To describe an actor one should first of all describe the relationship with emotions. The actor is a medium between written and spoken words, between written and performed emotions. He has a priestly, thaumaturgical role; a “licence for prostitution” aimed at opening the secret code of emotions, and to translate it into images and sounds understandable to the human soul. Frankly I am not sure this is the result of today’s art of acting, I hope, though, that this distinguishes my own research.

I started acting before my tenth birthday. My dad was a director in a small oratory acting company. As a teenager, passion led me to audition at the” Accademia dei Filodrammatici” in Milan. I was fascinated by that old institution founded between the eighteen and nineteen century by wealthy Milanese people in love with theatre. Their aim was to contribute to the cultural growth of their town and country. They promoted ideals of freedom and equality, through formation of young talented scholars.
In its secular history, the Teatro dei Filodrammatici, together with its Academy, experienced a variety of very prominent people among its chairpersons, fellows, teachers and actors (among others: Vincenzo Monti, Carlo Porta, Ugo Foscolo, Cesare Beccaria, Giuseppe Giacosa, Gabriele D’Annunzio and many others – Giuseppe Verdi was a director and a harpsichord professor).
Usually representations were put on stage on Fridays, closing day of the Teatro alla Scala. Among the actors of more recent times it is due remembering Eleonora Duse, Lucilla Morlacchi, Mariangela Melato and Alberto Sordi. This is just a short list of the many prominent graduates of the Accademia dei Filodrammatici.

I had the chance to study with highly valuable teachers, first among all Teresita Fabris, Riccardo Pradella, Franco Sangermano, Piero Sammataro, Massimo Mesciulam and many others. Fundamental for my human and cultural growth, was my encounter with Sergio Maifredi, a dear friend, study mate at the Academy and one of the best Italian theatrical directors.
Many years ago, thanks to a good friend, I found out that my voice was suitable also for the advertising industry and not only for dubbing. So I discovered the technical and emotional mechanisms that go along, support, amplify and convey ideas and images in advertising; voice becomes a powerful instrument of suggestion to the advertising message.
For more than twenty years I have been the voice of many of the most important advertising campaigns in Italy and the vocal testimonial of the most prestigious national and international brands and tv networks.

In the meantime I go on with theatrical acting. I have produced and acted in plays for the Scala di Milano, the Gramsci Institute in Rome, the Turism Office of the City of Milan. I have cooperated with the orchestra conductor Maestro Antonio Ballista, the choir conductor of the Swiss Radio and TV network Maestro Luigi Marzola, the Iranian composer Amir Molookpour, and with Maestro Massimo Crispi.
Since I was a boy I have been interested in the research works on voice by Demetrio Stratos and Carmelo Bene as well as in the Russian and Polish theatre. I have often travelled to India, getting in touch with the spiritual dimension of sound.
In the last fifteen year I discovered a strong correlation between my job experience and Ecobiopshicology. I am an Ecobiopsicology oriented counsellor and an expert in psychosomatics. It is my strong belief that through psycological research it is possible to understand and make use of the unconscious vocal semantics so necessary to the daily work of a professional “voice talent”.