Carlo Conti tells us about his summers in Versilia, where it all began

From the stage of the Compass to that of the Sanremo Festival. A journey through memories, music and the sea

There is a precise spot, between the pine forest and the Versilian sea, where Carlo Conti’s career came into its own: La Bussola. There, at the legendary venue that shaped the history of Italian music, Conti grew up and gained experience in the world of television, back when he was still a young DJ with a warm voice and quick wit. Even today, summer for Conti carries the briny scent of the Tuscan coast, full of music, friends, and an unbreakable bond with the land where his artistic journey started. He is one of the most popular stars of Italian television. We recently appreciated his charm and impeccable style at the latest Sanremo Festival, thanks also to his collaboration with Florentine designer Stefano Ricci. And it was precisely at Ricci’s tailoring headquarters in Fiesole that we arranged this seaside-flavored interview.

Backstage of the cover story at the Stefano Ricci headquarters

Please tell us about your beginnings and how you made your way into the show business.

It all started during high school. I used to bring a white transistor radio to school - without earphones - to listen to Alto gradimento. After class, I’d go to Andrea’s house, a classmate of mine, where we’d announce songs by holding a tape recorder’s microphone up to the stereo. The next day, we’d hand out the tapes at school. It was a game, but we played it with passion.

Then came the private radio stations, right?

Exactly. In 1976, I rang the doorbell of one of the first private radio stations. ‘Private’ because… they had nothing: no turntables, no microphone… you did everything on your own. They told me: “You can come broadcast on Sunday afternoons, but we don’t pay.” And I said, “That’s fine!” I preferred that over going out with friends or to the stadium. It was an overwhelming passion. Then came the first phone calls, the first listeners… That was the beginning of everything.

From the radio to the disco, and then to TV. How did that transition happen?

Naturally. From the radio I moved on to DJing at clubs, and from there to local TV stations. In the meantime, I also got the big chance to host Discoring on Rai1, but I realized it was too soon: it was too big for me. I told myself: “An athlete trains on the field near home before going to the Olympics.” So I went back to Tuscany, where there was a lot of creative energy, especially in comedy. With Leonardo (Pieraccioni, editor’s note), we decided to do a show on a private television station: Succo d’arancia. That was in 1986.

Backstage della cover story presso la sede di Stefano Ricci

First Succo d’Arancia, then Vernice Fresca and Aria Fresca: what do you remember from those early tapings?

A lot of recklessness, a lot of energy. Succo d’Arancia was the lab, Vernice Fresca the first real success. We recorded with limited resources, but with contagious enthusiasm. Tuscan humor finally found its place.

A long apprenticeship...

Very long, but it was necessary. We performed for seven people one night and seven thousand the next. But we gave it our all, even for those seven. It’s harder to make seven people laugh than seven thousand.

Versilia was central to your career. What’s the funniest and most moving memory from those years?

La Bussola was our summer stage: a warm audience, a unique magic. The funniest memory? Probably a night when the power went out and we kept going by improvising by candlelight! The most moving moment was seeing people come from all over Italy for Aria Fresca: that’s when we realized something was changing, the public was starting to notice us.

Giorgio Panariello and Leonardo Pieraccioni: how did your friendship begin?

We met in the early days of live shows, between clubs and auditions. We share the same sense of humor, the same way of seeing life. Our strength is true friendship, the kind that lasts even when the spotlight is off.

In those shows, you showed great talent as a sidekick. What are the essential qualities?

Listening, not overshadowing, enhancing the other person. It’s essential to have rhythm, humility, and the pleasure of ‘passing the ball’ to the comedian. The worst mistake? Wanting to be the star. If you play as a team, you win.

Carlo Conti and Giorgio Panariello at La Capannina di Franceschi in the early 1990s

Please tell us about your Versilia, both past and present.

The Versilia of the past was with Baldini and our girlfriends camping in Torre del Lago, filled with laughter, dreams in our pockets and suntans: when we came back at dawn from La Capannina, I wanted the sea so badly that I’d rather sleep on the beach. Maybe that’s when I started overdoing it with tanning (he laughs). Today, Versilia is a refuge, a place to recharge, walk on the pier, breathe the sea. A never-ending love.

And then you made it to the Sanremo stage...

I approached my first three Festivals very superstitiously. I always left 15-20 days in advance. We’d stop for lunch at a little restaurant in Versilia, then I’d visit La Bussola, almost like a secular blessing. And to think I was heading off from there to host the Festival… pure emotion.

Is it true that the first Italian Song Festival was invented in Viareggio?

Absolutely, by Aldo Valleroni! A true pioneer. He gave space to young talented people, he believed in music when it was still pure craftsmanship. His festival in Viareggio wasn’t understood, and Sanremo quickly took over the idea.

You’ve brought many Tuscans to Sanremo. Do they have something extra?

Tuscany has a strong artistic and ironic streak. Lucio Corsi, Gabbani, Irama, Jovanotti and the special guest Roberto Benigni: each of them, in their own way, brought authenticity. Maybe we’re a bit stubborn, but we’re sincere. And that comes across.

What’s your favorite song from Sanremo 2025?

I’m fond of many, but if I had to choose one, I’d say Lucio Corsi’s: poetic, different, with a strong identity. He’s an artist who dares.

What’s on your playlist?

The two Pink Floyd albums, The Dark Side of the Moon and Wish You Were Here, and some good Battisti − he never hurts.

How do you feel in the role of ‘mastermind’ in your shows?

I feel at home. I love creating formats, writing, taking care of every detail. Shows like L’Eredità and I Migliori Anni are part of me. Behind them there’s hard work, passion and an extraordinary team.

Carlo, what’s your pre-show routine?

I’m a creature of habit. Always the same colors: white, blue. It drives my wife crazy, but that’s how I feel comfortable. And I can’t stand taking pictures in stage clothes (he smiles, referring to our photo shoot).

A hidden dream?

I have everything I want and I want everything I have.