The actress: I ran away from Carmelo Bene’s house after a breakup, we didn’t get along about anything anymore. I introduced myself to Piccolo after my father died
Giorgio Strehler and Franco Battiato. Carmelo Bene and Checco Zalone. Zubin Metha and Antonio Albanese, the brothers Bertolucci and Camilleri, Irène Némirovsky and Roberta Torre. If an Italian version of the game of the six degrees of separation applied to Kevin Bacon were made, the chosen one would be Sonja Bergamasco. There is no other like her: a diploma in pianist from the Milan Conservatory and that from the Scuola del Piccolo, starting with a bang, accompanied with chasers, then a series of unique encounters up to his theater and opera direction. A red thread that knows how to unite opposites, to bring different things to one table. An extraordinary talent for opening new doors. But also the determination to close them if necessary. Distinguishing marks: a mane of honey-blond hair and an infectious laugh. Milanese, born in 1966, married to her colleague Fabrizio Gifuni, with whom she had two daughters, Valeria and Maria, has just started a new chapter, poetry
with La Nave di Teseo at the same time as the show taking place tonight at the Milanesiana.
“I buried my father when I was eighteen. More precisely, in the fourth row in a country cemetery (the ground floor was too expensive). / Hard times, youth. Miserable Thorn Forest ». She decided to open her poetic diary, what prompted her?
“Maybe it’s a time in life when I’m ready for that. I’ve been writing since I was a girl, at the moment it’s my favorite thing to do, a path I want to follow more and more. Writing is first and foremost the opportunity to look at myself in the mirror. On the cover I took a photo of myself at 3 on Christmas. When I look back on this little girl, I find myself with all the wounds, the inequalities, the interruptions, the difficulties. I am glad that part of this child remained intact».
How was she as a child?
“I wanted so badly to grow up, not to be there anymore. Music was in the air at home, even if in truth only one aunt, Aunt Margherita, practiced it. She was a promising singer who did not go on, she devoted herself to family. My grandmother loved opera, she played the piano and got everything wrong, my paternal grandfather hummed operatic arias, but no one got any further. My mother wanted us brothers to learn an instrument and she introduced me to the piano ».
Do you remember the conservatory years?
“I entered it when I was ten years old, it was a challenge. It was very hard for me because of the monastic closure that I perceived, from which I suffered a little. I later regained the connection to the music, it was imprinted as DNA ».
Why also the Piccolo Teatro school?
“It was an impulsive decision at 18 after my father died. He was 48, very young, it was sudden. For me it was a big mess. I felt the need to understand what I wanted and could do, I needed to get my ideas straight soon. I was attracted by the ban on the theater school. I certainly did it unconsciously, but mostly unprepared. I think they thought I was the musicality of my way of facing the rehearsal, or rather rehearsals, three throughout the year. Maybe they noticed a kind of solfeggio in my acting ».
How did your mother take it?
“I’ve already lived alone, it was my choice, she found out afterwards.”
And after a while she found herself on stage with Strehler.
«From school to company. Before the fist and then theharlequin. precious memories. Giorgio had an intriguing and somewhat frightening lion-like enthusiasm. And above all, a contagious passion ».
And a nice impression in the theater.
«I have done a lot. With Glauco Mauri, with Massimo Castri, five years of shows ».
Including «The Holiday Trilogy». In the same company as her future husband.
«We met Fabrizio at work. Others unified the lyrics, while Massimo wanted to do three different shows: Le Manias, Le Adventure and Il Viaggio. Three years tour together with Castri. I had already met him: I went to watch him playElectra with a friend of mine. Then we found each other for Goldoni. Two and a half years of repetitions. We went to live together ».
Milan or Rome?
«In Rome, Monti district. It was 1997, a Roman would never have understood what Milan was like back then. Now she is both happier and more beautiful. I always go back there with great pleasure. This house in Monti is linked to other special encounters. One in particular in the neighborhood pharmacy ».
Not with a doctor I think.
«With Giuseppe Bertolucci, with whom I shot love probablymy first film, after the short film D’Estate with Silvio Soldini. We were neighbors but we didn’t know it. We met in the pharmacy, I had my hair cut very short Pinocchio by Carmelo Bene. He came home and said to his wife: I saw the protagonist of the film. I said to Fabrizio: I met someone at the pharmacy who stared at me. Then we became good friends.”
And how did it go with Carmelo Bene?
“A new beginning. He worked with Elisabetta Pozzi on the remake of his beautiful Adelchi, he was looking for young actresses. A part of me wanted to meet and work with him, but given his overwhelming personality, I hesitated. When I got to know him, I met a person of outstanding irony: with him you could roll over with laughter. Many actresses showed up for auditions. He asked you to go on stage and recite verses into the microphone and he thundered out of his microphone, he was having a great time. I haven’t decided. After a few days he found me: You don’t perform? I did it and he offered me to work with him ».
«A paid study period that could give the possibility of a show, we still didn’t know which one. I had no doubts: a kind of sabbatical outside of any norm. It was the Pinocchio, its latest edition. A huge hassle: a hot summer, rehearsals at the Engelstheater, as a fairy I had a very heavy velvet costume with padding that made me look like a doll and a fixed mask on half my face that I had to put other masks on. I had my hair cut on purpose. We took it to Argentina, just us on stage ».
“It ended abruptly. I went to his place in Otranto to study for him Iorio’s daughter by D’Annunzio. One evening we broke up, we didn’t understand each other anymore. I dropped everything and left at dawn. We met again to resume Pinocchio. I have a bright memory of him ».
Also at Battiato a non-compliant meeting.
“He saw us in Lto the best of youth by Marco Tullio Giordana, he called us to himself musicians, his film about Beethoven. With Fabrizio, we took this journey off the beaten track. He showed us a screening at his house in Milo, he wanted to take him to Venice, I told him it was better not, he wouldn’t understand, he didn’t care.
He was whistled.
“It was an announced catastrophe, it was an object that could not be assigned to this context. But Franco followed his ways. I also did a TV show with him Please, no advertising. A very generous man, easy to be with. He moved, walked, but easily, not burdening anyone, not judging. Pure lust ».
Twenty years later, “The Best of Youth” remains a fixture. what was it for you
“A turning point that united us. We were a group of young actors, the central core knew each other, me, Fabrizio, Luigi Lo Cascio, Alessio Boni. And Maya Sansa, Jasmine Trinca, Claudio Gioè, Valentina Carnelutti and Adriana Asti. An innovative work, made for television and released in cinemas. I am lucky to have such a long and important life».
He never snubbed television.
“In fact, I’ve done a lot. In different ways. Of the De Gasperi by Liliana Cavani and All crazy about love by Riccardo Milani, written by Ivan Cotroneo, a leap into lightness ».
And Montalbano. Livia for 5 years then left on the phone. The audience got angry.
«To be honest, me too: but what ends up like this? But Camilleri had written it … ».
You have the French remake of “Quo vado?” How did Nunziate and Medici convince you?
“A wedding invitation. A leap into the void for me. But also for her: taking me to a comedy was a great idea. How to translate the classic male leader character into a female one. I loved Doctor Sironi, I tried to defend her through suffering that ended up being destroyed by that miserable Checco Zalone ».
With Luce di he developed a taste for comedy “A cat on the ring road».
“I like her very much, so lost in her wanderings. The daughters are delighted, they ask that Fabrizio decides to throw himself into comedy too».
At a certain point in the theater he started directing: “The Dance”, “The Seed Man”, etc.
«Texts that do not come from the theater. Still the obsession with the language that I follow in my own way ».
For her, after the summer, the revival of “Who’s Afraid of Virginia Woolf?” by Antonio Latella.
«A beloved job, I’ve wanted to play with Antonio and Vinicio Marchioni for a long time. Rare generosity and brilliance. A great team, it’s fun to be together. It’s not obvious.”
At home we often talk about work.
“It’s been part of our lives from the start. how do we break up We play chess with Fabrizio. We played it when we met, on our holidays in Greece, I remember afternoons I always lost. We started again and I finally started winning too. Now there is a good balance, I like it a lot ».
June 24, 2022 (Modification June 24, 2022 | 07:20)
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