First the “weak” and “full of strangers” cast, now the “boring” and “recommended” co-host. Sanremo 2026 doesn’t promise to start off on the right foot, but preventive criticism – as we know – is part of the Festival. Carlo Conti seems to have made “as long as we talk about it” the manifesto of his artistic direction, even if regarding the choice of Laura Pausini as support for all five evenings, he is really exaggerating.

There is an inexplicable impatience around the singer from Solarolo, who returns to the Ariston stage as presenter, 33 years after her victory with “Solitude”, which marked the beginning of her career. And also a certain snobbery, now typical of a country that makes success a fault. Not only is his personality contested – “full of himself”, “obnoxious”, “dull” – but also his career. As if an artist who has sold 75 million records worldwide, a Grammy and a Golden Globe, could be put in the ‘defendant’, judged by a pool of up-to-the-minute experts.

The most famous and listened to Italian singer in the world, massacred by an army of assault commentators. We are at a paradox. Especially if you look back, without even going that far away.

From Chiara Ferragni to Georgina Rodriguez, the witness of uselessness

Anyone who cannot explain Laura Pausini’s success must necessarily deal with it. (indisputable) numbers in hand. Of course, completely different parentheses can be opened regarding personal tastes, but they can never be longer and more complex than those opened for decidedly more questionable choices made in past editions of the Festival.

Ibrahimovic in 2021, brought by the Nerazzurri Amadeus, who for five evenings played to flaunt arrogance and self-celebration, probably making only the Curva Nord of San Siro laugh. Chiara Ferragni in 2023, who among the highest moments on the Ariston stage includes the unspeakable letter to her as a child. Luckily the argument with her then still husband Fedez, over the kiss with Rosa Chemical, spread, otherwise the rest would be a mortal bore.

But in recent years, there have also been Georgina Rodriguez, Vittoria Ceretti, Lorena Cesarini – an already semi-unknown actress in 2022, who then fell into oblivion after her rather banal monologue on racism – and the former parasol Francesca Sofia Novello, Valentino Rossi’s partner. In short, a nice roster of extras that could easily have been done without. And the problem now is Laura Pausini?

You deserve the valleys

Carlo Conti’s choice to return to a fixed cast, unlike the parade of valets destined to be forgotten together with their monologues – preferred by his predecessor – is a breath of fresh air for a Festival at risk of implosion after years of glory that led it to be equal to itself.

Returning to Pausini, scapegoat of bar opinion and a certain left that still doesn’t forgive her for her refusal to sing “Bella Ciao” on Spanish TV in 2022, attaching the heavy sovereignist label to her CV, there isn’t much to add. It seems absurd, looking at her career – net of personal tastes – that she does not enjoy that sacred respect that certain artists deserve, and that she is truly judged unsuitable to get involved in Sanremo in another capacity. A dress that he has already worn on more than one occasion, from his show on Rai 1 in 2014, to the three first evenings hosted with Paola Cortellesi two years later. Without considering the audience it brings with it, not only in Italy.

And then you deserve the valleys.