Beniamino Dal Fabbro was born in Belluno on August 14, 1910. He was the son of Francesco, the General Secretary of the Provincial Administration, and Ada Guarnieri.
During the First World War, the family was compelled to leave the city and sought refuge in Florence. It was here that Beniamino attended elementary school, and the experiences from Belluno and graduated in Law from the University of Padua in 1933.
In 1937, he relocated to Milan, where he established his initial connections with literary and artistic communities. He began his first endeavors in literary collaboration with Campo di Marte, Corrente, Letteratura, and l’Ambrosiano. Additionally, he made frequent returns to Belluno.
The years leading up to the Second World War, particularly during the war itself, were exceptionally challenging for a young writer who, lacking adequate financial means, oscillated between a sparsely furnished room filled only with books and local cafes. This was the solitude of a poet who prioritized his calling for poetry and personal autonomy above all else. Physically delicate and in poor health, he drew strength from his passionate temperament and a sharp intelligence that was intolerant of any constraints. Between 1943 and 1944, Beniamino Dal Fabbro resided in Belluno, which he affectionately referred to as Villapluvia in a well-known poetry collection. He often spoke of it with fondness, yet also with sudden bursts of rebellion, before ultimately returning to Milan. In the city that witnessed the most harrowing moments of the conflict, he engaged with the intellectual community of Brera, dedicating his most profound efforts to translations, both prose and poetry, particularly of Flaubert, Valéry, Breton, Baudelaire, and Camus.
From 1947 to 1954, he served as the head music critic for the daily newspaper Milano-Sera. The practice of music criticism represents a cohesive aspect of his work as a writer. A deep connoisseur of music and a pianist himself, he approaches the musical experience with the passion and rigor characteristic of his nature.
In 1953, he journeyed to the USSR, marking a significant moment in his life. He approached this experience with the enthusiasm of a writer who, driven by a desire to explore a world distinct from his own, was captivated by a country rich in historical and political significance, the birthplace of the works of Puškin and Tolstoj. He would gather lasting impressions from this visit, as evidenced by his personal diary, a collection of photographs, and several drawings and oil paintings. In 1955, he met Gigliola Beratto, who would become his life partner for over thirty years and the custodian of the writer's archive. From 1956 to 1964, he served as a music critic for Il Giorno, contributing to literature as well, alongside collaborations with Il Gazzettino and Resto del Carlino. In 1958-59, he found himself at the center of a defamation lawsuit initiated by Maria Callas due to an article in which he criticized the singer following a La Scala performance of Anna Bolena published in Il Giorno. He was acquitted, along with the newspaper's director, Gaetano Baldacci.
His prose and poetry have not received the recognition they merit: he refers to a "veto" imposed by the authorities against him and his creations.
In 1968, he assumed the role of music critic for the daily newspaper Avvenire, a position he maintained until 1982. The conclusion of his tenure at the newspaper was marred by a lack of acknowledgment of his rights, an injustice he perceived as yet another aff ront.
The years of advanced age are characterized by uncertainty and discomfort; his health starts to decline, and he becomes troubled by asthma, which will deteriorate due to emphysema.
His curiosity and interest in life remain vibrant; he wishes to pursue new collaborations, feeling that he was owed much and received little in return.
However, these were challenging years, during which his health deteriorated until the day of his passing on 25 August 1989.
