The second semifinal went thorough efficiently--no opening number like in the first semifinal, just a brief friendly banter among the three hosts (Alesha Dixon, Julia Sanina, and Hannah Waddingham).before getting the proceedings underway. And as is in the previous semifinal, all three were faultless dispensing their duties, with Hannah the one delivering playful wit and showcasing a hosting caliber almost to the level of Sweden's Petra Mede.
I have already mentioned in the previous semifinal about the format of this year's video postcards, and they continue to be of high quality here.
In one of the breaks after the first batch of five semifinalists have performed, we are treated to a pre-taped segment featuring actor Luke Evans reciting an ode to Eurovision history. He is as hunky as always (though the mustache gave me slightly creepy vibes) but it could be more visually interesting than the white background as shown.
One of the interval segments feature what is known as the "Be Who Yu Want to Be" medley. It featured a gimmick where the three hosts enter into the |Queen Machine" and three drag queens (Ms. Demeanor, Miss Mercedes Benz, and Tamara Thomas) clad in outfits evoking what the hosts were wearing emerge to perform a medley that featured an original song that then segue to the drag queens lipsyncing to En Vogue's "Free Your Mind", Ultra Nate's "Free", and Jessica Mauboy's 2018 Eurovision entry "We Got Love" This is a fabolous show, but can this also be a sign on the prospects for BELGIUM's Gustaph in the final?
But the highlight interval performance is a showcase of the history of Ukrainian music under the theme "Music Unites Generations", featuring Eurovision 2014 entrant Maria Yaremchuk, rapper OTOY, and Junior Eurovions 2022 entrant Zlata Dziunka. Maria was a revelation, showcasing her growth as an artist since her 2014 stint. The highlight is showcasing what most English people know as the Christmas classic "Carol of the Bells"--I didn't know it was originally a Ukrainian song "Shchedryk [Bountiful Evening]"*1
*1 It turns out this song was initially meant to be performed around New Year's Day, as it expresses the hope of a prosperous year ahead. It was originally performed in 1916, and it was performed in concerts around the world, so eventually in 1936 it was adapted by American composer Peter J. Wilhousky as "Carol fo the Bells".with lyrics unrelated to the Ukrainian original.
Now it's time for the competition proper. Unlike in the first semifinal where I got a perfect prediction, I only got 8 out of 10 correct this time. This competition was indeed tougher to call even if the caliber of the first semifinal was far superior.
I'd like to discuss an obvious non-qualifier--ROMANIA (Theodor Andrei). Sure, there are LED graphics, including one inspired by the 2000 move American Beauty, with Theodor playing the Mena Suvari part lying down naked in a bed of rose petals. I've noticed he also altered the first section of the song to be quiet and acoustic, but still the lack of support from the broadcaster shows. There is talk that because of monetary issues, this country will probably withdraw from future editions of this contest especially with a finish like this. Such a shame that this otherwise talented artist is not given an opportunity to showcase his best.
I thought there is a chance DENMARK (Reilly) could qualify and break the two-year drought, but well, diminishing the backing vocal effects to showcase his live vocal didn't work in his favor as his live vocal shows some pitch issues and hence he's eliminated.
I was expecting ICELAND (Dilja) would qualify for the catchy 1980s melody and her sheer vocal power. But admittedly her stage presentation was basic and perhaps that's why she's edged out by other contenders out there.
But the biggest shocker was GEORGIA (Iru)'s elimination. I thought there wouldn't be serious objection about the incomprehensible English lyrics, but it seems to be a bigger issue than previously thought, as I found her staging and performance to be strong.
Hard to believe I'll be discussing all the actual finalists even if I maintain this group of entries pale in comparison to the entries in the first semifinal.
Listening to the lyrics more intently this time, I now understand why ESTONIA (Alika) hasn't gotten the flak that CZECHIA (Vesna) has received for the conciliatoryy theme of her message song. It turns out the tone of the lyrics is that of someone repenting for past mistakes and hoping to make up for it and build bridges--it could be read as a metaphor of how Russians can move ahead once they either give up or depose Putin, that after redressing previous offenses, forgiveness and reconciliation can occur.
Sasha Jean-Baptiste proved she has the magic touch with the way she staged ALBANIA (Alibina and Kelmendi Family)--sure the family members are still not good dancers but the choreography Sasha provided for the rhythmic breakdown portion of the song worked very well. That staging and the beautiful beaded wardrobe sported by Albina were probably key for this coutnry to advance to the final.
I'm glad POLAND (Blanka) is no longer channeling Ariana Grande but Alicia Silverstone instead. They made the most of Blanka's limited vocals and that dance break helps add visual interest to the song--sure it's not as awesome as Spain's Chanel last year, but still impactful.
When LITHUANIA (Monika Linkyte) added the "Ciuto Tuto" chant, it did add magic to the song. "Ciuto Tuto" is not a translatable phrase as it's more of a chant when performing a ritual and with that I'[m glad they added these mystical graphics that does add mystique to the "Ciuto Tuto" chant. Needless to say, Monika's vocal was also terrific, way better than her 2015 stint.
I also have to commend CYPRUS (Andrew Lambrou) as he delivered on the high notes throughout the song. Sure there are some sections where he sounds imperfect, but still he delivered a strong vocal performance.
Well, AUSTRALIA (Voyager) delivered on spectacle so it's not surprising they qualified. I'm just glad they properly showcased bassist Alex Canion whenever he sings his parts as rehearsal footage initially pulled away when Alex did his climactic growl--glad they corrected that.
Rising in buzz is BELGIUM (Gustaph) as besides delivering strong vocals the staging was a fabulous party, and thank goodness for that live dancer adding more fierceness and fabulousness to this number. Yes, he's indeed in the same trajectory as Laura Tesoro in 2016.
I have a feeling that the winner of this semifinal was still AUSTRIA (Teya and Salena) because their song is just too irresistible and buzzworthy, but it is noted their vocals were far from perfect, and many Eurofans want to discount their prospects for this act as a result.
Providing the best artistic highlight is ARMENIA (Brunette). Her rocals were impeccable and the staging is very artsy, and adding a dance break after the rap segment does help bridge better between that rap and the climactic ending of the song. Can this make the Top 10?
It's very suspenseful when SLOVENIA (Joker Out) was called last, but I'm glad they made it as they deserve to be in the final. They delivered a star-making turn filled with charisma (especially with the lead singer Bojan Cvietićanin looking especially dreamy in his silk printed shirt and shiny silver bellbottoms). Hope to see them on the left side of the scoreboard.
With GEORGIA out, I'll make one small revision in my "Fearful" Forecast, as I'll trade GEORGIA's place with BELGIUM instead. It still looks like the Loreen-vs.-Käärijä show, but I'm also very interested at how the other entries will stack up. Best of luck to all the 26 finalists!
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