Nota per alcuni successi di musica leggera negli anni sessanta, è stata interprete di canzoni d'autore, attrice e poi ha iniziato una ricerca artistica che l'ha portata a diventare cantautrice, coniugando con gusto, eleganza e raffinatezza, poesia e musica; testi poetici di autori quali,Montanaru, Masala, Canu, F. G. Lorca, in lingua originale. "Sa oghe de su entu e de su mare", "Melagranada", "Nanas e janas" e "Rosa de papel".Questi, gli ultimi quattro lavori.

"La poesia non si legge con gli occhi, si legge con la voce. Gli occhi ci aiutano a decifrarla, l'orecchio a scoprirne il ritmo, ma la voce ci da' la possibilita' di ricrearla"

(Marisa Sannia)

English bio

Marisa Sannia was born in Iglesias (Cagliari) on 15 February 1947 and died on the 14th of April 2008 of a sudden and fatal disease. Her graceful voice and her delicate interpretations contributed to enrich the Italian musical panorama with songs of great success, especially in the Sixties and Seventies, period of greater popularity: the agreement given to her by her numerous admirers made her one of the most sought after and collected singers to this day. The complex personality and the various interests are also witnessed by the agonistic activity (when she was still very young) in the CUS Cagliari team, where she shone for the marked athletic endowments, which allowed her to become one of the greatest basket-ball players of those years and later arrive to the major national team. Marisa Sannia's debut in the world of pop music dates back to the beginning of the 60s, when she was part of a group from Cagliari called 'I Principi' before she started her solo career. The occasion arrived when she took part in a competition for new voices in 1965 in Iglesias, where she arrived second with the song 'Perduto Amore' written by Adamo.The crucial turn for Sannia was a competition promoted by Fonit Cetra that allowed her to get a four year contract with the record company of Turin. Listening to the voice of the young interpreter during her audition, Sergio Endrigo and Luis Enriquez Bacalov decided to become her producers: the first 45 LP was 'Tutto o niente' (the B side 'Dai' was made by Bruno Canfora). The TV debut happened on occasion of the program 'Scala reale' in October 1966 where Sannia got favourable judgements from both critic and public. Other successes followed like 'Una Cartolina', 'Sono innamorata (ma non tanto)' and 'Sarai fiero di me' song that got the prize from the music industry critics and got to the third position in the 'Young Section' at Festivalbar '67. Television contributed quickly to her popularity, in 1967 she took part to the program 'Settevoci' hosted by Pippo Baudo where she won seven programs on end: the public appreciated not only her polite expressiveness, but also her simplicity and her fresh face. The final consacration arrived in 1968 when she arrived second at the Festival of Sanremo, singing along with Ornella Vanoni the song 'Casa Bianca'. The lyric symbolises teenage ambivalence, between fear/need to grow up and becoming adult, and the fear to abandon the security of childhood. The song was recorded by the French author Dalida too, but Sannia's interpretations was the public's favourite. The 500,000 sold copies were the proof of the great success she got. Strong from this, Fonit Cetra issued her first 33 LP the following summer which included new songs recorded for the occasion along with the songs that had been previously released on the single. Growing popularity opened cinema opportunities for Sannia, as often happened to popular singers of that time, so she co-starred in the film 'Stasera mi butto' along with Giancarlo Giannini. Towards the end of the year she recorded 'Io it sento' a lively song written by Armando Trovajoli, sound track to the comedy by Dino Risi 'Straziami ma di baci saziami'. '68 closed with the participation to two important events: the International Pop Music Festival of Venice with the song 'Non e' questo l'addio' and Canzonissima, where Marisa Sannia with 'Una donna sola' was part of the twelve finalists. At the beginning of 1969 the singer signed a new contract with the music company CGD. At the event 'Una Canzone per l'Europa' in Lugano, where Sannia representated Italy, 'La Compagnia, a song composed by Mogol, and Carlo Donida, was presented. Lucio Battisti liked it so much that he will lately put it in one of his albums. Among the songs recorded that year: 'Una Lacrima' - which got great commercial success - and 'La Finestra Illuminata', semi finalist in 'Canzonissima' '69-'70. The return to Festival di Sanremo in 1970 saw her (coupled with Gianni Nazzaro) singing 'L' Amore e' una Colomba'. The song allowed her to be known in the Spanish, French, Japanese and South American markets. In the same year the album 'Marisa Sannia canta Sergio Endrigo e le sue Canzoni' came out, which today is a real cult for fans and collectors. One of the sides of this album, made up by refined interpretations, is entirely dedicated to famous songs by the singer from Pola, along whom she appears in Cuba at the Varadeiro Festival. The year comes to an end with the final victory in Canzonissima, where Marisa presents 'La Primavera', a sweet, moving song composed by Don Backy.

In 1971 Sannia is once again among the contestants in Sanremo, this time coupled with Donatello with the song 'Come e' Dolce la Sera Stasera', which unexpectedly arrived fourth and got good selling success. This song was later recorded for the South American market by Claudio Baglioni too. Later, good response was given at the Spalato Festival where she arrived third. Once the contract with CGD came to an end, Marisa went back to her first record company, entrusting herself once again to the couple Endrigo-Bacalov who composed for her 'La Mia Terra', a song with particular ethnic shades presented at the International Festival della Canzone of Venice. In 1972 she participates along with Endrigo, Ricchi e Poveri and other artists to the album 'L'arca': a beautiful collection of songs for children written by Vinicious De Moraes. At this time the record company issued the 45 LP 'Un Aquilone', whose B side 'Il Mio Monil Mio Giardino' has the signature of important song writers like: Francesco De Gregori, Amedeo Minghi and Edorado De Angelis. 'Ricordo una Canzone', song that distinguishes itself for its measured elegance and intensity is the second record she does with the new company. 'Marisa nel Paese delle Meraviglie' a 33 LP with interpretations of songs taken from the Walt Disney film is also recorded with this company. After music and cinema, Marisa Sannia started a new artistic experience: theatre. The debut happened in 1973 with a wonderful interpretation of Joan of Arch in the musical by Tony Cucchiara 'Caino Abele', taken on stage for two uninterrupted years with great success. To this experience 'Storie di Periferia' in 1975 followed, always with Cucchiara company. In 1976 her debut as song writer happened with the album 'La Pasta Scotta', where acoustic atmospheres and an intense lyricism underline happy times in autobiographic songs too.The '80 open for Sannia, with a little appearance in the TV series 'George Sand' directed by Giorgio Albertazzi, to which a partecipation to the film by Pupi Avati 'Aiutami a Sognare' with Mariangela Melato and Antony Franciosa follows. In 1984 she went back to the Festival of Sanremo again; Marisa strongly wanted to participate to the famous kermesse and Fonit Cetra entrusted her with the lively song 'Amore amore' which surely didn't favour the popularity of the singer. After a long period of silence, the beginning of the '90 see her committed to the translation of some songs written by the Catalan song writer Juan Manuel Serrat, whose songs drenched with an intense poetic vein are close to the expressive sensitivity Marisa has; the project though will not have a continuation. In 1993, unexpectedly, she went back to music records with the song 'Sa oghe de su entu e de su mare', a collection of eleven songs in Sardinian language, whose lyrics are poems by Antioco Casula also called 'Montanaru' (1878-1957). The songs are re-elaborated along with the writer Francesco Masala. In this authentic and sincere work there is a passionate affirmation of one's cultural roots given by means of a musical language vibrant of archaic and magic sonorities, in order to recreate dreamed spaces capable to evocate touching silences and explosions of a myriad of sparkles-emotions. Corollary to these beautiful texts is a musical accompaniment that underlines, exalts and makes precious the tempting and sensual singing. The arrangements are by Marco Piras who plays guitars and keyboards, the harp by Gilda Dettori and the accordion by Francesco Pilu, make up a sonorous carpet of rare beauty and strength. In 1995, Marisa is in theatre again with 'Le Memorie di Adriano', a text taken by a novel by Margherite Youcenar, along side Giorgio Albertazzi directed by Maurizio Scaparro. On this occasion the artist sings 'a solo' some songs she composed herself among which are 'Animula, vagula, blandula'. Her presence on stage is short and desultory, almost a dream that appears in the dark and that light takes away, and yet, just like a dream it leaves an illegible sensation of mistery and charm. During the same year she presents her own concert 'Tra Due Lingue' on occasion of the Festival of Taormina. The musical path taken continues with the CD 'Melagranada' issued in 1997 with NAR label. Again, we are confronted by a masterpiece where the voice of the artist, sound, the evoked images seem to participate to a poetic dilated and absolute vertigo, which transports you to an oneiric, childlike world, that cannot be penetrated by all. Every song is an internally lived moment,represented by a melodious and 'colouristic' sensation, similar to the theme of a painting. In December of the same year she participates as a song writer to the Festival 'Bimbo Star' - music for children by composers - with the song 'Stella che non brilla' which will arrive first in the category 'Ragazzi'. In 1999 she sings with the baritone Paolo Zicconi: 'As semenadu in mare' in the CD 'Andiras'. Another meaningful participation of the artist happens in 2001 in cinematographic circle; the song 'Bellita bellita' will be part of the sound track of the film by Tito Livi 'Sos laribiancos'.

In 2001 Sannia performs, along with other artists, in a tribute to Sergio Endrigo during the Premio Tenco.Accompanied by two musicians and by her guitar, Marisa interprets the songs: 'Mani bucate' and 'Melagranada ruja', stirring up lively interest from the public. In the following November, guest of a TV program, she announces the close publication of an album with the title 'Nanas e Janas'. Meanwhile in October 2002 a limited edition CD for collectors comes out, issued by On Sale Music. Her last CD, 'Rosa de papel', was published posthumous.