{"id":2077,"date":"2024-09-10T15:58:47","date_gmt":"2024-09-10T13:58:47","guid":{"rendered":"https:\/\/albertocarlassare.com\/bio\/"},"modified":"2025-02-20T10:13:31","modified_gmt":"2025-02-20T09:13:31","slug":"bio","status":"publish","type":"page","link":"https:\/\/albertocarlassare.com\/en\/bio\/","title":{"rendered":"Bio"},"content":{"rendered":"

Alberto Carlassare (1986), born in Italy, developed a great passion for music and the arts since he was a child. He graduated in 2009 in Disciplines of Arts, Music and Performance (DAMS) at the Faculty of Arts and Philosophy of the University of Bologna, Italy, with a thesis on music in the Gospel of Matthew according to the Gospel of Matthew. The Gospel according to Matthew <\/i> by P. P. Pasolini. Fascinated by cinematographic storytelling, he moved to Spain to specialize in sound at the Escuela de Cinematograf\u00eda y del Audiovisual de la Comunidad de Madrid (ECAM), where he discovered, cultivated and developed a sensitivity for sound design and an interest in sound storytelling. <\/p>\n

Since then he has worked on a multitude of projects performing different functions in the world of audiovisual sound and currently works as a freelance in feature films, series, documentaries, experimental cinema, short films, advertising and video art.<\/p>\n

Some of the most outstanding works that bear his imprint are the sound design<\/b> from The Year of Discovery <\/i>(2020) by Luis L\u00f3pez Carrasco, winner of the Goya 2021 for Best Documentary Film, Of Horses and Guitars <\/i>(2023) by Pedro G. Romero, H <\/i>(2022) by Carlos Pardo Ros, The Mutants <\/i>(2015) by Gabriel Azor\u00edn; the sound mixing<\/b> of feature films Infinite Summer <\/i>(2024) y Crumbs <\/i>(2015) by Miguel Llans\u00f3 and the sound post-production<\/b> of the documentary series UMMO. Alien Spain <\/i>(2022) by Pousa&Olivera, for Movistar+, of the documentaries What we used to do in the shadows <\/i>(2024) by Sara Moralo, Contemporary History of Cinema Spain <\/i>(2023) by Pedro Burgos Barrantes, Viu, viu, viu, Mr. Corber\u00f3 <\/i>(2018) by Diego Postigo,, More than just a passion <\/i>(2014) y At La Ruina <\/i>(2020), by Carlos Troncoso Grao. It has been head of direct sound<\/b> of Pablo Hernando’s feature films A Whale<\/i> (2024), Quinqui Stars <\/i>(2018) and the series UMMO. Alien Spain <\/i>(2022) for Movistar+ and Small Coincidences <\/i>(2018) for Amazon Prime.<\/p>\n

For other studios he has worked as sound editor<\/b> in feature films The Almond & the Seahorse <\/i>(2022) by Celyn Jones and Tom Stern, Saturday Fiction <\/i>(2019) by Ye Lou, Your Child <\/i>(2018) by Miguel \u00c1ngel Vivas, Money <\/i>(2016) by Mart\u00edn Rosete, People You May Know <\/i>(2016) by J.C. Falc\u00f3n and the series Air Kisses <\/i>(2021), Sand Promises <\/i>(2019), 35Awr <\/i>(2019), Presumed Guilty <\/i>(2018); <\/i>like dialog editor<\/b> of the series Mothers. Love and Life <\/i>. He has been in charge of the sound design<\/b> from ClanTV cartoon series Sendokai: Champion Challenge<\/i>s and Mutant Busters<\/i>of video games The Fall of Lazarus <\/i>by No Wand Studios, Reservoir Dogs: Bloody Days <\/i>of Big Star Games, Immortal Redneck <\/i>of Crema Games, Megamagic: Wizards of the Neon Age<\/i> BeatiFun Games or advertising campaigns for Fiat, Nike, Samsung, Once, Sony, Phillips, Mahou among others.<\/p>\n

In addition to a long experience in short films, he is in charge of the sound design of artistic pieces for installations in museums and galleries.<\/p>\n

Since 2018 he combines his profession with the dissemination of audiovisual sound through workshops, seminars, texts, interviews at events such as the Malaga Festival, Novos Cinemas, Documenta Madrid or online platforms such as Filmin and his commitment to the training of new professionals as a sound teacher at ECAM.<\/p>\n

\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n