So once again Carlo Conti took us.
“Yes, she hit her, once again: I saw the data this morning, on the first evening of the festival she passed the listening to Amadeus.”
Like all serious massmedologists, Massimo Scaglioni, professor in various courses at the Catholic University and director of the Master on television at the high school in medium communication and entertainment (Almed) of the University, looks with interest the Sanremo Festival. «A bit like all television in general, the festival has always been a little snubbed by certain intellectual environments. But today I see more opening, more ability to confront pop content. The singing festival is the most important television event of the year: those who deal with popular and media culture cannot ignore it. Studying Sanremo means studying a cultural and social phenomenon ».
We said about Carlo Conti.
«He is certainly a great talented professional. From anticipations, his festival seemed a bit of a photocopy of the previous ones, instead he proved to be already from the first different evening from various points of view. It is as if this year with Conti he had had an evolution, because he gave to acquire the news introduced by Amadeus and, in part, also by the previous festivals, such as those of Baglioni but went on. Certainly with Amadeus the level of the singers had risen, guaranteeing a great balance between different types of artists. There were songwriters, rappers, old glories … a winning mix … “
But what was the evolution of this year?
«There was certainly two aspects: the rhythm and space given to the songs. Finally, I have to say. After all, Conti is used to keeping a rhythm without frills. He gave the best in an evening that was not easy at all – with 29 songs in the race – and allowed to really put music at the center. It is always said that Sanremo is the Italian Song Festival, and this time it was really that way: less spectacular digressions and more attention to the songs “
However, there was a successful moment of show, the one with Jovanotti.
“Yes, especially his spectacular entry from the road with that group of 1000 rocky percussionists who gave an impact opening. It was a great moment of show. But the real surprise, remained undercover until the last, was the message of Pope Francis ».
By flying over the controversy, for the first time a Pope addressed a message to the Sanremo audience.
“Absolutely. Pope Francis has accustomed us to a very direct and powerful communication, we had already seen him in the interviews with Fabio Fazio. But this was the first time in Sanremo, with a strong message on children and peace in a dramatic moment internationally. Two wars in progress, a split world, and he has chosen to talk about peace through music. Then we saw an Israeli singer and a Palestinian sing united on the same stage. It was a beautiful moment ».
An Angelus in Sanremo …
“In a way yes. Pope Francis spoke to the Italians at a time when the ratings were very high. It is a theme that is close to his heart, the crises, the wars, and his message embellished the evening. Among other things, it was also nice not to know in advance: everything had been anticipated, except this. An authentic beautiful surprise ».
Returning to count, someone criticized his conduction style, very different from that of Amadeus.
“It has been said that his style is a little discharged, but the reality is that Conti has a very conduct at the service of the show. He does not try to impose himself, but leaves room for music. Looking at Conti, Gerry Scotti and Antonella Clerici together, I thought they are real presenters: figures who adapt to the context, without wanting to be protagonists. Their goal is to lead the show, not to be first women. “
Vittorio Feltri compared him to a bank employee … interpreter of collective stupidity. Aldo Grasso calls him “the Lord of Tinelli”
«It seems to me a staggered portrait as well as unfair. Conti is an extraordinary professional, as I said, and I detect a certain tendency to be naively towards him. Some read this festival like the ‘Giorgia Meloni Festival’, while the previous ones were considered to be left -oriented. They are trivial simplifications. Sanremo is a popular show, and Conti managed it with a style that may seem more sober than that of Amadeus, but that has worked very well ».
Is the lack of the valleys a sign of evolution in the sense of the dignity of the woman?
«Yes, now this theme has been overcome for years. In the latest festivals we have moved on to a model of guests and co-conductors, be they men or women. The figure of the valley belongs to the history of television, but today it is a decidedly outdated formula “
McLuhan said that the vehicle is the message. In this case Sanremo is the message. Don’t you have the impression that, however, Sanremo is always a success?
«Sanremo is a ritual, an event of great sharing. But be careful: he has not always met the taste of Italians. If we look at the history of the Festival, there were editions that did not work, especially in the early 2000s. The latest editions of Baudo did not work well, as well as that of Simona Ventura. Baudo, who had brought the festival to the triumph in the eighties and nineties, found less success in his latest conduct. Even the Pandemia edition, certainly not because of Amadeus and Fiorello, was not a memorable edition. So yes, Sanremo has successful chasing pins, but it is not obvious. The editions of Fazio, Baglioni, Amadeus and now Conti have raised the bar and today it seems difficult to go back ».
