Minside it’s raining cats and dogs, the Cover evening was broadcast at the Ariston. And like every year here are the Sanremo 2024 report cards for the duets. Thirty performances with songs from the past and international, over 170 artists including singers, musicians and dancers. At the end of which the Top 5 ranking was revealed of the evening, and the winner of the evening (below).
The show it started right away after the explanation on the vote. The level was very high, and these Sanremo Cover report cards reflect it, except in cases of real, obvious betrayal. Exceptional entry Lorella Cuccarini from outside to inside the theatreon a medley of his most famous theme songs, and a couple’s dance with his historic partner from the 80s: the Venezuelan dancer Manuel Franjo (Fiorello with wig and pancake font).
At the end of the performances, the votes from home, from the Press Room and from the Radio jury awarded the following Top 5: Geolier in first placefollowed by Angelina Mango, Annalisa, Ghali and Alfa with Roberto Vecchioni.
Sanremo 2024: the report cards for the covers, the votes for the duets
Sangiovanni with Aitana, medley Butterflies/Mariposas. Rating: 6
The single that imposed Sangiovanni at the festival – it was 2020 – in a mix with the Spanish version. Correct fusion, and the beauty of Aitana which cancels out any musical interest.
Annalisa with representative of Lista and Coro Artemisa, Sweet dreams. Rating: 8
A very good black mass version, with Annalisa and Veronica’s vocalizations getting higher and higher and the choir all wearing black glasses ready to attack the audience and to kidnap Cuccarini for an unspecified ritual.
Annalisa with Veronica Lucchesi and Dario Mangiaracina from La Representative di Lista. (Getty Images)
Rose Villain and Gianna Nannini, Nannini medley. Rating: 7/8
The rediscovery of is beautiful Scandal, Gianna’s forgotten song (it was 1990). And beautiful of them, who instead seemed restrained at the rehearsals. Rose was thought to be eaten by Gianna but instead both of them (the “victim and executioner” look) ate up – enough but not entirely – the theatre.
Gazelles with Thunderbolts, Night before exams. Rating: 7
It almost always succeeds after all, the text is so universal, from the schools of Alaska to those of Bombay. But the two fail to make it epic again. Even if her whole neck aches from her heartily tearing it out.
The Kolors with Umberto Tozzi, Medley I love you/You/Gloria: Score: 8–
There are the songs, there are the voices and the perfect pairing with guitar. But something is missing, a deviation, a modification, a part in EnglishI don’t know: Fiorello’s black wig paired with Cuccarini.
Umberto Tozzi and The Kolors at Sanremo 2024. (Getty Images)
Alfa with Roberto Vecchioni, Dream, boy, dream. Rating: 10
The change that makes the difference, here it is. And a much-loved piece by Vecchioni halfway becomes a rap performance that leaves you astonished. That famous punch in the stomach that is abused for everything, but not for the right moments.
Bnk44 with Pino D’Angiò, But which idea. Rating: 7
Practically a sketch by Long live Rai 2!, with Pino replacing Ruggero. Very well choreographed, he teaches two things: the power of a solid disc base (the authors of the songs of this Sanremo should take note), and the pop importance of being a charismatic character before hiring a stylist.
Irama with Riccardo Cocciante, When a love ends. Rating: 8
Great piece, one of the typical torch song of the singer-songwriter. Cocciante dominates, and how could it be the opposite. However, it doesn’t destroy Irama, and in the end everything explodes into a great performanceclean, classic, round and sharp.
Fiorella Mannoia with Francesco Gabbani, singing Che sia benedetta/Occidentali’s Karma. Rating: 7
Have your mother send you it is the sentiment. But the odd couple in which Mannoia then unleashes the dancing monkey move is the first and second place at Sanremo 2017. Two songs that shake hands in a modest way. But the gesture of the jacket thrown by Fiorella It has serious weekend meme potential.
French Saints with Skin, Hallelujah. Rating: 8
Traced faithfully to the beginning, it then becomes a two-way scream of excellent pathos. Skin’s vocal performance is incredible (stunning jacket), which is too rarely dealt with. There are those who say «eh but Hallelujah can’t be touched, it’s a song of hidden pain», «eh but then let’s close the festival, right?».
Alessandro De Santis of French Saints and Skin. (Getty Images)
Ricchi e Poveri with Paola & Chiara, It will be because I love you/Mamma Maria. Rating: 6 and a half
Queer party postponedthe “clash” of the two legendary groups of two slides calmly between pointed fingers of understanding, a glass of foam and “hands up!”. But if it weren’t for Lorella waving her arms like a metronome in the gallery, it would be her cringe moment at the company Christmas party.
Ghali with Ratchopper, “True Italian” Medley. Rating: 8.
The true homage to Toto Cutugno of Sanremo 2024 passes through the street number of Ghali, which begins in Arabic (his Bayna) And ends up doing belonging activism in an elegant wayoverturning – towards the end – The song more unshakeable and dazzling national pride, and rhetoric.
Clara with Ivana Spagna and the children’s choir of the Teatro Regio of Turin, The circle of life. Rating: 4
They go up and up but they go nowhere. Perhaps in the classic limbo where you go around in circles for eternity. They are talking about the rest of the circle.
Clara and Ivana Spain. (Getty Images)
Loredana Bertè with Venerus, My boy. Rating: 8.
Tenco wrote it for her, and she sings it with rock perfection in rhyme with Venerus’ guitar (prodigiously in a cliché punk look – with a Bandabertè tank top to steal immediately). The audience – sensitive only to the vocalizations and messages projected on the tulle curtain – remains deaf. Too bad for her.
Geolier with Guè, Luchè and Gigi D’Alessio, medley Thrill/O’ first love/Chiagne. Rating: 7
The festival becomes Neapolitan, which is the preview of a final with Geolier likely winner according to every bookmaker? Who knows, meanwhile the rhythm is that of an existential lounge, and the entrance of godfather D’Alessio gives a breath that seems like seeing the sunset over the gulf.
Angelina Mango with String Quartet of the Orchestra of Rome, The swallow: Rating: 8/9
Pimping and controlled virtuosity (the song is that of his deceased father). With all the burden of a painful biographism, On the one hand Angelina wins easily, on the other she doesn’t do anything wrong, maybe just the ending, I think, deliberately strangled. Thunderous applause, also for the quartet who circumscribes a poignant prayer.
Angelina Mango at Sanremo 2024. (Getty Images)
Alessandra Amoroso with Boomdabash, Medley. Rating: 6.
Sandwiches, beer and car lights for a Salento celebration more energetic than Maybe it’s because I love you, but decidedly more tacky. Bad, not entirely, but if Amoroso wanted to gain a few more points in the standings: wrong choice.
Dargen D’Amico with Babelnova Orchestra, Homage to Ennio Morricone. Rating: 5
The performance that isn’t there. One because it has no real connection to a song memory with which the public can identify (ok, Morricone is known, but in the competition there is stuff like Night before exams), and two because in the end Dargen’s second (or third) political or not political message arrives. And how can you not applaud children undergoing surgery by the light of a telephone?
Mahmood with Bitti’s Tenores, How deep is the sea. Rating: 10
A song that is a medley: Mahmood, the voice of Dalla and the Tenores (with that pagan and sacred sound that only the voices of male choirs). The result is to make your knees buckle, when you think you have overcome the slope of emotion, here comes another pang. Very high ambitions and one of the highest Sanremo report cards (indeed, the highest).
Mahmood with I Tenores di Bitti. (Getty Images)
Mr. Rain with different Twins and Blue Butterflies, Mary. Rating: 6/7
What can I say, the “swing singer” who loves to visually represent the symbols of pain, was waiting for him at the gate with rifles pointed. AND instead with the twins he made a very good impression. Mary it’s such a bold piece that even the Blue Butterflies work. Miracle!
Negramaro with Malika Ayane, The song of the sun. Rating: 4
Battisti’s best-known song in a version to forget. A bit like Mina singing Into the groove of Madonna, with Mina acting as Mina and as here Giuliano does Giuliano Sangiorgi. It was said, regarding Travolta: take out the audio of the meeting in which the Qua Qua was decided; well, bring out the ones recorded during the brainstorming for this duet too.
Emma with Bresh, Medley Tiziano Ferro. Rating: 5/6
Desperately looking for Tiziano. Because in these parts there is none, there is only a vague memory, in which the most successful thing are the total black looks in harmony with Dark nights. Again crude styling covering a cosmic void.
Il Volo with Stef Burns, Who wants to live forever. Rating: 5
The perfect choice, a very loud song made especially for the joints of the three of the Volo. Good choice to dirty it with Stef’s hard rock guitar – passed by a thousand legendary bands. The merger is a race to the upsideguitar above voice and voice that undermines the guitar: but at Ariston there aren’t enough blinding strobe games to indicate the winner.
Diodato with Jack Savoretti, Love come, love go. Rating: 7 and a half
A very controlled Fabrizio De André which doesn’t make you regret the original. He stands beside him with grace and also strength, thanks above all to Savoretti’s mellow voice and Diodato’s linear one. The real different twins.
La Sad with Donatella Rettore, Razor blades. Rating: 8
The desired combination in heaven. Three who play (or maybe not) at being disadvantaged with someone who has been so ahead of having talked about man-woman-who-knows over 40 years. And of cuts to the veins and suicide without letters but with irony. Funfair punk? Whatever it is, it’s a good thing she arrived in Sanremo.
La Sad and Donatella Rettore. (Getty Images)
Il Tre with Fabrizio Moro, Medley Fabrizio Moro. Rating: 6
A good duet, with clear and clean vocals. And we could stop herebecause the temperature has a constant average degree, like watching a relative with a passion for music.
Big Mama with Gaia, La Nina and Sissi, Lady Marmalade. Rating: 8
Pussy power at its best. Let’s forget about the reference to the classic version of the song, the one from the film Moulin Rouge. The four (without the Santa Maria) are explosive and well dressed. Big Mama, like a brothel boss, commands and moves with the confidence that was missing from previous performances. Too bad, that she’s trapped in a character?
Maninni with Ermal Meta, You didn’t hurt me. Rating: 6
Well, all good, too good. And then? And then no one will remember this duet anymore. Among 30 competing songs, you also need the courage to go off track.
Fred de Palma with Eiffel 65, Medley Eiffel 65. Rating: 6/7
The air time was ideal. A 90s dance party and also sprained. A cheerful nonsense not by chance that ended up in a toy train racing around armchairs and workers.
Renga & Nek, Medley Renga & Nek. Rating: 8
The melody technicians amidst covers of great masters, instrumental virtuosity and punk antics. Anyone who hasn’t sung is guilty of serious damage to the pop song.
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