Sanremo 2022: the fourth evening, between the covers and the cyclone Giannetta

Not all covers come with a hole, and we agree on this. Sorry, however, that the Sanremo Festival 2022 has guessed so few: in most cases, in fact, the tributes have gone too far, giving performances that are not always up to par and not always appreciated by the public who, in comparison with the original, grit their teeth hoping that the authors of those hits were not offended. However, there have been some successful performances: that of Emma and Francesca Michielin on the notes of Baby One More Time, for example, it could be either a heralded disaster or a very successful masterpiece and, to the relief of Britney Spears fans, it was a masterpiece; Nor was the tribute of Aka7even and Arisa to Alex Baroni outdone, as well as that of Michele Bravi to Lucio Battisti, Achille Lauro to Loredana Bertè – present with him on stage – and Elisa to a classic like What a feelingaccompanied by the enchanting dance of Elena D’Amario.

The third evening of the Sanremo Festival, however, managed to give some very welcome surprises like the co-host Maria Chiara Giannetta, new queen of Rai1 fictions – da Don Matteo to Blanca – as well as sole presence Under 30 to escort Amadeus into his third term as artistic director. Beautiful, self-confident, always with a joke ready, Giannetta makes the Festival her own with simplicity and, above all, with intelligence. The idea of ​​using the clips of many hits of the Italian song – from Mina to Cocciante, from Morandi to Tommaso Paradiso, from Ornella Vanoni to Gino Paoli – to create, together with Maurizio Lastrico, a semi-serious dialogue between two lovers, as well as being a masterpiece of writing, what was once the rule and today has become an accessory bent to the immediacy that only the hearts of Instagram give, has allowed Giannetta to shine demonstrating a comic talent that can only grow, perhaps escorting Bolle to her next New Year’s show. However, the exciting monologue dedicated to blind people was not far behind, far from any form of rhetoric: essential, clean, effective.

There is also one thing to say: Drusilla Foer, a true revelation of Sanremo 72, had on his side the shield of a character to be interpreted and within which to take refuge. Appearing in public without playing a part is a much more difficult undertaking because being ourselves puts us in front of our potential but, above all, in front of our fears and insecurities. Maria Chiara made those fears and insecurities of her disappear with a swipe of the sponge, and for this we can only thank her. Just as we should say thanks to Jovanotti who after three years has finally convinced himself to arrive in Sanremo not only to greet his friend Amadeusbut also to accompany Gianni Morandi, whose song he signed Open all doors which marked his return to the Festival after 21 years, in a medley of some of the greatest hits of their careers, from A world of love to Think positive. Both with white jackets, both smiling and accomplices, linked by a throbbing understanding that led not only the Ariston audience to stand up to give a standing ovation, but also the audience from home to get up from the sofa not for the pee break, but to sing along with them. The best thing about the exhibition, however, was the long embrace between Jovanotti and Amadeus, a symbol of that brotherhood which, in Sanremo, managed to erase the rumors of their removal precisely because of Lorenzo’s desire not to make a visit to the Ariston. All is well that ends well.

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