In the end the Sanremo Festival is like a football match: there are favorites – often based on the curriculum, people willing to vote for them and the sensations of the press to listening – and some schemes To win, but in five episodes so many factors enter so that, really, everything can change. Because the Ariston, before a theater, is a television stage where the surrender that a song can have on the radio or on the disc is not the same one who has on stage, with the singer in the flesh and blood sings with dozens of cameras, strictly live and with the orchestra (even the arrangement, sometimes, changes). And then the presence of the public, the anxiety of breaking the ice, the simple profession that helps the most Scafati and betrays those who participate for the first time or is not so master of the vehicle. It was also seen in this early 2025 evening, where the premises of the eve are, in part, skipped.

The new favorites

Let’s start, however, from the certainties: Giorgia, at the top of the approval rankings for weeks, has come out better than everyone. And thank you, you say: he has style and charisma, he also knows the stains on the walls of the dressing rooms of the theater for how many times it has been there and in addition he has a voice that many colleagues dream of; It seemed at ease, impeccable and magnetic, all the more after a string of competitors who have been the fee and, in turn, enhanced it. But the road is long, because The cure for me He does not have the Vibes as a winner already announced of Two lives by Marco Mengoni e Chills by Mahmood and Blanco (who also signed his song). It will be seen. Instead he will not receive prizes – also because that of critics took it two years ago – Massimo Ranieri, however, also here, That dominance on stage. Experience always pays.

On purpose. It will be that they are in the third Sanremo, but they grow, and also a lot, the coma things, that to enhance the tip of Hearts There are a ballet that looks like a cross between the rich and poor and a cyber-punk version of those you find on Tiktok, and which in such a context is a turning point. They didn’t even beat their feet, in terms of performances, with the previous ones Farewell And Flames in the eyeso welcome. Even Olly, albeit with a song that perhaps suffers the generational gap, lively impacts more than on disk. And well Clara, more loose than the last edition, where she was a little plastered, a sign that she is getting confidence with the stage and that the tour of last autumn served it.

Then, Cristicchi stands out, with that tone of storyteller cut perfectly for TV, while Bruori Sas is less incisive, which stages self-irony (the only one!) And lightness, as well as an incredibly sober dress, But they are not always the right weapons here. Lucio Corsi, rather, is confirmed as an alien between makeup, glam dress and scenic presence refined in years of live, but the feeling is that he can do even more. Elodie also specifies, now matured as a pop star, even if Forget about 7 He needs various plays to impose himself and Sanremo is not always a good idea. Finally, winning the naturalness of Francesca Michielin and the class of Joan Thiele (and what a beautiful guitar), while the rest of the cast instead has spilled away without jolts, swallowed by the rhythms from the assembly chain of the show, without drops of style me without Not even leaving the mark. The news is that this speech also concerns Fedez, with a clean but quite transparent performance. Maybe.

Those to be reviewed

At the test of the stage, however, two of the most talked about the festival protagonists disappoint. Achille Lauro for the first time is among the eligible winners, Young unconscious It is among his most sanremese and better written pieces, but the feeling is that he has a little walked on the eggs, perhaps taken by the anxiety of not overdoing it or to burn such a gluttonous opportunity: when he had nothing to lose, as with Rolls Roycewas more brazen, now it seemed to the handbrake pulled, especially in the interpretation. It is likely that it will recover from the second time, and that it will go all the way. Instead betrays the live yield of Damme ‘na hand by Tony Effe, who in the studio – and also at the level of imaginary, atmosphere, text – has enormous potential, but remains a genre that the protagonist asks the protagonist very different from those to which he is used to (for example, here, there It is a sang refrain) and that live, you want for a form of discomfort, do not enhance it too much. But there will be time, here too, to make up for it.