Low and decisive voice, of those who want to be heard and to enter in a dialogue with you, and we cannot neglect her musicality, that made Mallarmé’s verses resound on stage – and not only. Sonia Bergamasco has embodied several women with passion, from Karenina to the wife of De Gasperi and of Inspector Montalbano. We met her in the place that is so dear to her: the theater.
by Maria Lucia Tangorra
Taking its cue from “L’uomo seme” (taken from the powerful and touching text by Violette Ailhaud, the pièce was conceived and directed by the artist, as well as interpreted together with the Faraualla group, edit), we can make community today?
For me, going back to the theater is increasingly important. It is also the concrete opportunity to embrace a listening community, a living presence that is not comparable to the community that is expressed on social media. Looking at each other, breathing together is fundamental because it triggers an energy that moves you inside.
Sonia, you experimented yourself in various languages and, in particular in recent years, you created a
personal journey with the shows…
In the theater I am happy. I deeply love my job of actress and I never lost the emotion related to this profession.
On a cinematographic level you had the opportunity to space out…
Yes, from the experience of “Riccardo va all’inferno” (directed by Roberta Torre, edit) to the “lightness” of “Come un gatto in tangenziale” by Riccardo Milani, passing through the strong story of “La meglio gioventù” by Marco Tullio Giordana. I put very different strings on the field. I love to change and I am very curious.
In your opinion, when did the perception that others had about you changed, from the point of view of the experts and the public?
I would say it changed through the comic. I experienced it thanks to my friend Ivan Cotroneo, who involved me in the project “Tutti pazzi per amore”. I had never worked in a series and I was terrified by the long commitment. In addition, at first glance, I was not attracted to such a nasty character. Instead, I had a good time! (In 2009, for the role of Lea, she won the award for best supporting actress at the “RomaFictionFest”, edit). A few years later the proposal of Luca Medici and Gennaro Nunziante for “Quo Vado” arrived (in 2016 he received several awards, including the Flaiano Prize as female film interpreter of the year, edit). The script immediately convinced me. The years pass and I think that the choices must be dictated above all by instinct, by the desire and the pleasure of staking.
What is your greatest satisfaction today?
The theater direction. When I see a show come to light, I feel a deep happiness, it’s like a birth.
What would you like to see in your dialogue with the public?
When I’m in the theater, I’m not interested in myself. I abandon myself to the story. And to see that the public is passionate to history, like me, it’s the best fulfillment.
What was lost about you?
I didn’t ask it. We live in the eyes of others. When you meet a person with whom you can establish a deep relationship, when he thinks about you, if it is sincere and warm, he can be much more helpful than many personal ruminations.
After graduating from the Piccolo Teatro, you took your first steps when you were young. What does you bring with you from masters as Giorgio Strehler, Massimo Castri and Carmelo Bene?
Strehler was a great teacher, fierce and poetic; Castri was very demanding, he focused on the actor’s job and working with him was a formidable school. Carmelo Bene is, for me, “the meeting”. From that moment on, even on his impulse, I began to explore my own way of being on stage and thinking about theater.
What is your way, particularly as a director?
I like to create a climate of harmony and listen. I am aware of my role and I don’t delegate the choices to anyone. I am sure, however, that from the encounter with the artists and the collaborators with whom I work, new ideas may arise, even unforeseen ones, and I don’t want to lose them for an attitude of closure.
Sonia, what is the rhythm of your life?
It’s obsessive but “secret” in the sense that I don’t want to show it. A difficult rhythm to sustain. But it’s mine!
Recalling music (you graduated in piano at the Milan Conservatory, edit), with which song would you describe your current mood?
If I have to think of something that can slip into me helping me to start the day, Bach, Pink Floyd or the human voice of a contralto like Kathleen Ferrier come to mind. And then there’s Mozart… his “voice” has a shine and transparency that support me.
Where will we see you busy soon?
In May I start rehearsals for “Le nozze di Figaro” (the anchorwoman is Kristiina Poska, edit), on the bill from 15th to 21st June for the Maggio Musicale Fiorentino within the project “Mozart al femminile”. It is my desire to work deeply on the relationships between the characters. The story is a narrative flow without breath, in which the eleven characters, in the course of a “crazy day”, discover each other, collide and draw closer with a new awareness. A story that is based on a magical and essential balance. For me it’s a privilege to be able to approach Mozart and Da Ponte. Next season I will work with Thomas Ostermeier in the show “Return to Reims”, a new production of the Piccolo Teatro di Milano, co-produced with Fondazione Romaeuropa and in collaboration with Schaubühne Berlin. The project of this work starts from the homonymous book by Didier Eribon and it’s an acute reflection on the political and social present we are experiencing. We will present it for the first time from October 10th to November 16th and it will be presented at the Romaeuropa Festival from November 20th to 23rd. In the year of the five hundredth anniversary of the death of Leonardo, 24th and 25th September, we’ll present it at the Grassi in Milan “The miracle of the dinner” directed by Marco Rampoldi.