It is officially the festival of hearts, the one that marks Carlo Conti’s return to the artistic direction. And not only because this is the title of the song with which those nice ruffians of the coma things are competing. But because the love songs are protagonists, leaving social criticism just mentioned by the very digestible “Thanks but no thanks” by Willy Pejote (“There are those who lost their memory and would like him to return, as if that were not enough”, sings in the peak of maximum corrosiveness). Innocent but powerful evasions from the theme only with Fedez, who speaks of depression, with Simone Cristicchi, moved in telling the mother’s illness and with Lucio Corsi, who signs a kind of life as a median in delicate songwriter key. Yesterday the first evening, with accounts called to the challenge to take over from the three lucky Amadeus targate editions. “But it’s very calm, he puts us at ease,” the collaborators behind the scenes say about him. The painful monologues (thanks, Carlo) abolished, the ceremonial is marked by the reassuring CONTIANA conduction.

Mint that Gerry is there

The Conti protocol is so punctual that the role of loose threatening is up to Scotti. Promoted with flying colors, the cobbler is dissolved as if it were any evening of “free fall”. He immediately makes his stage. It starts doing some cat-calling to Antonella Clerici, when the latter descends the stairs wrapped in a very squeezed silver dress, then reproaches Rkomi who arrives on stage with a bare chest: “Put the Health T-shirt, otherwise it will come to you The Squaraus, “he says with a Milanese slip that immediately makes Cologno Monzese. Finally he runs to embrace Elodie: “I made a bet at the bar”, he shouts bringing a little good -natured machismo on stage. However, we would have liked to see a tribute to his first great love on stage: the radio. A lost opportunity, too bad.

Antonella Clerici knows of sauce, fortunately

Antonella Clerici co -presents at the time of artificial intelligence. Waped in a dress literally studded with silver sequins, with the claustrophobic compressed décolleté, it looks like a jets’ cartooner. “Do you have glasses to use a welder?” Asks Gerry on balance. His family management is a certainty: a pampering for the public. He is moved in the memory of Fabrizio Frizzi, his great friend of his and accounts. But then he pulls an arrow in Ligabue: “Since they say I know of sauce, I brought two trofie,” he says, entering with a plate of pasta in hand. The reference is to an old controversy with the songwriter of Correggio. True, we like it.

A festival blessed by the Pope

Noa and Mira Awad, singers respectively Israeli and Palestinian, sing “image” for peace. The Pope joins the appeal, sending a surprise video-pressure. It is the first time in the story that appears to Sanremo (and there is not even Fabio Fazio nearby). Instead, the mass is electrifying that reads outside the Ariston Jovanotti: it fills the square in front of the theater with a gang that plays its biggest successes. A show for the eyes.

Standing ovation for Cristicchi, Coma Cute things Ruffiani

Musically, the evening opens with an emotional swing. “Although the world collapses, a sofa and a phone collapses are the tomb of love”, they sing the coma things, targeting likes on social media. Their performances are always a small happy and this time they do not disappoint. But the criticism is a little ruffian in its rhetoric, although perhaps for this winner: it will be the catchphrase that you will hear tomorrow at the bar (of course, it is a bit a contradiction to criticize social media looking for virality. But so much).

But now just laugh. Simone Cristicchi arrives on stage, who here gave us the poetry of the unforgettable “I will give you a squad” in 2007. He returns after fifteen years to leave his mark: standing ovation for his “when you are small”, dedicated to the sick mother. To be clear: “When you are little, I will help you understand who you are/ I will be close to you as I have never done/ we will slow down if I will walk fast/ I will speak in your place if your voice stops/ we will play to remember how many children you have/ that you are Born on March 20, ’46/ if you ask you the reason for that ring on the finger/ I will tell you about my father or your husband “.

Sanremo, standing ovation for Simone Cristicchi: the video to review the performance

The festival of sad hearts. Everyone cry a love, nobody celebrates it

But the leitmotif of this festival are the broken hearts. Infranto is the heart of Achille Lauro, here at the height of his rebirth: after years in which his character seemed a little overexposed, he took a break and has now returned with a very credible relaunch. First “X Factor”, then the success of “desperate love”. Equally desperate is “young unconscious”, poignant with his sandy voice and melancholy of the final sax. Tormed by love is also Olly, favored at the podium and horse on which the Scuderia de la Tharma points this year (not any management, if you think it is the same that in recent years has brought the winners Angelina, Marco Mengoni here and the Maneskin). Giorgia is simple and beautiful: simply displaces with the only use of the voice, enhanced by the song written by Blanco. Blanco also signs the song of Noemi, together with Mahmood and Michelangelo. Lucio Corsi and Bruori are the only ones who write the song alone. Serena Brancale is an artist: he sings in Apulian dialect, he plays, brings his histrionic personality to the stage. He is the only one to bring an cheerful love song, who makes you want to fall in love. What remains of rap is instead in the hands of Shablo feat gue, Joshua and torment.

Chapter Fedez

Let’s move on to the Fedez chapter. And here you need a premise. In fact, there is always a dichotomy that animates us in judging Fedez. On the one hand, a maternal tenderness in seeing him so agitated to the test of the stage, so sweaty and trembling while he holds the microphone in his hand. On the other, the ruthlessness in the inevitable judgment if you think of the equally ruthless machine that is capable of setting up to attract media attention on itself: its wrongdoings, told by Fabrizio Corona, have monopolized the attention of the pre- festival. We therefore go out from Cul-de-Sac Returning to the song, because in the end we are in Sanremo: the theme of mental health is now media obsolete, perhaps out of time, but the song is well written and well arranged. Many may find us comfort. And this matters. Vocally it is among the few to still abuse the self -powers, the words are chewed. He leaves the stage making a sigh of relief.

Tony the forced Stornellator (with a beautiful song)

Tony Effe on the Mannarino -style stage, with a Roman Stornello revisited in a digestible pop key. White smocking is instead a tribute to an equally powerful Roman tradition: the forced world. In the text “He only loves his mother Annarita”, he cries “for a cruel woman”. “I get up my hands then you want to apologize,” he says. In short, if you have not understood it: it is here to make you forget the controversies on the sexist songs.

Marcella Bella Cartoon, the most crunch refrain is by Rose Villain

Postponed to September Gaia: here called to the test by the early evening showgirl, it is planted by emotion. There is to understand her: the burden of opening the evening to her. At the moment the melted and samba melted twerk is just a memory, but the voice is there. The Più Crging Rose Villain prize wins the refrain prize: “If you think you were a crime, I would be outlawed”. Postponed to a later date Marcella Bella, who improvises a feminist passage: “Strong, tough, independent. I don’t touch anything, “he shouts on stage. He believes it, but the result has parodic tones: it looks like the abbreviation of a cartoon starring an inflexible super-heroine.