The dust has barely settled on the dramatic events of the first semi final, but there’s no time for reflection. Wednesday morning brings another round of big seven rehearsals and press conferences, followed by two full run-throughs of the second semi final – including the all-important jury show.
The Italians have a good rehearsal and enter the press centre in high spirits, which are immediately boosted when they draw a second-half performance slot in the grand final. They’re obviously comfortable in an interview situation and deliver another charming, relaxed interview. They talk about the difference between performing with a live orchestra at San Remo versus using a pre-recorded backing track at Eurovision – admitting that they prefer the former, but they’ve delivered enough TV performances in their career that they don’t feel disadvantaged.
Edurne from Spain also draws a second half slot, eliciting enormous cheers from the Spanish journalists. She jokes that she’s pleased to have more time to get into her dress. It seems that her song has had a mixed reaction from the Spanish press in the build-up to the performance, but she says she’s comfortable with receiving criticism and expected her song to divide opinion.
Edurne from Spain is happy with her rehearsal and unfazed by critics.
Photo: Eurovision.tv
Due to the tradition that the host nation draws their performance slot randomly before the contest, the Austrians already know that they’re performing 14th in the final. They talk about having a beer named after them in honour of the contest, and offer an impressively blunt answer to critics who accuse them of selling out by appearing at the contest: “We don’t care!” That said, they have a less than rock’n’roll explanation as to why their piano hasn’t been on fire during the rehearsals – “We can’t burn six pianos!”
Ann Sophie from Germany is feeling under the weather after her rehearsal, but a second-half draw cheers her up. She talks about feeling support from the German public despite the events of her national final and firmly clears up the debate about whether her album title – Silver Into Gold – is a nod to the controversy (it isn’t).
A second-half slot in the finals is just the tonic for an under-the-weather Ann Sophie from Germany.
Photo: Eurovision.tv
Electro Velvet just can’t catch a break. Onstage their performance still isn’t coming together, and they’re the first country today to draw a first-half slot in the running order. Would the producers be cruel enough to stick them among the first five? Alex and Bianca are still genial and engaged interviewees though, sharing a mutual connection to The Rolling Stones – Alex performs as a Mick Jagger tribute act and Bianca was named after his ex-wife. Head of Delegation Guy Freeman is rather more prickly, shooting down a request for a UK national final by claiming that there’s no correlation between the success rate of the UK entry and the extent to which the UK public are involved. He cites Conchita – who was internally selected by ORF after losing a national final two years previously – as an example of a controversial broadcaster decision that ultimately paid off.
Lisa Angell from France also draws first, but she’s still gaining major plaudits for the staging and performance of her previously unfancied song. She wins major Euro-fan points when she performs an off-the-cuff medley of Francophone Eurovision classics – including Ne Partez Pas Sans Moi, Si la vie est cadeau and Poupée de cire, poupée de son. You’ve got to love a girl who knows her history.
With three days to go until the final, the momentum still very much feels like it’s with Sweden, but there’s a definite sense that if anyone can give Måns Zelmerlöw a run for his money, it’s Australia’s Guy Sebastian. Slightly disappointingly, he draws a first-half performance slot, which could give Sweden an open goal if they draw second, and also leaves a space for yet another ballad in what’s currently looking like a rather low energy second half of the show.
Guy Sebastian from Australia claims he sounds sexier when he’s ill. He may find himself hoping that Europe agrees…
Photo: Eurovision.tv
Sebastian was ill on Sunday, and he’s still not fully recovered but sounds a lot better onstage and in the press conference. He bats away any concerns about his cold affecting his performance, claiming he often sounds sexier when he’s ill anyway.
Watching rehearsals for the same show more or less twice in a row is a bit much even for me, so I decide to skip the afternoon family show and head back down to the Eurovision Village, where I have an opportunity to meet the UK ambassador to Austria – the extravagantly named Susan le Jeune d’Allegeershecque. She’s here to support Electro Velvet – who are also here for a performance on the main stage – and declares that she’ll be back in the Village on Saturday for the screening of the grand final.
UK ambassador to Austria Susan le Jeune d’Allegeershecque introduces Electro Velvet… and an unfortunately timed downpour.
Photo: John Lucas
The ambassador is generally used to managing more weighty political affairs, and she’s clearly enjoying the opportunity to be part of the festivities. She reveals that the Visit Britain team I spoke to yesterday are here at her special invitation, and she talks about how the inspiration to use the event to promote Britain as a beacon of diversity came from witnessing Conchita’s victory last year. She loyally – if somewhat optimistically – tips the UK team for success on Saturday, but cites Guy Sebastian as their most dangerous competitor.
Having been fooled by a deceptively warm Viennese morning, I’ve come to the village without a coat, which I quickly come to regret when the Ambassador’s introduction of Electro Velvet heralds a rather portentous downpour. I stick around for as long as I can, but my dedication to the cause doesn’t extend to developing pneumonia, so I beat a hasty retreat, the sound of Still In Love With You receding forlornly into the sound of falling rain. I’ll try not to read too much into it…