Fabrizio Dragosei: Fifty years in journalism, from field reporting to foreign correspondence

(Image: Giornale Sentire)

By Elisa Zuliani

Fabrizio Dragosei is an italian journalist and writer with a 50-year career in the media world, best known for his work as a foreign correspondent for Corriere della Sera. From his first experience at Rai in London to his years in Moscow, he has always maintained a strong investigative journalism spirit, striving to provide readers with verified and in-depth news.

In this interview, Dragosei reflects on the crucial moments of his career, sharing anecdotes and experiences that reveal the practical and often complex side of journalism.

Elisa Zuliani: How did your interest in journalism begin?
Fabrizio Dragosei: My journey started almost by chance. After high school, I was in London for a course and needed a job to support myself. I started at Rai in London as a sound assistant, without even knowing what a sound assistant did! From there, I took on various roles and gradually became more interested in the journalistic aspect.

E.Z. What does being a journalist mean to you?
F.D. I believe journalism is, first and foremost, curiosity. Those who choose this profession want to understand what is happening in the world and share it with others. A journalist is, in a way, a “nuisance” who digs into other people’s business: our job is to seek the truth, especially when it’s uncomfortable for those in power.

E.Z. What were the key moments in your career?
F.D. One of the most significant moments was joining Panorama in the 1970s. Under Lamberto Sechi’s leadership, the magazine introduced an Anglo-Saxon journalism model to Italy, emphasizing the separation of facts and opinions and rigorous source verification. That’s where I learned the value of fact-checking, which is now taken for granted but was a novelty in Italy back then.
Another pivotal moment was moving to Corriere della Sera, where I applied this journalistic approach in a daily newspaper setting. I worked in the economics section, covering government financial policies. During those years, resisting political pressure was challenging, but newspapers played a much stronger watchdog role than they do today.

E.Z. What are the challenges of being a foreign correspondent?
F.D. Being an Italian journalist abroad is a challenge. Global leaders prioritize Anglo-Saxon media: if you work for The New York Times or The Washington Post, it’s one thing; if you represent an Italian newspaper, getting interviews or direct access to information is much harder. You need to build relationships, gain recognition, and find reliable sources.
Working in conflict zones presents another type of challenge. When I started, journalists were often seen as neutral observers: for example, guerrilla fighters viewed us as a way to share their version of events. Today, the situation has changed dramatically: in many conflicts, journalists have become targets. This makes the job far more dangerous.

E.Z. How do you report on a country like Russia to an Italian audience unfamiliar with its daily reality? What are the main challenges?

F.D. The main challenge is avoiding stereotypes and oversimplified narratives. After the Soviet Union collapsed, covering Russia meant fighting against the idea that it was no longer relevant. President Bill Clinton’s speech calling Russia a “regional power” reflected this perception. However, as journalists, we had to explain that what happened in Russia – especially politically and economically – had global consequences.

E.Z. Have you ever faced pressure or censorship attempts?
F.D. I have never experienced outright censorship, but over the years, there have been several acempts to soften the news. A particularly critical period was in the 1970s when Corriere della Sera was caught up in the P2 Masonic lodge scandal. During that time, the economics section, which I was part of, had to fight against interference from this powerful organization.

E.Z. What was the most difficult interview you’ve conducted?
F.D. The most difficult ones are not necessarily with famous figures but those in extreme situations. The hardest was with Salman Raduyev, the Chechen terrorist known as “Commander Titanic.” I was in Chechnya, in a village where he had taken hostages on a bus rigged with explosives. The interview, conducted beside him on the bus, was tense and dangerous.

E.Z. How do you stay composed in extreme situations?
F.D. When you’re in high-risk situations, adrenaline and the awareness that you’re doing something extraordinary help you stay calm. Fear is always present, but the goal of getting the story outweighs everything else.

E.Z. How has journalism changed since the war between Russia and Ukraine began?
F.D. With the war in Ukraine, journalists today face extreme risks, and those on the ground are often in danger. During my reporting, I found myself among only a handful of Italian journalists, while there were far more international correspondents.

Another major change concerns neutrality: today, neither side accepts impartial observers. If you report from Ukraine with Ukrainian troops, the Russians label you an enemy; if you go to Crimea, Ukrainians accuse you of being pro-Russian. When both sides criticize you, it usually means you’re doing your job correctly.

E.Z. What advice would you give to aspiring journalists?
F.D. Journalism today is harder than it was in my time. Back then, the path to becoming a journalist was less structured, but passion and determination were key. Today, journalism schools offer a more formal route, yet the industry is struggling with widespread job insecurity. Many people work without contracts.

Despite the difficulties, my advice to young journalists is never to lose their curiosity and never be intimidated. A journalist should always approach their work as an investigation – whether it lasts months or just a few hours. That’s what distinguishes a true journalist from a simple information relay.

Dragosei is proof that journalism is not just a profession but a lifelong dedication to uncovering and reporting the truth with accuracy and integrity. His career reflects an unwavering commitment to investigative journalism. For those aspiring to enter this field, his journey serves as an inspiration-showing that curiosity, resilience, and a relentless pursuit of facts are the true hallmarks of a great journalist.