The transition from a rehearsal room to the grand stage of the Wiener Stadthalle is rarely seamless, but for Switzerland’s Veronica Fusaro, the initial steps in Vienna felt less like a dance and more like a struggle. After the first round of rehearsals for the 2026 Eurovision Song Contest, the atmosphere surrounding the 29-year-old singer from Thun was one of palpable frustration. The sophisticated choreography of her entry, “Alice,” was faltering, hampered by a stage crew that Fusaro felt was unable to keep pace with the production’s demanding technical requirements.
For a performance that relies on precision, “close enough” is not an option. Fusaro’s team issued a comprehensive list of demands to the show organizers, insisting that the execution of the staging match the ambition of the song. The tension highlighted a common Eurovision friction point: the gap between an artist’s creative vision and the logistical reality of a massive, multi-national production crew working under extreme time pressure.
By the second rehearsal on Friday, however, the tide had turned. The Swiss delegation took a decisive step by reclaiming control over their own props, specifically the handling of the ropes central to the act’s choreography. By putting the dancers back in charge of the equipment, the production found its rhythm. Fusaro told SRF that while the local crew is still operating at roughly 90 percent of what is needed, the performance is now “sitting” correctly, and she feels 100 percent prepared for the high-stakes week ahead.
Moving Beyond Minimalism
The reaction from the Eurovision community has been swift and largely positive, sparked by 30-second snippets released by the European Broadcasting Union (EBU). For many fans, the most striking element of “Alice” is not just the music, but the sheer scale of the ambition. On social media, the consensus is clear: Switzerland has abandoned the minimalist aesthetic that defined its 2025 entry, “Voyage,” performed by Zoë Mës.
While “Voyage” was praised for its restraint and stripped-back delivery, “Alice” is a maximalist experience. The staging is a kaleidoscope of high-contrast visuals, shifting from “apocalyptic red” to a stark, empty black void. This pivot in strategy suggests a calculated move by the Swiss delegation to capture the attention of both the professional juries and the viewing public through visual storytelling.
Some critics and fans have noted that “Alice” does not follow the traditional “ESC formula”—it lacks the immediate, high-energy “blast” of a typical contest hit. However, this has led many to label Fusaro a “Dark Horse.” The argument emerging among enthusiasts is that the strength of the staging is doing the heavy lifting, proving that a compelling visual narrative can elevate a song that might otherwise be overlooked in a field of louder entries.
The Symbolism of ‘Alice’
The production of “Alice” is not merely about spectacle; it is anchored in a heavy thematic core. The song addresses the debilitating nature of violence against women, a theme translated on stage into a visceral image: a blood-red net. Throughout the performance, Fusaro is seen attempting to free herself from this entanglement, turning a pop performance into a piece of performance art about liberation and struggle.
The technical complexity of the act is further emphasized by a daring inverted reflection sequence and a climactic guitar solo toward the end of the track. This solo serves as both a musical peak and a statement of agency for the Thun-native musician. While a small minority of viewers have described the rapid-fire changes in the three-minute window as “total chaos,” the complexity is precisely what is drawing viewers back for repeat viewings.
The Road to the Grand Final
As the competition moves toward the live broadcasts, the pressure shifts from technical execution to mental endurance. Fusaro is currently navigating the rigorous “preview” phase, where each performance is run through three times: twice the day before the show and once on the afternoon of the broadcast. Two of these rehearsals are conducted in front of a live audience of approximately 10,000 people, providing a necessary simulation of the roar and energy of the actual contest.
Despite the positive buzz surrounding the staging, the betting markets remain cautious. Current odds suggest that Switzerland’s path to the Grand Final may be narrow. However, seasoned Eurovision observers often warn against relying on early betting trends, which typically only accurately predict the top three finishers. The actual outcome is decided by the volatile intersection of jury points and the global televote—factors that a “Dark Horse” with a stunning visual package is uniquely positioned to disrupt.
| Event | Date | Broadcast Time | Channel |
|---|---|---|---|
| Semi-Final 1 | Tuesday, May 12 | 21:00 | SRF 2 |
| Semi-Final 2 (Fusaro) | Thursday, May 14 | 21:00 | SRF 2 |
| Grand Final | Saturday, May 16 | 21:00 | SRF 1 |
The definitive test for Veronica Fusaro will arrive this Thursday during the second semi-final. With the technical kinks largely smoothed over and the “minimalist” era firmly in the rearview mirror, the Swiss entry is no longer playing it safe. The question now is whether the drama of “Alice” will be enough to secure a spot in the final.
For official updates and live tracking of the contest, viewers can follow the EBU’s official channels or the SRF News app liveticker.
Do you think the “maximalist” approach will pay off for Switzerland this year, or was the minimalism of 2025 a better fit? Share your thoughts in the comments below.
