fabio massimo capogrosso, free and perpetual creative fire
- Elisa Nori
- Jun 15, 2023
- 20 min read
Innovation and evolution: this is how contemporary classical music presents itself even to the eyes of the most conservative who often do not want to head towards new horizons, looking suspiciously at the renewed shoots.
The love for the composers of the past must not make us forget that music needs to be considered in its current present, more than ever. Many artists who, while not denying the past, have assimilated and exploited it to present themselves through their own personal feeling; yes, because audacity can be seen in realizing above all what comes from our uniqueness and commitment.
In many arts there is a tendency to emphasize the names that have determined the evolution of the same, however losing sight of the generational change, a progress that we have a duty to encourage.
Fabio Massimo Capogrosso, composer of creative freedom and powerful talent, reiterated that the courage on the part of institutions and superintendencies to propose contemporary music is fundamental.
Author of symphonic, chamber and theatrical music, he has also obtained important recognition abroad and his style emerges naturally, distinguishing himself for his expressive and articulated language.
Even in the cinema Fabio Massimo Capogrosso has made his entrance because this art has always shown "the ability to speak to the heart of the simple as well as that of the intellectuals".
Each film is his soundtrack and not a simple accompaniment, but a fusion that often leads the projection to be recognized and remembered precisely for the compositions that sublimate it.
When we talk about contemporary classical music, we are referring to the composition that starts from the end of the Second World War up to the present day.
We can therefore recognize two periods: from the 40s to the 70s we have electroacoustic music, serialism, concrete music, experimental music, minimalist music while from the 70s onwards we speak of postmodern music, neo-tonalism, spectral music.
With the fifties music takes many paths and the aleatory one is an evident expression; randomness and improvisation are the masters and thus abandon the concepts of rigor and planning; the composer refuses to use any control over the creative process and throws coins, throws dice or draws cards from the deck, to organize the sounds or sonic events.
Among the greatest representatives we remember the Italians Bruno Maderna and Franco Donatoni, the American John Cage and the German Karlheinz Stockhausen.
The works of John Cage for cinema such as Music for Marcel Duchamp, for the film Dreams that money can buy by Hans Richter and the music for the film by Herbert Matter, Works of Calder also fit into this scenario.
We take another road through musique concrete, which is also used in incidental music, in films and for the radio. The creative material is obtained with magnetic tape recordings of sounds and environmental noises; new musical trend whose creator and creator is the French composer and theorist P. Schaeffer.
Similar to the film editing and mixing processes, the material comes
then modified and reworked by the composer; tape cutting and reassembling, variable speed scrolling, repeating and reversing fragments.
We then move on to micropolyphony whose father is certainly György Ligeti with Atmosphères, Requiem and Lux aeterna among the wonders created.
Extracts from these compositions are used as the soundtrack of the film 2001: a space odyssey by Stanley Kubrik, who also chooses pieces by Ligeti for the films Shining and Eyes wide shut.
Thanks to Ligeti's music, thrillers manage to involve the viewer so much that they make his skin crawl and create an unmistakable suspense; in The Shining in the scene of Jack Nicholson chasing Shelley Duvall with an ax, the terror is palpable.
Then we have minimalist music in the United States and one of the highest expressions of American musical minimalism is undoubtedly the soundtrack by Philip Glass for the film Koyaanisqatsi directed in 1982 by Godfrey Reggio.
Among the most original heirs of the American minimalism of Philip Glass and Steve Reich, we find Michael Nyman who achieves notoriety thanks to the soundtracks composed for Peter Greenaway's films, in particular those for The last storm, The mysteries of the garden of Compton House , The Cook, the Thief, Her Husband and Lover and Venus Zoo.
Some of the previous hints on the history of post-war music inevitably lead us to one of the most decisive Italian historical moments for the big screen; famous and esteemed directors collaborate with brilliant composers that the peninsula possesses, thus contributing to making Italian cinema great all over the world.
The names of Alessandro Cicognini, Carlo Savina, Piero Piccioni, Armando Trovajoli, Carlo Rustichelli and Riz Ortolani resonate.
Symphonic music, experimentation and musical innovation are also fundamental for the great Ennio Morricone and Nino Rota who embody the highest standards of craftsmanship.
And it is the film Fists in the Pocket, the first feature film by Marco Bellocchio, to have the soundtrack signed by Ennio Morricone.
Fabio Massimo Capogrosso had the opportunity to meet and cooperate with one of the greatest directors of our time; together with Marco Bellocchio he recently returned from the 68th edition of the David di Donatello, which took place on May 10, 2023 in the Lumina Studios in Rome where the same director was awarded for BEST DIRECTOR with the film Exterior night as well as best leading actor , best editing and best make-up artist while Capogrosso nominated for BEST COMPOSER.
The pieces composed by the maestro, which are sixteen, were recorded in Prague by the Czech National Symphony Orchestra, conducted by maestro Marek Stilec. The drama that punctuates and permeates the images on the dramatic days of the kidnapping of Aldo Moro, vividly penetrates the listener's soul so that even the most grotesque, incomprehensible and paradoxical aspects emerge in the range of sensations and perceptions.
The new film by maestro Marco Bellocchio "Rapito" was in competition at the 76th edition of the Cannes Film Festival, of which Fabio Massimo Capogrosso is once again the author of the music and for which he was nominated for the Cannes soundtrack Award; "Esterno Notte" was presented at the previous Festival.
The film focuses on the story of Edgardo Mortara, the Jewish boy who in 1858 was torn away from his family of origin to be raised as a Catholic under the custody of Pope Pius IX.
The works of maestro Bellocchio, over the years, have seen a succession of collaborations with exceptional composers; in addition to the indelible Ennio Morricone also with Carlo Crivelli and Nicola Piovani.
Through the director's latest works, Fabio Massimo Capogrosso thus joins the names of the illustrious professionals of the cinematographic world, confirming his professionalism and impeccable preparation.
The dimension in which a composer finds himself must always be approached with gentle gentleness; music is as indispensable as an excellent screenplay and while notes are written with the first, the right words are chosen with the second. The words are sealed with the image and the music does nothing but envelop them both, leading them into the soul of the spectator. So let's now enter with Maestro Capogrosso, in that soul of someone who manages to render notes, narrating voice.
Fabio Massimo Capogrosso is an Umbrian composer.
He began studying the piano from an early age and then graduated in composition at the L'Aquila Conservatory.
Born in Perugia, he is the first composer in residence in the history of the Toscanini Philharmonic and wins the Bassoon Chamber Music Composition Competition in the United States of America in 2015, with the piece 4 Miniatures for 4 Wind Instruments.
In March 2016 he was invited to Tampa, as winner of the Call for score of the New Music Festival organized by the University of South Florida.
The maestro is also a guest at important national and international institutions and festivals such as the Accademia Nazionale di Santa Cecilia, the Teatro Alla Scala in Milan, the concerts of the IUC, the Sounds of the Dolomites, the concerts of the Scuola Normale Superiore in Pisa, the of the Friends of Music of Verona, San Francisco International Piano Festival, Rebecca Penneys Piano Festival, Villa Pennisi in Musica, Pietre che Cantano, the International Midsummer Festival; and in theaters such as the Grande in Brescia, the Parco della Musica in Rome, the Cilea in Reggio, the Palladium in Rome, the Britton Recital Hall of the University of Michigan, the Barness Music Recital Hall of the University of South Florida.
He works with artists such as Carlo Boccadoro, Pamela Villoresi, Marius Bizau, Gianfranco Rosi. His compositions are performed in Italy, Spain, Germany, Poland, Belgium, Florida, California, Michigan, South Korea, China by renowned ensembles, including: Sentieri Selvaggi, Sestetto Stradivari of the Accademia Nazionale di Santa Cecilia, Fabrizio Meloni and the Percussionisti della Scala, Quartetto Falstaff, Red4Quartet of the Accademia Nazionale di Santa Cecilia, President's Trio of the University of South Florida, Strings & Hammers, Trio Solotarev; and by musicians such as Sesto Quatrini, Francesco Libetta, Ives Abel, Francesco Cilluffo, Orazio Sciortino, Anastasia Feruleva, Alessandro Soccorsi, Mara Oosterbaan, Edevaldo Mulla, Mina Mijovic, Eunmi Ko, Nina Kim, Conor Nelson, Emily Diez, Kevin Schempf and Susan Nelson McNamee.
He is among the winners of the ninth edition of Discover America, the prestigious competition organized by the Chicago Ensemble, and of the first prize at the Keuris Composers Contest 2018.
Chosen by M ° Marco Bellocchio, golden palm for his career, he composes the soundtrack of Exterior Night, with Fabrizio Gifuni, Tony Servillo, Margherita Buy, Fausto Russo Alesi and for the film Kidnapped in competition at the 76th edition of the Festival of Cannes.
He is the protagonist of Beyond the mask, a documentary by Andrea Campajola produced by Edizioni Curci and CIDIM-Italian National Music Committee.
I see confidentiality and the need to go into depth in the works of Fabio Massimo Capogrosso, with the consequence of making the notes even more vivid, lively warmth that passes through the listener. Fiery contrasting emotions animate his compositions whose passion and fervor, typical of the ravenous composer, lead to hearing not only through hearing.
With equal passion he let me into his world, made of dedication and intuition of which I understood and perceived the boundless magnificence.
Fabio, what feeling does having entered the world of cinema with your work, alongside the master Marco Bellocchio, arouse in you?
Both of the master's latest works, Esterno Notte and Rapito, refer to real events through historical bases which are the primary leitmotif and which therefore "awaken" the spectator to the reality that surrounds him: I imagine that while you were composing you felt somehow live, albeit chronologically in different periods, the situation to interpret it in the most similar way...Tell us about it.
Definitely a feeling of great joy and great pride... It's an honor for me to have had the opportunity to work with a master like Marco Bellocchio, whom I consider one of the greatest directors in the history of our cinema. He has been producing masterpieces for over fifty years and has always been supported by illustrious musicians and for this reason it has become a moment of immense happiness and gratification.
As for "Esterno Notte", despite not having experienced those moments, the impact with the script that I consider a masterpiece, gave me such strong feelings that I had the impression of going back in time and to those days.
I have seen the Esterno Notte ... The impeccable work and meticulous research of the master Marco Bellocchio to better reconstruct the kidnapping, imprisonment and killing of Aldo Moro is evident.
I was struck by the screenplay which includes extremely disarming dialogues, such as that of the Pope who asks for help to write to the Red Brigades, almost losing perception of his position, becoming a simple grieved and paradoxically impotent man. Your music Fabio enters the soul like a red-hot iron, they brand it.
"The Waltz of the masks" during the oath of the undersecretaries of the new government, the "Requiem per via Caetani" during the discovery of the body of Aldo Moro, "Confessione" which marks the minutes between Aldo Moro and the priest sent to the hideout of the red brigades ...I would like you to give me these poetic notes...in your own words...
I'm glad you mentioned these passages, which are the three to which I am perhaps most attached by adding "Tema dello Stato".
As for "The Waltz of the Masks" I really remember that, reading the screenplay, two very strong events were compared, namely that of the kidnapping of Aldo Moro and in stark contrast the oath of the undersecretaries, all in a grotesque atmosphere; I imagined this waltz which is clearly a tribute to Shostakovich, thinking that a sort of ballet of this dramatic story started from there.
As for "Confessione" instead, I wrote it when I received the shot of that scene being able to view it from many angles; each camera allowed me to see the interpretation so I think there aren't enough words of merit for Fabrizio Gifuni, if not to underline the moment of gigantic cinema.
I remember that when I saw the footage, I was very moved and excited and I wrote this long piece trying to follow the wave of his speech at times full of compassion, at moments of desperation and then the breaths, the silences... That he instant of cinema for me is definitely an excellent work, so I tried to write music that could follow the dialogue without overlapping it, accompanying it with delicacy and depth.
The "Requiem" on the other hand I also composed the one on the screenplay, for this reason there are three passages to which I am very attached but in reality I had thought of it for another moment which is the Via Crucis; then, as often happens in editing, we also rely on the intuition and genius of the editors. I was lucky enough to work with Francesca Calvelli who I truly consider to be the greatest Italian editor and with Claudio Misantoni, and it was their readiness to then make that music coincide with the moment of the discovery of Aldo Moro's body; clearly then I had to adapt it to the scene and arrange it, but it certainly remains the most complex piece musically speaking, as an orchestration, as a structure of the entire soundtrack.
The "Theme of the State", on the other hand, was a request from Marco and Francesca, who thought a theme was needed that emphasized how the State existed, reacted...but always flanked by the grotesque component which is the one that also surrounds the atmosphere of the composition; it starts with a very martial trend but then the bassoons in an equally grotesque way accompany the whole pace of the piece.
Maestro Bellocchio worked with Morricone for the music, with Carlo Crivelli and Nicola Piovani...Surely having always been in contact with great composers, he immediately grasped your preparation and artistic sensitivity since he himself manages to convey it through his feature films ...What do you think of Italian composers devoted to cinema and who are the ones whose work you most appreciate?
To think that Marco Bellocchio worked with composers such as Morricone, Crivelli and Piovani but I would like to add Astor Piazzolla, considered one of the greatest musicians of the 20th century, whom the master called for the film Henry IV is a great honour.
As for the composers of contemporary cinema, I have great esteem for those masters who have maintained their stylistic integrity and therefore Morricone is unreachable, an extraordinary point of reference for originality, for technical skills, for intuition;
but also Carlo Crivelli, Franco Piersanti for whom I have infinite esteem...let's say all composers who are in any case recognizable, who keep their own style and who are called for this. I don't like the idea that a composer is a sort of Jukebox, to which a request is made and one then has to execute on command.
There are those who sometimes shape, I must say, asking for the collaboration of other musicians; this is one thing i don't like. For me, writing a piece is a very intimate, very personal moment and therefore I am proud that for my works Esterno Notte and also Rapito I wrote every single articulation of every single note, all by myself... this is extremely important to me.
You have won several awards abroad, so it is natural for me to ask you about the differences between the opportunities outside Italy and those currently offered by our country.
Your point of view is precious especially given the experience as a teacher...
I've received awards abroad but I have to say that fortunately I've also had them in Italy, so I can't say any big differences.
Perhaps the thing that struck me most is that when I was in America, I found a great variety of musical languages within the same Festival, the same event; in Italy it is different starting from a system let's call it "of the parishes" that is that of the avant-garde and that of slightly more tonal composers, while I really like this freedom of thought that I have identified in America. In Italy we have a group like Sentieri Selvaggi by Carlo Boccadoro, artistic and musical director, with whom I have been lucky enough to work for several years. Surely in America there is an idea of music intended as a business that we completely lack; in Italy the figure of the musician seems to be a pleasure, a hobby when in reality there is a lot of work behind the scenes and they don't understand that with music one can and must earn, but so with art in general. From this point of view, the Americans are a hundred years ahead. As far as the quality of us Italian musicians is concerned, we have nothing to envy, both as composers and as performers... Italian talent is unrivaled in my opinion, history says so.
Tradition vs innovation... I go back to the importance you expressed, but which I fully share, of making contemporary music known appropriately but above all without fear. Do you think that somehow Italy is anchored too much, to a past that must be respected but not made exclusive? Is there hesitation towards experimental forms of music and therefore do you prefer to privilege the great classics with the hope of not making a mistake, not taking chances?
The imprint that I have given to these soundtracks of mine is not so much a discourse of tradition vs innovation; I come from an academic study path and during this path I had the possibility and the ability to develop my own language, which is decidedly personal. There are clearly always references, but this goes for all composers in the history of music; in my case, for example, you can feel the influence of Russian music given by composers like Stravinskij, Shostakovich, but for me it is above all important that an artist is recognizable, has her own language, her timbre, her voice. This is a thought in which I strongly believe and this happens when you spend a lot of time investigating, studying your scores, yourself but also analyzing the scores of other great composers; I am convinced that an academic path is necessary, then cinema, theater and television consequently come, but if one is not a composer with a solid path behind him, I find it difficult to develop his own linguistic identity.
Music can be combined with images, as in the case of cinema, or we can let the images form spontaneously in the mind of those who listen to a composition...
I think it is very similar to what differentiates the screenplay from the narrative...The former has visual purposes, the latter, if not chosen to be transformed into a visual work, leaves us freedom of imagination and interpretation, in that cinema which is our mind .
So what differentiates the composer's work for cinematographic purposes, from that instead in a context not necessarily linked to a visual accompaniment? What inspires you and how do you approach these two worlds?
Clearly there are differences between writing a piece related to cinema or a piece of absolute music: in the first case precisely in the comparison that takes place with a screenplay, with images that have their own color, their own timbre, with the interpretations of the actors, but most importantly with the director's vision; there is therefore a large element of sharing.
On the other hand, when absolute music is written, although I have always looked for inspiration of a literary or pictorial nature in my pieces and therefore evidently also for this reason I believe I have a talent for cinema, it is only you, your music, your stave, your ideas .
In cinema, your ideas must come into contact with those of the director, you must have a common vision and understand his point of view in a given scene, of a given film; this is sometimes complex because the vision can be extremely personal and not in line with one's own, but the important thing is to grasp what the director reads into it. It's not always easy, but you need to have the willingness and humility to compare yourself; frequently interfacing with Marco Bellocchio, spending time with him, listening with pleasure to the telling of certain anecdotes, his perspective on a scene was a formative moment, an opportunity for growth and a great joy.
Fabio I read that even before necessarily wanting to compose for the cinema, you want the project itself to reveal itself of worthy artistic depth and I absolutely agree... We know in fact that even in the cinema we have entertainment material on the one hand and then from 'other film scores with a capital C ... What do you think are the films that are timeless especially for the soundtracks?
Having a background of studies behind me, I have to understand if my music can give something to a project. I don't feel I can independently compose for any work; I need a screenplay, an idea to stimulate reflections internally and make me understand if my music can be an element of strengthening and enrichment. I don't aim to have an infinite number of projects at once, but my priority is always to make quality art. With this I don't want to denigrate those who carry out various projects finding a suitable music for completely distant works; it is simply my personal and different point of view. Everyone then follows his intuitions, but for me it is important to see the possibility of making art in a project and I must say that clearly with Marco Bellocchio, but also with other works that I am facing now, I had a lot of this aspect clear.
As for unforgettable films for music, I personally find the soundtrack of "Once upon a time in America" by Ennio Morricone and "The Hateful Eight" extraordinary with which he won the Academy Award for best original soundtrack.
I would also add "Psycho" and "Vertigo" by Bernard Herrmann and for the orchestral conception, the score by John Williams of "Star Wars"...really exceptional.
76th edition of the Cannes Film Festival and nominated for the Cannes Soundtrack Award.
Again alongside Maestro Marco Bellocchio, this time with the music for the opera "Rapito", whose story was in Steven Spielberg's plans.
How was the experience?
Cannes was a crazy experience because coming from a suburb of Rome and leading a rather isolated life given by the composition, which somehow leads to alienation, being in a delirium like the one in Cannes is something inexplicable; the triumphal welcome and the standing ovation with which Marco Bellocchio was received was a highly emotional moment. When you work with an artist, you also become attached humanly, an intense relationship is created and seeing him moved upon entering the room was engaging and touching. Further honor was being nominated for the Cannes Soundtrack Award alongside names like Ryuichi Sakamoto, Alexandre Desplat, Franco Piersanti; being compared to these great musicians is a source of pride and joy.
I take this opportunity to recall Justine Triet's victory at the Cannes Film Festival that just took place, the third woman as director after Jane Campion (The Piano, 1993) and Julia Ducournau (Titane, 2021). Jane Fonda recalled that at her first time at the festival, in 1963, there weren't any female directors, while this year there were seven women in competition.
Definitely a significant step towards a decisive evolution for women; finally all female talent and ability, and an increasing number of women in this role. The delay in the appearance of women in the music world is also due to female discrimination and the subordinate role that women played in society.
What do you think about Fabio?
Although I haven't yet seen the film that won, I believe that when it comes to art, making a distinction between men and women has no reason to exist as well as the famous speech of women's quotas; talent must be rewarded, the genius of artists must be rewarded regardless of whether they are male or female, which for me remains irrelevant. This should be the guideline then unfortunately it's not always like this, but I think it should become.
After so many goals achieved even at your young age Fabio, what dreams and perspectives do you have towards music? Projects you are working on or want to work on?
I'm currently working with a young director who has an incredible talent, Gianluca Jodice. After the film "The bad poet", he is making a wonderful feature film entitled "Le Déluge", an Italian-French production; the cast includes great actresses and actors, such as Mélanie Laurent and Guillaume Canet.
I am very happy to work with a director like Gianluca, as he is doing an extraordinary job and for the remaining perspectives, I wish I could have the opportunity to work on challenging projects, while carving out the time necessary to always write with passion and enthusiasm my non-cinema music... that's where I come from and it's the maximum expression of my nature.
Maestro Capogrosso is one of those composers whose rare sensitivity and artistic talent become magnetic for anyone who appreciates music as an expression of human interiority and the complexity of which it is composed. His need to transmit primarily with the intention of increasing and involving, without the whim of an exhibition for its own sake, elevates him as an artist and as a man. Although the goals in his life have not been missed, the humility and discreet observation of a poet of music never fails.
The same influences, which peep out in his formative path, reveal a complex soul, a strong personality and a very original style; Dmitri Shostakovich said: "A creative artist works on his next composition because he was not satisfied with the previous one". I believe that a brilliant mind is always in constant search of stimuli, in a sort of inner torment that calms down only when it has found a way to express its ideas, when what it needs to express through its art is shaped according to its will and its vision...often also constantly changing. The outside is only the necessary spring for this to happen, because through the subjective perception of the world that we then internalize, life is told in a different way; music thus becomes narration through notes.
The flame of the composer is alive, but often risks consuming and burning those who carry it, certainly writing music requires energy; cinema has fed on this flame in all possible ways, in all those ways that have allowed it to emphasize, to amplify, to complete, to sublimate its message.
Think of how many directors have used the power of Italian music to deeply affect the spirit of the spectator: think of Giuseppe Verdi, one of the greatest opera composers of all time - and it is precisely La Marcia Trionfale from Giuseppe Verdi's Aida that accompanies the images of "Good morning, night" by Marco Bellocchio-
to "The Godfather", where the notes of La Traviata sanction the wedding between Apolonnia and Michael Corleone, or to "Bravissimo" by Luigi D'Amico, where Alberto Sordi meets Gigetto, a child with an incredible baritone voice, capable of singing perfection the "Rigoletto".
In "Opera", written and directed by Dario Argento, a production of Giuseppe Verdi's Macbeth is marred by a series of crimes; in "Inferno", also by Dario Argento, we can recognize the notes of "Nabucco"; in "Senso" - the masterpiece directed by Luchino Visconti - the music of "Il Trovatore" fills the stage of the Teatro La Fenice in Venice, while the patriots of the Risorgimento shout "Long live Italy"; in "Amici Miei" by Mario Monicelli appears the goliardic use of "Bella, daughter of love", a vocal quartet from the opera Rigoletto...there would be so many films that could be listed.
If we want to converge on another great of Italian music, directors such as Federico Fellini, Orson Welles, Stanley Kubrick, and Steven Spielberg have made use of Rossini's works for their films. Remember, in "A Clockwork Orange", the brawl between Alex and his droogs, on the notes of "La gazza ladra" or "8½" where in Guido's imagination, looking for an opening scene for his next feature film, Claudia Cardinale he glides across the stage, imagining himself as his water maiden, his salvation, his next sip of fresh water... all accompanied by the overture to "The Barber of Seville".
Italian music is the maximum expression of how a cinema becomes unforgettable, with equally indelible notes. Even if our country, although history celebrates it, has paradoxically led us to think of the musician as a figure who delights rather than considering him for the immense work he carries out, especially when he brings with him a complex baggage of academic studies, we can still hope and aim to rise again through new talents, new proposals and new perspectives.
For temporal reasons, composers have not always been able to deal with the respective directors who have paid homage to them but, when this happens, I believe that the harmony that is created is the key to the synergy which will then make the difference in the result .
Fabio is part of that new generation of composers who have the necessary qualities to give life to an era of renewed thought, but above all a perspective of music that needs to be updated without failing in the study and commitment, which must be present from the beginning. Contexts change, eras follow one another and the stories to be told will always be modeled in relation to what strictly influences us, therefore we cannot remain with a single vision of the past because - looking only backwards - we could not see what we have in front of us. The past serves to learn from those who have traveled a road before us, to draw inspiration and to propose to do even more than what preceded us and in some cases, to avoid making certain mistakes.
In Italy there is still the habit of not giving enough value to music, despite the fact that our country has produced immeasurable talents... and the fact returns that, instead, unlike us and outside this country, there are those who know how to make this craft is not only creatively respected but also economically valued. I hope that current Italian cinema manages to match the glories of the past and that music can embrace it to remind it that the strength of our genius is eternal. Every time I see the talent of our peninsula in a film, when I perceive its ability to get under my skin, I light up and enliven me with the same fire that should drive all artists to do the best they can: you can still be immense .
CONTACTS:
Official site: http://www.fabiomassimocapogrosso.it/
Instagram: https://www.instagram.com/fabio_massimo_capogrosso/
Comments