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Maria Monti (born 26 June 1935) is an Italian film actress and singer.

Life and career

[edit]

Born in Milan, Monti started her career as a singer in the mid-1950s, performing in the nightclubs of her hometown, soon achieving local success.[1] As a singer, she took part in the Sanremo Music Festival 1961 with "Benzina e cerini", and her repertoire mostly consisted on satirical folk songs.[1] At the same time, she started a parallel activity as a stage actress, and starting from 1959 being also active on television and in films, where she collaborated with Sergio Leone, Bernardo Bertolucci, Alberto Lattuada and Mauro Bolognini.[1] On stage, she is best known for her collaboration with Paolo Poli, for the Garinei-Terzoli-Vaime musical comedy Pardon Monsieur Molière she starred in with Gino Bramieri, and for Giovanni Testori's L'Ambleto.[1]

In 2005, she presented the monologue Canto a me stessa, written by Renata Ciaravino. In 2006, she presented the show Il mostro a due teste in Italian theaters, directed by Claudio Frosi and accompanied by the piano by Marco Persichetti. In 2017, on February 6, Maria Monti returned to the stage after an eleven-year absence at the Teatro Arciliuto in Rome to present her CD Sprazzi di pace, released digitally only in 2021.[2]

Filmography

[edit]

References

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Maria Monti

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Maria Monti (born Maria Monticelli; June 26, 1935) is an Italian singer, actress, and performer renowned for her versatile career spanning theater, , , and experimental , often blending political and feminist themes with and elements. Monti began her artistic journey in the mid-1950s as a artist in Milan's vibrant entertainment scene, where she performed original songs and honed her skills as a during a period of cultural ferment. By the early 1960s, she gained prominence by participating in the in 1961 alongside with the song "Benzina e cerini," marking her entry into mainstream Italian music circles. Her acting career took off around the same time, with her debut in the first Italian La svolta pericolosa in 1959, followed by stage collaborations with director Paolo Poli and appearances in notable RAI programs like Primo Applauso in 1955. In cinema, Monti is celebrated for her roles in internationally acclaimed films, including the revolutionary peasant in Sergio Leone's Western Giù la testa (also known as Duck, You Sucker! or A Fistful of Dynamite, 1971) and the peasant Rosina Dalcò in Bernardo Bertolucci's epic Novecento (1976), as well as a part in Giuseppe Bertolucci's Strana la vita (1988). She also appeared in giallo thrillers like Cosa avete fatto a Solange? (What Have You Done to Solange?, 1972) and television series such as Vento di ponente (2001) and Nebbie e delitti (2007), showcasing her range from dramatic to character-driven parts. As a , Monti's output evolved from standards to innovative folk recordings, with key albums including Le canzoni del diavolo (1965), Memoria di Milano (1971), and the critically acclaimed Il Bestiario (1974), the latter featuring collaborations with avant-garde composers Alvin Curran and , and arrangements by . Her work often drew from literary sources, such as setting medieval bestiaries to music, and she performed at major events like the 1974 Festa dell'Unità concert in alongside , , and . Later releases, including the political-feminist Muraglie and a 2021 album Sprazzi di pace with Luca Balbo, reflect her enduring commitment to socially conscious artistry. After an 11-year hiatus from the stage, Monti returned in 2017 with recitals like Il mostro a due teste (2005, revived) and Savitri (2007), continuing to perform into her late 80s. At 90 years old, she remains a cultural icon in Italy, with recent profiles in Vanity Fair (February 2024) and Corriere della Sera (January 2024) highlighting her influence on generations of performers.

Early life

Birth and family

Maria Monti, born Maria Monticelli on June 26, 1935, in , , , specifically in the via Solferino neighborhood adjacent to the offices, entered the world just before the escalation of . Her family was middle-class, with her father serving as a director for the company in , where the family relocated shortly after her birth due to his professional role; he was also a skilled pianist who often played for young Maria, fostering her early affinity for music. Monti's mother, coming from a more affluent background, managed the family's finances adeptly and, after her husband's death during the war when Maria was about six and a half, sold their Florence home to support her three daughters amid wartime uncertainties. The family included two older sisters, Graziella and Silvia, with whom Maria shared the challenges of displacement and loss. Monti's childhood unfolded amid the turmoil of post-World War II Italy, marked by economic hardships and the scars of conflict; the family fled urban centers for the countryside, seeking refuge at La Gabbana, a farmhouse they owned in Cassano d'Adda near , to escape food shortages and bombings. There, in the , she experienced rural life, interacting with locals who spoke —often translating her Italian-speaking teacher's lessons to her dialect-speaking classmates—which exposed her to regional folk expressions and traditions during a period of national reconstruction. By 1945, at age ten, the family returned to central , settling in the via Castelfidardo area of the district, where Monti navigated the transition from wartime rural isolation to the bustling post-war city environment up through her late teens.

Education and early influences

Maria Monti, born Maria Monticelli in on June 26, 1935, spent her early childhood partly in after her family relocated there due to her father's employment with . She attended the at a local school in before the family was forced to flee amid wartime hardships, returning to and settling in the countryside near Cassano d'Adda. Following her father's death during when she was about six and a half years old, Monti and her two sisters were raised by their mother, who managed the family's resources by selling inherited property to support their and upbringing. In , Monti pursued practical training at a , qualifying as a stenographer and secretary by the age of 15, reflecting the post-war emphasis on self-sufficiency in a recovering . Her family provided modest support for artistic inclinations, though formal arts was absent; instead, she developed her talents through self-study amid the cultural revival of the . Monti's early musical influences stemmed primarily from her father, a skilled and businessman who played for her as a child, fostering her affinity for expressive performance. Exposed to American and songs like "Stormy Weather" through radio and records, she began singing shyly at home as a teenager, practicing in private spaces such as her bathroom to build confidence with a makeshift . The vibrant scene in post-war , combined with Italy's folk traditions and satirical performance styles, further shaped her voice and interest in socially observant artistry, drawing her toward amateur community singing by her mid-teens.

Music career

Debut in cabaret and singing

Maria Monti began her professional music career in the mid-1950s, debuting in the vibrant Milanese scene at the age of around 20. She first performed at the Santa Tecla club, where, due to initial shyness, she sang from behind a door near the , presenting her own original compositions that blended humor and social observation. This period marked the start of Italy's cabaret boom, a in that fused music, , and , allowing emerging talents like Monti to experiment in intimate venues frequented by intellectuals and artists. Her early singing style featured a natural, untrained voice that evolved into a distinctive blend of folk traditions, satirical wit, and theatrical expression, often drawing on everyday Italian life for her . Monti's performances emphasized original satirical folk songs, such as those reflecting the "donna moderna" , delivered with expressive phrasing that highlighted her deep, resonant . Without formal vocal training, she drew from influences like American swing tunes she sang as a child, adapting them into a personal repertoire that prioritized storytelling and irony over conventional melody. This approach quickly distinguished her in the milieu, where she transitioned from acting sketches to leading musical numbers. During this formative phase, Monti formed key partnerships with fellow emerging Milanese artists amid the city's cabaret renaissance, including joining the company of playwright for satirical revues and collaborating with performers like and Lauretta Masiero in 1955's Uno scandalo per Lilly. These alliances immersed her in a collaborative environment that sharpened her compositional skills and exposed her to interdisciplinary influences from theater and . Her interactions with the likes of and in local scenes further enriched her style, fostering a network that propelled her from club stages to broader recognition. By the late , Monti transitioned from live to recorded music, releasing her debut single in 1959 with "Finisce Sempre Così / Se Tu Mi Lascerai," capturing the essence of her stage persona in a jazz-inflected pop format. This marked her entry into the recording industry, building on material with polished yet satirical tracks, followed by live albums like the 1961 Recital that documented her evolving sound. These early releases bridged her improvisational roots with structured songwriting, setting the stage for wider audiences while retaining the intimate, narrative-driven quality of her performances.

Key recordings and performances

Maria Monti's national breakthrough came in 1961 when she participated in the alongside , performing the song "Benzina e cerini," written by , which showcased her early satirical style blending humor and . This appearance marked her first major exposure on a national stage and highlighted her cabaret-influenced vocal delivery. Throughout the and , Monti's emphasized satirical folk songs, often drawing on Italian traditions with a critical edge. Key releases include her debut album Le canzoni del diavolo (1965) on the Ri-Fi label, featuring provocative interpretations of popular and resistance songs, and the single "4 Canzoni Della Resistenza Spagnola" (1963), which reflected her engagement with political themes through folk arrangements. Her 1972 album Maria Monti e i contrautori collaborated with emerging songwriters, incorporating satirical lyrics on contemporary Italian life, while Memoria di Milano (1971), a double LP, paid homage to her hometown with narrative-driven folk pieces. A pinnacle of her experimental phase was the 1974 album Il Bestiario on Ri-Fi, where Monti set Aldo Braibanti's surreal, animal-themed poems to music, featuring arrangements by Alvin Curran on and Steve Lacy on . This work shifted her repertoire toward more introspective and abstract folk, blending vocal recitations with improvisational elements, and has been reissued for its enduring influence in Italian . Later collaborations extended this evolution, including contributions with , , and , evident in tracks like "L'armatura" from Maria Monti e i contrautori. Monti's live performances often merged music with narrative storytelling, amplifying her satirical folk roots. Notable milestones include her 1961 appearance on the TV show Canzonissima, where she performed a set of cabaret-style songs, and the live recording Bologna 2 settembre 1974 (released 1975), capturing a of politically charged folk interpretations during a turbulent period in . In later decades, her repertoire grew more reflective, as seen in the 1993 album Oltre ... Oltre ... and a 2017 recital at Rome's Arciliuto theater, featuring introspective folk songs from Sprazzi di pace (2021) with Luca Balbo, demonstrating her transition from sharp to contemplative lyricism.

Theater career

Major stage roles and collaborations

Maria Monti's theater career in the mid-20th century featured prominent collaborations with acclaimed Italian director and actor Paolo Poli, beginning in the 1960s with satirical revues and adaptations of classic works. In the 1964-1965 season, she appeared in Poli's production of Il candelaio by , a comedic adaptation staged at Milan's Teatro Odeon that highlighted her sharp timing in ensemble scenes blending humor and social critique. Their partnership continued into the 1970s with Il diavolo (1972-1973), an adaptation of Ben Jonson's The Devil is an Ass, where Monti contributed to the satirical exploration of human folly through versatile supporting roles in Poli's innovative staging at Milan venues. A standout comedic role came in 1983 with the musical Pardon Monsieur , written by Italo Terzoli and Enrico Vaime and produced by Pietro Garinei and Sandro Giovannini, where Monti co-starred alongside Gino Bramieri as a witty ensemble member in this lighthearted tribute to 's life and works, performed at Milan's Teatro Manzoni. The production emphasized her ability to blend acting with musical performance, drawing on her background for dynamic delivery in song-and-dance sequences. Monti's dramatic range shone in her 1973 interpretation of Giovanni Testori's L’Ambleto at Milan's Salone Pier Lombardo, directed by Andrée Ruth Shammah, where she took on dual roles as the Queen and in this reimagining of Shakespeare's infused with and raw emotional intensity. Her performances underscored a profound dramatic depth, navigating the play's themes of madness and familial betrayal within the intimate ensemble setting. Throughout the 1960s to 1980s, Monti participated in various ensemble productions across theaters, including the Salone Pier Lombardo, where her versatile acting supported collective narratives in satirical and dramatic works, often incorporating musical elements to enhance character expression. These roles solidified her reputation as a multifaceted performer in Italy's vibrant post-war theater scene.

Later theatrical works

In the mid-2000s, Maria Monti returned to the stage with introspective solo performances that intertwined her vocal talents with dramatic narrative. Her 2005 production Canto a me stessa, written by Renata Ciaravino and directed by Valeria Talenti, featured set design by Guido Buganza and premiered as a touring show with Compagnia Dionisi. This depicted a woman's nocturnal journey through , exploring themes of urban transformation, personal discovery, and existential reflection, blending with musical elements to evoke a sense of adventure and introspection. In 2005, Monti presented Il mostro a due teste, a 90-minute recital that incorporated songs alongside original compositions to examine love, ideological constraints, and psychological conditioning. In this work, Monti interacted with a character representing , dubbed Antisorte, creating a dynamic "two-headed monster" through their opposing perspectives, under the production of Il Pantano. In 2007, she performed Savitri, an adaptation of Sri Aurobindo's epic poem exploring themes of the soul's discovery and victory over , presented with Teatro il Quadro. After an extended hiatus, Monti made a notable return to the theater in 2017, performing at the Teatro Arciliuto in Rome on February 6 following an 11-year absence from the stage. This appearance served as a live showcase tied to the launch of her album Sprazzi di pace, marking a reflective fusion of her musical and theatrical legacies, including revivals of earlier works like Il mostro a due teste and Savitri. No further stage productions have been documented in the 2020s, though the digital release of Sprazzi di pace in 2021 extended the reach of that 2017 event.

Film and television career

Early screen appearances

Maria Monti's initial forays into screen work occurred primarily through Italian television in the mid-1950s, building on her burgeoning stage presence in and productions. Her television debut came in on RAI's talent showcase Primo applauso, a program designed to introduce emerging performers, where she appeared as a novice actress and singer drawing from her Milanese experience. By 1959, Monti had secured a role in the RAI telefilm The Dangerous Turning Point, directed by Gianni Bongioanni, which represented her first venture into scripted dramatic television and highlighted her versatility in adapting theatrical timing to the small screen. This early television exposure often featured her in supporting capacities within sketches and adaptations, emphasizing comedic elements rooted in her cabaret background. Monti's transition to cinema began in the early 1960s with minor roles in Italian productions, marking her establishment as a screen presence in supporting comedic and dramatic parts. Her film debut was in the musical comedy Canzoni a tempo di twist (1962), directed by Stefano Canzio, where she contributed to the ensemble cast amid a backdrop of twist-dancing sequences. This was followed by a notable supporting role as Annamaria in La bella di Lodi (1963), a satirical drama directed by Mario Missiroli exploring class tensions in a provincial town, which showcased her ability to blend humor with subtle emotional depth. In 1964, she appeared in the crime thriller L'uomo che bruciò il suo cadavere, directed by Gianni Vernuccio, further solidifying her in genre films with investigative themes. Throughout the late 1960s, Monti's screen work continued in a mix of film and television, often in period pieces and adaptations that leveraged her expressive range from stage origins. She featured in the 1968 short film La prova generale by Romano Scavolini and took on a role in the RAI miniseries Il circolo Pickwick (1968), an adaptation of Charles Dickens' novel, where her performance added to the ensemble's satirical portrayal of English society. These early appearances, typically in secondary roles, allowed Monti to refine her on-screen persona, transitioning seamlessly from live theater's immediacy to the more structured demands of film and broadcast media.

Prominent film roles

Maria Monti's prominent film roles in the 1970s highlighted her ability to contribute meaningfully to ensemble casts in high-profile Italian cinema, often under the direction of renowned filmmakers. One of her notable early appearances in this period was in Sergio Leone's Duck, You Sucker! (1971), where she portrayed Adelita, a woman on a whose brief but intense scene underscores the film's themes of revolution and personal loss amid the Mexican Revolution setting. This role, though supporting, added emotional depth to the ensemble dynamic alongside stars and . In 1972, Monti took on the role of Mrs. Erickson in What Have You Done to Solange?, a thriller directed by , playing the mother of a key character in a involving schoolgirl murders and hidden family secrets. Her performance contributed to the film's atmospheric tension, emphasizing the psychological strain on familial bonds. A significant collaboration came in Bernardo Bertolucci's epic (1976), where Monti embodied Rosina Dalcò, the resilient mother of the peasant protagonist Olmo Dalcò, in this sprawling chronicle of early 20th-century Italian history spanning class struggles and . Her portrayal captured the hardships of rural life, enhancing the film's exploration of generational and social conflicts. Monti also worked with director Alberto Lattuada in Oh, Serafina! (1976), appearing as Mariuccia, a nymphomaniac character in this satirical comedy-drama about personal and societal absurdities. Monti continued her screen career into later decades with roles in films such as Strana la vita (1993) directed by and television series including Vento di ponente (2001) and Nebbie e delitti (2007). Over her career, Monti amassed around 28 credits, demonstrating versatility across genres from Westerns to historical dramas and thrillers. These roles in the 1970s, in particular, solidified her reputation for bringing authenticity to complex, period-specific characters in auteur-driven projects.

Later years and legacy

Recent activities

In 2021, Maria Monti released the digital EP Sprazzi di pace exclusively , featuring four tracks including "Una volta soltanto," "Il taxi piange," "Cantico delle creature," and "Sedie vuote," marking a return to recording after several years. The EP, produced by Ala Bianca Group, became available on platforms such as , , and , allowing broader accessibility to her interpretive style blending folk and reflective themes. In early 2023, Monti was the subject of a radio feature on Swiss broadcaster RSI Rete Due's Doppio Diesis program, titled "Maria Monti, la dimenticata," which highlighted her contributions to Italian songwriting and performance during the era. This broadcast, aired on , emphasized her role as a pioneering female voice in and , drawing renewed attention to her archival works. Throughout 2024, Monti participated in several high-profile interviews reflecting on her career, including a January discussion with where she recounted collaborations with artists like and , and her time in India during the 1970s. In February, Vanity Fair Italia published an in-depth profile portraying her as Italy's first female , focusing on her political songs and stage innovations. A May interview with Rolling Stone Italia further explored her partnership with Gaber and her experimental approach to music, underscoring her enduring influence despite limited recent public appearances. As of 2025, Monti, who turned 90 on June 26, resides at the Casa di Riposo per Musicisti Giuseppe Verdi in , a dedicated to artists, where she maintains a selective engagement with media and cultural discussions rather than active performances.

Recognition and impact

Maria Monti's contributions to Italian , , and cinema have earned her critical acclaim for her satirical voice and versatility across artistic mediums, though she has not received major formal awards such as lifetime achievement honors in theater or music post-2017. Her performances, blending humor, political commentary, and theatrical flair, were highlighted in reviews of her 1974 album Il Bestiario, where critics praised her "passionate and theatrical yet controlled" vocals that invest each song with drama. This work, featuring lyrics by Aldo Braibanti with allegorical and subtly radical themes, exemplifies her satirical style, drawing on animal fables to critique society. Monti's versatility as a performer—spanning in 1950s Milanese venues, folk recordings, and screen roles—has been noted in retrospective accounts of her career, positioning her as a key figure in Italy's entertainment landscape. Collaborations with luminaries like on and Alvin Curran on and arrangements in Il Bestiario underscore her influence within circles, marking a notable entry in Lacy's discography. Critics have lauded her , which "dances from free form to achingly beautiful meditations," supported by electro-acoustic ensembles that blend and forward-thinking elements. Her cultural impact resonates in the revival of Italian avant-garde traditions, with Il Bestiario—a rare original pressing reissued in limited editions in 2012 and 2018—hailed as a "high point in the inventive being created in in the 1970s" and a prime example of the era's "new art-song." Monti's roles in seminal films like Sergio Leone's Duck, You Sucker! (1971) and Bernardo Bertolucci's (1976) contribute to her legacy in 1970s Italian cinema, where she was regarded as a star actress and singer of the time, influencing the portrayal of complex female characters in politically charged narratives. These appearances in iconic works have ensured her inclusion in discussions of 's cinematic , though specific retrospectives or documentaries focusing on her remain limited. Her early cabaret partnerships with figures like and helped shape the genre's satirical edge, inspiring subsequent Italian performers in folk and to explore interdisciplinary and socially engaged expressions.

References

  1. https://unseenworlds.com/products/maria-monti-il-bestiario-lp
  2. https://www.discogs.com/artist/2176041-Maria-Monti
  3. http://www.mariamonti.it/
  4. https://www.patriaindipendente.it/interviste/maria-monti-fuori-dal-coro/
  5. https://milano.corriere.it/notizie/cronaca/24_gennaio_13/maria-monti-la-prima-cantautrice-italiana-con-gaber-fu-un-amore-travolgente-a-sanremo-arrivammo-ultimi-poi-andai-in-india-a-cercare-me-stessa-30d13833-5f3d-48a0-a77c-b2822e851xlk.shtml
  6. https://www.vanityfair.it/article/maria-monti-giorgio-gaber-intervista
  7. https://www.rollingstone.it/musica/interviste-musica/maria-monti-io-e-gaber-non-veniva-nessuno-a-vederci-eravamo-gente-da-teatri-vuoti/901284/
  8. https://www.mariamonti.it/
  9. https://www.discogs.com/release/9132998-Maria-Monti-Benzina-E-Cerini-Vetrine
  10. https://www.discogs.com/master/1620803-Maria-Monti-Maria-Monti-E-I-Contrautori
  11. https://www.discogs.com/master/714853-Maria-Monti-Il-Bestiario
  12. https://www.youtube.com/watch?v=rojnnkUg-XY
  13. https://www.setlist.fm/setlist/maria-monti/1961/teatro-delle-vittorie-rome-italy-739ad229.html
  14. https://archivi.cini.it/teatromelodramma/detail/IT-CST-ST0019-000351/il-candelaio-62.html?currentNumber=263&jsonVal=%257B%2522jsonVal%2522%253A%257B%2522fieldDate%2522%253A%2522dataNormal%2522%252C%2522_perPage%2522%253A21%252C%2522accountName_string%2522%253A%255B%2522teatromelodramma%2522%255D%252C%2522archiveName_string%2522%253A%255B%2522teatromelodrammaxDamsHist019%2522%255D%257D%257D&startPage=252
  15. https://unseenworlds.com/collections/maria-monti
  16. https://www.teatrodel900.it/pardon-monsieur-moliere-1983-gino-bramieri/
  17. https://castalbums.org/recordings/Pardon-Monsieur-Moliere-1983-Italian-Cast/25410
  18. https://archivioiteatri.archiui.com/occorrenze/32154-ambleto
  19. https://www.lisolachenoncera.it/rivista/interviste/uno-spirito-libero
  20. https://www.mariamonti.it/canto.htm
  21. https://www.mariamonti.it/mostro.htm
  22. https://www.mariamonti.it/savitri.htm
  23. https://www.imdb.com/title/tt0055823/
  24. https://www.imdb.com/title/tt0157371/
  25. https://www.imdb.com/title/tt0214260/
  26. https://www.imdb.com/title/tt0260300/
  27. https://movies.fandom.com/wiki/Duck%2C_You_Sucker%21
  28. https://watch.plex.tv/person/maria-monti
  29. https://www.imdb.com/title/tt0074084/fullcredits/
  30. http://thevoid99.blogspot.com/2011/02/1900.html
  31. https://www.mymovies.it/film/1976/oh-serafina/cast/
  32. https://www.themoviedb.org/person/5564-maria-monti
  33. https://music.apple.com/us/album/sprazzi-di-pace-ep/1573382989
  34. https://open.spotify.com/album/7Jg6Ny0ITIJ85A0TmwNg1C
  35. https://www.rsi.ch/rete-due/programmi/cultura/doppio-diesis/Maria-Monti-la-dimenticata-15578620.html
  36. http://www.dustedmagazine.com/reviews/7290
  37. https://insheepsclothinghifi.com/album/maria-monti-il-bestiario/
  38. https://www.lemonde.fr/en/m-le-mag/article/2023/01/07/ronald-chammah-the-discreet-go-between-of-french-auteur-cinema_6010633_117.html
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