Sanremo, Angelina Mango wins. Too many artists and not enough courage

4 min read


It’s the Sanremo of Boredom. At least in the sense of Angelina Mango’s song which won the 74th edition of the Italian song festival. The twice-born singer and author also won the Lucio Dalla press award and the Giancarlo Bigazzi award for best composition. Written with Madame and Dardust, «the cumbia of boredom» – which is not technically a cumbia and is based on a melody evidently influenced by the South American standard Thank you for life – you hear it once and you remember it forever. There wasn’t the Geolier effect: the Neapolitan rapper must in fact settle for second position, despite having been the most popular competitor in the televoting in the history of the festival with 60% of the votes. The press and radio jury, however, chose differently and the former competitor of won Friends. Annalisa third ahead of Ghali and Irama.

In the ranking read by Amadeus at the beginning of the evening, the first three positions were occupied by Geolier, Angelina Mango and Annalisa. Even in that case, as was the case for the duets’ pre-award ceremony, the Ariston audience booed and a pacifying intervention from Amadeus was necessary. Then there was the televoting which identified the final five and the latter was once again subjected to the judgment of the press jury (33%), the radio jury (33%) and the televoting (33%) to identify the final winner. During the evening, someone at home had complained of difficulty in voting, apparently due to the enormous amount of televoting, but Rai ensures the absolute regularity of the procedures that led to the final ranking.

The other awards

The Mia Martini Critics’ Award goes to Loredana Berté, sister of the great performer to whom it is named, who, upon receiving it, looks at the sky and says: «Mimì, we brought it home!» The Sergio Bardotti award for best text goes to Fiorella Mannoia. This is the definitive ranking from sixth to thirtieth place: Mahmood, Loredana Bertè, Il Volo, Alessandra Amoroso, Alfa, Gazzelle, Il Tre, Diodato, Emma, ​​Fiorella Mannoia, The Kolors, Mr. Rain, Santi Francesi, Negramaro, Dargen D ‘Amico, Ricchi e Poveri, BigMama, Rose Villain, Clara, Renga and Nek, Maninni, La Sad, Bnkr 44, Sangiovanni and Fred De Palma.

The analysis of the 74th edition

The festival is over and we’re taking stock. With the audience numbers it has achieved in these five editions and the all-time record advertising revenue, it is practically impossible to attack the artistic direction of Amadeus. If there is an heir to Pippo Baudo, in his ability to reinvent the format in his own image and bring it closer to “real” discography, it is undoubtedly Amedeo Umberto Rita Sebastiani from Ravenna. In short, hats off to the numbers. But there is a but. There is always a however, as they sang at the Zecchino d’Oro a few years ago.

Show too scholastic

The ratings and advertising revenue reward it, but intellectual honesty forces us to say that this one in 2024 was the least interesting of the five Amadeus festivals, the one written the worst on the television level and the least courageous in terms of the musical offering. Let’s start with TV: apart from Fiorello’s rabones, the classic champion who can change the result at any moment of the match (and we saw it in the final as co-host), the feeling is that more work should have been done on the texts . Construction of the show too scholastic. Pay attention: contingent and not very original gags (Marco Mengoni in the Luca Laurenti version shouts for revenge, Teresa Mannino irrelevant), then around 10pm the drama moment arrived promptly, the unassailable pause for reflection, because the substance (Giogiò’s story, the testimony by Giovanni Allevi) is a delicate matter, in which discussing the form may seem blasphemous. But form is substance and it should definitely be discussed: we could and should have done better. We wonder if the divorce between Amadeus and the historic manager Lucio Presta, on the eve of the Festival, had in some way influenced the quality of the writing.



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