“La Corrida” by Corrado. A sacred, unassailable combination. Over the years, no one has ever found a better solution and none of the heirs of the Roman conductor have ever attempted the feat, as they were all aware that the climb would have been – and would be – impracticable.

“La Corrida” is Corrado for a simple reason: it was Corrado who founded it and imagined its spirit and execution. First on the radio, where it was born in 1968, and later on TV, with yet another resurrection staged on Nove.

This time the helmsman was Amadeus, capable of recreating the mythological climate of the show right from the scenography, which was shiny and particularly evocative. Accompanying him is maestro Leonardo De Amicis, a figure who is anything but marginal, given that in the program the conductor takes on an importance almost equal to that of the presenter. And this is where “La Corrida” version 2024 scored its first point. The understanding between the two – the result of a friendship and collaboration that has lasted for years – was fundamental for the creation of that jovial atmosphere that the editions following Corrado’s death have not always been able to regenerate.

Gerry Scotti succeeded, supported by the presence of Roberto Pregadio (who helped the public make the trauma caused by the death of the historic landlord more bearable), but Scotti himself struggled when the baton passed from Pregadio to Vince Tempera. Identical difficulties in 2011 for Flavio Insinna, supported by Piero Pintucci, and for Carlo Conti, who relied on Pinuccio Pirazzoli.

The merit of Amadeus, therefore, was to start again from a strong team, which made recognisability and understanding its strong points. And it is no coincidence that Stefano Vicario returned as director, who signed the show from the first to the last season led by Corrado.

Left in a drawer since 2020, when due to the explosion of the pandemic the broadcast was stopped at the second episode without returning to the air, “La Corrida” has reappeared on television with unexpected freshness. Amadeus, fresh from the disappointments of “Chissà chi è”, showed himself to be truly amused in the new context, giving his own touch of identity to the reactions from the stool. His faces and expressions never mimicked those of Corrado. Not a trivial factor, since even a slight attempt at imitation would have signaled its failure.

In terms of ratings, this “Corrida” was neither a flop nor a triumph. He has traveled on the path of sufficiency, in a sort of perpetual limbo that cannot help but fuel regrets for what would have been, or could have been, in Rai. There would certainly be no shortage of spectators here and it wouldn’t even have been necessary to extend the show until midnight. Here is the only real flaw of this show, at the same time capable of finding a home in an era in which everything is “Corrida” and the infinite amateurs enjoy far more profitable moments of popularity elsewhere. Which is why, at first sight, the perception remains that they really had fun when competitors over 50-60 took to the stage. The only ones who now, in a world of social phenomena, still show a tangible touch of spontaneity.