Today, I present to you the first Italian song in Eurovision history. Of course, following the language traditions of old Eurovision, it is in Italian. A rule to impose languages was only introduced in 1965. The song appears to be a straight forward hymn of spring and love.
Sometimes it seems hard to ascribe meaning to something beyond the surface level. This song is one I can’t find any deeper meaning to at all. The writing behind this song is a surface recantation of tropes about spring and love that have been culturally present in Europe for centuries. But hey, before I get too much into the weeds, how about you try and take a listen?
To my eyes, the lyrics are very inoffensive. And I think it’s supposed to be that way. It certainly isn’t the only shamelessly inoffensive song of the competition. It more so fits into a pattern of inoffensive post-war texts. Designed to please an audience only too well accustomed to the trouble, life in tumultuous times can breed. In this sense, not the inoffensive songs are the exception of early Eurovision, no the ones that have a deeper message are a meaningful exception. I don’t want to praise some of the songs I’ve reviewed and found meaningful too much, but for an interesting take on post-war beauty, I would recommend you to take a look at what I already wrote about Luxembourg’s first entry.
Franca Raimondi’s take on the tropes of love and spring is definitely flatter than Michèle Arnaud‘s. After all, it is lacking any pretence of societal criticism, but there will be many inoffensive and strikingly uninventive songs to come in Eurovision history. We’ve already heard inoffensive songs, like De Vogels van Holland and I don’t think every textually inoffensive song is a bad one or not worth the time of a listen. There’s more to songs than their apparent meaning, and often it is we the listeners that can ascribe more meaning to a song than any line of text. After all, the author is dead is in the case of 1956 Eurovision almost certainly a literal truth and not just a paradigm of criticism.
And if only to spite me and my rant about the blandness of its lyrics, the songs melody actually makes me happy. I can’t really fault this song for its lack of meaningful lyrics. The melody, actually, hits a nice groove for me. It is light, reminiscent of a blue band fluttering through a spring breeze. And the Italian lyrics, I don’t understand without translation anyhow, just add to, my desire to feel the breeze of spring on my skin, to feel the sun and see its light hit the fresh flowers in a way that produces an incredible glow of colour.
Anyhow before, I fall in love with spring to much, here’s the playlist of all Eurovision songs from 1956 I’ve reviewed so far:
I would gladly hear your opinion on this song and review, and well if you want more of my reviews, why don’t check out my last book review or one of my favourite reviews from ESC 1956 Speaking Like a German Melancholist?