Interview with Sergio Bachelet

23 June , 2025

Sergio Bachelet, graduated in Level I in Electronic Music from Saint Louis College of Music and Level II in Applied Music from the Giovan Battista Martini Conservatory of Bologna, both with honors.

He collaborated in Paris with G. Alonzo and with M. Biscarini in Bologna, composed the music for short films presented and awarded in several festivals. In Rome, he has worked as a music consultant at RAI, is a lecturer in applied music at Saint Louis and works as an orchestrator and assistant to Stefano Bollani.

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Hi Sergio!

You studied Electronic Music and now work with Film Music. Can you tell us about your path?

My path began with a Level I Academic Diploma in Electronic Music at Saint Louis College of Music, where I was able to develop knowledge of DAWs, Sound Synthesis, and Electroacoustic Composition. Subsequently, I continued my education with Level II at the “Giovan Battista Martini” Conservatory of Music in Bologna, specializing in Applied Music Composition and Orchestration. This mix of academic training and more experimental practices has allowed me to create a personal musical language capable of integrating the orchestral tradition with Electronic Music.

What was your first professional experience?

My first professional experience was as a Composition Assistant with a focus on Sound Design and Post-Production within Marco Biscarini’s Modulab Studio. I was responsible for creating orchestral mockups, using the computer and sound libraries to simulate the orchestra. This phase taught me the importance of attention to detail and precision in creating sound atmospheres, and gave me the opportunity to collaborate with various professionals, honing my skills.

Tell us about your experience at the Lyon Conservatory and how your collaboration with Gilles Alonzo came about.

During my time abroad, thanks to the Erasmus+ program (following the Level II Academic Diploma), I had the opportunity to get up close and personal with the Conservatoire National Supérieur Musique et Danse in Lyon, working as an Assistant to Gilles Alonzo, Professor of Composition to Images at the CNSMD. We decided to continue the collaboration from a working point of view in Paris. Having won the Torno Subito (I’ll be right back) announcement, also allowed me to live in Paris with support from the Lazio Region, allowing me to focus on work. The experience was an opportunity for artistic growth and allowed me to engage with new compositional practices.

How was your return to Rome and specifically to Saint Louis?

My return to Rome was a challenge: I resumed my connection with Saint Louis, but this time as a lecturer. In addition to teaching, I have also been part of a number of projects with the Experimental Center of Cinematography, creating soundtracks for short films that have been awarded at various festivals, such as Reginetta, which was awarded at the International Critics’ Week within the Venice Film Festival (2022). I am currently involved in various film projects and educational activities, trying to pass on my experience to younger students.

You have won several awards and contests… Can you tell us some of them?

Last year I came first in the RAI music consultant selection. It was a call for applications that they had not opened for a long time, and there were only two places for the Rome location.Since it was a test covering several disciplines, I was happy to have achieved this result. Other satisfactions included winning the Best Soundtrack Award at Cortinametraggio, composing the music for Federico Russotto’s The Adversary selected for the Student Academy Awards (Oscar 2022), and being one of the 4 international composers selected for the Talent Village of Les Arcs Film Festival.

What does your latest project with Stefano Bollani consist of?

In our last project together I was responsible for co-orchestrating his compositions for film, ranging between classical, swing and traditional folk music. Stefano Bollani is an artist who knows how to combine musical sophistication with great freedom of expression. Working with him has been enriching both musically and humanly.

What is the city you would call the “place to be” for film music right now and why?

I would say Paris. The French capital offers a film and music scene full of opportunities. In addition to the presence of a historic musical tradition, Paris is home to numerous recording studios, festivals and academies of higher education. Many internationally renowned composers, such as Alexandre Desplat, have trained and work in that context, helping to keep the culture of film music alive and innovative.

What is your favorite movie soundtrack?

A recently released film that struck me because of its soundtrack is Poor Creatures by Yorgos Lanthimos, music by Jerskin Fendrix. Fendrix succeeds in creating a complex balance between electronic and “classical” music, which goes perfectly with the images and narrative.

Who is your favorite musician and why?

There are many, one that has particularly impressed me in my artistic journey is Jóhann Jóhannsson. His ability to mix elements of classical and electronic music in such an evocative way is something that has always impressed me. With his minimalist approach, combined with the sophistication of his compositions, he succeeded in transforming the landscape of film music and creating a rich school of composers who are active and popular to this day.

What is your favorite song that you would take to Noah’s Ark?

I would choose Kangaru, from the film Arrival (J. Jóhannsson, indeed). This composition, in its simplicity, finely represents a moment of meditation and peace. Its calm repetitiveness and the elegance of its structure convey a deep serenity to me. It would be a perfect song to accompany a journey into the unknown, such as the one on the Ark.