Oh god, pop-opera.
Elina Nechayeva is a soprano who was a finalist on the ETV show Klassikatähed 2014, a competition show for young classical musicians. She co-hosted Eesti Laul in 2017.
She wrote “La Forza” with fellow Klassikatähed vet Ksenia Kuchukova, as well as Mihkel Mattisen and Timo Vendt, who both wrote Estonia’s 2013 entry “Et uus saaks alguse” for Birgit Õigemeele.
When “La Forza” debuted in its Eesti Laul semifinal, betting on it went wild enough to make Estonia the odds leader. Since then it has been hovering around the top three in the odds tables.
So we understand why pop-opera rears its annoying head every couple of years: it is generally predicted to do well. Il Volo’s “Grande Amore” (Italy, 2015) comes to mind: it was in the top three in the betting odds and ultimately landed third. And when a country outside the Big Five sends pop-opera, they usually qualify for the Final. “La Forza” is therefore an appealing choice for a country that has failed to make it out of the Semis three out of the last four years.
But “Grande Amore” aside, this subgenre more commonly finishes mid-table on Saturday night. Think “Sognu” (France, 15th in 2011), “La Voix” (Sweden, 21st in 2009), “Cvet z juga” (Slovenia, 15th in 2007), or “Questa Notte” (Latvia, 16th in 2007). Even glorious, glorious “It’s My Life” (Romania, 2013) finished 13th.
Our bias against pop-opera may be showing, but to us “La Forza” feels more like that latter strain of mediocrity, undeserving of its projected top three status. It’s pleasant, but it lacks majesty. It is quiet and noodly and new agey. It needs to be the diva’s performance from The Fifth Element and it just isn’t.