ACM GOES TO SANREMO – Mario Celentano designs the costumes for Il Sogno di Simon Boccanegra

Our Alumnus, Mario Celentano, who graduated with a BA in Costume and Fashion, designed the costumes for the production Il Sogno di Simon Boccanegra. After its success in Rome, the Teatro Patologico was invited to perform at the 75th edition of the Sanremo Festival, Italy’s most prestigious song festival, bringing their extraordinary experience in theatre therapy and inclusion to the iconic Ariston stage.

A groundbreaking project in the Italian theatre scene

Directed and adapted by Dario D’Ambrosi, the production marks a milestone in Italian theatre, representing the first collaboration between an opera institution and a company composed of actors with psychological and physical disabilities.

The show premiered at the Teatro Nazionale in Rome, produced by the Teatro dell’Opera di Roma in collaboration with Teatro Patologico.
This innovative production has demonstrated how art can be a powerful tool for social inclusion, breaking down barriers and celebrating diversity.

Mario Celentano’s contribution

Mario Celentano, trained at Accademia Costume & Moda, played a significant role in this production, designing the costumes and showcasing the excellence of his training and the impact of our alumni in the performing arts industry.

How did you become involved in this project?

“Having worked in the Costume Department of the Teatro dell’Opera di Roma for two years, among the many productions we handled was the collaboration with Teatro Patologico. Due to unforeseen circumstances, they didn’t have a Costume Designer. The head of the Opera House’s Costume Department, Anna Biagiotti, asked if I was interested in taking on the role. I seized the opportunity and embarked on this incredible journey.”

“On my first day at Teatro Patologico, I walked into the room and found the performers gathered around a keyboard, singing the very piece you heard at Sanremo, ‘La Vita è Musica.’ After just ten seconds, I was in tears and had to step out.”

What was the biggest challenge in designing the costumes for this show?

“Definitely time: a very quick meeting with the creative team and director, four days to define the concept for the costumes, and eighteen days to bring them to life.”
“Another emotional challenge was the Costume Fittings at the theatre. Those moments were filled with solemnity and carried immense significance, creating memories that will last forever. In the end, we were all teary-eyed.”

During the production process, Mario was supported by five extraordinary seamstresses—Pina (the boss), Carolay, Reem, Assunta, and Sara—with whom he approached this project as a true mission.
The result? 24 costumes, 24 souls brought to life once worn by these remarkable artists.

How did your training at Accademia Costume & Moda prepare you for such an important project?

“Accademia Costume & Moda instilled in me a crucial skill for handling projects like this: the ability to manage work stress, keep my nerves steady, and stay focused, even when deadlines become overwhelming. Resilience—the capacity to solve problems dynamically, efficiently, and effectively—was key.”

What does it mean to you to have worked on such an innovative and inclusive production?

“I find myself saying this about every new experience, and I may sound repetitive, but this collaboration profoundly affected me on a human level.”
“I firmly believe this profession carries a special responsibility: to contribute to the creation of authentic imagery. Today, we are bombarded with meaningless and overwhelming images—it is essential to create a visual truth that allows us to appreciate reality as it is. And I believe there is no greater authenticity than that of these extraordinary performers.”

“Being able to work with them was emotionally intense and deeply enriching, but most of all, it rekindled a passion inside me that was beginning to fade: the enthusiasm to live this life to the fullest. Because life is beautiful, and these incredible individuals are living proof of that.”