‘The Leopard’ Composer Paolo Buonvino on Infusing the Netflix Show’s Score With Sicily: ‘As if You Can Smell It Through the Music’

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As a passionate advocate for preserving my Sicilian roots, I immersed myself in the rich musical legacy of my homeland to craft the enchanting score for the critically acclaimed Netflix series, “The Leopard.” Since its debut in March, this captivating production has been steadily winning over audiences worldwide.

This premium period drama represents the most significant foray into Italy by the streaming platform to date, being a contemporary reinterpretation of Giuseppe Tomasi di Lampedusa’s renowned Sicily-based novel. The narrative unfolds amidst the tumultuous era of social upheaval in 1860s Sicily, an epoch that was previously brought to life on screen by Luchino Visconti in his critically acclaimed film. This movie, now a treasured piece of Italian cinema history, received the prestigious Palme d’Or at the 1963 Cannes Film Festival, with stars like Claudia Cardinale, Alain Delon, and Burt Lancaster gracing its screen.

As a passionate admirer, I’m excited to share that this series is helmed by the talented British director, Tom Shankland. The captivating Deva Cassel, renowned model and daughter of Monica Bellucci and Vincent Cassel, graces our screens as Angelica Sedara. In the original, she was portrayed by Cardinale. Kim Rossi Stewart, known for her role in “Romanzo Criminale”, takes on the role of Don Fabrizio Corbera, Prince of Salina, a part previously brought to life by Lancaster. Saul Nanni, from “Love & Gelato”, steps into the shoes of Tancredi Falconeri, a character immortalized by Delon in the film. Lastly, Benedetta Porcaroli, star of “Baby”, plays Concetta, who is deeply in love with Tancredi.

As a dedicated film enthusiast with a knack for collaborating with esteemed Italian directors like Gabriele Muccino, Paolo Virzi, and Roberto Faenza, I found myself drawn to delve deep into the rich musical heritage of my homeland, specifically my native island. My quest took me on an exciting journey where I discovered the soulful tunes, unique instruments, and historical records that shaped the region’s music scene during its time.

Below, Buonvino speaks to EbMaster about how he put his stamp on this Italian classic.

Simply put, did you feel intimidated by this task?

I carried a significant burden in this task, for several reasons. Primarily, because the work is a renowned European literary classic. Moreover, it’s set in Sicily, and as a fellow Sicilian, I was determined to avoid perpetuating stereotypes. Lastly, Visconti’s film adaptation, with its memorable score by Nino Rota, is legendary.

Could you share some insights on encapsulating the spirit of Sicily, going beyond its sensual appeal? And since it’s steeped in history, how did you manage to explore and portray that aspect?

Initially, when tasked with this project, my mind started racing with ideas: Firstly, I envisioned painting the island setting, making it feel so vivid that you could almost catch a whiff of it through the music. Second, I contemplated how to portray the prince’s family, with their connections to the bourgeoisie and other nobles, and the historical context surrounding them. Lastly, we aimed to depict two types of revolutions: one mirroring Garibaldi’s conquest of Sicily and the unification of Italy, and the other reflecting Don Calogero Sedara’s [father of Angelica, played by Cassel] rise in society, challenging the aristocracy’s power. Additionally, we wanted to explore a sort of mysticism related to the prince’s internal journey, particularly towards the end.

Could you discuss the origins of the musical pieces created for the show’s soundtrack that were inspired by Sicilian music history?

Through my research, I’ve discovered two Sicilian songs that are central to the show: the first one is “Spunta lu Suli,” which serves as the opening track. This love song, striking in its intensity, resonated with me for two unique reasons. Firstly, it’s sung by a woman, an anomaly during that era in Sicily. The passionate love portrayed in the [Visconti] film is embodied by the character of Concetta, who defies her father and displays great determination. Secondly, the prince in the story views Sicily with the fervor of a lover’s gaze. The second song is “Si Fussi Aceddu,” which concludes the show when Concetta assumes control of the family. I opted for this piece to end the show instead of a more traditional family-themed song, such as a waltz or something heroic, because it’s sung by a woman. The song conveys a powerful yearning for love, which I found fitting as Concetta in “The Leopard” has given up on love. I appreciated the idea that she is symbolically saying: “Alright, I will take the family reins — but my heart longs to lead something greater, like being united with my beloved.

And now the waltz in the dance scene, the film’s iconic moment. How did you handle that?

To Tom, I expressed my desire to create it personally. This wasn’t about ego, but rather a deep desire to embody the spirit of “The Leopard” and his life within this dance. I found the notion intriguing that this dance could serve as a form of catharsis, even in its music. It was almost as if the prince could revisit his life’s tape while dancing, making it more than just a happy or sterile waltz, but something connected to his being. I shared these thoughts with Tom and asked him to consider my initial ideas, which I had also imbued with the essence of Sicily. Upon hearing this, he exclaimed, “We are kindred spirits!” It aligned perfectly with his vision. So, we chose that as our foundation for creation.

This interview has been edited and condensed for clarity.

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2025-04-14 17:17