The artistic commission of San Remo 2015

In the multimedia world, it is not just the compositional aspect that matters, and since it is a television show (I mean San Remo), I think a broad-spectrum evaluation is also warranted.

Almost always Sanremo is anything but music. Anyway, I think there can be a certain musical sensitivity regardless of one's specialization (if one possesses it) or the work one does; then, it is certainly beyond doubt that on many occasions, songs were "chosen" to be set on fire.

the pop world is also made of spectacle. That being said, I doubt that the selection of songs for Sanremo presupposes specifically musical abilities... I have never heard of songs rejected by Sanremo that then turned out to be something beautiful. At the festival, they know which songs are good, they choose them, and then the public makes them finish last

thallo wrote:

... I doubt that the selection of Sanremo songs presupposes specifically musical abilities ...

in fact ... we are at the current point precisely because of this.

thallo wrote:

... at the festival they know which songs are beautiful ...

Maybe they know which ones can sell more ...

There have been truly beautiful songs, even last year if you look at those by Renzo Rubino, but unfortunately the majority doesn't have to be beautiful or well-made, it has to sell.

thallo wrote:

... I have never heard of songs rejected by Sanremo that then turned out to be something beautiful ...

Perhaps because the artists refused to participate ...

I hear talk of an expert music jury at Sanremo; the only person involved in the work is Andrea Mirò, the others wouldn't be able to tell a piano from a sideboard. Unfortunately, I define "experts" in a subject as people who study and practice it for years. But I am certainly wrong.

True..The only expert person there is the one who didn't speak..Andrea Mirò

Good morning everyone

during the Sanremo festival period, these "considerations" have usually become a bit of a copy/paste from recent years.

However, let's try to do a small analysis together. Simplistic perhaps, but I hope effective.

The Sanremo Festival (not the festival of the best Italian music) has always set itself the goal of recreating a "social" showcase, rather than a musical one, where, thanks to the "pretext" of light music, the spotlight is turned on the nation. It is no coincidence that, as usual, every year actors, important personalities from social spheres different from musical ones, etc., etc., are present at the festival.

Ergo, by definition, music is a nice pretext but nothing more. Among others, I add that the music that has always provided the backdrop to this "social showcase" has never and I repeat, NEVER been "new," "experimental," or of whatever artistic level. By definition, the song that wins is the one that is learned while listening. In essence, the festival has never been intended to launch "new music" but rather the "new little song." It is no coincidence that the greatest successes, those that lasted over time and then constituted the "history" of Italian music, were the ones that were less "intuitive" (let's put it this way), those that at first impact do not stay in your head because they are "new" and must settle into the musical culture.

In short, the simple and "banal" little song has won (not in a derogatory sense but in the literal sense of the term).

This is the goal of the festival and this year, more than ever, I believe it has succeeded.

Socially speaking, there are still some points in its favor: Italian guests who are mostly singers and actors or important entrepreneurs or positive examples of a declining country like the doctor from Emergency (and not the old overpaid foreign guests... I remember a year with Mike Tyson... Damn, what did he have to do with the Festival? I don't know) and Italian showgirls, and moreover, singers from previous editions of Sanremo.

Come on, occasionally something good.... let's say it.