Sanremo 2026, third night report cards: Maria Antonietta and Colombre, (our) happiness and that's it

All in all, Malika Ayane's dancefloor turn was pleasant, a dress she had never worn before at Sanremo.

A great Neapolitan humanist, Giovanni Gioviano Pontano, wrote De amore coniugali, a eulogy of the institution of marriage that, with its elegance, enamoured the courts of the 15th century. It certainly sounded quite different from Sal Da Vinci's marriage hit that has the Ariston going crazy.

He is a nice guy. Averaging the verse (ugly) and the chorus, the grade is 5.

This song opens a dimensional gateway that takes us back to Sanremo in 1986. Revival evening effect.

Another Polaroid out of the time capsule, reminding us that twenty years ago or so we were younger and fitter. But at the end of the day we were shouting.

It cannot be said that he sings badly, on the contrary. But he annoys with this scholastic songwriting applied to teenage love affairs.

There is more than one indication that this song will finish high in the Sanremo 2026 rankings.

Reggaeton is not exactly our cup of tea. But between Samurai Jay and that thing he did Bad Bunny at the Super Bowl half-time show there would be endless worlds, countless possibilities to explore, so many things you could do. A bit sad to stop at the first stop. Nothing adds to the playback cameo by Belèn Rodriguez.

Arisa's fairy-tale turn is not for everyone, but the sufficiency is there.

We do not like the piece and the interpretation is not accurate.

Certain things Luchè only knows how to do. At Sanremo, however, it is not clear why he wants to do the same as everyone else.

Half a mark more for the Beatlesian Mellotron. Everything else is boredom.

We like the piece a lot. A pity that the artist slipped at the beginning of the interpretation.