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OCTOBER 2010

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Monthly freepress published in London EDITORIAL

Where The Future Is Not Forever by Fabio Pigola

www.italoeuropeo.com

A.C.I.E Association organ

Reproductive health by Riccardo Alfonso Fidest

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ot even Future is forever. Freud said that the dreamer is unaware of a poet, a builder of reality and not a mere observer. His words reveal an inner turmoil, and is not a disturbance buried in the past, but what awaits us. If the Seventies’ generation failed, the actual not even found the courage to take the field. It’s an offspring defeated in the beginning, annihilated by too much television, accustomed to patronage and unscrupulous management of resources. A youth fascinated by the arrogance and the ignorance that appeals to the Power. It isn’t easy to understand for who stamps his ticket, pays the parking and never jumps the queue at counters. To explain the inexplicable, reality has cruel words, dry and ruthless: “if you were like us, you do likewise”. Yet, real life is elsewhere. It roars between chipped pockets and dusty shoes, crouches amid the screeching noise of jeans and the artificial instinct of a bicycle’s brakes. No, not SUVs. These words are hard to accept, the (Freudian) poet would say, because change the world may seem a wild guess, but is the only responsible conscientious objection. He’s not interested in contempt, the disgust with which people looked at him: launches his message in a bottle in the depths of soul, sure it’ll not be collected by politicians and their campaign faces. He doesn’t surrender to slumber, got something to believe in, and prefers humanity to men. He plays the game of those who cannot extinguish the fire that consumes the blood, those who can’t recall where they put the utopias. It’s not an easy game, and opponents are holding everything: money, media and communications. And they also bought the referee. The generation of poets who know where the future becomes eternity, however, will continue to fill in the circles of broken dreams, but it will be amazing, because happiness leaves a wonderful scar.

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uropean patients are in many countries, in fact, limited in their individual choice of medically assisted reproduction (MAR) treatment, experts from the European Society of Human Reproduction and Embryology (ESHRE) stressed today at the European Health Forum Gastein (EHFG). The EHFG is the most important conference on health care policy in the EU. This year it has attracted about 600 decision-makers from more than 40 countries in the fields of health care policy, research, science, and business as well as from patients’ organizations. During an ESHRE workshop the political, professional, industrial and patient perspectives highlighted the problems related to the patchwork of MAR regulation in Europe. The regulatory diversity in MAR is attributed to the religious, cultural, social, ethical and moral attitudes prevalent in individual countries towards human life and its origins. In particular, gamete and embryo donation, surrogacy and preimplantation genetic diagnosis are hot spots in MAR regulation in Europe. Demand for infertility treatment on the rise The field of MAR is subject to the EU directive 2004/23/EC on quality and safety of human tissues and cells. “19

from: www.valkyriechildbirth.com Member States have specific legislations in place for MAR, in the remaining eight countries, MAR is covered by the general health legislation,” said Isabel de la Mata from the European Commission. “The organization of health systems is the exclusive competence of the members, meaning the legally allowed forms of treatment, the eligibility criteria and the reimbursement of treatments all vary between the Member States.” And yet demand for MAR treatment is on the rise in Europe.

The latest survey by ESHRE – the only one of its kind in Europe – found that 494,599 treatment cycles were performed in Europe in 2006 compared to 203,893 cycles ten years earlier. The number of clinics reporting to the survey increased from 482 to 1,016 during the same period. In several European countries 2-5% of children are born after MAR, with every one in six couples seeking some sort of medical assistance in order to achieve a pregnancy. 30,000 couples seek treatment outside their home countries.

Taxing the financial sector By Europa Commission

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lobal and EU- level taxes on financial sector would help to fund international challenges such as development or climate change and fix the fallout from the global economic crisis. The proposal consists of two types of taxes. The first – at the EU level – would be a financial activities tax on the EU’s financial sector, while the other is a global tax on financial transactions. As banks and other financial services companies were a major cause of the crisis and received substantial government support over the last two years, the tax would be a way to make them pay their fair share of the cost of recovery. The financial sector is also under-taxed compared to other segments of economy. For example, many banks are

from: www.nctaxaccounting.com exempt from VAT and receive other climate change. preferential benefits. The revenues ge- The commission will also carry out an nerated by the tax would ensure they assessment of the impact such a tax make a fair contribution to public budwould have on the economy. gets. Meanwhile, an international tax EU governments will consider both on financial trading would be another options before the next summit of the way of generating new revenues. world’s 20 richest economies (G20) These could be used to fund global pothis November, where common EU licies like development aid or to fight position will be presented.


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WORLD

OCTOBER 2010

Four Italian soldiers killed in Afghanistan by AFP

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Four Italian soldiers were killed and a fifth seriously injured in Afghanistan when a bomb blew up their vehicle on Saturday, the defence ministry announced. The soldiers were ambushed as they returned from a mission in the Gulistan valley in the southwestern province of Farah, General Massimo Fogari, head of the press service at the defence chief of staff told the television network Tg 24. They were escorting a convoy of 70 civilian trucks and travelling in an armoured car which took the full force of the explosion of a powerful homemade bomb, the Italian news agency ANSA said. "After the blast, the convoy came under fire until the attackers were forced to flee" by the military retaliating, Fogari said, adding that the attack was typical of the Taliban's modus operandi. The wounded soldier was evacuated by helicopter and said to be conscious despite suffering multiple injuries.

from: softairmania.it pressed his "deep pain" at the latest deThe zone where the attack happened is aths, saying they were "another examone of three places recently allocated ple of the very high human price which to the control of Italian forces. has to be paid for a mission fundamenThe deaths took to 34 the number of troops from Italy to die in Afghanistan tal for national security." since 2004, when Italian troops were He said Italy was "totally committed to the new transition phase in internatiodeployed to the war-torn country as nal strategy in Afghanistan being worpart of a NATO-led mission to conked out at the NATO summit in front a Taliban-led insurgency. November." Foreign Minister Franco Frattini ex

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He said he also wanted to see "the taking of responsibility for security matters and control of territory by Afghan forces speeded up, province by province." Prime Minister Silvio Berlusconi issued a statement expressing his pain "at this tragic ambush." Italy has about 3,400 soldiers in Afghanistan, most of them in the west of the country. The deployment is set to grow to 4,000 soldiers by the end of the year. The latest deaths took the number of foreign troops killed this year in the conflict to 572, according to a toll complied by AFP from the independent Internet site icasualties.org. The first nine months of 2010 have been the deadliest for international troops since a US-led international coalition chased the Taliban from power in late 2001. The toll of 521 dead for 2009 had already made it by far and away the bloodiest year in the conflict, which has escalated markedly in the past three years.

The new Freehold Theatre begins to shed light

by David Franchi

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his pleasant “Black Comedy” inaugurates the Freehold Theatre, a new performance space project based in the Freehold Community Centre in Muswell Hill. A new project about theatre is inaugurated with this good performance. “Black Comedy” is an explosive farce by Peter Shaffer. When the fuse blows for an impoverished sculptor it’s the beginning of a dreadful moment in the dark. “Muswell Hill is a very artistic place. Chris Faulkner - the trustee responsible - gave me the opportunity to do something here for actors. And this is called the Freehold Theatre” Director and Producer, Saima Duhare said. It is always good to hear about a new theatre project. Supported by a small local charity the

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aim is to provide an opportunity for young Actors, Directors and Producers to show their talents without the expense usually incurred in putting on live theatre. So, if anyone wants to develop a theatre project feel free to contact the Freehold Theatre: “Have a Community Centre and using it for multipurpose, it’s a good opportunity” Saima Duhare said. The opening show is the wellknown “Black Comedy” (1965), a one- act play by Peter Shaffer. The piece is a farce set in a flat during an electrical blackout. Full of sensational development “Black Comedy” has a title which is a pun: it is a black comedy, indeed, on the effect a loss of light would have on a group of people. Darkness put out of sight both identity and actions of the people and represents our ability to keep secrets. The physical darkness on stage is a symbol

of the moral darkness of the characters. Directed and produced by Saima Duhare for Palladini Productions, the show is a well conceived performance. Actors play good in very difficult roles, especially for the physical effort as it is supposed to be in the complete obscurity. The performance, indeed, is partially played in the dark, spectators receive a little electric torch to enlighten the stage. It is a very good show and the atmosphere of the centre is great. The set is in the London flat of sculptor Brindsley Miller (Joel Kirkpatrick). With his fiancée, Carol Melkett (Amanda Merchant), they are preparing for a party, with the purpose to impress Carol's father Colonel Melkett and millionaire art buyer Georg Bamberger. Neighbour Harold Gorringe (David Niman), a gay secretly in love with Brindsley, is away for the weekend, so they have stolen the beloved antique furniture as they would like to spruce up Brindsley's apartment. But suddenly the lights go out, a fuse has blown. From this point on characters arrive one by one in a whirlwind of hilarious moments. Firstly the neighbour Miss Furnival (Teresa Mahoney) a minister's daughter, a lifelong teetotaller, in fear of the dark. Then Colonel Melkett (Donal Cox) unconvinced by the blackout and with Brindsley himself. Harold Gorringe returns early. Brindsley begins a series of blind acrobatics attempting to replace all of stolen

furniture without him noticing. Brindsley’s mistress Clea (Anna Afanasyev) makes her entrance making no sound, so nobody is aware of her presence but they talk about her in a very bad way. Brindsley eventually recognizes her and hides her away. It is at this point that the Polish electrician Schuppanzigh (George Meyrick) arrives, sent to repair the fuse. Due to his accent everyone mistakes him for Bamberger andtry to impress him. Clea comes back and, pretending to be the cleaner Mrs Punnett, reveals her affair with Brindsley. Then Harold finds out what happened to his furniture and is very angry now. And finally the entrance of the deaf Georg Bamberger (Richard Niman). Schuppanzigh returns from the cellar, he throws on the light switch, and the curtain falls. “Black Comedy” was originally written by Sir Peter Levin Shaffer (born 15th May 1926) one of the most important English dramatist, author of numerous award-winning plays, several of which have been filmed, presented on the BBC or played around the world. Shaffer became really famous with “Amadeus” (1979) adapted to film in 1984, a eight Academy Awards winner, including Best Picture. “Next year we do Aladdin for Christmas. We have plans for the next 12 months but we take it step by step. It was great to work with Chris and his family” Saima Duhare said.


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MUSIC

THE ACCADEMIA DI SANTA CECILIA ORCHESTRA AND CHORUS WIN AGAIN The Accademia di Santa Cecilia Orchestra and chorus win two more awards at the 2010 Gramophone Awards, WINNING SIX AWARDS IN A YEAR

Santa Cecilia Music Hall (from: skyscrapercity.com) Accademia di Santa Cecilia Opening Gramophone Award in the Opera Category and Angela Gheorghiu in the of 2010 - 11 Season in Rome by Nicky Thomas title role on the disc won Female Artist Rossini’s William Tell – 16, 18 & 20 of the Year at the 2009 Classical BRIT October 2010 he Accademia di Santa Cecilia OrAwards.EMI Classics will release a Sala Santa Cecilia, Auditorium Parco chestra and Chorus have won two new recording of Rossini’s Stabat della Musica, Rome more awards at the Gramophone The Rossini Stabat Mater release comMater in November with Antonio PapAwards this afternoon – a Gramophone mences a retrospective of Rossini’s pano and his Roman orchestrafolloAward in the Choral Category for their wing the studio recording at the late works and coincides with the operecording of Verdi’s Requiem with its ning of the Orchestra’s 2010-2011 seaAuditorium Parco della Musica in Anglo-Italian music director Antonio son in Rome on 16 October 2010, Rome last summer. The stellar cast inPappanoon EMI Classics and another when Pappano and the Accademia di cludes soloists Anna Netrebko, Joyce Gramophone Award in the Recital CaSanta Cecilia will perform Rossini’s DiDonato, Lawrence tegory for the Rossini album with final opera William Tell. The cast inBrownlee and Ildebrando d'Arcangelo, Joyce di Donato (named Artist of the cludes Gerald Finley in the title role, alongside Santa Cecilia’s celebrated Year) - Colbran, the Muse, conducted Matthew Rose and Malin Byström. Chorus. by Edoardo Müller on Virgin Classics. Eric Dingman, President EMI ClasThis is the 6th award won by the Antonio Pappano and the Accadesics, commented: Rome-based orchestra in little over a mia di Santa Cecilia "All of us at EMI are incredibly proud year. The studio recording of Verdi’s In a country first known for opera, the of Tony Pappano and Academia di Requiem was made during live conAccademia di Santa Cecilia is a rare Santa Cecilia's stunning recording of certs at the Orchestra’s home, the Auexample in Italy of a symphony orcheVerdi's Requiem, and the very enthuditorium Parco della Musica in Rome stra not attached to an opera house and siastic response from music lovers inand released in 2009. It includes a it is unanimously recognised as Italy’s ternationally. This recognition stunning cast of soloists Anja Harteros, finest symphonic orchestra. Since tabestowed upon Tony, the superlative Sonia Ganassi, Rolando Villazon and king over as Music Director of the Accast, chorus and orchestra by the 2010 René Pape with the acclaimed Chorus cademia di Santa Cecilia six years ago, Gramophone Awards is the icing on of the Accademia di Santa Cecilia. Antonio Pappano has revitalised and the cake." This is the Accademia di Santa Cecigalvanised the Orchestra with his enlia’s third award for the Verdi Requiem thusiastic spirit, positive energy and Accademia di Santa Cecilia UK CD following another choral award at consummate musicianship. Tour: March 2011 the BBC Music Magazine Awards earThis dynamic partnership has returned The Accademia di Santa Cecilia Orlier in the year and Critics Choice at the orchestra to pole position among chestra will return to the UK with Anthe Classical BRIT Awards. the top European orchestras and is protonio Pappano for a tour in March EMI Classics’ previous recording with ving one of the most inspired orche2011 to Manchester, Birmingham and Antonio Pappano and the Accademia stral partnerships in the world. Last Basingstoke. Their programme will di Santa Cecilia of Puccini’s Madama year, it was voted one of the top 10 orinclude Mahler Symphony No1 and Butterfly also won a 2009 Classic FM chestras in the world by UK’s Classic Respighi’s Fountains and Pines of FM Magazine. The Chorus of the AcRome.

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OCTOBER 2010 cademia di Santa Cecilia has been described by the Independent as “one of the world’s great choirs” and is in great demand on tour both with the Orchestra and on its own. The Accademia di Santa Cecilia has an impressive heritage. Since its creation in 1908, the Orchestra has collaborated with distinguished conductors and composers including Mahler, Debussy, Strauss, Stravinsky, Hindemith, Respighi, Berio, Stockhausen, Toscanini, Furtwangler, De Sabata, Karajan, Stokowski, Bohm, Kleiber, Celibidache, Sinopoli, Bernstein, Abbado, Muti and Barenboim. Most recently its Music Directors have been Bernstein, Sinopoli, Gatti and Myung Whun Chung. They have imbued in the orchestra the great European symphonic tradition from Beethoven to Shostakovich. This is Pappano’s first orchestral appointment and it has given him the opportunity to explore the symphonic repertoire more fully and to curate varied, unusual programmes, from the standard repertoire to staged, multimedia productions. Each year, Pappano has commissioned a contemporary Italian composer to write a new symphonic work for the Orchestra. The Orchestra’s home is at Rome’s hugely popular Auditorium Parco della Musica, a large modern complex of 3 concert halls and an outside amphitheatre, built to house the Orchestra by celebrated Italian architect Renzo Piano 6 years ago. The Auditoriumhas been a huge success for both arts in the capital and across Italy, attracting more than 2.5 million attendees a year. The Auditorium Parco della Musica is situated north of Piazza del Popolo in a new vibrant cultural district on Via Flaminia next to Zaha Hadid’s thrilling Maxxi Centre, a national museum of contemporary creativity, which is soon to open at the end of May. The Accademia di Santa Cecilia is touring widely across Europe to great critical acclaim and will be returning to the UK in Spring 2011. Over the last two years, the Orchestra has toured to Paris, Amsterdam, Vienna, Frankfurt, Grand Canaries and Lucerne Festivals. EMI Classics Recordings Antonio Pappano records exclusively for EMI Classics. His joint EMI Clazsics discography with the Accademia di Santa Cecilia so far comprises the Verdi Requiem, Respighi’s Roman Trilogy, the Tchaikovsky Symphonies 46, and Puccini’s opera Madama Butterflywith Angela Gheorghiu and Jonas Kaufmann. Their recording of Tchaikovsky’s 5th Symphony was listed in Matthew Rye’s guide to the 1,001 Recordings you must hear before you die. The studio recording of Santa Cecilia’s Madama Butterfly was made by EMI Classics at the Auditorium Parco della Musica with a stunning line-up including Angela Gheorghiu and Jonas Kaufmann. It was released in March 2009 to worldwide critical acclaim.


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ARTS & EVENTS

by Cristina Polizzi

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Another appointment where English speaking writers talked about their love for Italy and how they ended up writing some of their books set in this beautiful Country had a very good audience in Belgrave Square This series of meetings set by Maxim Jakubowski and organized by the Italian Cultural Institute had as a second round of guests in this monthly event the writers Iain Pears and Barry Forshaw. Mr Forshaw played the host at this conversation asking questions to Iain Pears. And the audience learned that Mr Pears went to Italy as a correspondent for Reuters, living in Turin and then Venice and Florence and finally in Rome where he was covering news from the Vatican. During this conversation Mr Pears talked about that period in Italy called “Anni di Piombo” or “Lead’s Years” were terrorism and politic were entwined. But also the beauty of this Country, Art and the cities were nominated during this evening. Naturally the conversation went to Iain Pears ‘s books, set in Italy, crime novels where British art historian Jonathan Argyll, together with two members of the Art Squad of the Italian police, is involved in adventures set in the Art’s world and its masterpieces. Barry Forshaw, with his deep knowledge of crime novels, among his books “ British Crime Writing” and “The Rough Guide to Crime Fiction”, kept the audience interested with his questions answered promptly by Mr Pears. Questions that everyone had on the top of their tongue. At the end of this evening a series of questions came from the guests who attended this event and after been satisfied by the answers given , it has been possible to buy Iain Pears’s books from a point of sale set up by the Italian Bookshop and have them signed by the author. Among the titles the latest “The Stone’s Fall” and older titles like “ Giotto’s Hand” or “The Immaculate Deception”. Next conversation will be between Maxim Jakubowski and Barry Forshaw on the 15th of November at the Italian Cultural Institute, a date to put on your diary and the occasion to meet two very interesting writers of our time.

Banksy: GLORIFIED GRAFFITI OR UNDERRATED GENIUS? by Zoya Siddiqui

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ONDON: Politically thought provoking street artist, known as “Banksy” uses his spray painting as a form of pro-active expression. Whether you consider his work improper vandalism or a refreshingly fascinating medium of response to issues within society, it’s hard not to feel a sense of individual empowerment through the defiant resistance which emulates from his work. Some of the greatest works of genius through time have been published and created under cleverly crafted pseudonyms. Whether that be for literary purposes like Emily Bronte concealed under the identity of Ellis Bell when she wrote Wuthering Heights or for deeper underlying political and cultural motives like early Indian scholars who deemed it egotistical using one’s name to acquire acclaim and Japanese artists who changed their pseudonyms as their creative style developed. The most recent of these anonymous maestros is the Bristol born street artist Banksy, whose work has been in the public eye for over a decade appearing unheralded on public property all over the worldLondon, New Orleans, Los Angeles, Melbourne and Israel to name but a few. Banksy’s art has become an international phenomenon, sparking artistic debates and raising a certain awareness of his non conformist views amongst his audience. His adopted stencil style “guerrilla,” has become a trademark in itself and certainly secured him a critically savvy reputation amid his contemporaries, such as Jeff Aerosol and CES53, who was the first street artist to paint on the side of the Northern European trains. In 2006, Max Foster coined the term- “The Banksy Effect” saluting Banksy as the first street artist to ameliorate the bad reputation of this hooligan-esque medium of artistry which others have attempted to forge, given that his work now is auctioned at several thousand pounds a piece, becoming a collectible must-have. However it’s usually obvious whether the attempt is a true expression of the street prankster or a feeble pursuit of impersonation. Even Hollywood’s elite; Angelina Jolie and Christina Aguilera are eager to get their hands on an original Banksy. Aguilera purchased a controversial painting of Queen Victoria portrayed as a lesbian for the rather respectable sum of £25,000 and a quirky synthesis

of the classic, iconic portrait of Kate Moss as Marilyn Monroe was auctioned at an impressive £96,000 at Bohams in London. Despite the whopping success of his paintings, Banksy sees no revenue from his efforts. His style encapsulates his hostility towards government surveillance, crime, violence and commercialism which he juxtaposes with symbols of innocence to create visually stimulating and somewhat disturbingly humorous art, challenging the perceptions of the world in which we live. Rather ironically, his art characteristically threatens the high brow, socially acceptable notion of what art really is and what we expect it to be. Mutilating public property and defacing buildings is a criminal offence so perhaps his identity is best left masked behind a veil of creative representation. Banksy’s raw talent is discovered in the most obscure of places, usually regarding the most contaravertial of topics. This mystery man is not going to let his identity be exposed anytime soon as many of his spectators are a little less amused by his images which echo undercurrents of a poverty of political and social inequality and a little more eager for him to pay his share of detrimental charges. The need for a new niche of innovative expression is essential for the development and broadening of human consciousness. Banksy addresses this requisite and his urban art is a delightfully fresh reclamation of the peevishly scrawled graffiti we pass everyday without the slightest impulse of stimulation. For an artist that makes his work look deceptively easy, his identity is one which has proven to be eminently deceptive to decipher.

Italoeuropeo is an independent European cultural newspaper published in London. Italoeuropeo, created and directed by Filippo Baglini (NUJ Member of journalist UK), was born in Italy and is thought for Europe and based in London. For more information: www.italoeuropeo.com The A.C.I.E (Associazione Culturale Italo Europea - Italo European Cultural Association) is part of F.A.I.E (Federazione Associazioni Italiane in England - Federation of Italian Associations in England) whose president is Teodoro Di Nardo. For more information: www.italoeuropeo.com

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A Banksy Graffiti

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Iain Pears and Barry Forshaw at the Italian Cultural Institute

OCTOBER 2010


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