Here is a notable exchange about Eurovision, focusing on Italy and Spain. The Italian press, including a well-known Sicilian journalist, has often directed sharp remarks toward Spain and its Eurovision entries. In one recent edition, attention landed on Chanel, and the comment sparked responses across the Eurovision community. The moment underscored a long-standing pattern: Italy has rarely joined the podium with Spain, and the country has often failed to grant Spain points in both professional and popular votes. This dynamic has persisted for decades, dating back to 1961, yet it remains a frequent topic of discussion as both nations navigate their musical identities on the European stage.
Over the course of forty-two editions shared by both nations, Spain awarded a top 12 points just twice to Italy: 1979 with Betty Missiego and 2016 with Barei. In other years, Italian acts have received lower marks and sporadic high scores. The list of Italian entries that earned the top nine points includes 1984 with Alice and Franco Battiato, 1985 with Al Bano and Romina Power, 1987 with Umberto Tozzi and Raf, 1989 with Anna Oxa and Fausto Leali, 1990 with Toto Cutugno, 2011 with Raphael Gualazzi, 2013 with Marco Mengoni, 2015 with Il Volo, and 2019 with Mahmood. The overall tally stands in contrast to Spain’s 259 points across the same period. In contrast, there were 22 zero points directed at Spain, with notable low marks in 1967 with Raphael and other entries in 1969, 1978, 1991, 2012, and 2014. Spain, in fact, gave the most points to Italy in forty-two finals, outperforming Germany, Portugal, France, and Sweden in total support. The two nations share a complex relationship that often appears uneven in voting, prompting questions about the roots of this phenomenon.
To understand the divergence, one can look at social dynamics. Spaniards are described as direct in conversation and action, while Italians may lean toward a more formal approach. Greetings differ as well; a handshake is common, while two kisses are less universal. These nuances influence how audiences perceive performers and performances. Linguistic tendencies also shape collaboration, with Spaniards increasingly mixing English phrases into everyday speech. This social backdrop helps explain why music and cultural exchanges unfold with particular rhythms between the two countries.
The geopolitical evolution plays a crucial role in these patterns. Italy embraced democracy earlier, in 1945, while Spain did not reach that milestone until 1975. This thirty-year gap influenced cultural development and international exposure, affecting musical projection. As one scholar notes, the Italian scene feels more accessible on the global stage, while Spanish culture emphasizes a strong regional identity within Europe. The director of a major cultural institute in Rome points to deep ties with Argentina and the United States, alongside a proximity to Europe, as factors that shape musical diplomacy. Language and geography also set distinct lines: Spain maintains closer links to Latin America, whereas Italy sits firmly within the Mediterranean sphere, shaping exchange and promotion of musical legacies.
When Italian music began to spread more broadly, major Italian acts leveraged robust promotion to accelerate growth. A prominent commentator notes a peak in the 1980s and 1990s, followed by a gradual decline across Europe, with Latin America standing out as a key exception. Italy’s singers with universal appeal are highlighted as contrasts to Spain’s regional reach. The discussion also touches on Laura Pausini, Eros Ramazzotti, Raffaella Carrà, Gigliola Cinquetti, and later the global breakthrough of Maneskin, who energized a wider audience through Eurovision and other platforms. The sense is that Italian acts enjoyed a broader resonance in some eras, while Spanish acts built enduring emotional connections in different markets.
Gateway to Latin America
Spain has long been viewed as a gateway market for Latin America, and Italy is recognized as a strategic bridge to the region. Many Italian soloists aspire to release albums there, and producers note that this step opens paths to the Atlantic market. Notably, Emma Marrone’s Eurovision entry in 2013 and ongoing collaborations illustrate how Italian music leverages Spanish-speaking markets to gain broader recognition. Julio Iglesias is cited as one of the few artists who successfully bridged genres and audiences in this space, while efforts by groups like Mecano and Héroes del Silencio illustrate different trajectories in the Spanish scene. Contemporary analysts observe changes in alliances, with artists such as Lola Índigo and Aitana signaling new cross-country collaborations that extend Spain’s reach abroad. These evolving links highlight a shared language of musical exchange, even when direct connections seem limited by history and style. Brando, a music producer, notes that a strong Milan-Madrid axis has helped broaden cooperation and create mutual opportunities, supported by a growing Miami connection that turns Spanish music into an international phenomenon.
Eurovision itself reflects these dynamics, with Moldova, Romania, Serbia, and Cyprus among the countries that have used language as a bridge to broader recognition. In contrast, Italian voters do not always prioritize the same cross-links, suggesting a distinct voting ecosystem. The competition becomes a unique ecosystem where regional blocs and cross-cultural influences combine to shape outcomes, with Madrid sometimes scoring fewer points from Rome due to these broader patterning effects.
Heavyweights in Sanremo
Sanremo has never claimed the same global prominence as some other competitions, but it remains a national powerhouse. Its trajectory has been uneven—debuting in 1956, facing ups and downs, withdrawing briefly, and returning at various times. This history has fed a perception that Eurovision could overshadow Sanremo, a national pre-selection that historically drew less global attention. Yet the festival persisted, with a renewed commitment from 2011 onward to reclaim prestige. Winners such as Raphael Gualazzi in 2011, Il Volo in 2015, Francesco Gabbani in 2017, Ermal Meta and Fabrizio Moro in 2018, Mahmood in 2019, and again Mahmood with Blanco in 2022 illustrate a resurgence in influence and audience engagement. The revival demonstrates how Sanremo remains an essential institution in Italian music, even as European attention shifts toward broader arenas. In comparison, similar lineups from other major Italian acts, and the inclusion of artists like Iva Zanicchi and Andrea Bocelli, underscore Italy’s enduring presence in the international music landscape. In comparison, representative acts from Spain, including Mónica Naranjo and Joaquín Sabina, are linked to a broader national festival ecosystem, underscoring different paths toward international recognition.
No Mediterranean alliance
Italy and Spain exhibit distinct patterns of collaboration and voting that reflect deeper musical and cultural priorities. The alignment of regional tastes and voting habits reveals ongoing variations in how the two nations relate to Eurovision and to each other. Anselmi notes that many of the strongest connections originate from the 1970s and 1980s, with occasional imbalances that stem from stylistic differences, performance approaches, and voting customs. The broader picture shows that regional alliances influence voting direction, with Scandinavian blocs often providing the most consistent backing. The south, by contrast, shows less pronounced alignment. This complexity helps explain why only a limited number of ties and cross-support persist across years, aside from small clusters of friendly exchanges. It is worth noting that Portugal, Malta, San Marino, Croatia, Greece, Cyprus, and of course Italy have demonstrated varying degrees of loyalty, while others differ from time to time in their patterns.
Beyond the competition, both nations share a living cultural space where the festival remains a symbol of mutual affection. The sentiment is passionate and sometimes tense, with competition framed as a game that both sides eagerly want to win. Analysts point to constant, historic contact among artists, scholars, and industry insiders, establishing a Latin cross-cultural base that sustains ongoing collaboration. In broader cultural life, national arts, literature, and media contribute to a shared curiosity: producers and fans alike follow TV series, films, and literary works that highlight the interconnectedness of the two nations. The enduring question remains why Eurovision elicits such intense response from both sides. The answer lies in the combination of respect, admiration, and healthy competition that defines this European stage.