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“Nobody laughs. Nobody really claps. We don’t know if we like it or not.” The first episode of the Martian Sanremone can be summed up in this perfectly adjusted phrase from Fiorello. We could only add this: nothing is touched. names of the young people who reach the semifinal. Also take your hands off the flowers, the usual tribute to the singers of the contest, who take the stage in a plexiglass cart. In short, the very strict anti-Covid rules become part of a strange spectacle where even the feathers of Achille Lauro’s costume – jokes Fiore – “are disinfected”.
Fake claps are not heard (they often go out of time). The empty theater is a blow to the heart. It is not enough to question the ghost viewers here and there in the gags to forget that below the Ariston is the desert.
The beginning is in the dark. Only the voices of Amadeus and his friend are heard. Fiore ad Ama: start saying your phrases. This is the Festival of Regrowth. Ama corrects him: rebirth in any case. But why in the dark? “Because this way we can do serious spells without anyone seeing them,” says Fiorello before blessing his friend the director. The lights go on and the artistic director starts the dances (very long as always).
Excited, Amadeus opens the 70 + 1 edition by making the sign of the cross before descending the mythical staircase. Then he reads the last lines of a letter written to the editor of a newspaper to give him the meaning of this Festival: “I did it with all my heart, thinking of those who live from music, television, entertainment, the real country that is struggling to meet again. I have no spectators in the room, “he explains as the management sweeps the empty stalls,” but I will have recorded applause and it encourages me to think that they are yours, from home. ”
Fiorello is a certainty. He goes from becoming Achille Lauro, wearing a flowered cloak “that weighs 21 kg …”, entertaining the “non-public” with a Thank you for the flowers to the classic live phone calls with Morandi and Jovanotti. One note: the ridge curtains are perhaps too many and too long. Seen and reviewed.
On the other hand, Ibra and Matilda De Angelis work well. The Milan champion flexes his muscles with Ama dictating his rules. “It is an honor for me to be here, but also for you to have me here,” he tells the artistic director. Then he adds: «On the soccer field I feel big, powerful, but here I feel smaller. But always bigger than you and more powerful ». Ibra then dictates his rules. «The Festival will be with 22 singers. 11 against 11, otherwise it is not regular. Are there 26? Sell them, Liverpool are looking for 4 defenders. If not, I will save them, put them in my garden and let them work. And how big is the stage? It’s not good, it’s made for little people like you. I need a 105 for 68 like San Siro, otherwise the Festival is canceled ».
Handyman Matilda. Present and sing naturally. Excited yes, but she always manages the stage very well. Challenge sheer superstition in a burgundy and purple dress. But when it comes to looks and performance, the undisputed lord is Achille Lauro, who goes overboard with feathers and tears of blood. Instead, Fedez really cries, who at the end of the performance is moved by hugging his competition partner Francesca Michielin.
As in the best tradition of San Remo, there is also room for social issues: from the appeal to Zaki to the thanks to the nurse, symbol of the fight against Covid. In this Festival there is so much, perhaps too much. As always.
