What affects me, moves me (and happily disquiets me) in this ‘test’ of Sonia Bergamasco is her formidable, indomitable determination to celebrate
the sovereignty of meaning, to rejoice in the arbitrariness of the sign, to reaffirm the supremacy of sound and of vocal and physical expression.
Sonia’s voice is not a choice, it is a necessity, a biological destiny, a sort of cheerful and painful teething that has accompanied her for quite
some years now, an echolalic, onomatopoetic joy that she cultivates both within and against her profession as actress-Alice precipitated into the style-less hell
of these dull-witted times. I would like to salute without words – with a clacking of teeth or a grunt or a hoot or a sneeze – this voice-vocation that beguiles
and consoles us, showing us the irresistible enchantment of the unusual, neglected treasures that we all possess. Without knowing it.
Few events, utterly happy
scenes from a marriage
with Sonia Bergamasco and EsTrio
music by Clara and Robert Schumann
original dramaturgy by Maria Grazia Calandrone
Read the artists’ notes