The most awaited appointment of the Festival, the most beautiful tribute to music. Tonight the 29 big names performed in the covers of the Italian and international repertoire, rearranging cult pieces or simply by bringing them back on stage together with other musical guests. It is difficult not to be wide sleeve – as the ‘good’ ones say “the level was high” – but some insufficiency is very deserved.

A nice 10, equally deserved, to Geppi Cucciari – matrix of the evening – and Mahmood. The best co-account of this edition is theirs, it doesn’t even need to wait for the final with Marcuzzi and Cattelan to affirm it with absolute certainty. Returning to music, here are the report cards.

Rose Villain and Chiello, “Pink flowers, peach flowers”: 6 and a half

Interpretation in musical style, but very successful. A fresh version and peperina of the best Lucio Battisti, honored by two very different voices and together Ficcanti. Nice surprise.

Modà and Francesco Renga, “Angelo”: 6

Renga sings “Angelo” to Ariston twenty years after the victory and is even more cool. It was said. Kekko, excited, adds intensity to this song that is confirmed as a jewel of the Italian repertoire. They do their – with some imprecision – without adding more.

Clara and the flight, “The Sound of Silence”: 9

When you say “win easy”. A very powerful performance. Clara stands out with the voices of the three tenors, who tonight make his artistic godparents. The baptism of fire.

Noemi and Tony Effe, “everything else is boredom”: 6 and a half

The first 30 seconds all to check the golden necklace of Tony Effe, let’s say the truth. In fact, he was happier than having passed the checks behind the scenes with Rai officials than to sing. He could also avoid doing this favor. The power of Noemi is enough and advances for a piece like this. “Everything else is boredom”, in fact.

Francesca Michielin and Rkomi, “The new Broadway star”: 7

Romantic and exciting, perfect in this Valentine’s Day evening. The song remained as it is as the original of Cremonini, apart from the open “and” open of the Milanese Rkomi. Listen away from the Bolognese hills.

Lucio Corsi e Topo Gigio, “in the blue painted blue”: 8

Theatrical, poetic, elegant. Simply brilliant. And two (see record record records). Lucio Corsi’s choice to draw from tradition not only musical, but also television and popular national costume, demonstrates an attitude to research difficult to find today in a young artist. Irresistible performance that puts everyone in agreement.

Serena Brancale and Alessandra Amoroso, “If I Ain’t Got You”: 10

The blues voice of Serena Brancale, on the floor, quietly held up such a difficult piece, but the combo with the stamp and extension of Alessandra Amoroso makes everything even more perfect. Made in Puglia, New Orleans by adoption. A real talent tutorial.

Irama and Arisa, “Say Something”: 7 and a half

They are the friends who sing together with the karaoke because they know they are the best. Too concentrated on themselves, they come out little from the border of Bel Canto and the interpretation, albeit excellent, overall excites less than what he could have.

Gaia and Toquihno, “The desire and madness”: 4

Samba is back, but from Tony Effe a Toquihno the jump is dizzying. He looks like the song master of the parish, she is the diligent but still unripe a pupil. The song amuses and the musical arrangement is also beautiful, but together they don’t work. Male assorted as the last mines left in pastry on Sunday for lunch.

The Kolors and Sal da Vinci, “lipstick and coffee”: 7 and a half

It is the moment Spanish neighborhoods. The Ariston becomes Nennella, only Di Maio is missing who makes the Angel’s flight and then there are all. Stash adds a punk splash to this neo -melodic hit, objectively irresistible. And so yes “I know ‘Ripigliat’ all that is ‘or lor'”.

Marcella Bella and Twin Violins, “The emotion has no voice”: 7

Marcella wants the scene and takes it. The two violinists are the background to an interpretation of the first woman, and what a woman. All the intensity he has put on has pierced the screen. A lady on the stage.

Rocco Hunt and Clementino, “Yes I Know My Way”: 7 and a half

This habit of the Neapolitans to always mate each other when it comes to singing, it is a bit of a return to middle school parties, when we divided strictly between males and females. The duet, however, is winning. Of “Yes I know my way” there is only the refrain and the exciting voice of Pino Daniele on the ending. The rest is a freestyle that breaks. Among the most original gifts ever seen.

Francesco Gabbani and Tricarico, “I am Francesco”: 5

The teacher remained “whore”, the song instead was completely distorted and is lost a little, decelera and regains power only on the ending. Troops and cut the children on stage. The most beautiful thing to review Tricarico in Sanremo.

Giorgia and Annalisa, “Skyfall”: 10

Adele would pale in front of such an excellent performance. Chills for these queens of vocality, so perfect that they seem programmed with artificial intelligence. The first of the class, and also nice.

Simone Cristicchi and Amara, “La Cura”: 8

If so far in Cristicchi he has reproached him for not singing, tonight he took a good revenge. The interpretation of this Battiato masterpiece together with Amara, his partner, is of a unique intensity. The Valentine’s Day manifesto in Sanremo.

Sarah Toscano and Ofenbach, “Overdrive”: 7

An injection of energy and internationality. More than in Sanremo it seems to be in a Berlin underground club. Sarah Toscano from soloist to Frontwoman without batting an eyelid. The redemption of the twenty -year -olds at 10 minutes of VAT Zanicchi the night before.

Coma_cose and Johnson Righeira, “Summer is ending”: 8 and a half

A timeless song, like the unmistakable voice of Johnson Righeira, who together with the coma_cose gives an irresistible version. Certainly also danced Gigio in the Camerino.

Joan Thiele and Frah Quintale, “What’s”: 5

The piece is a cult, brave the arrangement, even if a little alienating. Bravi together, for heaven’s sake, but what a boredom.

Olly and Goran Bregovìc, “The fisherman”: 8

Olly goes on the safe side with one of De Andrè’s most beautiful and loved pieces, and it is not wrong. Exciting the a cappella attack. The original arrangement, a little ‘Balcano’, is overwhelming and gives a new life to the song, in the wake of Alfa last year with “Dream, boy, dreams”. Goran Bregovìc next to him almost disappears. A great scenic presence.

Elodie and Achille Lauro, “hand by hand” https://www.today.it/ “City city”: 9

Elodie catches the ninety piece of this festival and shakes off that dance skin that does not always enhance it. In this pop-rock version it is irresistible. Achille Lauro a sacred monster of the stage. Very sensual, together they are pure passion. Aphrodisiacs.

Massimo Ranieri and Neri by chance, “When”: 5

“Gentlemen, it was an honor to play with you”. They look like the Titanic orchestra before sinking. Bravi eh, but out of time.

Willie Peyote, Ditonellapiaga and Tiromancino, “A small time”: 7

Fortunately, Franco Califano’s memory did not stop at Tony Effera tonight. Three voices so different for a wonderful song, valued even more by a splendid guitar solo by Federico Zampaglione.

Brunori Sas, Riccardo Sinigallia and Dimartino, “the year that will come”: 7 and a half

Lucio Dalla is like the ‘system’ to Superenalotto, it facilitates things but you still have to guess the right numbers. Brunori Sas does it, choosing these two very strong artists who come next to him an exemplary version of “the year that will come”.

Fedez and Marco Masini, “beautiful bitch”: 5

A hype that even when Costantino Vitagliano chose Alessandra Pierelli to men and women. “Bella bitch” original does not fight. This version with Fedez’s bars, strong and delicate at the same time, is not bad but does not leave its mark. As Funari said: “If one is an asshole, nun je then say it’s stupid, je must say that he is an asshole”. Masini leaves him almost all the space – or rather, the scene – to reveal what we have wondered for weeks. No, the song is not for Chiara Ferragni. A distorted hit in favor of gossip. Disappointing, like all things full of expectations.

Bresh and Cristiano De Andrè, “Crêuza de Mä”: 8

It is the most disfigured performance of the evening, between technical problems and sprouted microphones, but we go further. Too bad to see little (and nothing) Cristiano De Andrè on important stages. The tribute to the father, with Bresh, is deeply touching as well as wonderful. Olga Fernando would have been useful for the translation from Ligurian, but we also get excited without understanding anything.

Shablo, Guè, Joshua, Torment and Neffa, “Amor de Mi Vida” https://www.today.it/ “Waiting for the sun”: 7 and a half

Hip hop to be breathed with full lungs. Two cult pieces of the Italian Urban Panorama masterfully rearranged. I would have wanted them to all as a high school companions during self -management. Undisputed neffa king.