Image Sonia Bergamasco reads Dante Alighieri

Sonia Bergamasco reads Canto 33 from Dante’s Paradiso
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"Dante and Bach, an encounter 750 and 330 years after their births"

"Le sante corde dei canti" ("The Sacred Strings of Cantos"), a journey through The Divine Comedy

“Dante al Bardini", Sonia Bergamasco reads Inferno XIII”
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Image Sonia Bergamasco reads Szymborska

"Ritratto di donna" (Portrait of a Woman)
"Improvvisazioni teatrali" (Theatre Impressions)
"La Gioia di scrivere" (The Joy of Writing)
"Ringraziamento" (A 'Thank You' Note)
"Il gatto in un appartamento vuoto" (Cat in an empty apartment)

Image The Frenzy of Orlando according Sonia Bergamasco

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Image Sonia Bergamasco reads Carol Ann Duffy

Listen "Freddo"
Listen "Euridice"

Image Sonia Bergamasco in Variazioni da Amelia Rosselli
How to read for many people, how to improve the way you read.
You must reckon with the space to reach the very last row.
You read more slowly, you recite. I have often sat myself down amid the audience to listen to others, but I did not last long; I left exhausted by the effort of paying attention.
A Greek theater would be wonderful, starting all over again, blending music, theater and poetry. But we do not do it.
On the other hand, the poet today is a bit superfluous. We publish with difficulty, yet the provinces, the functionaries call us. Where the editor saves, the city does not. There is a bit of curiousity, but also superficiality.
More spectacle is asked of poetry. But poetry is not for the stage. Poetic fame is a façade. It is for one, two thousand people. I accept only for the cachet.

Amelia Rosselli