Tag Archives: Eurovision

MUSICA CHE RESTA by Daniela

Note from Jana…. Ciao a tutti!  I just wanted to add the lyrics to the song, here are a few links – thank you to Penina and Leslie….

Such beautiful words!!  🙂

https://lyricstranslate.com/en/musica-che-resta-music-remains.html

If you click on this link, it should bring up the words in Italian 🙂 1-musica ital

Here are words in English… 1-musica engl

In the words of Ignazio (and West Side Story) …”tonight, tonight, we’ll see our loves tonight” (ok, maybe tomorrow, because I think they are in the 2nd flight..)

Here are some more links to viewing, if needed:

http://www.rai.it/programmi/sanremo/   

https://www.raiplay.it/programmi/festivaldisanremo/

https://www.youtube.com/channel/UCKUzdt2sELyxd6mz-bAx3bA   (there are already some taped things about Sanremo on here….)


Now – please enjoy Daniela’s post!  🙂

These days there is so much new news and interviews that it is impossible to keep up with everything that is being published.

Our boys are already in Sanremo, there is very little missing.

We already know the track list of the new CD, but now let’s focus on the piece that will be presented at Sanremo:MUSICA CHE RESTA”.

Therefore, today I propose to you a part of this beautiful interview made to Antonello Carozza, one of the authors of “MUSICA CHE RESTA” and, as you see in the photo posted below, really a young author.

Musica che resta 01

EuroFestival Italia Article – Click Here

Now on the eve of the next Sanremo Festival, we reached Antonello Carozza, co-author of the piece “Musica che Resta” that Il Volo will present on the prestigious stage of the Ariston. Carozza himself speaks to us about the song, which is going to be great. Also for a possible Eurovision Song Contest.

Antonello, very pleased to be able to host you on our website for this very welcome interview. Let’s start now with your important contribution to the next edition of the Sanremo Festival, namely the participation in the writing of the song “Musica Che Resta”, for which you collaborated with Piero Romitelli, Emilio Munda and with the great Gianna Nannini. How is this collaboration born?

Piero Romitelli and I have been “Friends” for 13 years and we had already signed some things together, while Emilio Munda has known him through Piero since 2014. “Musica che Resta” was one of those songs destined for Il Volo right away. The participation of Gianna Nannini, who has managed to give the piece a personal touch, further embellishes it.

Certainly the great Pasquale Mammaro is also fundamental, it is he who has transformed the intuition of the authors into reality: with stubbornness and determination he has convinced everyone that “Musica che Resta” would have been the right track for a great return.

We still do not know the text of the song and clearly, to listen to it, we will have to wait for the start of the Festival. But we all know the style of Il Volo, which will interpret it. What should we expect from “Musica che Resta”? What kind of music and text?

Expect the music that explodes along with their voices. It is a work that at times follows the style of “GRANDE AMORE”, but it is definitely more … “rock”. “Love look at me, we are the sun on rainy day, we are true music that remains!” … I’m sure it will be sung by many, it’s a beautiful declaration of love.

Let’s go into the merits of Eurovision: you have an experience that few can boast in the world of Eurovision. From the Junior to the traditional Eurovision Song Contest you have accumulated, despite the still young age, an experience such as to have experienced this world in every aspect, from singer, producer and of course a passionate connoisseur of its dynamics. How would you see a new representation of Italy by Il Volo at Eurovision and, according to your experience, “Musica che Resta”, what impact would it have on that audience?

“Musica che Resta” at Eurovision would be an assured place on the podium. Because from Il Volo you expect a song like that; in Europe, from Italy, they expect Il Volo, it’s as if they “pretend” it. I was in Vienna in 2015 and I followed closely the moment of the verdict together with the parents and the families of the boys. I still remember the disappointment, we all believed very much. Well, we all believe that even now with this song. Let’s cross our fingers, first they have to win Sanremo, then we’ll think about the SC.”

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You all know that the third evening will be dedicated to the duets. We all hoped that the duet of IL VOLO was with Gianna Nannini, co-author of the song, instead Gianna refused and the boys will duet with a good Italian violinist Alessandro Quarta. Here’s what he wrote about this participation:

“On 8 February I will be the “GUEST” of Il Volo on the Duet evening. A big surprise and an honor for me to be able to accept their invitation when they called me – Michele Torpedine and the guys of Il Volo, especially by virtue of the professional esteem I have for Gianluca, Ignazio and Piero. Baci ❤”

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This instead is a comment made by Tony Maiello, who is the author of the new “FINO QUANDO FA BENE”, I translate:

“Happy and proud of this new partnership. Inside the new album of IL VOLO, you will also find the unpublished “FINO QUANDO FA BENE”, a ballad of those that please me. Thanks to the guys for the trust, I hope you like it.”

musica-che-resta-04.png

In addition there is also this wonderful collaboration:

Musica che resta 05

TIZIANO FERRO = IL VOLO will included my song “A CHI MI DICE” in their new album. How cool! Take it all around the world guys.

Meanwhile in Roseto degli Abruzzi, Gianluca, before leaving for Sanremo, receives his best wishes from the mayor and municipal representatives.

Musica che resta 06

Musica che resta 07

Another beautiful novelty.

G = Hello everyone, we are IL VOLO.

P = As you know this year we participate in the 69th edition of the Sanremo Festival.

I = And also this year we will do the diary of Smiles and TV Songs and you follow this on:

G+I+P = Sorrisi.com, bye.

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But the final pride, it was this beautiful front page that they got in the weekly GENTE, is not it beautiful? The photo with the Pope and inside a beautiful article.

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…….. and finally the first VIDEO-DIARY of Sorrisi e Canzoni.

P = Here we are, guys we arrived, the party started.

G = We are here too, ready to celebrate.

P = Hi guys.

G = Hello everyone, we are IL VOLO, this is the first appointment with the video-diary of Sorrisi.

P = We will tell you about our days in Sanremo

I = Yes, even our ugly figures ….. no, the ugly figures, maybe not. We are happy to do it again (the video diary)

P = You can follow us on Sorrisi.com

I = A hug, hello.

The interview with Carozza has put me in great excitement, I really want to hear “MUSICA CHE RESTA” !!!!

And then I want to hear the other unpublished and all the new CD.

And how much fun I had in 2015 to watch the video-diaries of the boys, I watched them after Sanremo, because I started to follow IL VOLO after the victory of Sanremo, but I laughed so much with those nice video-diaries and I hope to have fun with the new ones, which we will certainly post with the translation.

Only a few days are left until Sanremo, I do not know about you, but I am anxious to the stars.

Daniela 

Credit to owners of all photos and video.

Eurovision Song Contest by Daniela

The Eurovision Song Contest took place on May 12th. It had beautiful singing performances from all over Europe and beyond.

To us lovers of IL VOLO, the Eurovision brings to mind memories that couldn’t be much nicer.

Published by OGAE ITALY, is a beautiful article that talks about Eurovision, it is very interesting and I will translate it for you.

Eurovision 01

The televoting: power to the people!

Just a few hours before the end of the 2018 edition, let’s take a brief analysis of the voting system currently in force and the results obtained.

Since 2009 the final result of the Eurovision Song Contest is formed by 50% of the votes of the expert juries and the remaining 50% of televoting votes.

The juries have always played a primary role since the first edition of 1956. But times change and even Eurovision needs to make the public interact from home, thanks to the televoting.

It was 1998, although a first trial with only five countries was successfully completed in 1997. With the increase of the countries in the competition are introduced semi-finals but we realize that to pass the turn are always the same countries, the strongest on televoting thanks to the various diasporas around Europe and neighboring countries that they vote among themselves because of the various cultural affinities.

Eurovision 02

As a result, in 2009 there is a fair compromise and it is decided to entrust the verdict to 50% + 50% between juries and televoting.

Everything runs smoothly and many countries are finally able to access the long-awaited final even if only in alternate years. Obviously a lot also depends on the quality of the song presented.

But with the passage of time the juries learn to do the good and the bad. As in any self-respecting jury, the jurors can decide which country to push to the top and which to go down to the last so as not to assign the fateful 12 points and other points available for the top 10.

Some countries are favored on the eve of the festival and some are sunk by the various European jurors because they do not fall into their tastes or simply because of favoring their favorite.

Every year the same Hamletic doubt: yes or jury no? Impossible to say …

Eurovision 03

We have fun pretending that the result from 2009 is still that of televoting as the prevailing method. We note however that it would not have changed much except in two editions: that of 2015 and that of 2016.

And it is precisely that of 2015 that interests us more because just the Italy represented by IL VOLO with “GRANDE AMORE”, third classified, wins televoting! Oh yes, that’s right! Italy would have added a gold medal in its trophies of Eurovision victories. Obviously it is not a great consolation but it is Italy in 2015 to have the highest percentage of votes received from a country in contention since the voting system exists with televoting.

In 2016 the Russian Sergey Lazarev would have won the televoting role, but only sixth for the juries. Also for him a good third overall place and the winner Jamala who wins the crystal microphone for Ukraine.

Eurovision 04

Below is the top 10 of the most televised countries since televoting was introduced.

1 Italy 2015: “GRANDE AMORE” IL VOLO 78.21% (366 out of 468 available)

2 Norway 2009: Alexander Rybak “Fairytale” 76.83% (378 out of 492 available)

3 Portugal 2017: Salvador Sobral “Amar pelos dois” 76.42% (376 of 492 available)

4 Estonia 2001: Tanel Padar & Dave Benton “Everybody” 75.00% (198 of 264 available)

5 Russia 2016: Sergey Lazarev “You are my only one” 73.37% (361 of 492 available)

6 Austria 2014: Conchita Wurst “Rise like a phoenix” 71.99% (311 out of 432 available)

7 Denmark 2000: The Olsen Brothers “Fly on the wings of love” 70.65% (195 of 276 available)

8 Sweden 2012: Loreen “Euphoria” 69.72% (343 of 492 available)

9 Bulgaria 2017: Kristian Kostov “Beautiful mess” 68.50% (337 of 492 available)

10 Russia 2012: Buranovskiye Babushki “Party for everybody” 67.48% (332 of 492 available)

In fact, the average of televotes on the result that would have decided the winner of IL VOLO is 15.78%. In second place we find the Norwegian winner Alexander Rybak (also competing this year in Lisbon) with 15.52% while the third is the last winner in 2017, the Portuguese Salvador Sobral, with 15.44.

Eurovision 05

And the juries? What would they do? Even here our regret is called Raphael Gualazzi and the year is 2011. In fact in the year of our return, the juries reward us with an excellent first place that then earned a second overall behind Azerbaijan. Nothing changes until 2016 when Australia with Dami Im wins the jury’s preferences but she has to settle for second place in favor of Ukraine.

And here is the top 50 of Eurovision:

ORIGINAL ARTICLE – CLICK HERE

So, this article was not written three years ago, it was written today, in 2018.

This confirms that the disappointment of us fans was not dictated just because we wanted our favorites at the top, but it was because they DESERVED the first position.

The song HEROES that won that year, no one remembers any more, and in the final video is in twentieth place.

GRANDE AMORE  – remember it and everyone is singing it.

If you can read the comments under the video of the TOP 50, you understand how much affection and admiration have excited the boys that evening.

For those who can not do it, I copy only two comments, and they were not written three years ago, but they are recent.

 

Sebastyanov

Sebastyanov Eurofestival – 11 months ago

I still think that juries robbed Italy in 2015…

 

Raginis

Władysław Raginis – 3 weeks ago

Totally, in my opinion the best entry I had ever listened to! With 15 years I cried that night, even not being Italian!

 

Furthermore, the TOP 50 video also takes into account the last two editions, after the one of the boys, and the result does not change.

Therefore IL VOLO had to be first.

Let us console ourselves, looking once more at their beautiful performance.

Daniela

Credit to owners of all photos and videos.

(a little history of…) Grande Amore… We never get tired of listening to it.

On December 16, 2016, this article was published on Zon.it, by Antonella Esposito. Although it has been a while of time, I (Daniela) will  translate it for you because it is worth reading.

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GRANDE AMORE OF VOLO:  BECAUSE WE DO NOT GET TIRED OF LISTENING TO IT

 

After the first listening to GRANDE AMORE, did the song really like you and did  join your favorite playlist? Are you still irremediably attracted to the melody and lyrics of the song? That’s why GRANDE AMORE of IL VOLO does not tire you.

Grande Amore is the winning song of the 65th edition of the Sanremo Festival, interpreted by the trio opera lirico Il Volo. Although it seems to have been written specifically to brush the powerful and versatile voices of Piero, Ignazio and Gianluca, the piece had a tough road before cutting the finish line “Il Volo”.

 

THE SONG

Composed in 2003, by Francesco Boccia, songwriter and frontman of the music band I Quisisona, together with Tommy Esposito of Il Giardino dei Semplici, the romantic piece already having a precise layout designed for lyric lyricals, is presented at the selections of the   Festival of the Italian Song, in 2005, with a negative result.  So it remains to dust in the drawer for 10 years.

 

It is in fact 2015 when the song is enthusiastically evaluated by the commission of Sanremo Young and assigned to the duo Operapop. Even then, fate is a strange joke, because the duo is excluded from the competition for the age limit reached by one of the two components, Enrico Giovagnoli.

 

Grande Amore  is also offered to Orietta Berti, who proves to be favorable to the song but she is, however, unable to participate in the singing contest for personal reasons.

 

Once again, bounced back and without interpreting the fate of the piece, it is entrusted to the hands of the artistic director Carlo Conti.  At his first conducting of the Festival, using the help of the Operapop manager, convinces the producer of Il Volo, Michele Torpedine, to compete for the three young singers with the signed song Boccia-Esposito.

It’s the evening of 11th February, 2015, when IL VOLO sing for the first time, Grande Amore, in the slaps of applause from the Sanremo audience. The three different and perfectly complementary voices of the three singers, enter the heart and fill the audience’s eyes in the theater and viewers who are following the kermesse  (festival) in the world. Grande Amore.

 

For some it’s a discovery, for others it’s a confirmation. The elegance of the guys of Il Volo, the stage presence with which they saturate with energy each single tile on the stage of the Ariston, and the dramatic might with which the three young singers sing the love all or almost conquer.

 

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MELODY AND TEXT

 

Great love strikes, likes and creeps in the head with a basically simple and essential text and for this easy to memorize. The plain strode opens with the term “love” which in a vibrant and prolonged acute spreads the basis for the beginning of the refrain. And here comes the engaging redundant melody that never touches the nenia, by the way, draws a rhythmic curvature cleverly caressed first by the baritone basses of Ginoble and then raised by the strong and precise setting of Boschetto and then exploding with Barone in a  Love screaming to all generations.

 

It is therefore a universal love that sang by IL VOLO declinable in all the nuances of loving sentiment, not by chance as revealed by the same authors: “The text is not inspired by a specific person, but it is a story always valid as it may be love declaration”.

CLASSICISM

Musicality, universality and pop-lyrical contamination are probably the key elements to place with a certain conviction the classical lyric passage for the song’s story. Grande Amore with an extraordinary rapidity of diffusion not only musical but cultural has already been able to fully fit within that pink of international pieces representing Italianity. Grande Amore has all the characteristics of symphonic sweetness needed to become the Caruso of the new millennium. It  has that rhythmic and flamboyant stylistic cadence so that it can be sung by the middle world as has always been the case with O ‘sole mio.

 

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IL VOLO

 

It seems despicable and yet between different artists the song would not get the same feedback or maybe yes, but this is another story. The truth is that each song chooses its own interpreter and Grande Amore was born and struggled to end in the repertoire of Il Volo, altering in a shocking way the same artistic path of Piero, Ignazio and Gianluca who so much to the song that made him disconnect the ticket to success in Italy. Not that the three were not good enough, just as often happens the masterpieces make a difference and Grande Amore is without too much delay the diamond tip that has given the group the gender specificity that has always been sought after.

 

These are the technical reasons why listening to Grande Amore does not tire and will not even tire in twenty or thirty years. Stylish stylistic lists that are merely fine to themselves, which, because the longevity parable is valid over time, then add other elements with the most irrational flavor. These are the emotional ones, those you can not explain and that with a song almost invite you to listen to it and listen to it again and again.

 

 

Article translated by Daniela.  Credit to all owners of photos and video.

 

 

~~Jane~~

They Make Everything Better!

Thanks Gina

Good News from…

euro 2016 3

Italy: Eurovision success triggers change to main channel

The good run since their comeback peaked with Il Volo this year

Il Volo represented Italy at the 2015 Eurovision Song Contest in Vienna
Il Volo represented Italy at the 2015 Eurovision Song Contest in Vienna Andres Putting (EBU)

Rome, Italy

The Eurovision Song Contest is becoming more and more popular in Italy since their comeback to the competition in 2011. That’s why the 2016 Final will be shown live in RAI 1, their public broadcaster’s main channel.

Following a series of good rankings and having some of their top artists representing them at the Eurovision Song Contest, the Italian broadcaster, RAI, is switching the live broadcast of the Eurovision Final to their first channel, after five years being broadcasted in Rai 2. In fact it will be back live on Rai 1 for the first time in 25 years. The last time being in 1991 when Italy hosted the competition in Rome.

Keeping an eye on Sanremo

It is also announced now that, just like this year, the winning artist of the “CAMPIONI” section will have the right to participate representing Italy at the 2016 Eurovision Song Contest. The “CAMPIONI” section is the “established artists” category of the Sanremo contest. So basically this means that it’s up to the winning artist to decide about the Eurovision participation and also about the song to be performed in Stockholm.

The winner of the 2015 edition of Sanremo, Il Volo, also went on to represent Italy at the Eurovision Song Contest in Vienna with the same song, Grande Amore:

Il Volo’s success story continues

After the amazing third place -and first in the televote- in Vienna, Italian sensation Il Volo continue their story of success around the world. After completing a sold-out summer tour through Italy right now the trio is on a promo tour through Europe. So far they visited Germany and France while Spain and more countries are to follow.

The reason is to showcase their brand new album, entitled as their Eurovision Song Contest entry, Grande Amore. The Eurovision hit is included in the release as well as their follow-up single L‘Amore Si Muove:

euro 2016 4

Il Volo Professional ~~ Eurovision Details

 

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It’s all things Eurovision for the next little while!  Thanks to Gina and Mary (who Marie has already told you is good at snooping out the latest stuff…), they are helping me keep up.  Let me say right now how much I’m going to appreciate them.  They are able to do what I wish I could do: watch the updates on this competition full time.  🙂  So ladies, know how much I appreciate your work on this!

To refresh all of our memories on the rules and give you as many tools as possible — to date — to keep up, read on!

~~ Kelly

 

Countdown Clock/Red Carpet on YouTube ~~ Thanks, Marie!

You will actually have to follow this link to YouTube, as it contains content from the EBU.  We respectfully put it here to make their YouTube presentation easy for you to find.  🙂

From Eurovision.tv, here is an information sheet about the Opening Ceremony.  It is in pdf format, so you will need an Adobe Reader or similar product to view it:

http://www.eurovision.tv/upload/press-downloads/2015/SC15_Opening_Ceremony_Info_Sheet_Journalisten.pdf

 

 

Il Volo’s Schedule ~~ Rock Me Il Volo; Thanks, Gina!

 

Watch on WebTV ~~ Thanks, Mary!

Mary has provided this link from the Eurovision Website, and believes you should be able to watch a lot of the goings on from various online devices.  She’s also provided the correct, real time in Vienna so you can work out the time difference for yourself.

 

Watch Eurorvision on the Web

World-Times-Zones

What Time Is It In Vienna?

 

 

rule_book1The Rules ~~ Eurovision.tv; Thanks, Gina!

How do national selections work?
The national selections for the Eurovision Song Contest are being organized by the participating national public broadcasters.
Traditionally, in March, participating broadcasters have to come up with their entry for the upcoming Eurovision Song Contest.
The EBU, main organizer of the Eurovision Song Contest, is not involved with the national selections. The EBU only requires the national selections to be fair and transparent.
When?
The national selections start already very soon after the previous Eurovision Song Contest. To get a full overview and put the dates down in your calendar, see the timetable in our calendar!
———————————————————————————————————————
The Voting Rules 
Viewers in the countries of the Participating Broadcasters are invited to vote for their favorite songs (without the possibility of voting for the song representing their own country) by means of televoting. In addition, in each participating country, there is a National Jury.

With respect to the televoting, the song which has received the highest number of votes shall be ranked first, the song which has received the second highest number of votes shall be ranked second and so on until the last song.

With respect to the National Jury voting, the jury members shall rank first their favorite song, second, their second favorite song, third, their third favorite song, and so on until their least favorite song, which shall be ranked last.
The rankings of the televoting and the jury will then, in each of the participating countries, used to calculate the average rank of each song. This combined ranking will then be transformed to the well-known and popular “Eurovision system”, with the top-ranked song getting 12 points, the second-highest ranked song 10 points, and the remaining spots, from 8 points to 1 point, given to the songs ranked 3 to 10.
Voting in the Semi-Finals 
Viewers at home and professional juries each determine half of the outcome of the two Semi-Finals of the Eurovision Song Contest. In each Semi-Final, 10 contestants qualify for the Final.
Viewers in all countries that are taking part in that particular Semi-Final are invited to vote via the official app, telephone and/or SMS. The voting window opens after the last song has been performed, and ends 15 minutes later. Televoters determine 50% of the outcome;
Professional juries in all countries that are taking part in or were allocate to that particular Semi-Final are required to vote. They also determine 50% of the outcome. The jury, which consists of five members (including a chairperson), is the same jury that will vote in the Final;
The EBU’s voting partner, digame mobile GmbH (digame), will determine the national result by merging these two ranked lists, and will award 12 points to the country with the best combined rank of the jury and the televoting, then 10 points to country with the second-best combined rank, etc. The country ranked 10th in the combined ranking receives 1 point;
Since traditionally only 12, 10 and 8-1 points are being given, countries ranked outside of the top-10 do not receive points. Also, televoters and juries cannot vote for the country they represent;
If there is a tie between two or more songs in the combined ranking between televotes and the jury, the song that obtains a better ranking from the televote will prevail over the other;
Based on the combined full ranking of all songs of televoting and jury voting, each country will distribute 1 to 8, 10 and 12 points;
The viewers from the host country, Italy, Denmark, the United Kingdom, Spain, Germany and France will also vote (as determined by draw);
The ten qualified countries will be announced at the end of each Semi-Final in the order decided by the Excecutive Supervisor of the Eurovision Song Contest. This order does not reflect the actual ranking on the score board;
The full score board will be made available shortly after the Final on Eurovision.tv, to keep the excitement until the end of the Final.
Voting in the Final 
In all participating countries, the televoting and jury voting result in two ranked lists of all songs;
Televoters can vote via the official app, telephone and/or SMS. The voting window opens after the last song has been performed, and ends 15 minutes later. These votes determine 50% of the outcome and are gathered by the EBU’s voting partner, digame;
Professional juries are also required to vote. They determine 50% of the outcome. The jury, which consists of five members (including a chairperson) is the same jury that voted in one of the Semi-Finals. They will watch live and rank all songs based on the second Dress Rehearsal, the so called Jury Final;
The EBU’s voting partner, digame, will determine the national result by merging these two ranked lists, and will award 12 points to the country with the best combined rank of the jury and the televoting, then 10 points to country with the second-best combined rank, etc. The country ranked 10th in the combined ranking receives 1 point;
Since traditionally only 12, 10 and 8-1 points are being given, countries ranked outside of the top-10 do not receive points. Also, televoters and juries cannot vote for the country they represent;
If there is a tie between two or more songs in the combined ranking between televotes and the jury, the song that obtains a better ranking from the televote will prevail over the other;
Based on the combined full ranking of all songs of televoting and jury voting, each country will distribute 1 to 8, 10 and 12 points; The combined results of jury voting and televoting will be presented on air during the Final by spokespersons in all participating countries. As usual, the points 1 to 7 will appear on screen. The spokesperson will then reveal 8, 10 and 12 points.
The full result, including the televoting and the jury result in every participating country will be published on Eurovision.tv after the Grand Finale.

Jury voting 
The rules for the juries are as follows:
The jury voting is always monitored by an independent notary in each country;
The EBU’s voting observer, PwC, has the right to send an additional independent observer to the jury session;
The jury consists of a variety of members in terms of age, gender, and background;
All jury members must be citizens of the country they are representing;
None of the jury members must be connected to any of the participating songs/artists in such a way that they cannot vote independently. The participating broadcasters must send a letter of compliance with the voting instructions together with signed declarations by each jury member stating that they will vote independently;
The names of the jury members must be revealed by the relevant participating broadcasters during the Final;
Each jury member of each national jury must rank all songs in the show;
The combined rank of each country’s jury members determines the jury result of that particular country;
By judging each song each jury member will focus on the vocal capacity of the artist(s), the performance on stage, the composition and originality of the song, and the overall impression by the act.
To increase diversity, music industry professionals can only take a seat in a national jury if they have not been in the jury during one of the previous two editions of the contest.
Jury member selection criteria
All jury members are music professionals. They are being asked to judge:
vocal capacity 
the performance on stage 
the composition and originality of the song 
the overall impression by the act 
The EBU looks into each jury member together with Digame and PwC, to assure they meet the requirements to take seat in a national jury.
The following criteria is applied in the selection of the jury members:
Members shall not have been part of a National Jury the preceding two years.
Members of the National Juries must be music industry professionals
There shall be a balance among the members of each National Jury to ensure sufficient representativeness in terms of gender, age and background.
All members of the National Juries shall be citizens of the country they represent.
No member of a National Jury shall be connected in any way with any of the participating songs entered and/or artists performing in the Eurovision Song Contest in such a way that they cannot vote in complete independence and impartiality
Judges signed a declaration stating they will vote independently. 
About the televoting system 
The Germany-based company, digame mobile GmbH, has been the EBU’s long-term voting partner since 2004. The company gathers all televotes and jury votes in all countries and is being closely monitored by two independent PwC observers. Its systems are build to handle all incoming votes according to the Rules of the Eurovision Song Contest, and can detect and exclude systematic bulk votes (also referred to as ‘power-voting’).

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How to take part?

Have you ever wanted to take part in the world’s biggest entertainment event – the Eurovision Song Contest? Here you can find out exactly how to pursue that dream!
The basics
First of all, all the entries and singers are picked by the Participating Broadcasters. These are the Members of the EBU that take part in the Eurovision Song Contest. Why? Because at the Eurovision Song Contest, not countries but broadcasters take part in. For example, in the UK this is the BBC, in Germany it’s NDR, in Sweden it is SVT and so on.
The organisers of the Eurovision Song Contest cannot pick any entries but only make sure all entries and performances are according to the Rules. This all means that you need to contact the broadcasters if you want to have information on how to take part in the contest.
IMPORTANT: Contact List of the Heads of Delegations at the Broadcasters (PDF).
How do they pick the entries?
Each Participating Broadcaster has a right to choose their entry in the format they choose. This means that in some cases, the entries are picked internally, in some the artist or the song are picked by the broadcaster while the public in that country decided on the eventual representative.
In the majority of the cases, though, both the song and the performers are picked for a show called a national selection. There, the decision is usually up to the viewers and/or a jury.
It is important to also know that only some broadcasters accept foreign authors.
IMPORTANT: Follow the dates in each of the countries through their websites or any other communication channels. Also, you can often get the deadlines and conditions right here, on Eurovision.tv.
How do I contact them?
You can contact the Heads of Delegations – the people responsible at the broadcaster’s side for the Eurovision Song Contest – for information on their selection method.
IMPORTANT: Contact List of the Heads of Delegations at the Broadcasters (PDF).
Can you help?
As said before, the organisers of the Eurovision Song Contest do not choose any of the entries. We urge you to contact the delegations.
What basic rules does my entry have to follow?
As is the case at every contest, there are rules to be followed. The Eurovision Song Contest is not an exception in this. If you want to find out more about the rules, please check it on our Rules page.

Using material
VIDEOS: All media is welcome to embed videos from the official YouTube channel. You are allowed to use up to 30 seconds of each video and a total of 2 minutes in your own video reports.
PHOTOS: You can also use the Press Photos in your publications. Please credit EUROVISION/EBU and the photographer.
News access
Any broadcaster which does not hold any audiovisual media rights shall be granted, upon request to the EBU, except where national law or regulation provides otherwise, a total of two minutes’ news access from each of the three Shows, free of charge for use in regularly- scheduled general news bulletins broadcast within 24 hours of the Semi-Finals and the Final respectively.
LOGO & THEME ART
The usage of the logo and the theme art of the Eurovision Song Contest is allowed for the EBU, the Participating Broadcasters and the Sponsors. Media can use them only for media reporting purposes. No commercial use is allowed.
Code of Conduct
By using your accreditation at the Eurovision Song Contest, you accept the terms laid out in the Code of Conduct.
Wireless equipment at the venue
Please understand that all use of any wireless equipment is unfortunately strictly forbidden at the venue and may result in a loss of accreditation rights.
YOU CAN FIND ALL THE INFORMATION ON Eurovision .tv