sympathy and lightness. After all, the festival needs to rejuvenate and not necessarily turn trashy to do so. Bonolis got paid one million euros. Well, the best-spent million euros of the last television year. Paolo understood that the festival was slow and monotonous, it needed to be sped up and embellished. The skits staged with his longtime companion Luca Laurenti were cute, delighting us each evening as they descended the famous staircase accompanied by the orchestra. Even Lucio Dalla complimented him. It makes one wonder how that squeaky voice can sing Sinatra's pieces without issues. The guests were well-chosen this year. Enough with the usual big foreign guests who take away space from the songs to give questionable interviews. There was space for them as well but it wasn’t as contrived as in the past. The protagonists were the singers in the two nights dedicated to duets. We truly appreciated the Grandes who accompanied the new proposals, and we thanked Bonolis for bringing them to us. We’ll talk about this later. Among the guests, Roberto Benigni stood out a lot (did he have carte blanche? Who knows...) and Annie Lennox on the final night, who gifted us a beautiful unplugged version of her famous "Why" (and it’s not her first time at Sanremo. She was there in '92 and sang "Why" that night too, although in playback). Bonolis often emphasized the desire to say enough to the climate of austerity inherent in the Festival, inviting the Ariston audience to interact with him, and often mimicking the orchestra directors (but what did Fio Zanotti do to him? Every time the latter was about to conduct, he got Paolo’s giggles: incredible. Not to mention Massimo Morini, Capitan Basilico of Buio Pesto). We are with him; music must be joy, and Baudo failed because he forgot about it. Or maybe because the habit lingered: gone are the times when once a singer performed they had to be whisked off the stage immediately, almost by force.

The good thing is that it never descended into vulgarity. Bonolis always knew how to handle himself, even when boos were directed at Franco Grillini (national president of Arcigay), disagreeing with Povia’s lyrics. If there’s something to criticize, it's certainly not the production: we liked it, and we hope it gets even better. We also hope that De Filippi never sets foot on Rai again. Lastly, a question: what did Kevin Spacey come to do? At least with Hugh Hefner, we got an eyeful: thanks, bunnies! The last sentence offers us an assist for a little interlude on female presence at Sanremo. Here too, a sound vote on beauty is needed, and I allow myself a reflection. It’s true there were three hostesses, playmates, and many women in the young proposals, but will these people still be beautiful at 60? I don’t think so. So a homage is due to Patty Pravo, who can afford to be "transparent" and do it with a class and beauty that today’s scantily-clad dream of; thirty years ago she did the subliminal messages of Stryx, naked and flat (who would do that today? Nowadays women are only appreciated from size three upwards), but she sang like a goddess and was of exquisite beauty. Someone like Nicoletta is simply out of competition. The prize goes to Dolcenera.

Let’s move on to the focal point of the Festival: the songs. It seems right to analyze each one, both big names and young artists. Let's start with the "important" ones; there are many evaluations to make. Many "glories" can be seen (Leali, Albano, Zanicchi), interesting comebacks (Dolcenera, Masini, Povia, Tricarico), and particular challenges (Nicky Nicolai, Afterhours); a rich program that left a lot of meat on the fire. Sal da Vinci: a neomelodic with lyrics by Gigi D'Alessio. Nothing else needs to be said about the song's quality. Albano: his song is something already heard, typical for the repertoire of the "king" of Cellino San Marco. Objectively, time also passes for him and he is no longer viable. Fausto Leali: the idea of the lyrics itself wasn't bad but the performance is certainly not up to par. Same problem as Albano: age. Francesco Renga: the former Timoria frontman, after the success with "Angelo", tries to pay homage to the tenors and approaches the category (see duet with Daniela Dessì), the result is not the best. Tricarico: the disappointment of the Festival. After the splendid "Vita Tranquilla" he tries again with "Il Bosco delle Fragole". This time it's a failure. Marco Masini: sings about our country, and critics to destroy it latch onto Zoff. A little ridiculous. Angry lyrics and a nice interpretation, among the best surprises. Gemelli Diversi: a particular challenge, theirs. After many years, they take the Ariston stage, they too could have given something more. Afterhours: Agnelli wins the Critics Award and the Honesty Award. Someone who says: "I go to the Festival out of cynicism" is no small thing. Off-key, they shout and try to be "special". Nowadays, it's a title only Mourinho can claim. Yet they were good, it must be said. Pupo, Belli, Youssou N'Dour: Assante and Castaldo on "Repubblica" talk about Trio Monnezza. A bad song here too where not even a giant like Youssou N'Dour can do much. Iva Zanicchi: we laughed our heads off. Love in a different way is fine but from someone seasoned like her, better not, too bad. Marco Carta: a song that is not to be thrown away and with a nice melody. They tried everything to show he's a decent artist, singing is not his thing. Alexia and Mario Lavezzi: a particular pair for a song that could have said a lot and gone far. Something was missing. Nicky Nicolai and Stefano di Battista: a great couple, a beautiful and pleasant song. Definitely a joy, too bad it was out almost immediately. Dolcenera: presents herself with a new outfit and sings well, here too we hoped for a kinder result from the televote. Povia: the lyrics can be seen in many ways based on personal thinking. The music is very beautiful, Povia sings well and has an impressive singer next to him. Patty Pravo: starts badly, recovers over time demonstrating wonderful interpretive qualities. Lyrics probably not up to par. Our ranking: victory to the Nicolai/Di Battista couple, Dolcenera second, Masini third. Off the podium, Alexia and Mario Lavezzi. Moving on to the young ones, here we launch a provocation: they outperformed the Big ones, they surprised and attracted for their skill. Many surprises and material for sure future. Bonolis's idea to have them accompanied and nurtured by great artists like Massimo Ranieri to Lucio Dalla was brilliant. Filippo Perbellini: the "look-alike" of Cocciante presents something close to his master. We didn’t like it. Iskra: I’m saddened to say it but the worst song of the Young. Someone else would have been better. Barbara Gilbo: decent song, acceptable interpretation but not a miracle. Malika Ayane: talented and presents something quite valid but one step below the best pieces. Chiara Canzian: honestly those expecting a great result were disappointed. Among the daughters of art the worst. Irene Fornaciari: a nice song sung with a good interpretation offers the best with the "cucuzzaro" led by her father. Arisa: decidedly particular, brings a jazz breeze and fascinates a lot. Gives her best alongside Maestro Luttazzi. Karima: the best of Sanremo Giovani. Great voice and expressive power, surprising that such a talent came out of "Amici". Simona Molinari: on her own she manages pretty well, splendid duet with Ornella Vanoni. Suggestive and very valid. Silvia Aprile: accompanied by Pino Daniele, it is felt and seen. Frankly, one could have hoped for a bit more. Here too our podium: Karima first, Arisa second place, third Simona Molinari.

We conclude this brief summary, albeit incomplete but we don't want to be excessively prolix, by making a consideration: there has been much talk about the impossibility of making a comparison between the results obtained in 2005 by Bonolis and those of today, blaming competition from satellite TV (as if Sky hasn’t existed since 2002) and the disinterest the public is showing towards generalist TV. Well, Bonolis has shown that quality TV can coexist with the auditel plague. He demonstrated that there is also room on TV for the good music of the Afterhours, who were eliminated but heard on radio, he gave voice to characters rarely seen on public TV (giving the microphone to Grillini is a really important gesture in a country like Italy), let's also think about Benigni’s satire, regarding the prime minister. In this festival, a new, almost free air was breathed. This is what is needed on television... Final question? 2010 again with Bonolis. Why not? If only they removed the televote, it would be perfect.