As the countdown tightens, all eyes turn toward Chanel Terrero as she delivers a slow motion interpretation on the Turin stage at Pala Alpitour, where she is set to perform on May 14 during Eurovision 2022. The 66th edition of this famed contest remains one of the most anticipated events, with the Benidorm Festival having chosen the Spanish representative and rekindling broad public interest.
The 31-year-old Cuban-born singer, actress, and dancer will carry Spain into the competition, regarded as one of the favorites to lift the crystal microphone. A win would mark a triumph not seen for Spain since the turn of the century. Yet predictions are cautious, since the final twist can arrive at the last moment and bring surprises. What is clear is that Chanel will reach the Eurovision final, though not by chance. Spain sits among the five countries that advance directly to the grand final by skipping the semi-finals, along with the United Kingdom, Germany, France, and Italy. These nations form the competition’s “Big Five,” contributing significantly to the European Broadcasting Union’s funding and participation structure.
Chanel, one of Spain’s most recognizable musical performers, steps onto the stage with extensive experience in live performance, poised to show her strongest side in pursuit of May 14’s top prize. While much of the behind‑the‑scenes history matters in shaping public perception and jury sentiment, it is often the performance itself that sways outcomes. Indeed, artists with less resume have carved out their own paths to victory in Eurovision’s storied past.
Among the most memorable cases is Belgian singer Sandra Kim, who won Eurovision in 1986 at the age of thirteen, earning her place in history as the youngest winner. Her triumph helped spark a broader discussion about age limits and eligibility, shaping how the competition approached youth participation in subsequent years. On the night of May 3, 1986, Europe watched Bergen, Norway, as a girl born in Montegnée stepped into the spotlight with a performance inspired by an iceberg. The moment cemented a turning point for Eurovision, reinforcing the role of fresh talent in the contest’s evolving narrative.
Kim’s victory was not guaranteed. In her case, the Belgian entry initially faced questions about age documentation, with paperwork suggesting she was fifteen. After careful review, the young artist was permitted to perform and ultimately won the crystal microphone with the song “J’aime la vie.” That episode contributed to ongoing discussions about age rules and the integrity of the competition’s eligibility standards.
Historically, young performers have occasionally challenged expectations, but the rules have since tightened. By 1969, Madrid hosted the event at the Teatro Real, where a thirteen-year-old participant named Jacques Bertolai performed “Maman, maman” and finished in sixth place as Spain, the United Kingdom, the Netherlands, and France shared the top positions. Over the years, Eurovision has evolved into a showcase of both vocal talent and stagecraft, with the age framework steadily clarified. By 1990, the contest established a minimum age requirement of sixteen for participants, aligning with broader shifts in youth performance standards. The creation of the Junior Eurovision Song Contest in 2003 further reinforced this boundary, ensuring that only older teenagers could participate in the main event going forward. This development effectively prevents earlier precedents from reappearing under current rules, while the Sandra Kim case remains a notable historical exception beyond today’s eligibility guidelines.