Sanremo Festival
The Festival della Canzone Italiana (translated "Festival of Italian Song / Italian Popular Music ") is a large music competition in the Ligurian city of Sanremo and is usually referred to as the Festival di Sanremo ( Sanremo Festival ) after its venue . It is the most important music competition in Italy and the oldest pop music competition in Europe. The festival , launched in 1951, was the inspiration for organizing the Eurovision Song Contest ; Most of the Italian ESC contributions come from the context of the Sanremo Festival.
The festival is organized by the public broadcaster Rai - Radiotelevisione Italiana (Rai) and takes place once a year. It is currently broadcast on five evenings from Tuesday to Saturday in mid-February.
history
Initiative and background
At the end of the Second World War , after the fascist dictatorship, Italian politics endeavored to renew the international presentation of the country, which not least consisted of promoting culture, artistic quality and technically advanced media. In the Ligurian city of Sanremo , a commission was set up to work out cultural initiatives in connection with the local casino for the community - especially to promote tourism in an otherwise dead time (February). The socialist and jazz lover Amilcare Rambaldi , who was part of this commission, then tried to initiate a jazz festival. However, the idea was only taken up again after the city transferred the rights of use of the casino to the industrialist Pier Busseti. In 1947 he entered into a collaboration with the state broadcaster Rai in order to be able to broadcast the planned song festival (there was no longer any talk of jazz) live on the radio.
Was the initial idea Rambaldi created before a socialist background, Rai had with program director Giulio Razzi (which should take over the organization of the festival) is now very different political intentions: The intention was on the one hand by the Sanremo Music Festival, the individuality of the Italian song to revive and to free it from international influence by going back to the Neapolitan folk music and the opera tradition , on the other hand to overcome regionalism and create a kind of all-Italian popular music. This became clear not least in the full name of the event: Festival della Canzone Italiana - “Festival of the Italian Song” - di Sanremo .
The 1950s
On January 29, 1951, moderator Nunzio Filogamo opened the first edition of the festival , which was broadcast live on the radio from the ballroom of the casino. Three interpreters ( Nilla Pizzi , Achille Togliani and the Duo Fasano ) took turns performing the 20 new songs written for the competition. After three days, Grazie dei fior by Nilla Pizzi was voted the first Sanremo winning song by the audience in the hall. But neither the press nor music criticism paid much attention to the event, and the audience in the hall showed little interest in the performances. This changed as early as the second edition when, for example, the dining tables disappeared from the hall and interest from the music publishers had increased significantly. This year Nilla Pizzi won again, this time with Vola colomba , where she took second (with Papaveri e papere ) and third place (with Una donna prega ) at the same time .
From the festival in 1953 , the rule of double interpretation was introduced, whereby each song had to be sung in competition by two interpreters in two different arrangements. Two different orchestras were used for this purpose, a “classical” one (that year under the direction of Cinico Angelini ) and a “modern” one (1953 under the direction of Armando Trovajoli ). Sanremo 1955 was the first edition to be broadcast live on television (in addition to radio broadcasting), with the final evening in Eurovision . The following year , the six festival participants were previously selected through a newcomer competition in which 6,656 candidates took part. In the same year, the first edition of the Eurovision Song Contest took place in Lugano , which was inspired by the Sanremo Festival.
In the early years, the musical tradition dominated, characterized by rhetoric and patriotism as well as topics that move in the close complex of God, fatherland and family. But already with Nilla Pizzis Papaveri e papere (today interpreted both as a criticism of politicians of the ruling Democrazia Cristiana and as an indictment of the subordinate role of women at that time) and then with Canzone da due soldi by Katyna Ranieri (1954) a new one came Kind of song that stood out from the usual Schnulzen and was more sociable and cheerful. In the 1958 festival , with the victory of Domenico Modugno (and Johnny Dorelli ) with the contribution Nel blu dipinto di blu , a new phase of the festival and of Italian popular music as a whole began: songwriters and performers were no longer strictly separated, and a new style developed of expression through performance. Singers called urlatori (“ screamers ”) like Modugno, Adriano Celentano or Tony Dallara put the expression of pain in their singing and wanted to achieve more spontaneity.
The 1960s
At the beginning of the 1960s, the collecting society SIAE suddenly prohibited its authors from participating in the Sanremo Festival, but very few adhered to this prohibition. This was followed by the so-called "Era Bongiorno" (1963–1967), during which Mike Bongiorno successfully moderated the festival and the selection of participants became more diverse, with the " screamers " (uraltori), including Domenico Modugno , Mina , Adriano Celentano or Bobby Solo counted, the cantautori like Gino Paoli or Umberto Bindi and the new beat bands . For the most part, however, the tradition prevailed at the festival, which was particularly evident in the 1964 festival , when Gigliola Cinquetti won with the melodious Non ho l'età (per amarti) , while Bobby Solo achieved the greatest sales success with Una lacrima sul viso .
The 1964 edition also sought to make the festival more international by inviting foreign participants (including Paul Anka , Gene Pitney , Ben E. King and Antonio Prieto ) so that each contribution always had to be interpreted by an Italian singer and a guest . With this step the aim was to contrast Italian and foreign singers and to try on the one hand to enrich Italian popular music and on the other hand to promote the export of Italian music production abroad. As early as 1966 in Sanremo , however, an international partner was no longer mandatory.
The mid-60s showed the first signs of social criticism and protest movements on the festival stage: 1966 presented Adriano Celentano Il ragazzo della via Gluck (without reaching the finals), 1967 ventured about Gianni Pettenati with La rivoluzione and I Giganti with La proposta to "Revolutionary" topics. But 1967 was primarily the year of the young singer-songwriter Luigi Tenco , which with amore Ciao, ciao did not reach the final and suicide committed a long nachwirkendes cultural trauma of Italian popular music. With this dramatic event, Mike Bongiorno's golden phase ended and the Sanremo Festival would never be the same again. Regardless of this, the 1968 festival , moderated by Pippo Baudo , succeeded in presenting the broadest possible picture of the Italian music scene. The winner was the Cantautore Sergio Endrigo , which could be seen as compensation for the departure and death of Luigi Tenco in the previous year. Furthermore, singers as diverse as Fausto Leali , Al Bano and Massimo Ranieri made their debut .
The 1970s
The three Sanremo editions 1969 (won by Iva Zanicchi and Bobby Solo with Zingara ), 1970 (won by Adriano Celentano and Claudia Mori with Chi non lavora non fa l'amore ) and 1971 (won by Nada and Nicola Di Bari with Il cuore è uno zingaro ) and the great festival successes of Lucio Dalla (1971 with 4/3/1943 and 1972 with Piazza Grande ) and Roberto Vecchioni (1973 with L'uomo che si gioca il cielo a dadi ) could not hide the fact that the event was in a crisis. From 1973, the Rai only broadcast the finals on television and interest abroad seemed to be limited to the Eastern Bloc and post-fascist countries that followed the festival via Eurovision. At the same time, the level of content decreased and stereotypes from Italian erotic comedies of the time were increasingly played with. The 1975 edition is considered a low point in this regard. The 1979 festival , won by the totally unknown Mino Lustaghi , also hit a commercial low.
At the same time, a lot of new things were tried out during this time. From 1972 the rule of double interpretation fell away, and the songs were assigned to a fixed performer again. In 1974 the 28 participants were divided into two groups, one of which (the newcomer) had to qualify for the final; in addition, only the winning entry was announced and no further places. In 1976 the participants were even divided into five groups, each with two group leaders (who automatically qualified for the finals); Another decisive change was the elimination of the orchestra, which meant that the contributions were only presented in half playback . In 1977 there were only twelve entries and thus no groups or qualifications; In 1978, however, the participants entered the race in three groups, of which only the winner reached the final round. In 1977, after 26 years in the casino, the festival was moved permanently to the Ariston Theater as the casino was being rebuilt.
The 1980s
A new start was attempted with the 1980 festival . The moderator couple from Roberto Benigni and Olimpia Carlisi got a much more active role in the event, the division into newcomer and main category with different final qualifications was reintroduced and the orchestra was again abolished (in the further course of the decade they even switched to full playback at times) . In 1982 the Critics' Prize was introduced, with which one recognized the difference between the broad public taste and the “taste niches”. The Rai again increasingly took the initiative in the organization of the festival, which experienced a new high phase with the "first Baudo era" under moderator Pippo Baudo 1984–1987. Under Baudo, for example, day-to-day events were given more space on the festival stage, and in 1984 the newcomer category was finally institutionalized, which, in contrast to previous practice, provided for a separate competition. In addition, the festival was extended to four evenings from 1987.
In spite of everything, many big names in Italian popular music from the 1970s stayed away from the festival or took part as guests or simply as authors. For example, older stars from the 60s and early 70s (such as Iva Zanicchi , Peppino di Capri , Bobby Solo and Fred Bongusto ), singers who wanted to get a battered career going again, met on the stage of the Ariston Theater (see above ) Loredana Bertè , Donatella Rettore , Alan Sorrenti , Renato Zero , Anna Oxa or Raf ) and a few other names firmly associated with the Sanremo Festival ( Matia Bazar , Fiordaliso or Riccardo Fogli ).
With the exceptions Alice (winner 1981 with Per Elisa ) and Eros Ramazzotti (winner 1986 with Adesso tu ), the festival was mainly won by well-known singers, who in most cases had already completed the most important part of their careers. Al Bano & Romina Power won the festival in 1984 , Ricchi e Poveri in 1985 , Gianni Morandi , Enrico Ruggeri and Umberto Tozzi in 1987 , Massimo Ranieri in 1988 and Anna Oxa and Fausto Leali in 1989 . In those years, the vote was taken by the television audience, who were able to cast votes for their favorite contributions across Italy using totip tickets (actually intended for horse racing ). But even after the juries returned, little changed on the podium: in 1990 the band Pooh won , in 1991 Riccardo Cocciante . However, the festival was also able to launch some singers who - after mixed results at the festival - became unexpectedly successful and never returned to Sanremo, such as Vasco Rossi , Jovanotti and Zucchero .
The 1990s
In the 1990s, the Sanremo Festival in Italy became a fixed point in society again, which was reflected in the catchphrase Perché Sanremo è Sanremo ("because Sanremo is Sanremo"; official motto of the 1995 and 1996 editions ). In the Sanremo Festival in 1990 , not only the (demoscopic) juries returned, but also the orchestra (i.e. the live music) and, for a short time, the international participants. Two years later, Pippo Baudo took over the moderation again (from 1994 also the artistic director for the first time), while the competition reintroduced an elimination procedure in the main category (from 1995 the festival also lasted five instead of four evenings). This worked to the advantage of many newcomers, such as Laura Pausini (newcomer winner 1993 and third place in 1994 ), Biagio Antonacci , Andrea Bocelli and Giorgia (winner 1995 ). In line with this desired rejuvenation of the festival, from 1995 onwards the best placed in the newcomer category were also automatically admitted to the main category. This initially turned out to be a good choice after Giorgia won, but in the years that followed, this arrangement helped less successful participants such as Jalisse ( 1997 ) and Annalisa Minetti ( 1998 ) to victory even after the festival . The 1998 edition in particular was another low point for the festival from a commercial point of view.
The new millennium
At the turn of the millennium, attempts were made by the festival to involve independent music production more. But even this did not stop the steady decline in audience numbers, which in 2004 ended in the humiliation that a competing program ( Grande Fratello on Canale 5 ) was able to overtake the festival (organized by Tony Renis ) in at least one evening in terms of ratings, not least of all because of the boycott of several major labels and a musical counter-event in Mantua . But the event recovered in the following years at the latest with the successful 2007 edition (with Pippo Baudo). Despite the declining public interest and constant polemics, the Sanremo Festival was able to establish itself more and more in the new millennium as a stage on which aspiring newcomers could find their way to success, including Dolcenera (winner of Destinazione Sanremo 2002), Sergio Cammariere (third place Sanremo 2003 ), Povia (Winner 2006 ), Francesco Renga (Winner 2005 ), Tricarico (Winner of the Critics' Prize 2008 ), Arisa (Winner SanremoLab 2008, Newcomer Winner Sanremo 2009 and Winner 2014 ), Paolo Meneguzzi , Irene Fornaciari or Sonohra (Newcomer Winner 2008).
When Marco Carta , who had previously won the casting show Amici di Maria De Filippi in 2008, won the Sanremo Festival in 2009 , and the same was repeated in 2010 with the victory of Valerio Scanu ( Amici - runner-up in 2009), the “new stages “Of the casting shows (besides Amici especially X Factor ) with the festival. This development caused a lot of criticism, not least because Amici was a program of the media group Mediaset , which belonged to the then Prime Minister Silvio Berlusconi and which was accused of having "bought" the Sanremo Festival. In the following years a large number of former casting show participants met on the festival stage, including Giusy Ferreri (X Factor 2008), Noemi (X Factor 2009), Marco Mengoni (X Factor winner 2010, Sanremo winner 2013), Emma Marrone (Amici-winner 2010, Sanremo-winner 2012), Annalisa (Amici 2011) or Francesca Michielin (X-Factor-winner 2012). Examples of Sanremo discoveries that were not previously “filtered” by casting shows in these years are, however, Malika Ayane (Sanremo 2009) and Nina Zilli (Sanremo 2010).
Overview of the events
winner
The most victories, four each, went to Claudio Villa and Domenico Modugno ; the singer with the most victories is Iva Zanicchi (three). So far, only Nilla Pizzi (1952) and Domenico Modugno and Johnny Dorelli (1959) have defended their title .
Critic award
The Critics' Prize has been awarded since 1982, and since 1996 it has borne the full name of the Premio della Critica del Festival della Canzone Italiana “Mia Martini” as a dedication to the first prize winner, who died in 1995. Mia Martini, together with Patty Pravo and Daniele Silvestri, also holds the record for most awards with the Critics' Prize (three). Among the newcomers, Paola Turci also received the award three times (if both newcomer categories of the 1989 festival are taken into account).
| year | Main category | Newcomer category (from 1984) | ||
|---|---|---|---|---|
| Performer (s) | song | Performer (s) | song | |
| 1982 | Mia Martini | E non finisce mica il cielo | ||
| 1983 | Matia Bazaar | Vacanze romane | ||
| 1984 | Patty Pravo | Per una bambola | Santandrea | La fenice |
| 1985 | Matia Bazaar | souvenir | Cristiano De André | Bella più di me |
| mango | Il viaggio | |||
| 1986 | Enrico Ruggeri | Rien ne va plus | Lena Biolcati | Grande grande amore |
| 1987 | Fiorella Mannoia | Quello che le donne non dicono | Paola Turci | Primo tango |
| 1988 | Fiorella Mannoia | Le notti di maggio | Paola Turci | Sarò bellissima |
| 1989 | Mia Martini | Almeno tu nell'universo | Mietta | Canzoni |
| ( Paola Turci ) | (Bambini) C | |||
| 1990 | Mia Martini | La nevicata del '56 | Marco Masini | Disperato |
| 1991 | Enzo Jannacci | La fotografia | Timoria | L'uomo che ride |
| 1992 | Nuova Compagnia di Canto Popolare | Pe 'dispietto | Aeroplanitaliani | Zitti zitti (Il silenzio è d'oro) |
| 1993 | Cristiano De André | Dietro la porta | Angela Baraldi | A piedi nudi |
| 1994 | Giorgio Faletti | Signor tenente | Baraonna | I giardini d'Alhambra |
| 1995 | Giorgia | Come saprei | Gloria | Le voci di dentro |
| 1996 | Elio e le Storie Tese | La terra dei cachi | Marina Rei | Al di là di questi anni |
| 1997 | Patty Pravo | ... E dimmi che non vuoi the | Niccolò Fabi | Capelli |
| 1998 | Piccola Orchestra Avion Travel | Dormi e sogna | Eramo & Passavanti | Senza confini |
| 1999 | Daniele Silvestri | Aria | Quintorigo | Rospo |
| 2000 | Samuele Bersani | Replay | Jenny B. | Semplice sai |
| Lythium | Noël | |||
| 2001 | Elisa | Luce (tramonti a north est) | Roberto Angelini | Il signor Domani |
| Francesco Renga | Raccontami ... | |||
| 2002 | Daniele Silvestri | Salirò | Archinuè | La marcia dei santi |
| 2003 | Sergio Cammariere | Tutto quello che un uomo | Patrizia Laquidara | Lividi e fiori |
| 2004 | Mario Venuti | Crudele | ||
| 2005 | Nicola Arigliano | Colpevole | ||
| 2006 | Noa , Carlo Fava and Solis String Quartet | Un discorso in generale | ||
| 2007 | Simone Cristicchi | Ti regalerò una pink | Fabrizio Moro | Penza |
| 2008 | Tricarico | Vita tranquilla | Frank Head | Para parà ra rara |
| 2009 | After hours | Il paese è real | Arisa | Sincerità |
| 2010 | Malika Ayane | Ricomincio da qui | Nina Zilli | L'uomo che amava le donne |
| 2011 | Roberto Vecchioni | Chiamami ancora amore | Raphael Gualazzi | Follia d'amore |
| 2012 | Samuele Bersani | Un pallone | Erica Mou | Nella vasca da bagno del tempo |
| 2013 | Elio e le Storie Tese | La canzone mononota | Renzo Rubino | Il postino (Amami uomo) |
| 2014 | Cristiano De André | Invisibili | Zibba | Senza di te |
| 2015 | Malika Ayane | Adesso e qui (nostalgico presente) | Giovanni Caccamo | Ritornerò da te |
| 2016 | Patty Pravo | Cieli immensi | Francesco Gabbani | Amen |
| 2017 | First meta | Vietato the | Maldestro | Canzone per Federica |
| 2018 | Ron | Almeno pensami | Mirkoeilcane | Stiamo tutti bene |
| 2019 | Daniele Silvestri | Argentovivo | ( Federica Abbate ) | (Finalmente) D |
| ( Mahmood ) | (Gioventù bruciata) D. | |||
| 2020 | Diodato | Fai rumore | Eugenio in Via Di Gioia | Tsunami |
meaning
Internationally successful participants
Nowadays the Sanremo Festival has only a national meaning in Italy. In the past - most clearly in the 1950s and 1960s - the festival produced numerous world hits, the interpreters of which became international stars. Examples:
- Nel blu dipinto di blu by Domenico Modugno (1958)
- Piove (Ciao, ciao bambina) by Domenico Modugno (1959)
- Al di là by Betty Curtis (1961) - also in the version by Emilio Pericoli
- Non ho l'età by Gigliola Cinquetti (1964)
- Se piangi, se ridi by Bobby Solo (1965)
- Adesso tu by Eros Ramazzotti (1986)
Participation of international stars in the 1960s
Numerous foreign stars took part in the competition:
- Frankie Laine - 1964 with Una lacrima sul viso , in the final (team partner of Bobby Solo )
- Peter Kraus - 1964 with Piccolo piccolo , did not qualify for the final (team partner of Emilio Pericoli )
- Peggy March - 1964 with Passo su passo , not qualified for the final (team partner of Claudio Villa )
- Gene Pitney - 1964 with Quando vedrai la mia ragazza , in the final (team partner of Little Tony ), and E se domani , not qualified for the final (team partner of Fausto Cigliano ); 1965 with Amici miei , in the final (team partner of Nicola Di Bari ); 1966 with Nessuno mi può giudicare , 2nd place in the final (team partner of Caterina Caselli ); 1967 with La rivoluzione , 14th place in the final (team partner of Gianni Pettinati ) and with Guardati alle spalle , not qualified for the final (team partner of Nicola Di Bari)
- Connie Francis - 1965 with Ho bisogno di vederti , 5th place in the final (team partner of Gigliola Cinquetti ) and 1967 with Canta ragazzina , not qualified for the final (team partner of Bobby Solo)
- Petula Clark - 1965 with Invece no , 6th place in the final (team partner of Betty Curtis )
- Udo Jürgens - 1965 with Abracciami forte , 2nd place in the final (team partner of Ornella Vanoni ) and 1968 with Per vivere , not qualified for the final (team partner of Iva Zanicchi )
- Dusty Springfield - 1965 with Tu che ne sai , not qualified for the final (team partner of Fabrizio Ferretti ) and with Di fronte all'amore , not qualified for the final (team partner of Gianni Mascolo )
- Françoise Hardy - 1966 with Parlamenti di te , 14th place in the final (team partner of Edoardo Vianello )
- Dalida - 1967 with Ciao, amore ciao , not qualified for the final (team partner of Luigi Tenco )
- Cher - 1967 with Ma piano (per non svegliarti) , not qualified for the final (team partner of Nico Fidenco )
- Dionne Warwick - 1967 with Dedicato all'amore , not qualified for the final (team partner of Peppino di Capri ) and 1968 with La voce del silenzio , 14th place in the final (team partner of Tony Del Monaco )
- Louis Armstrong - 1968 with Mi va di cantare , 13th place in the final (team partner of Lara Saint Paul )
- Paul Anka - 1968 with La farfalla impazzita , not qualified for the final (team partner of Johnny Dorelli )
- France Gall - 1969 with La pioggia , 6th place in the final (team partner of Gigliola Cinquetti)
Preliminary decision for the Eurovision Song Contest
From 1956 to 1966, the festival also served to determine the Italian contribution to the Eurovision Song Contest . From 1967 to 1997 the festival only played a role in determining the Italian contribution in 1972 and 1997. After Italy had stopped taking part in 1997, it returned to the European competition in 2011, with the Sanremo Festival again playing an important role in the selection of the Italian candidate for the ESC. From 2011 to 2013, the Rai internally selected the candidate from among the participants in the Sanremo Festival. From 2015 it was determined that the winner of the festival automatically receives the right to participate in the European competition. Only in 2016 did the Sanremo winners Stadio refuse to participate, so that the runner-up Francesca Michielin moved up with her song No Degree of Separation .
literature
- Eddy Anselmi: Festival di Sanremo. Almanacco illustrato della Canzone Italiana . Panini, Modena 2009, ISBN 978-88-6346-229-6 .
- Eddy Anselmi: Il Festival di Sanremo. 70 anni di storie, canzoni, cantanti e serate . DeAgostini, Milan 2020, ISBN 978-88-511-7661-7 .
- Adriano Aragozzini: Enciclopedia del Festival di Sanremo. L'Italia della musica e del costume . Rai Eri, Rome 2013, ISBN 978-88-397-1601-9 .
- Gianni Borgna: L'Italia di Sanremo . Arnoldo Mondadori Editore, 1998, ISBN 88-04-43638-7 .
- Leonardo Campus: Non solo canzonette. L'Italia della Ricostruzione e del miracolo attraverso il Festival di Sanremo . Le Monnier, 2015, ISBN 978-88-00-74475-1 .
- Serena Facci / Paolo Soddu: Il festival di Sanremo. Parole e suoni raccontano la nazione . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 .
- Gigi Vesigna: Sanremo è semper Sanremo. I 50 anni del festival più famoso del mondo . Sperling & Kupfer, Milan 2000, ISBN 978-88-86845-75-5 .
- Gigi Vesigna: Vox populi. Voci di sessant'anni della nostra vita . Excelsior 1881, Rome 2010, ISBN 978-88-6158-140-1 .
Web links
supporting documents
- ^ A b Franco Fabbri: Foreword. War without Tears: European Broadcasting and Competition . In: Dafni Tragaki (Ed.): Empire of Song: Europe and Nation in the Eurovision Song Contest . Scarecrow Press, Lanham (Md.) Et al. 2013, ISBN 978-0-8108-8699-5 , pp. x .
- ^ Festival di Sanremo 1951. In: Sorrisi.com. January 27, 2015, accessed August 2, 2019 (Italian).
- ↑ Irving Wolther: “Battle of Cultures”: the “Eurovision Song Contest” as a means of national-cultural representation . Königshausen & Neumann, Würzburg 2006, ISBN 978-3-8260-3357-5 , Das Festival della Canzone Italiana, p. 32-36 .
- ^ Gianni Borgna: La grande evasione . Savelli Editori, Perugia 1980, pp. 34-35, 37 .
- ^ A b Gianni Borgna: La grande evasione . Savelli Editori, Perugia 1980, pp. 38 .
- ^ Gianni Borgna: Storia della canzone italiana . Laterza, Bari / Rome 1992, ISBN 88-04-35899-8 , pp. 209-211, 432 .
- ↑ Felice Liperi: Storia della canzone italiana . 2nd Edition. Rai Eri, Rome 2011, ISBN 978-88-397-1505-0 , pp. 163, 166 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 41 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 43-44 .
- ^ A b Gianni Borgna: La grande evasione . Savelli Editori, Perugia 1980, pp. 53 .
- ↑ Lugano 1956. In: ESC.tv. EBU , accessed on July 23, 2019 .
- ^ Gianni Borgna: La grande evasione . Savelli Editori, Perugia 1980, pp. 44-50 .
- ^ Gianni Borgna: La grande evasione . Savelli Editori, Perugia 1980, pp. 46 .
- ^ Leonardo Colombati: La canzone italiana, 1861-2011 . Mondadori, Milan 2011, ISBN 978-88-04-61013-7 , p. 537 .
- ^ Gianni Borgna: Storia della canzone italiana . Laterza, Bari / Rome 1992, ISBN 88-04-35899-8 , pp. 215 .
- ^ Gianni Borgna: La grande evasione . Savelli Editori, Perugia 1980, pp. 50 .
- ^ Gianni Borgna: Storia della canzone italiana . Laterza, Bari / Rome 1992, ISBN 88-04-35899-8 , pp. 225-228 .
- ↑ Felice Liperi: Storia della canzone italiana . 2nd Edition. Rai Eri, Rome 2011, ISBN 978-88-397-1505-0 , pp. 183-185 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 79 .
- ^ Ilaria Serra: Teaching Italy Through Its Music. The Meaning of Music in Italian Cultural History . In: Italica . tape 88 , no. 1 , April 1, 2011, ISSN 0021-3020 , p. 108 .
- ^ Gianni Borgna: La grande evasione . Savelli Editori, Perugia 1980, pp. 67 .
- ^ A b Gianni Borgna: La grande evasione . Savelli Editori, Perugia 1980, pp. 137 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 120-121 .
- ^ Gianni Borgna: La grande evasione . Savelli Editori, Perugia 1980, pp. 69-75 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 122-123 .
- ^ Gianni Borgna: La grande evasione . Savelli Editori, Perugia 1980, pp. 77-80 .
- ^ Gianni Borgna: La grande evasione . Savelli Editori, Perugia 1980, pp. 77 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 121 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 123 .
- ^ Gianni Borgna: La grande evasione . Savelli Editori, Perugia 1980, pp. 83-93 .
- ^ Gianni Borgna: Storia della canzone italiana . Laterza, Bari / Rome 1992, ISBN 88-04-35899-8 , pp. 330-331 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 145-147 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 153, 157-158 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 168 .
- ^ Gianni Borgna: La grande evasione . Savelli Editori, Perugia 1980, pp. 84 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 161 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 166 .
- ^ Gianni Borgna: La grande evasione . Savelli Editori, Perugia 1980, pp. 98, 100, 136 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 170 .
- ^ Gianni Borgna: La grande evasione . Savelli Editori, Perugia 1980, pp. 105 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 178-180 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 186 .
- ^ Gianni Borgna: La grande evasione . Savelli Editori, Perugia 1980, pp. 102-103 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 188 .
- ^ Festival di Sanremo 1979. In: Sorrisi.com. January 27, 2015, accessed July 27, 2019 (Italian).
- ^ Festival di Sanremo 1972. In: Sorrisi.com. January 27, 2015, accessed July 27, 2019 (Italian).
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 207, 314 .
- ↑ Sanremo sfratta il Festival 1977 . In: Stampa Sera . November 20, 1976, p. 2 ( archiviolastampa.it [accessed July 27, 2019]).
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 207, 217, 314 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 252 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 217-220, 311 .
- ↑ Antonio Mustara: Festival di Sanremo 1987. In: Sorrisi.com. January 27, 2015, accessed July 28, 2019 (Italian).
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 220-221 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 224-226, 234 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 223, 230-233 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 235-236 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 245 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 248-250 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 272-274 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 276-277 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 279-281 .
- ↑ Sanremo, crollano gli ascolti. Grande Fratello batte il Festival. In: Repubblica.it . March 5, 2004, accessed August 2, 2019 .
- ↑ Serena Facci / Paolo Soddu: Il festival di Sanremo . Carocci Editore, Rome 2011, ISBN 978-88-430-5272-1 , pp. 284 .
- ↑ Felice Liperi: Storia della canzone italiana . 2nd Edition. Rai Eri, Rome 2011, ISBN 978-88-397-1505-0 , pp. 581, 585-590, 634, 636 .
- ^ Goffredo Plastino: The Big Match: Literature, Cinema, and the Sanremo Festival Deception . In: Dafni Tragaki (Ed.): Empire of Song: Europe and Nation in the Eurovision Song Contest . Scarecrow Press, Lanham (Md.) Et al. 2013, ISBN 978-0-8108-8699-5 , pp. 109-110, 130-131 .
- ↑ Felice Liperi: Storia della canzone italiana . 2nd Edition. Rai Eri, Rome 2011, ISBN 978-88-397-1505-0 , pp. 634, 636 .
- ↑ Alessandra Vitali: Torna Celentano, vince Emma. Il podio è rosa, con Arisa e Noemi. In: Repubblica.it. February 18, 2012, accessed March 15, 2018 (Italian).
- ↑ Sanremo, trionfano gli Stadio: “Lo stesso brano scartato nel 2015”. Conti condurrà anche nel 2017. In: LaStampa.it . February 14, 2016, accessed March 15, 2018 (Italian).
- ↑ Felice Liperi: Storia della canzone italiana . 2nd Edition. Rai Eri, Rome 2011, ISBN 978-88-397-1505-0 , pp. 637-638 .
- ↑ Italy applied for 2011 Eurovision Song Contest! In: Eurovision.tv. EBU, December 2, 2010, accessed on August 2, 2019 .
- ↑ Alex Pigliavento: Eurovision 2015: per l'Italia andrà il vincitore di Sanremo! In: Eurofestivalnews.com. September 29, 2014, accessed August 2, 2019 .
- ^ San Remo Festival 1951-2006
- ↑ Sanremo 2016, 5 cose da sapere sugli Stadio - Panorama. Retrieved November 21, 2018 (Italian).