Why Is Italy The Winner Of European Tv In 2021 What Should Spain Change Four Experts Analyzed This Version Of The Festival

2021-05-23   |   by CusiGO

What makes Italy the winner of European TV in 2021? How’s Brass singing? What should be the change in Spain’s candidacy so that he can be eager to leave the queue of the film festival he has been subscribing to in recent years? Four television and music experts analyzed the 2021 Eurovision final in Rotterdam on Saturday: Laura Ortiz, a journalist specializing in television and Eurovision; Carlos Marco, singer, former Olin (where he co stars with Blas canto ó), composer and music director, such as masked singer or idol child; David Carroll, European television reporter; And then there’s Mariola Cooper, TV analyst.

1. What do you think of Blas Cantor’s live performance?

Laura Ortiz: you can’t wear anything but Blas Cantor’s live performance. Compared with his first article, he noticed that many details had been polished. All he had to do was do it on stage, he cut out the show, crossed out the beginning and the end, and got what he wanted, that is, to do a touching performance to pay homage to his grandmother.

Carlos Marco: focusing on vocal music, this is one of the most perfect, perfect and successful vocal performances of Spain in the last few years of European television. To reach this level directly on TV, coupled with the pressure from the mainland, few people can do it like Blass.

David Carlo: Blas canto may be proud of his performance for Spain. Unfortunately, we can’t always say that. His vocal performance has proved to be one of his strengths, as expected. However, it’s not a competitive song because it doesn’t bring any innovation to European TV. The stage also did not add suggestions, lack a clear concept to convey information and improve the emotional performance.

Mario lacubels: Blas sings very well. Yes, right. As planned. No flash, no he thinks I refuse. There’s nothing we didn’t see in your rehearsal. Your tone, your stage… Everything’s fine. Yes, in folklore, it’s impossible to remember singing a minute after seeing the exaggeration on the stage.

2. What are the factors for Italy to win?

I will. O. For several years, Italy has been striving to obtain the most competitive theme from the Sanremo Festival, which is a historic competition. Every year, many themes are close to the excellence of music. After watching the last few games of the Italian team, it is clear that they will win sooner or later. This time, it’s different from other places. So is France. Over the past few years, they have worked hard to get key festivals. It’s only a matter of time before they do it.

C. Conclusion M. The originality of the proposal avoids European audio-visual cliches and brings concert performances to the stage rather than TV performances against the background that the whole of Europe wants to get back on track. In addition, the band’s vitality, but most importantly, the singer’s charm.

D. C. Since he returned to the festival, Italy has played a very good role in the festival, but no one expects him to win a rock song in the end. Eurovision can boast about its diversity in all aspects. However, rock won only two victories, the last one in 2006. It’s only a matter of time before this type attracts Europe again. M å neskin has brought a very careful but very real product. The audience has realized that the song, the costume and even the fireworks are true to the essence of the band, and that an eccentric group won, but not artificially. Unlike other artists, m å neskin seems to have come to Rotterdam in his own capacity, rather than forcing his suggestions to adapt to the absurd prejudice surrounding European vision.

Yeah. C. I am neither a European fan (on the contrary) nor a European expert, but it is clear that most people decide the winner through the incredible vote of the sovereign public, which may be right.

3. What does Spain need to win or at least improve its performance on European TV in the next few years?

I will. O. The delegation was reorganized from top to bottom. Spain has been underperforming for seven years without self-criticism and justification of the reasons for these positions. It’s time to ask for an explanation of what happened and let someone who really understands the festival lead the delegation. Of course, it must be added that the problem also lies in the foundation: songs are not competitive (including Blass’s songs), and stage plays do not help to improve competitiveness. Spain needs to be as adventurous as other countries, not just to attend music festivals to satisfy and accept the game of the show.

C. Conclusion M. Put forward a proposal that is really possible to go beyond pure European visualization, with a clear style commensurate with the performers, and performed with a clear, affordable and executive intention by professionals who can really reach the audio-visual level of the festival. If we can’t do that on our TV, we won’t do it on Eurovision. Eurovision’s song should be a truly successful artist’s single, not an abandoned or Eurovision cliche album, played in one night, but no one would put it on the radio or headphones. If it is not a successful country, it will not be in Europe.

D. C. The most important thing to win is to find a good song, but if we are content to improve our performance, one option may be to get rid of the absurd ideas surrounding the festival and be loyal to the essence of Spain. France is an example of a country that has used what we call French women and achieved very good results. We can find a similar situation in Azerbaijan, Greece or the Balkan countries, which are almost a gender in themselves. In Spain, we had a good chance to sell with Miki, but at the last moment, we made a mistake and got the suggestion to make it “more Eurovision”, which is an empty concept because everything is effective in Eurovision.

Yeah. C. Spain needs to tie the blanket to its head, figure out what it is, take more risks, have a firmer standard (such as not changing the way singers are chosen every year), and be bolder. Suppose, perhaps, that’s definitely not where we are in the world. Go out and play.

4. Do you think rtve’s support for artists representing us every year is right?

I will. O. In view of the speech made by the former representative of Spain on his relationship with TVE, it is obviously not. In the end, he gives the impression that the artist works on TV on the one hand and in the collective classroom on the other, and the result is a variety of ideas. Some people always say no to all the ideas they put forward, but who? I want more transparency, I can know.

C. Conclusion M. I have no idea of rtve’s support for the contestants. Obviously, although the intention of rtve is the best, the selection and implementation of European audio-visual proposals always make us wait in line, so there should be some changes in both processes. This year, we have the opportunity to lead a top artist from our country, who has achieved great success recently, because he is not me, and we have also failed, which is at least worthy of reflection.

D. C. With a close understanding of what has been done in the past few years, rtve is wrong not to be interested in Eurovision. There’s a real determination to do the right thing, though it’s clear that the results don’t match. There are good intentions and hard work, but they seem to be focused in the wrong direction. They may lack new ideas and want to take risks. We used to think that the stage did not meet the standards of other countries, and now we are trying to correct this by employing international stage designers and introducing large stages. It’s useless if we stick to the basic mistakes that affect the concept of festivals.

Yeah. C. To be honest, I don’t think that’s the problem. I think public television is betting on this form, trying to bring in what they think might represent festivals. In his TV weapons (we know very well that they are not many, because he is neither a leader nor a loyal and loyal audience, especially in entertainment), he has made people’s expectations of public TV.

Should I change the voting system?

I will. O. I don’t think the voting system should be changed. I think the European Broadcasting Union should be more strict with the composition of professional juries: they should be real professionals, understand music and have experience in this industry.

C. Conclusion M. As far as I’m concerned, based on my experience in leading major national talent training programs in the field of music, and seeing the public’s reaction to the proposal and the different voting methods, I think that if a proposal is really good, then whether it’s politics, voting methods or almost any other factors. No matter what the voting system is, a really good performance may or may not win, but it should always be in a good position.

D. C. Eternal debate. When the jury and remote voting joint system is implemented in 2009, it is necessary to adopt expert methods to offset the inertia of neighboring countries in voting each other. Maybe now is a good time for us to reconsider this mechanism. Over the past few years, juries have shown that they prefer vectorism to TV voting and classic music songs. Many juries still think that a strong ballad is better music than a trap, which is far from an avant-garde music festival because it claims to be European television. On the other hand, regardless of their territorial origin, the public is voting more and more on what they like. The Internet and globalization are breaking the habit of a country voting just because of its neighbors.

Yeah. C. I had a good time voting on Saturday. I dare not say whether it is more democratic, fairer or better. I lack data and experience in this respect, but it is obvious that the voting method has changed several times. They don’t like us.

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