Testimonials from the dress rehearsal Sanremo 2024

Sanremo 2024 The dress rehearsals for the 74th edition begin tomorrow at 8:40 p.m RaiUno.

Here is the story of what I saw and heard… they are not real testimonials because the race starts tomorrow and maybe someone wanted to protect themselves.

Yesterday afternoon I walked through the doors of theAriston, an exciting journey in the run-up to the festival Sanremo 2024. The theater, full of history and charm, gave me first impressions of competition pieces and performances that are entirely personal, a journey that perhaps not everyone will share.

Let's start right away with the performances, some songs promise regular presence on the radio. The Kolors with A boy, a girl (At Tick ​​tock Ballet is a must), Annalisa with Sincerely (perfect forEurovision), And Angelina Mango with Boredom. Three completely different pieces, but with the intention of staying in our ears. It should be noted that the refrain of The Kolors I sang it on the way home, the only thing I remember.

Some artists have chosen to tackle important issues. Dargen D'Amico with High wave presented one of the most significant performances, measured and attentive to the current context, I'm just afraid it will get lost in the sea of ​​”up” pieces. Other songs, like my home From Ghali And Anger is not enough for you of BigMomdeal with deep themes that deserve a closer listen, with the first one it feels like the meaning is a bit lost in the overwhelming rhythm.

Among the performances that caught my attention were those by Irama with Not you very special song with two different tones and a beautiful vocal power, Dargen D'Amico High wave, Loredana Bertè Crazy (received a standing ovation from the entire audience present) e Fiorella Mannoia with Butterfly. It blew me away Alessandra Amoroso with Until here who demonstrated a great ability to interpret.

Mahmood it is a confirmation of originality and talent and with Gold suit receives a new beat and perhaps even winks at Soldi since he included the same note at the end.

Among the pleasant surprises, they stand out The French Saints Compared to the thirty songs of the competition, they add a new sound, that of electronic production that characterizes them, but with the contribution of the orchestra.

To keep track of the following: Manninni with the Sanremo documentary piece, The flight in a composition that you don't expect, Rose villain and his bipolar song, Geolier and his truthfulness.

Emma it surprises with something different (it didn't turn me on, but maybe I'll change my mind tonight).

As for the rest, I'm still not entirely convinced by many of the songs, but I have five evenings to change my mind.

About the performances (spoiler): There will be some incursions into the audience, some “aliens” that appear, dancers that emerge from the audience… in short, for those looking for “the monkey of”. The Karma of Westerners“ and “the dancing old woman over.” A life on vacation” will be satisfied.

However, I'm curious to see how my perception will evolve as I move on to watching TV tonight. I respect the differences with our music critic and realize that listening live and listening with headphones can convey different nuances. I want to emphasize: Iramawith the complexity of his piece, certainly moving live, while theLoving confirmed his singing talent.

The stage of Sanremo is (almost) ready to enter Italian houses and host a night full of emotions, surprises and, inevitably, confirmation. A new festival page launches tomorrow and I can't wait to find out what it has to offer.

I leave you with some considerations without controversy.

First of all, with thirty performances to be processed, even with the greatest good will, an incessant rhythm of overlapping melodies and images arises, which creates a uniform sound collage with a disco rhythm in the head. Festival bar.

Another spontaneous thought arose when observing the orchestra. The question immediately arises as to whether these songs are really suitable for orchestral accompaniment. I don't want to assume the role of music critic, but ongoing change suggests the need to define the future of Sanremo. Despite the undeniable recording work of these years, it is legitimate to ask what legacy will this evolution of the festival leave and what should it be and represent in the music of Sanremo?

Posterity will judge. I hear.

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