From the theater stage to Netflix’s global platform – young Italian actor Alberto Rossi is relentlessly carving his path in the acting world. Born in Catania, Alberto has captured the attention of both audiences and critics with his talent, dedication, and versatility. After honing his craft alongside some of Italy’s biggest cinematic names like Silvio Muccino and Anna Foglietta, Alberto has shone in numerous film and television projects.
Since childhood, Alberto has felt a strong desire to express himself through acting, dance, and music, although he wasn’t yet sure which path he wanted to follow. Everything changed the moment he discovered theater – and found his true passion within it. As he puts it, it was through learning and experience that he made the decision to pursue acting professionally.
Currently, audiences can watch him in Netflix’s series Il Gattopardo (The Leopard), where he plays one of the leading roles – Paolo, the mysterious brother of Concetta. This character has been specially developed for the new adaptation of the iconic novel.
We spoke with Alberto about his career, preparations for this challenging role, his experience working on an international production, and his future plans.
Who is Paolo Corbera di Salina and what role does he play in the adaptation of Il Gattopardo?
– Brave and fragile. He is willing to do anything for love. He tries to prove to his family that he is suitable and ready for the prince’s inheritance, often finding himself in difficult situations that lead to struggles and suffering, especially with his father. He is the eldest son, the rightful heir to the throne. His goal is to save everyone, as danger is on its way and no one seems to realize it; although in the attempt he often gets blinded by rage, losing control.
How challenging was it to portray a character who wasn’t present in the famous film adaptation? How much creative freedom did you have, or were there clear guidelines from the director and screenwriters? How did you prepare for this role?
– Both the directors and the screenwriters were very supportive when I had doubts or simply wanted to suggest an idea regarding the character of Paolo. I was fortunate to feel very in tune with the character because I saw a lot of myself in him. It was almost like a connection, a bond between two people-the funny thing being that we are separated by a few centuries.
Did you feel any pressure introducing a new character into such a well-known story?
– The character of Paolo is actually not new; he exists in the novel, but he is certainly not described in as much detail as in the series. Let’s say there was pressure because, lacking many historical references, I worked a lot on the character development. During the process I found many aspects to which I relate, bringing them in to Paolo – of course with that came along the fear of not conveying the right intentions. But in the end, I think I managed to do it.
Paolo is the brother of Concetta, who has an important emotional arc in the novel. What is their relationship like in the series?
– I believe that Paolo and Concetta are the two siblings who understand each other the most. They both bear a great responsibility. On one hand, Paolo, by legitimacy, holds a title that he must prove he deserves, while on the other hand, Concetta is seen from the start by Fabrizio as the future pillar of the family. Both siblings share a similar responsibility, and both are more aware of what is happening compared to the carefree younger siblings. Recently, Benedetta and I were talking about a very beautiful and emotional scene between Paolo and Concetta, which unfortunately, due to directorial needs, was not included. That scene perfectly depicted the relationship between the two siblings.
The series is directed by Tom Shankland, Giuseppe Capotondi, and Laura Luchetti. What was it like working with them, and how did they approach this adaptation?
– All three directors are very different from each other. I spent a lot of time with Tom, and together we built the character of Paolo. His ability to communicate almost playfully and to perfectly convey what he wanted from us actors is incredible. With Giuseppe, we worked on the fourth episode, which is very important for my character, and it was amazing to work with a director who guided me through complex dynamics. I didn’t work with Laura since she directed the fifth episode, where Paolo doesn’t appear, but we met on set, and we started talking a lot. I discovered a wonderful person, and I hope to work with her in the future, especially after seeing her film La Bella Estate, which I was fascinated by.
Il Gattopardo has an impressive cast. How was your experience working with actors like Kim Rossi Stuart, Deva Cassel, and Benedetta Porcaroli?
– The project certainly took great care in choosing the actors, and Kim’s casting was very right in my opinion. He represents the Italian man, handsome and elegant, and he is the prince that Tom Shankland wanted, calling him an iconic prince. He is at an extremely high level for me, and I am really happy to have worked with him. What can I say about Benedetta Porcaroli? She masterfully plays every role and never gets one wrong. I really like her as an actress. Deva was an incredible discovery; at just 19, she played a very important role, and I consider her a talented actress who dedicates herself fully to what she does. She and I connected a lot, and I’m glad to have met her.
Il Gattopardo is a monumental work in Italian literature and cinema. With such high expectations, there have been some critical reactions to the adaptation. How do you personally handle reviews and audience feedback?
– There’s no doubt that Il Gattopardo is a world-class literary and cinematic work. None of us, from the cast to the crew, nor the directors, wanted to create a remake of the film. Based on the novel, they brought to life characters like mine, who weren’t widely described, creating an incredibly modern story that centers not only on the prince and historical events but also on Concetta, who represents a woman of our times, even though it’s set in 1861. It’s natural that there are people who are attached to Visconti’s film, just like me, but that’s another story. We worked on the novel, creating dynamics that aren’t even present there, bringing new characters and different perspectives. I think criticism is essential. I often ask as many people as possible to tell me what they honestly think to help me improve, so I don’t take them badly; instead, I accept them with interest.
Since this is a Netflix production, how does working on a major streaming platform differ from your previous projects?
– Netflix and the production companies had the courage to bring Il Gattopardo to life with a huge crew, paying attention to every detail and leaving nothing to chance, such as set design, costumes, and more than 5,000 extras. This makes this project different from others and, in my opinion, it’s an incredible production machine. I’m especially proud of the incredible locations, which represent my land, Sicily.
Did anyone on set give you a particularly valuable piece of advice that stayed with you?
– Yes, and it was: Enjoy yourself. Someone from production said this to me when seeing me a bit intimidated, and from that moment on, I let go with much more ease.
Il Gattopardo is giving you greater international visibility. Would you like to work on projects outside of Italy?
– It would be a dream come true. Being able to tell someone’s story from the other side of the world would be an immense honor.
You come from a theater background and are now working more in film and television. How do these mediums compare in your experience?
– They are definitely unique ways of sharing art, which is what I love to do. Theatre puts you in front of many fears and challenges, and if you manage to overcome them, they make you grow a lot. The audience has always been a great fear of mine, but it gives you an incredible energy. Once I overcame the fear of the stage, I knew I could face bigger challenges, which is why I chose to also dive into the world of cinema.
Would you consider returning to theater, or are you more focused on film and TV now?
– If the opportunity arises, I would be immensely happy to play a role in theatre. It would certainly be something exciting and emotional for me, so yes, I would love to.
Can you share anything about your upcoming projects?
– I’m working a lot on some new projects that excite me just thinking about them. I hope to be able to talk about them as soon as possible.