The Eurovision Song Contest, a vibrant and cherished international music competition, has often been a grand event, attracting millions of viewers from across the globe.
However, for Eurovision 2025, significant changes are afoot in the coverage provided by the Finnish national broadcaster, Yle.
In a recent announcement, Yle has confirmed that it will not be sending any commentators to Basel, Switzerland, for the event due to budget cuts.
This decision marks a pivotal moment, as the beloved tradition of on-site commentary is being replaced by remote reporting from Helsinki.
In a revealing interview on the Huomenta Suomi program, Mikko Silvennoinen, Yle’s iconic commentator for both UMK and Eurovision, shared his insights about this change, indicating that he would deliver live commentary from the comfort of Yle’s studios.
While he will attend the opening ceremony, the live shows will see him returning to his native Finland, a decision driven by rising costs associated with travel and logistics.
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Key Takeaways
- Yle will not send commentators to Eurovision 2025 in Basel, opting for remote coverage due to budget cuts.
- Rising costs and a €24 million funding reduction from the government have forced Yle to alter its traditional Eurovision coverage.
- Other European broadcasters, like HRT from Croatia, are also shifting to remote commentary, highlighting a wider trend in Eurovision coverage challenges.
Budget Cuts Impacting Eurovision Coverage
Budget Cuts Impacting Eurovision Coverage
The impending Eurovision 2025 is poised to look different for Finnish viewers, as national broadcaster Yle has confirmed a significant shift in its coverage approach.
Due to severe budget constraints, Yle will not send any commentators to Basel, Switzerland, marking a pivotal change in how the iconic musical event will be experienced by audiences in Finland.
This announcement was made public by Mikko Silvennoinen, the well-known commentator for both UMK (Uuden Musiikin Kilpailu) and Eurovision, during an appearance on the Huomenta Suomi morning show.
Instead of being on-site for the performances, Silvennoinen will provide commentary from Yle’s studios in Helsinki, although he plans to attend the opening ceremony in Basel before returning to Finland for the live broadcasts.
Anssi Autio, who serves as Yle’s Head of Delegation for Finland, shed light on the financial hurdles contributing to this decision.
He noted that the costs linked to sending commentators—including technical equipment and the logistics of securing a commentary booth—have become unmanageable under current budget constraints.
These financial challenges have been intensified by a decision from a Finnish parliamentary working group that resulted in a funding cut of €24 million for Yle.
This reduction has severe implications, prompting the broadcaster to also cancel its much-loved Eurovisionsbubblan preview show, which had been a staple since 202
1.
Despite the adjustments, Yle plans to maintain multilingual commentary for the Eurovision contest, announcing a lineup of commentators for six different languages.
Among them, Silvennoinen will handle the Finnish commentary, while Eva Frantz and Johan Lindroos cover Swedish.
Levan Tvaltvadze will provide commentary in Russian, with Heli Huovinen and Aslak Paltto giving voice in Inari Sámi and Northern Sámi, respectively.
Galyna Sergeyeva will serve as the Ukrainian commentator.
Finnish artist Erika Vikman is set to represent her country at Eurovision 2025 with her song ‘Ich komme,’ performing last during the second semi-final on May
15.
Other countries are facing similar commentary challenges, with Croatia’s HRT also deciding that their commentator will work remotely rather than travel to Basel.
Autio further suggested that future decisions regarding on-site commentary will hinge on whether the European Broadcasting Union (EBU) can address the financial concerns expressed by national broadcasters.
As budgetary pressures continue to affect media organizations across Europe, the traditional Eurovision experience may never quite look the same.
Future of Eurovision Commentary: A Cross-National Challenge
The shift in Eurovision coverage highlighted by Yle’s decision signals a broader issue across Europe, where financial strains are prompting national broadcasters to reconsider their traditional methods of event coverage.
With rising operational costs and diminishing budgets, media outlets are increasingly relying on remote commentary setups.
This approach not only challenges the immersive experience typically associated with live events but also raises questions about the future of live broadcasting at large-scale festivals like Eurovision.
The adaptation may lead broadcasters to innovate or engage with audiences differently, potentially paving the way for new models of presenting live musical events.
As technology continues to evolve, it remains to be seen whether these changes will enhance or detract from the audience experience.
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