Extravagant but with style, Donatella Rettore bursts onto the Ariston stage in a two-tone black and white outfit with crystal crosses encrusted on the jacket. On the web, Internet users are buzzing: "But is it Rettore or Cruella De Vil?" is the most popular question on social media. The verdict, however, is unanimous: a score of 10. But it is not only for her artistic performance and her look that the singer leaves her mark in this Sanremo in which the politically correct and the ABC of triumphs mainstream that wearily calls for acceptance and diversity, and not only between the lines of the songs in the competition. An edition that risks imploding in its clinging to a forcedly ecumenical and do-gooder ideological orientation at all costs, and where we are no longer even that scandalized by the "heretical" acrobatics of Achille Lauro.

Sanremo, Rettore goes against the trend at the politically correct Festival

“Festival” coordinates that are perhaps too tight for the feisty Rettore who, as an indomitable rocker and queen of provocation mixed with wise irony. As a former rebellious girl intolerant of labels and posters, telling of her return to the Ariston and explaining the meaning of her song, Chemical, sung in tandem with Dito nella piaga, allows himself a digression that has the value of a declaration of character. And in contrast to the rhetorical molasses dispensed in generous doses during the first two evenings of the festival, in homage to do-gooders and radical chic, he declares (and theAdnkronos reports): «We also live on memories and we must never erase them. No one».

And again: "You can't remember one and erase another. In life, as in History", insists the Rector. Who then continues: "For example, you can't remember the Shoah and erase the foibe. You can't". This is her position, on the national past and on everyday life. A reference, that of theartist competing at the Festival of Sanremo, which gives voice to the deep conviction of those who have always denounced pseudo-revisionisms and deliberate manipulations that foment an unacceptable denialism on the foibe. And that relegate the victims, the pain and the sacrifice of that page of history torn for too long from collective memory and from the calendars of institutional recognition, in a deafening dimension of silence. Of silenced truths. And of denied remembrance and tributes…

Julia Melody
Source: Secolo d'Italia – 03/02/2022