The statements of Beatrice Venezi at the Sanremo Festival make people discuss: because in our opinion (much) more could be done
Sanremo 2021, the looks of March 5: fourth evening
Uninhibited, mistress of the stage and so at ease to support and help Amadeus at the time of the awarding of Gaudiano, winner of the New Proposals. Beatrice Venezi's debut at the Festival could not have been better, if the judgment stopped only on an aesthetic and superficial factor. But we are in 2021 and for years now we have been trying to give the female figures of the event a more important role, we ask that they be strong women, models.
And who more than her could have been? We are talking about the youngest Italian conductor, a woman in a world of men. But let's use the conditional, "could have", because that of Beatrice Venezi basically has the flavor of a missed opportunity, yet another. The reason? When Amadeus emphasizes that she really cares about being called "director", she confirms that this is the noun that precisely defines her profession, because "there is a story behind it".
"I am an orchestra conductor, not an orchestra conductor. What matters to me is the talent and preparation with which a certain job takes place, in my case my profession has a certain name and is an orchestra conductor ", he declared announcing that he was aware that those words will trigger a debate: "I take responsibility for what I'm saying."
The fact is that the story behind the term director was written by men, precisely because the women who choose to undertake this career are few, so few that it makes the news when one manages to reach high levels, just as happened to her. The question is not even linguistic, since the term "director" already exists in the dictionary and therefore does not suffer the criticism of aesthetic purists who are still unable to accept feminine meanings as "architect" or so.
The question is basically even less complex, from a purely psychological point of view, than the one that would be created around the term "teacher", meaning for once not the teacher but a "pastry chef" or a composer. There one would clash with an equally important story, yet for this reason would it be less right to let the language adapt to the times?
It is not a question of a new crusade of the "politically correct" end in itself or a pretext, it is a question of broadening the horizons of those who will come after us as well. Of the great opportunity that Beatrice Venezi had to deliver a truly powerful message, from the most famous stage in Italy, that of the Ariston, which enjoys an audience of millions of people. Her privileged point of view as a young conductor who could have recounted precisely the difficulties she faced might have been trivial, but certainly useful. It would have been nice, however, if she herself emphasized the importance of changing perspective. And – why not – also to change the course of history.
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