You say Fiorella Mannoia and you think of the interpreter par excellence of Italian music, but also of social commitment and the fight for women's rights.
And her sixth participation in the Sanremo festival could only go in this direction, with the song Mariposa, which she wrote together with her husband Carlo Di Francesco (who also wrote the music with Federica Abbate and Mattia Cerri) and Cheope.
"It's the song that brought me back to Ariston. It's a manifesto, which underlines the pride of being a woman, but without victimization. A feminine hymn that tells what we have been, what we are and what we will be", says the singer Roman who this year celebrates a round sum and in April blows out 70 candles, "I'm Rai years old - he jokes -, but I really don't think about retiring", and the reference is to the announcement of his farewell to the stage given a few days ago by Claudio Baglioni.
Indeed, having "dedicated my whole life to music", there will be a big live party planned with friends and colleagues "when and where, we'll see. In the meantime, if I think back to that little girl who started singing at the end of the Sixties, wearing cotton trousers skin and short hair, I feel affection and indulgence."
Mariposa - explained Mannoia - was inspired by watching the TV series The Cry of the Butterflies, the story of the three Dominican Mirabal sisters, activists who fought against the dictatorship and were therefore murdered on 25 November 1960, later proclaimed the International Day against Violence against women.
"The rhythm of the song is joyful, a mix of Latin and pop sounds, but the content is important. It starts with the witch at the top of the stake to get to the many facets of each of us."
The emotion of going on the Ariston stage, despite the experience, despite the many participations, explains that it is always the same.
"A haunted stage, a curse and a delight for us artists. It is the most important exam, and you always have something to lose: every time it is a challenge to get back into the game and you feel the responsibility."
The last time was six years ago with May I be blessed.
"Many people told me I was crazy for going to the competition, no established singer at that time did it. I opened the door to change and today many participate without problems", she claims.
She came second, behind Francesco Gabbani who, when the victory was announced, knelt at her feet to apologize for the "rude".
The two will meet together on the cover evening, as if to close a circle.
Responsibility is felt above all when you bring important messages to the stage, such as the one against gender violence that appears in Mariposa, with the verse that quotes One hundred thousand,
"The reference to the concerts on 4 and 5 May in Verona could not be missed: it is a commitment that is now part of my life".
A commitment that is part of what is already defined by many as the Sanremo of women.
"There are many of us and there is a good chance, regardless of me, that we could have a female-oriented podium. Although I don't think that in the past there have been any prejudices against female artists at the festival. But numerically we were fewer, Today we have grown and it shows."
36 years after What women don't say, presented at the festival in 1987, Mariposa can be considered "a sort of evolution. After so many years I go back to talking about women, specifically. There I sang 'we'll tell you one more yes ', today in my concerts I replace that yes with maybe. Because men must learn that a no said by a woman is a no, in any circumstance, in any condition. It is a cultural and mentality change that we must all make together" , underlines Fiorella Mannoia for whom "today there is more awareness of our emancipation.
But we need to work on it. Freedom is an achievement that is carried forward day by day".
And she defends Elodie and Annalisa, in the crosshairs of social media, accused of showing more of their physical qualities than their artistic ones.
"It seems like we've gone backwards. Have we forgotten about Madonna? Or Beyoncé? Suddenly we're all bigots. They sing and well. They do well to do what they do, they show themselves as they are and as they feel they are."
Fingers pointed, however, against the violent language of rappers and trappers: "No invitation to censorship because it would not be fair or educational, but as Roy Paci has already done, an invitation to responsibility and reflection should be addressed to them."
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