The Regrowth Festival (sorry, that was “that of Morandi”) begins with the Ariston wrapped in darkness and Amadeus and Fiorello who explain that this year, more than others, San Remo was necessary to give the country that “is struggling to find itself” a bit of lightness, some of the music that for a year was forced to stop. To remind us that something has really changed, however, are the little things: the empty armchairs that Fiorello uses for a gag, urging them to “raise the armrests”; the flower-carrying cart which is delicately approached to the damsels and sanitized each time they are used; the recorded applause which will never be the same as live ones but which are always better than nothing; and the testimony of a very emotional Alessia Bonari, the Milanese nurse who became the symbol of the fight against Covid during the first lockdown, who recommends the use of the mask sharing the hope that we all hope: that it will end soon.
The opening of @Fiorello with “Thanks for the flowers”.
Watch the full clip on RaiPlay 👇# Sanremo2021 pic.twitter.com/fKCx5gevzD– Rai1 (@RaiUno) March 2, 2021
In the meantime Sanremo (and the music) do not stop and resume where they stopped: from Diodato that sings Make noise on that same stage that a year ago gave him the victory and the complicity of Amadeus and “Flowers”, that is Fiorello, who remind us not only that true friendship exists, but also that professionals, the real ones, do not improvise and cannot be bought at the discount store. They are, in fact, the engine of the restart Festival, the one who looks forward relying on a formidable cast that, from the contemptuous jokes of Matilda De Angelis who jokes that he sent Laura Pausini to the Golden Globes representing him and Emilia Romagna, at the desire of Zlatan Ibrahimovic to “rewrite the rules”, provides the perfect setting for a Sanremo that goes on without an audience, but with a thousand hearts. They tell us Fedez’s shining eyes at the end of his performance with Francesca Michielin, but also the trembling hands of Aiello, a sign that the Ariston continues to frighten even when empty, but it continues to be the only one to give that thrill and thrill that all artists secretly dream of, with a pandemic or not.
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