THEintroduced by the carabinieri fanfare, by Marco Mengoni who announces the start of festival and the acronym, Sanremo 2024 it has officially begun. He was the first artist on the lineup Clara with Rough diamondslast The Three with Fragile. In the middle a tribute to Toto Cutugno, a memory of Giovanbattista Cutolo (known as Giogiò), Federica Brignone, Lazza and Tedua, Ibrahimović’s surprise. A caravan finished well after 2.30am.
«Sanremo is loved», Amadeus declared to the audience after the tulle curtain was raised on a gilled scenography. And then nothing “It will be more like before”because all 30 artists and their 30 songs were expected to take the stage. So, between the preserbacino and Mengoni’s handcuffs, how are the Sanremo report cards this first evening?
Sanremo 2024, prime time: the performance reports
Clara, Rough diamonds. Rating: 7/8
He opened the festival with a song that begins as Frozen of Madonna and unfortunately it continues in a completely different direction. But her exit is phenomenal for other values: hair, makeup, iridescent dress. It looks like a statue, it seems two or four meters tall, and you look at it with amazed magnificence.
The Sad, Self-destructive. Rating: 3
Bustier of bones, punk hair, false notes and short horns that overflow in the epic style The Bullfight. However, the union with the messages of the suicides has a certain – crude – effectiveness, but it also had it Lady Gaga naked in the woods to awaken awareness with the Abramovic method (by Marina).
La Sad at Sanremo 2014. (Getty Images)
Irama, Not you. Rating: 9
Black long-sleeved shirt to give space to words. And to the voice. A beautiful display of torment and ecstasy, and restraint to the point of bursting a vein. Leaving the feathers at home was a good idea.
«Love… think of yourself free». Rating: 7
Prodding or smoothing? Well. The fact is that after the chaos of the pandori and more (which is still ongoing), the use of Chiara Ferragni’s motivational slogan – instantly became the most worn and sleazy ever – could not fail to return in this end-of-term edition of Amadeus. She laid him out on a Fiorello train in front of her Aristonello. Who knows how they got him into the Ferragnez’s new house.
Annalisa, Sincerely. Rating: 7/8
Formula that works cannot be changed. Even if it’s not as beautiful as Beautiful: discos, speakers, karaoke, TikTok and music kiosks My Romagna they thank us together in a message of esteem and dance pride.
Annalisa at Sanremo 2024. (Getty Images)
Mahmood, Gold suit. Rating: 9
In the Sanremo of the black (or cream) cubs, and of the songs that are repertoire variations, Alessandro’s stands out. After all the nude and low-cut looks he has worn around the city, here it is with a fetish fisherman’s jacket and the energy of a bomb. The song is a notable urban beat with raw undertones mixed with light touches. With a beautiful final turn upwards (different from the version heard in the pre-listenings). The nice thing is that at every change in rhythm you can insert applause as you like Money.
The tribute to Toto Cutugno. Rating: 8
Finally Sanremo steals from those who know how to pay homage to the deceased well, and i.e. the segment In Memorian of the Oscars. Moreover without the risk of a fine as for last year’s hidden advertising (everyone copied it).
Loredana Bertè, Crazy. Rating: 9
With the Sanremo 2019 handbag and in a disinherited aunt’s outfit Wednesday, Loredana gets the most applause of all. She’s not a singer, it is a structural apparatus of the festival and of collective psychology. It matters little that the song is a variation of his self-portraits, at least he never made it a holy card of motivational fragility. The new blue shade of the hair is fabulousthe festival’s truly deserved homage to Anna Marchesini (it was in fact the hair color of Anna, the Lollobrigida-fairy version of Pinocchio in Betrothed of the trio, Marco’s was not as successful).
Loredana Bertè at Sanremo 2024. (Getty Images)
Marco Mengoni, medley. Rating: 7
From Darth Vader to Dakota Johnson in Suspiria by GuadagninoThe Ronciglione carnival of Marco is an artistic and also cinematic achievement. Impeccable, perhaps too impeccable.
Big Mama. Rating: 6-
The history of bullying, the name, the cancer, the refusal to be labeled, the stones thrown at her. Yet – strengthened by these wounds – on stage she seems foggy (with safe emotion) and the song is reminiscent in structure Ash of Lazzo. Instead the look is masterfuleven more so the detail of the black nails from a stranded oil tanker.
Riches and Poors, But not all of life. Rating: 9
It took two boomers to bring a queer sense to Sanremo 2024. In fact, while the other Bigs are crushed by messages and fragilities, Angela (with more energy than a school group in a disco) and Angelo Sotgiu arrive on stage closed in a giant red bow (designed by Vivetta). And like every pop star who wants to be taken seriously today, they are accompanied by a group of toy boys who are also decorated with bows. It’s not Angelina Mango’s Mexican cumbia, it’s much better.
Riches and Poors. (Getty Images)
Marco Mengoni tribute to Anna Marchesini. Rating: 4
Skirt, Elizabethan collar and a lectern. It is Marco’s homage-monologue to Anna Marchesini, the one promised in the morning. Taken from the opening scene of the show Fasten your seat beltsyear 1987. Obviously everyone can forgive everything, but perhaps it would have been better to expand the monologue on fragility emerged in the press conference.
Mr. Rain, Two swings. Rating: 5
A 3D Bansky at the Ariston, who knows how much it cost.
Dargen D’amico, High wave. Rating: 8
Good piece, with a threatening and engaging crescendo. And the burning current events of the Mediterranean Sea, of the shipwrecks of migrants and of the war in the Middle East, made strident by the Moschino teddy bears that arrive on the coasts dragged by the current. The Mia Martini Critics Award no one takes it away from him.
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