Ossi Runne (86), the legendary Finnish Eurovision conductor (22 editions from 1966's self-penned Play-boy to 1989's La dolce vita. He also commented Eurovision for YLE in 1981 and 1990) is still following Eurovision, as he tells in Studio55's interview (in Finnish here) but only the final these days. He thinks a good Eurovision song is a one that is liked all over Europe and the secret of Eurovision's sucess is the fact each and every TV-viewer is an expert. True.
In the old days the conductor besides conducting the orchestra obviously also arranged the song. He says he did so many Eurovision that he wasn't nervous anymore, it was routine and he felt no stress. "We had two 45 minute rehearsals with the orchestra those days. They were always already well rehearsed beforehand, both orchetra and the artist. My main target was always make justice to the Finnish song, and take it and make others take it seriously. Some other conductors didn't take it so easy. I remember once the Yogoslavian conductor I was sharing the dressing room with was trembling all over. He was so afraid of the possible success or un-success of the only Eastern European country. The pressure for him was enourmous!"
He remembers Brighton 1974: "When we all heard Waterloo in rehearsals for the first time we all knew it was something special. The song was built better than any other in Eurovision history, and indeed it went on to beyond Eurovision success and is still gold to its writers"
He thinks the Finnish entry 1989, Anneli Saaristo's La dolce vita is one of the bests. "It was very international. The Finnish entries in general have been rather solid pack. They haven't been extra ordinary but not bad either."
"Lordi's win in Euroviisut was a shock! But then it went on to win the whole thing. Being different is good sometimes. This year's entry is a very well crafted song. Krista Siegfrids is very motivated and secure performer. I wish her well, of course, even if the song itself isn't anything extraoridnary."
Runne isn't very happy the orchestra is gone. "The show factor has become more important than the song itself. Special effects, bombs and gimmicks have taken the place of the orchestra and the solist, but maybe this extra is considered necessary these days. I don't know where all this lead to...."
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