Panoram Italia Montreal OCT-NOV 2013

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TABLE OF CONTENTS

OCTOBER / NOVEMBER 2013 Volume 8 Number 5

PUBLISHER’S NOTE . . . . . . . . . . . . . . . . . . . . . . . . . 12

48

POLITICS AD PERSONAM . . . . . . . . . . . . . . . . . . 14 LIFE & PEOPLE

EXECUTIVE

Reaction: Italian Heritage School . . . . . . . . . . . . . . . . . . . . 16 Operation Husky: On Sicilian Soil 70 Years Later . . . . . . . 18

PUBLISHER AND EDITOR Tony Zara

EDITOR-IN-CHIEF Filippo Salvatore

I Partigiani emigrati in Canada . . . . . . . . . . . . . . . . . . . . . . 20 Dominic Cifarelli’s Chronicle . . . . . . . . . . . . . . . . . . . . . . . 22 A Portrait of Italian-Canadian Youth in Montreal . . . . . . . . 24

EDITORIAL DEPUTY EDITOR-IN-CHIEF Adam Zara

FOOD & WINE Le trésor de Federico . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Italian Wine Guide 2013 . . . . . . . . . . . . . . . . . . . . 30 How to Make Potato Gnocchi . . . . . . . . . . . . . . . . . . . . . . 38 LIVING ITALIAN STYLE . . . . . . . . . . . . . . . . . . . . 42 FASHION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

MONTREAL MANAGING EDITOR Gabriel Riel-Salvatore

WEB MANAGER Gabriel Riel-Salvatore

TORONTO MANAGING EDITORS Rita Simonetta Viviana Laperchia

PROOFREADER Aurélie Ptito

ART DEPARTMENT ART DIRECTION David Ferreira Gabriel Riel-Salvatore

VENEZIA À la découverte de Venise et ses secrets . . . . . . . . . . . . . 48

GRAPHIC DESIGN David Ferreira

PHOTOGRAPHY Vincenzo D’Alto Michel Ostaszewski MAKEUP Emmanuelle Blanchard

Venerable Venetian Cuisine . . . . . . . . . . . . . . . . . . . . . . . . 50 Cover Story: Venice Theatrical Backdrop of the World . . . 52 De ville-musée à capital de l’art contemporain . . . . . . . . . 54 Venitian Slendours at Montreal’s Museum of Fine Arts . . . 56 The Enduring Traditions of Venice . . . . . . . . . . . . . . . . . . . 58 Recommended Reading . . . . . . . . . . . . . . . . . . . . . . . . . . 59

ADVERTISING VICE PRESIDENT – ADVERTISING SALES MARKETING & SALES TORONTO EXECUTIVES MONTREAL Earl Weiner Frank Crisafi Anthony Zara

ADVICE Words Fly, Writings Remain . . . . . . . . . . . . . . . . . . . . . . . . 60 The Family Trust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

ARTS & CULTURE Lucio: Un trésor d’autrefois . . . . . . . . . . . . . . . . . . . . . . . . 62 Steve Galluccio and the St. Leonard Chronicles . . . . . . . . 63

CONTRIBUTORS Sabrina Marandola • Franca Mazza • Amanda Fulginiti Alessia Sara Domanico • Valérie Vézina • Claudio Ortu Giuseppe Continiello • Stephanie Grella • Pasquale Artuso Anthony Calabrese • Diana Skaya • Alexandro Loffredi • Aicha Cisse Anders Jensen • Monica Regalino • Alain Raymond

EVENTS Montreal’s Italian Week Celebrates 20 Years . . . . . . . . . . 64

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PUBLISHER’S NOTE

OUR COLLECTIVE REPUTATION IS ONCE MORE UNDER ATTACK

By

now many of you are aware of the video circulating online and on TV which is part of a campaign by le Syndicat des Cols Bleus Regroupés de Montreal, aptly named “Nettoyons Montreal.”

The video depicts an elderly gentleman in a Godfatheresque setting, dressed in a suit with a large rat’s tail protruding from his behind. The man begins to stuff an already full safe with Canadian bills to the tune of Italian folk music in the background. The first time I saw this video it seemed totally surreal. However, once we collected our thoughts, it was abundantly obvious that this campaign was directed at the Montreal roadwork contractors of Italian heritage.

In the days following its online publication, CTV News contacted us for our reaction – since other entities were not willing to comment – and we gladly obliged. That same day, they sent a reporter to interview Deputy Editor Adam Zara, allowing us to give our perspective on why its content was very offensive to us as a community and why it should immediately be taken down. Kudos to CTV for bringing the advertising campaign to everyone’s attention. CBC News followed suit the very next day.

Seeking the author’s point of view, CTV and CBC asked the president of the Cols Bleus, Michel Parent, what he thought of the Italian community’s reaction. With total disregard, he denied the obvious and stated that this was not meant to attack the Italian community of Quebec but rather to remind Montrealers of the city corruption scandal before the upcoming municipal elections. Then why the Italian music Mr. Parent? Were the rights to Gilles Vigneault’s back catalogue too steep? Whose interests were you trying to serve exactly with this ad campaign? Do the few Italian family names involved in the system of collusion outweigh the hordes of city engineers, contractors and mayors with Québecois family names?

Dear reader, this latest unfortunate episode in the history of our community should compel us to look within once and for all, with the goal of eradicating this proverbial cloud over our heads. We cannot allow anyone to continuously drag our reputations through the mud every time some members of our community allegedly break the law.

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By and large, we have been Canadian citizens for half a century – most of us were born in this country. Going forward, the mainstream media should omit any reference to heritage when reporting on crime. For example, in a recent drug bust where a significant amount of the perpetrators happened to have Italian family names, a radio personality from mainstream media reported this as a bust of “the new generation of the Italian Mafia.” When I called to ask her why she referred to them as such, she simply answered that she was repeating what the Montreal Police department stated. I then decided to contact Barry Wilson, news director of CTV News, a journalist which I respect and usually agree with, for his point of view. I asked him the same question and he gave me the same exact answer.

Once I insisted on discussing my objection, he actually agreed to sensitize his staff to what should have been obvious to them long ago: It is insensitive to label organized crime in this country as a part of a specific cultural community. By doing so, it sullies the reputations of an entire people. Whether Italian, Haitian, Chinese or Russian, organized crime in Canada is unfortunately perpetrated by all levels of society.

So, what is the answer to all this? Obviously, there is no single simple answer to eradicating Italian bashing once and for all. However, we as a collective can begin by first educating and sensitizing the greater Québecois community about our feelings and concerns. Yes, we are Canadians like the Anglos, Irish, French, and Scottish (etc.) regardless of the fact that you can easily identify our heritage by our family name.

If this does not work, we should vigorously defend our reputation through immediate legal action for we have abundant proof that simple warning letters do not work.

I call on all, including the leading organizations of our community, to show solidarity for this cause and raise and/or divert the funds needed to educate and, if necessary, prosecute any and all who dare attack our collective reputation either by intent or ignorance.

We owe this to our parents and grandparents who worked long and hard with the utmost integrity to give us a better life. We also owe it to the current and future generations who deserve their rightful place in this wonderful country we call Canada.

As McGill Professor Filippo Sabetti so aptly coined it, Italian bashing is the last “respectable bigotry.” I say, NO MORE! Tony Zara, Publisher

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EDITORIAL

Politics Ad Personam

By Filippo Salvatore

A soap opera starring Silvio Berlusconi Silvio Berlusconi, who served as Italy’s prime minister three times, has been facing a string of trials since leaving office in November 2011. And his legal problems have unfortunately been dominating Italy’s daily life at a time when the country is undergoing great economic turmoil. With his recent indictment in the Mediaset trial, his control of the country’s political life might be once again on the brink of collapse. But like the phoenix that continuously rises from the ashes, Berlusconi has not yet said his last word.

ince the February 2013 elections, the alliance between the two traditional political opponents has been on shaky grounds. For the last five months, Berlusconi’s personal vicissitudes have had a direct impact on the life of the government. Prime Minister Enrico Letta has tried to sound reassuring, especially at the international level, claiming that Berlusconi’s personal problems should not impinge on the life of Italy’s government. President Giorgio Napolitano also urged the country to stay calm. “The country needs to rediscover serenity and cohesion on vitally important institutional matters that have for too long seen it divided and unable to enact reforms,” he said.

Berlusconi has been claiming for years that he is the victim of an incredible series of accusations and trials that have nothing to do with reality. He described the 41 court cases he has faced as “genuine judicial harassment that is unmatched in the civilised world.” Soon after his final conviction, Berlusconi, in a speech in Rome, claimed, “I am innocent, and I am not giving up.”

On August 1, 2013, the country’s Court of Cassation, or Supreme Court, convicted Berlusconi on tax fraud. After the court’s decision, he said, “I never devised any system of fiscal fraud. No false invoice exists in the history of Mediaset.” His lawyers claim there are “solid reasons” why their client should have been acquitted, and they would “evaluate and pursue any useful initiative, also in Europe, to make sure that this unjust sentence is radically reformed.”

Since then, Italian political life has acquired the contours of a melodramatic soap opera. The Severino law, passed in December 2012, obliges any parliamentarian who has been sentenced to more than two years in prison to give up his or her seat.

Berlusconi, a senator, has been fighting tooth and nail to avoid being expelled. He claims that the Severino law is unconstitutional because it is retroactive, although he himself and his party voted for it. How can he now claim the opposite?

Berlusconi’s legal problems and attempts by his lawyers to buy time have dominated Italy’s daily life at a time when the country is being hit very hard by the economic crisis. Threats to sink the rightleft coalition government of Prime Minister Letta have been discussed widely in the media.

On September 17, the Supreme Court further hit Berlusconi by ordering his Fininvest holding company to pay damages of 540 million euros ($721 million) to the CIR firm owned by the family of business rival Carlo De Benedetti, over a disputed takeover battle for publisher Mondadori. The Ex-PM’s former lawyer was convicted in 2007 of bribing a judge to rule in favour of Fininvest.

A special Italian Senate committee voted on September 18 to expel Berlusconi from parliament over his conviction for tax fraud, but it may still take weeks to reach a conclusive decision. In his September 18 video message, Berlusconi stuck to a conciliatory line and tried to sound like a statesman, although his message also contains a rancorous tone.

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He followed the line suggested by the PDL party doves like Gianni Letta and business advisors like his daughter Marina, who heads the family’s $6.6 billion business empire. The hawks had pushed him towards forcing a snap election. Berlusconi was persuaded that bringing down the government in the midst of Italy's worst postwar recession would backfire for the centre right and damage his media interests.

Berlusconi claimed that he will continue to be involved in politics even without a seat in the Senate, because a true leader, he reckoned, needs only the people's support. The implications of this statement are incredible and dangerous.

Berlusconi is inviting Italians to do away with the legitimate constitutional order.

He presented his revamped Forza Italia 2.0 as a return to the future. He focused on his legal persecution by politicized magistrates (Magistratura Democratica); insisted upon the need to reform the judicial system and reduce the power of magistrates and judges and make them accountable. He also spoke about the need of a truly “liberal” society with less state intervention and reduced taxes. Berlusconi's TV video sounded like a new beginning for an old, known formula – his own. This begs the question: How can this new political manifesto be reconciled with Prime Minister Letta’s left-leaning policies? The future of the “governo di larghe intese” is indeed on shaky grounds and is bound to fall sooner rather than later. If there is a political crisis in Italy in the near future, a crucial role will be played once more by President Napolitano. The way he handles the situation will indicate the road to follow and help find a solution. Will it be a new government with Letta again as Prime Minister? Will it be a left-leaning government with the indirect support of Grillo's M5S? Or will President Napolitano simply oblige parliamentarians to change the Porcellum, the present electoral law, and call for new elections? Only time will tell.

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LIFE & PEOPLE

Reaction: Italian Heritage School

Oui à une école italienne à Montréal Réflexion sur les bienfaits du multilinguisme aimerais tout d’abord féliciter l’équipe de Panoram Italia pour son excellent dossier sur l’école italienne, ainsi que pour son dossier en ligne sur les Italiens à Montréal. Au même moment, et dans la foulée de la Semaine italienne, La Presse publiait pour sa part une série d’articles intitulée Ici l'Italie. À voir l’intérêt pour la question, la culture italienne et l’italien semblent plus actuel que jamais dans la métropole québécoise.

Il est vrai que l’immigration italienne est aujourd’hui beaucoup moins importante qu’elle ne l’a été et que les jeunes qui parlent couramment l’italien sont de plus en plus rares. Et bien que la transmission intergénérationnelle de l’italien soit en déclin, surtout chez les personnes de 3e génération et plus, cela ne signifie pas pour autant que les jeunes parents d’origine italienne ne souhaitent pas transmettre cet héritage linguistique à leurs enfants. Ce n’est tout simplement plus aussi naturel pour eux que ce ne l’était pour leurs parents et grands-parents. Une école italienne à Montréal pourrait toutefois combler en partie cette lacune.

L’italien est une langue historique à Montréal, et, comme on le fait pour les édifices, je suis d’avis qu’il faut déployer des efforts pour la conserver : notre société se doit de contribuer à la sauvegarde de ce patrimoine plus que centenaire. Vous l’aurez

J’

compris, je suis totalement en faveur de l’implantation d’une école italienne à Montréal. Celle-ci serait un atout indéniable tant pour la communauté italienne que pour l’ensemble de la population québécoise.

D’une part, une école italienne favoriserait la pérennité de ce patrimoine linguistique et le maintien de liens culturels, économiques et politiques forts avec le Bel Paese. D’autre part, la formation de jeunes québécois trilingues ne pourrait que s’avérer bénéfique pour eux et pour l’ensemble de la société. En effet, de nombreuses recherches démontrent que, dans l’ensemble, les individus multilingues réussissent mieux que les unilingues. L’apprentissage de plusieurs langues favorise le développement du cerveau, notamment aux chapitres de la créativité et de l’esprit d’analyse. Les polyglottes ont également plus de facilité en termes de relations interpersonnelles et de communication. Bref, les avantages du multilinguisme sont indéniables et, personnellement, je ne connais personne qui regrette avoir appris une nouvelle langue.

Pour ceux et celles qui pensent qu’il est plus profitable d’apprendre l’espagnol ou le mandarin plutôt que l’italien, je les invite à considérer la chose selon une conception « écologique » des langues, afin de cesser de penser en termes de « ou » et de s’ouvrir au « et ». Pourquoi faudrait-il se limiter à un nombre minimal de langues,

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lorsqu’on peut apprendre et le français et l’anglais et l’italien et l’espagnol, etc. lorsque c’est possible ? C’est bien connu, plus on apprend de langues, plus il devient facile d’en apprendre d’autres.

La langue italienne est déjà bien ancrée dans le paysage montréalais. Elle est encore parlée par plus de 136 000 personnes et véhiculée notamment à travers une myriade d’institutions, d’associations et de publications. La seule chose qui lui manque réellement pour s’affirmer pleinement c’est une école. Ce qui n’a rien à voir avec une question de ghettoïsation de la communauté, mais plutôt avec l’idée d’offrir aux jeunes une ouverture sur le monde. Et pas que les jeunes d’origine italienne.

Selon moi, le succès d’une telle école repose sur une accessibilité pour tous, peu importe l’origine.

D’ailleurs, il faudrait éviter que les conditions d’admission soient assujettis à l’obligation d’obtenir un quelconque certificat d’admissibilité, comme c’est le cas pour fréquenter les écoles anglophones. Les critères d’entrée devraient donc être négociés avec le ministère de l'Éducation. Par ailleurs, pour le gouvernement du Québec, le financement d’une telle école pourrait représenter une sorte de retour d’ascenseur envers la communauté italienne, laquelle a grandement contribué à construire notre ville, notre province, notre pays.

Pour ma part, j’aurais bien aimé fréquenter une telle école, car avec deux parents francophones, je n’ai pas eu la chance d’apprendre plusieurs langues en bas âge. Ouverts d’esprit, mes parents se sont néanmoins toujours débrouillés pour que leurs enfants s’initient à d’autres langues et élargissent ainsi leurs perspectives sur le monde. Ils m’ont donc envoyé dans des camps d’anglais et fortement incité à apprendre l’espagnol.

Avec trois langues dans la poche, il m’a été beaucoup plus facile par la suite d’en apprendre d’autres, dont l’italien (ce qui me permet entre autres de lire au complet chaque numéro de Panoram Italia).

Le multilinguisme m’est aujourd’hui très utile dans la vie : il n’est pas rare que je parle trois ou quatre langues dans une même journée. Je peux lire des livres et des articles variés sur pleins de sujets qui expriment des points de vue différents issus d’une foule de cultures. Une personne qui lit ou qui écoute la radio ou la télé uniquement en anglais ou en français possède à mon avis une vision beaucoup plus restreinte du monde. En somme, plus on connaît de langues, plus on élargit nos horizons.

Pour toutes ces raisons, et bien d’autres, je dis « oui » au multilinguisme et « oui » à une école italienne. Qui sait, j’y enverrai peut-être même un jour mon fils ?

Marc Pomerleau est doctorant en traduction à l’Université de Montréal

the last issue of Panoram Italia the publisher, editors, and their staff seem to be convinced that the launch of an “Italian Heritage School” is once again relevant. I too feel that it’s about time, so I decided to offer my involvement in this project. My first action was to sign the petition launched by Panoram Italia and then to convince my wife to participate. This not only brings in another active participant, but one that is in fact a teacher of Italian.

I believe that to achieve our goal, the first thing is to encourage Italian Canadians to work together so as to be stronger. Moreover, we need to be convinced and show other Canadians that whatever we decide to undertake to keep our Italian culture alive, need not compromise our being part of Canadian life. From my point of view, we are very lucky to be in Québec, a place that provides the perfect context to learn three of the most beautiful and useful languages in the world.

Although there is a need in today’s world for a universal language, this does not take away the need for other cultural languages. I agree that it is not enough to depend on our parents and grandparents to teach our children our roots and language. The culture we need to address now here in Canada is a different one than that which was established by our parents and grandparents in the past. We are proud of what they did, but it is now time to formalize the education of all the cultural values and knowledge conveyed by our Italian Heritage through a well structured full-time School.

In

LIFE & PEOPLE sano attenuare o spegnere la curiosità intellettuale. Al contrario, la possibilità di verifica dal vero nella poliedrica analisi critica di diversi ceti sociali e diversità d?opinioni, dà la possibilità ad un giovane di formare la propria visione al di là dell?emotività provinciale a campanilistica che permea in generale l?ambiente dell?emigrazione, di qualsivoglia origine.

Andrea Maria Coda di San Grato, Hudson

Guglielmo (William) D’Onofrio, Montreal

Ho

letto con interesse le riflessioni pubblicate da Panoram Italia riguardo l?insegnamento dell?italiano e l?insegnamento in italiano. Tuttavia, è il commento del Sig. Simon Savoie-Gargiso, concernente il suo soggiorno, sedicenne, in Italia, che mi ha spinto ad offrire un?osservazione personale...

L?onorevole Pacetti, il Signor Zara, hanno offerto con tatto un quadro realistico della difficoltà a concretizzare, con dei nuovi strumenti amministrativi, in modo significativo, questo rinnovato desiderio di accedere a delle instanze educative culturalmente specializzate...

L?evoluzione e la permanenza dell?insegnamento dell?italiano e dell?insegnamento in italiano è nelle mani dei porta parola politici della comunità italocanadese del Québec. Il mio interesse personale, al contrario, va soprattutto verso la fase successiva, l?immersione culturale, in Italia, di giovani curiosi d?esplorare la realtà «?italiana?» al di fuori dei limiti ambientali locali.

Essendo stato educato in tre paesi diversi e avendo vissuto e lavorato in cinque, mi sono reso conto di quali stereotipi autocongratulatori, miopía interessata, pos-

Opening an Italian Heritage School in Greater Montreal

Sign our petition Go to

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LIFE & PEOPLE

On Sicilian Soil 70 Years Later Operation Husky commemorates Canadian soldiers who fought in Italy during World War II

Travelling to Italy is always a memorable and special experience.

But for Sheridan Atkinson, his trip to Sicily this summer filled him with deep pride, immense gratitude, and emotional memories.

By Sabrina Marandola the age of 91, Atkinson travelled from his home near London, Ontario, to Sicily to mark a special anniversary: 70 years since he first stepped foot on Italian soil as a Canadian soldier to help liberate Europe from the Nazis. “I was 21 years old, and Sicily looked like a third-world country. The Germans stripped it of everything,” Atkinson recalls. “We were able to provide food, supplies, medical care, and they needed it badly.”

Atkinson was one of 25,000 Canadian soldiers to land in southern Sicily on July 10, 1943.

The mission was coined Operation Husky. It marked the first independent role for Canadian soldiers in World War II. The Allied invasion included British and American soldiers, but the Canadians left their mark.

The Canadian division marched along 300 km of mountainous terrain under Sicily’s scorching sun, and swiftly defeated the Germans.

Germans nicknamed the Canadian soldiers the “red-patch devils” in reference to the red maple leaf sewn on the side of their uniforms.

Still, the battles were intense – in just 28 days, 562 Canadians were killed and buried in Sicily.

In spite of this, there is virtually no information about Operation Husky in any history book or encyclopedia.

That’s what Montrealer Steve Gregory discovered when his 11-year-old son wanted to do a school project.

“In 2006, we met a veteran who told us about Operation Husky and the battle of Assoro. It was an amazing battle, and my son wanted to do a project on it, but he couldn’t find any information about it,” Gregory says.

Gregory spent two weeks himself doing research, but he came up empty-handed. “These men fought for liberty and peace, and set the foundation for the liberties Italy has today…These men had been forgotten, and it was wrong. It got under my skin,” Gregory says. “It was unjust, and we had to fix it.”

So Gregory spent the next seven years working to coordinate a very special event for 2013. His goal was to mark the 70th anniversary for all the Canadian men who fought and liberated Italy.

As president of the Quebec chapter of Canada Company, a charitable foundation that works with the Canadian Military, Gregory started his own campaign called Operation Husky 2013.

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“These men fought for liberty and peace, and set the foundation for the liberties Italy has today…These men had been forgotten, and it was wrong.”

He raised funds to get Canadian soldiers and veterans to arrive in Sicily on July 10, the way they had done 70 years earlier.

World War II veterans and some current Armed Forces travelled there together, and walked along the same battlegrounds they had in 1943.

They stopped at the Agira Canadian War Cemetery, where 490 of the 562 Canadian casualties lay buried. They called out each name…one by one. Hundreds of locals attended the roll call too.

It was a moment Gregory will never forget. “For seven years, I have had in my mind and felt in my heart that our men were buried very quickly, alone…with no

ceremony and no recognition,” Gregory says. “In that moment a name is called out, you are burying him again.

There were many tears. Seeing all these people in the cemetery, I felt our men would have been very happy and that somewhere in heaven they were smiling.”

Along their journey through the towns of Pachino, Assoro, Agira – and all the other towns the Canadians captured during the war – 91-year-old Atkinson would say a few words on behalf of his 25,000 comrades who fought by his side there 70 years ago. Nothing scripted, all from the heart. “There were elderly people, middle-aged people, children…I was absolutely surrounded. In almost every case, people wanted to shake my hand to thank me for liberating their country,” Atkinson says. “I played a small part, along with 25,000 other people. I realized why they were grateful, and it was all worth it.”

One moment will stay with him forever. After a ceremony, a man approached Atkinson with a chocolate bar in hand and said to him: “‘I was 12 years old when I met you. You gave me chocolates. So I’m giving you a chocolate bar today,’” Atkinson says, adding that he feels partSicilian. “It was an honour. I got so much respect from these people. I got more than I gave them.”

Sheridan Atkinson and Steve Gregory

Gregory is still smiling now, knowing the Canadian veterans got the acknowledgement they deserve – even if it is 70 years later. “We were not there to brag or celebrate the Canadians’ victories, but to remember,” Gregory says.

“We were successful in communicating to our Sicilian fratelli that we remember their men and ours.”

Gregory is busy now, writing hundreds of ‘Thank You’ notes, while Atkinson is still reflecting upon his unforgettable Sicilian summer. “We put Operation Husky in its rightful place in history.”

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LIFE & PEOPLE

Ci sono storie...

Giuseppe Continiello

I Partigiani emigrati in Canada Ci sono storie che attestano determinazione, capacità organizzative e spirito di sacrificio. Sono quelle, tanto simili, per tanti aspetti, di coloro che raccontano gli orrori della guerra, il coraggio della Resistenza e la scommessa dell'emigrazione. I protagonisti di quelle narrazioni sono i tanti reduci e partigiani che, finita la guerra, deposte le armi, si sono fatti una famiglia, hanno cercato di ricostruire quell'Italia tanto amata e per la quale hanno combattuto e che con loro è stata così poco riconoscente che non hanno avuto altra via che quella dell'emigrazione, in cerca di un futuro migliore per la loro famiglia, per i loro figli. Il Canada, per quelli, rappresentò l'avvenire. Più della vita, è stata la Storia a riservare i dolori più grandi a quegli uomini, testimoni e protagonisti di un secolo, il Novecento, i cui orrori la generazione alla quale appartengono non ha certo potuto schivare. Allora, per questi eroi tranquilli approdati in cerca di fortuna dall’altra parte del mondo che ha dato loro tutto, la scommessa è vinta: sono sempre stati, infatti, fedeli a loro stessi. Non hanno mai smesso di lottare, dopo tanto resistere. Prima per la libertà, poi per la dignità del lavoro. Dapprima per il riscatto morale di tutta una nazione, poi per sé e per la propria famiglia.

elle tante storie di coloro che sono andati rapidi incontro al futuro, portando con loro molto del loro passato, quelle di Pietro Piscina, emigrato a Montréal, e di Primo Di Luca, emigrato a Toronto. Uomini del “detto fatto!”, deciso, sicuro, fermo. Due esistenze che ci insegnano il senso del coraggio, del credere nella vita, nella lotta per i propri ideali: tutto ciò ha permesso loro di realizzare, con naturale semplicità, tutto quello che avevano progettato.

Dopo anni di guerra, dopo i tributi di sangue, Pietro Piscina, così come molti altri, per poter sopravvivere dignitosamente, decise per la via dell'emigrazione. Classe 1921, ultimo di sette fratelli, Alpino della Divisione Julia, fu reduce di tanti fronti europei (nell'aprile 1941 fu in Yugoslavia, quindi in agosto in Albania e poi in Grecia), tra i quali quello russo (nella campagna di Russia, tra il 1942 e il 1943 partecipò un Corpo d'armata alpino composto dalle divisioni: Cuneense, Tridentina e Julia. Questi reparti, esclusivamente attrezzati e preparati per combattere in montagna, furono impiegati nelle steppe tra il Don e il Donez. Fu un grave errore e costò immensi sacrifici). Dopo l'8 settembre 1943, fu partigiano e, nel maggio del 1944, fece parte della Brigata Partigiana Julia, con il nome di battaglia di “Fra Diavolo”. Nel 1957, la scelta di emigrare in Canada per vivere un'avventura di successo, irrimediabilmente fiducioso nel futuro.

Quest'anno, Primo di Luca ha tenuto l’orazione ufficiale in occasione della Giornata dell’emigrante partigiano, importante occasione di riflessione e di ricordo, organizzata a Porzus (località del Friuli orientale vicino a Udine) dall’Associazione partigiani Osoppo. Primo Di Luca emigrò in Canada nel 1954. Dopo aver lavorato come manovale in un’impresa edile, solo tre anni più tardi, cominciò l’attività in proprio come fondatore di una società di costruzioni. Oggi è il Presidente di un impor-

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tante gruppo attivo in tutto il Nord America. Accanto all’attività lavorativa, Primo Di Luca si è sempre impegnato nel sociale, fedele ai valori della libertà, della dignità e della solidarietà.

Mito fondativo della Repubblica, la vicenda della Resistenza italiana è stata oggetto di un processo di profonda revisione storiografica. Per “Resistenza” si intendono le azioni di guerriglia e di sabotaggio che, durante la Seconda guerra mondiale, accanto al conflitto vero e proprio tra eserciti contrapposti, furono condotte dalle popolazioni civili contro il nazifascismo. Essa prese avvio ufficialmente dopo l’8 settembre 1943, quando il maresciallo Pietro Badoglio annunciò l’armistizio dell’Italia con gli anglo-americani. Allora, le potenze alleate erano già sbarcate in Sicilia (luglio 1943) e il governo Mussolini era caduto (25 luglio). Con l’armistizio il re e lo stesso Badolgio fuggirono da Roma e l’Italia centrosettentrionale fu occupata repentinamente dai tedeschi. Nel Nord Italia fu creata, sotto lo stretto controllo dei nazisti, la Repubblica sociale italiana (la Repubblica di Salò) e in quella parte del Paese sotto controllo degli alleati fu istituito un “regno del Sud” che, in ottobre, dichiarò guerra alla Germania e che, in seguito, diede vita a governi di coalizione tra partiti antifascisti, guidati prima da Badoglio (1943-44) e poi da Ivanoe Bonomi (1944-45).

Il maggior contributo alla Resistenza lo diedero i giovani delle classi richiamate alle armi dalla Repubblica sociale italiana, i quali scelsero di unirsi alle brigate partigiane e alle altre organizzazioni di lotta.

Le loro storie, come quelle di Pietro e Primo, raccontano l'epica della felicità quotidiana, la costruzione di esistenze godute nelle piccole cose di ogni giorno, che poi sono le uniche per le quali vale la pena battersi e per la cui edificazione è sempre necessario credere nell’eroismo della normalità.

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40 since 1973

The e experience xperience begins he here. re.

THE THE E EXPERIENCE XPERIENCE M MAKES AKES T THE HE D DIFFERENCE. IFFERENCE.

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LIFE & PEOPLE

Photo by Joe Pacheco

Dominic Cifarelli’s Chronicle

By Adam Zara

What does “making it” in music really entail? No true, sincere musician would ever answer fortune and fame. The ability to put food on the table and pay rent as a result of dedicating day and night to writing and performing music is plenty for most hardworking artists. As a teenage guitarist struggling to convince his Italian parents what direction he was heading in, Dominic Cifarelli, now 34, could not have imagined that he’d one day play bass for Scars on Broadway, one of the best hard rock bands of the past decade.

“I feel honoured and blessed to be in Scars,” says Cifarelli, who toured North ifarelli is quick to point to his grandfather Vincenzo when asked about his America last fall in support of the Deftones. “You can’t explain the sensation of playmusical initiation. He had played trombone in Montreal’s famous Banda ing alongside someone you respect that much (Daron Malakian), having fun, and also Gentile marching band. “All I heard every day was opera – very creepy opera. getting to be on a tour with your favourite band (the Deftones). It’s completely surreal.”

I remember being in this big house with the old man in his room silently listening to Cifarelli’s downtime between stints with Scars on Broadway allows him to work opera; it’s dark, I’m alone ... that mood and feeling kind of stuck with me,” he recalls. on a solo project that has been near and dear to his heart for the better part of a In his teens, Cifarelli would find his calling – albeit with a little resistance – from decade: The Chronicles of Israfel. On Chronicles’ latest installment named A Trillion his family. “I had huge fights with my father. I was failing school; ditching to go jam.

Lights, slated for release in December, Cifarelli gets to display his vocal range and It wasn’t smooth for me at all. But if you feel that you need to stand in defiance, and colossal guitar riffs like never before. The title character of the concept album, Israfel, you believe enough, then that’s your path,” he says. is in biblical literature the archangel who blows the trumpet to announce the Day of And Cifarelli did more than simply believe – he obsessed over his craft. “Once, Resurrection – perhaps a subconscious ode to his father’s native town of Vanier (College) was on strike, I remember practising guitar for three days straight; Sant’Arcangelo in Basilicata. The prelude to the album, a 13-minute track called one day was 13 hours, the next day was 11 hours and the last day was 9. And then I Turning of the Heavens, will be available on iTunes in October. literally got sick and couldn’t go back to school when the strike was over.”

Surprisingly, next up for the talented artist is a mandolin-based project that he’s His rise through the ranks began after attending a Taproot show in 2000, when been eagerly waiting to record for the past two years. “It’s just my favourite music I’ve he approached a band member after the concert with a six-pack of beer and his band ever written,” he says. One could say Cifarelli is revisiting his roots with the new venPulse Ultra’s demo CD. Before he knew it, a year later, Cifarelli and the band were ture – his great uncle played the mandolin and the album will include an Italian song signed to a major record deal with Velvet Hammer (becoming label mates with mulnamed Il Dolore. tiplatinum selling System of a Down) and were off to Los Angeles.

After all he’s been through in his short but intense career, no matter what door But Pulse’s whirlwind dance with the big leagues wouldn’t prove longstanding. opens up next, Cifarelli remains weary of the pressures of unrealistic expectations and “It’s a lot more pressure than people think, a lot more money is involved than people mindful of the reason he chose music in the first place. “It could become exhausting, think, and it’s a lot harder to write the songs to impress major U.S. labels than people but what happens is, if you love it, it think. They made us write five to ten songs a week for like three months straight with becomes a self-renewing, self-perpetno money,” he admits. uating fire,” he says. “If you put the After recording their debut album Headspace and touring the globe, most pressure of success and expectation notably on Ozzfest with System of a Down, inexperience and industry demands on something, you’ll snuff out the quickly got the best of them. With lacklustre sales and band members drifting apart, fire. If you let the passion of what you Pulse Ultra was swiftly dropped from the label and Cifarelli would find himself back love to do fuel everything, it’ll just at square one. make you stronger.”

Fast forward to 2008 – the guitarist had been biding his time, constantly practicing, writing and recording music, and moving between projects – when management from Velvet Hammer called him with the opportunity of a lifetime: the chance to audiThe Chronicles of Israfel tion as a bass player for Scars on Broadway, a project fronted by System of a Down guiyoutube.com/israfelworld tarist Daron Malakian. Cifarelli gladly jumped at the opportunity and before he knew facebook.com/thechroniclesofisrafel it, the band welcomed the elated artist onboard.

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LIFE & PEOPLE

A Portrait of Italian-Canadian Youth in Montreal Level of spoken Italian

Origins

How they identify themselves

2% At least one grand-parent born in Italy

Intermediate Italian

Canadian-Italian

16.1%

2%

12.4%

31.7% Fluent Italian At least one parent born in Italy

45%

Italian-Canadian

20.5%

53%

45.5%

Don’t Speak Italian

Italian

29%

31.7% Born in Italy

By Adam Zara

Beginner Italian

In early 2013, the youth wing of the National Congress of ItalianCanadians, Quebec region, decided to conduct a survey for Canadians of Italian heritage between the ages of 18 and 35. The goal of the census was to gauge exactly who they were representing, how they were brought up and the affinity they felt towards their Italian heritage. A representative sample of 576 respondents participated.

Here are some of the results:

Education On the education front, 57% of respondents possessed a university degree and 22.5% possessed a CEGEP diploma, for a total of 79.5% with a post-secondary degree. The sum becomes all the more impressive considering that 46% of respondents were between the ages of 18 and 24, meaning that the final tally of 79.5% obviously left out students that would have been too young to have graduated yet from CEGEP. Origins When it comes to assessing the youth’s ties to Italy, 53% of respondents claimed to have at least one parent born in Italy (second generation Italian-Canadian) and 45% checked off having at least one grandparent born in Italy (third generation ItalianCanadian), while only 2% were actually born in Italy themselves. This clearly indicated that the entire sample group has had contact with at least one family member with direct ties to the old country. What’s more, only 22.7% of respondents hadn’t yet travelled to Italy.

Language When assessing the level of spoken Italian among our community’s youth, 31.7% responded that they spoke fluent Italian, 31.7% answered intermediate Italian and 20.5% answered beginner Italian, while 59% reported having taken at least some form of Italian instruction in their lifetime.

Living arrangements The old stereotype that Italian-Canadian/American youth stay at home longer than their non-Italian peers is somewhat supported by this survey. Data shows that 53.5% of the youth surveyed still live with their parents while 2011 Statistics Canada data shows 42.3% of Canadian youth between the ages of 20 and 29 still live in their parental home. Only 12% of respondents live alone and 28% live with a partner or spouse. Also of note, 21% of respondents were married and 17.5% had children.

Identity Another interesting question simply asked: “How do you identify yourself?”

While 45.5% considered themselves “Italian-Canadian” and 29% consider themselves “Canadian-Italian” (a difference in semantics), only 2% chose to identify themselves as “Italian-Quebecois” and 12.4% simply stuck with “Italian.”

Respondents were also invited to further explain what their Italian heritage meant to them. Here are some of the more poignant responses: 24

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PA N O R A M I TA L I A . C O M

“Being Italian to me means living the values I was taught growing up in an Italian household. Coming together as a family to share a home cooked meal is one of the best ways I can think of to celebrate being Italian. I have started to uphold the traditions my Nonna and Nonno taught me in my own home.”

“Being Italian encompasses the trials and tribulations that my grandparents and father experienced. It includes being an outsider from contemporary Canadian society as the rural cultural traditions that my grandparents brought with them clash with the oft-protestant traditions of my peers.”

“To me it's having a passion for your culture which is felt in the way you are raised and trickles down right into your everyday life. The passion Italians hold is so strong it takes over every action you take or decision you make.”

“It means my father was born in Italy. Consequently I'm exposed to loud family gatherings on a semi-regular basis featuring copious amounts of delicious food and extended gossip sessions shunning the outcasted members of the family (who may or may not also be present).”

“Being Italian to me means family. I don't think I would have developed the family values that I have if I wasn't born to an Italian family. My family has always encouraged me to be proud of my heritage. I am a proud Canadian but I will never forget my roots.”

“I can't really describe what being Italian means to me - it's just who I am. I am someone who grew up practically raised by my grandparents while my parents were at work. I love spending time with my huge family - 9 first cousins on mom’s side and 17 on dad's side. I often go to my Nonna's to help her cook so I can learn from the best. I have a lot of pride in being Italian because our culture is simply amazing!”

“I am proud to be of Italian descent. I am proud of having had these values and traditions taught to me by my family and I will endeavour to teach all of these things to my children so that they may feel as proud to be Italian as I do. I like that we stick together as a group.”

“Traditions. Food. Family. Togetherness. Christmas and Easter. Backyard gardens. Wine. Salumi. Tomato season. Rai and Chin. Knowing your second and third cousins. Phone calls to Italy on Sunday morning. Nonna and Nonno being just as important as Mom and Dad. Hearing stories about ‘back home’. San Francesco. Sitting around the kitchen table all night long. Being proud to be Canadian.”

For more info, contact NCIC Youth committee representative Alessandra Tropeano at Italianyouth.ncic@gmail.com

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WINE

Le trésor de Federico une passion à livre ouvert Par Gabriel Riel-Salvatore

Au cœur de la petite Italie, sur le boulevard Saint-Laurent, se cache un trésor à faire pâlir d'envie les bonnes tables du quartier. Inutile d’arpenter les restaurants ou les cafés du secteur pour débusquer ce butin réservé aux initiés. Blottie au sous-sol de la Librairie italienne, cette précieuse collection, patiemment rassemblée par Federico Bonfiglio, repose au côté des boîtes de livres et des piles de magazines de ses parents. Un secret insoupçonné dont le contenu s’avère, à bien des égards, aussi riche et complexe que les vers d’un recueil de Gabriele D’Annunzio.

ela fait maintenant vingt ans que Federico cultive cette passion qui le pousse à empiler compulsivement les uns sur les autres ses flacons venus des quatre coins du monde. Près de 2500 bouteilles triées sur le volet qu’il débouche au gré de ses humeurs.

Certains affirment qu’il suffit de lire un grand roman pour tomber amoureux de littérature. Il en est de même avec le vin. Chez Federico, cet appel porte un nom et une année bien précise : Château Pichon Lalande, 1983. Un Pauillac deuxième cru qu’il goûta alors qu’il travaillait comme sommelier au restaurant Globe. Une dégustation mémorable à l’origine du culte que ce fils d’immigrants siciliens voue désormais aux Grands Crus de Bordeaux.

Digne fils de libraires, son enfance passée parmi les bouquins lui aura servi plus qu’il n’y paraît à s’initier au monde de Bacchus. « Tout passe par la lecture. Beaucoup de lecture », révèle Federico pour expliquer ses connaissances en la matière. Un travail de moine auquel le quadragénaire se consacre corps et âme dans ses temps libres en dehors de son emploi à l’Institut culturel italien de Montréal. Cette formation autodidacte l’a ainsi mené à se constituer sa propre réserve d’étiquettes à l’image d’une bibliothèque contenant ses références préférées.

Mais, au-delà des lettres, un aspect profondément humain accompagne le monde du vin. Car, si lire un livre évoque quelque chose de singulièrement solitaire, le vin quant à lui invoque quelque chose de profondément social. L'un nourrit l'âme, l'autre réchauffe l'esprit.

La beauté de la littérature, selon Luigi Pirandello, réside dans le fait qu’elle s’offre toujours à nous avec la même intensité. La tristesse ou la joie qui habitent les personnages d’un roman demeurent inébranlables une fois couchées sur papier. On

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peut ainsi relire un livre à l'infinie, le récit qu’il renferme révèlera toujours les mêmes intrigues et évoquera inlassablement les mêmes gammes d’émotions.

Le vin de son côté nous raconte continuellement des histoires différentes. L’éclat de son fruit et la profondeur de son bouquet évoluent et se transforment avec l’âge. Il murmure à notre palais des partitions distinctes selon la qualité de son millésime ou les prouesses techniques de son créateur. Protéiforme, sa personnalité change aussi en fonction des plats et des gens qui l’accompagnent. Un vin au caractère timide en présence d’artichauts pourra se révéler au contraire exubérant marié à un gigot. De même qu’un vin peu bavard bu seul, se dévoilera tout d’un coup prolixe en compagnie d’un groupe d’amis.

C'est là une facette de la dégustation que Federico affectionne particulièrement. Car, il partage désormais sa passion avec un groupe de dégustateurs qu’il retrouve mensuellement à deux pas de son cellier dans une salle spécialement aménagée à cet effet.

Tel un cercle littéraire, les convives échangent et partagent leurs impressions sur les vins qu’ils dégustent. Chacun laissant libre cours à son jugement. Chacun ayant ses préférences. Exercice de style par excellence, ces dégustations à l'aveugle recèlent leur lot de surprises et de consécrations. Mais, un mot d’ordre fait toutefois l’unanimité : humilité. Un terme socratien qui s’applique autant aux néophytes qu’aux initiés.

Comme dans toute bonne histoire, la règle d’or pour apprivoiser le vin consiste à commencer par le commencement. Puis, on se laisse guider par son palais et son portefeuille. La passion, comme on dit, s’occupera du reste. Et bien qu’il ne soit pas nécessaire d’être riche pour y arriver, il faut certainement posséder une bonne dose de folie. Croyez-en Federico!

MTL OCT-NOV 19-38_Layout 1 13-10-02 1:53 PM Page 27

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WINE GUIDE

Italian Wine Guide 2013 About wine critic Gabriel Riel-Salvatore Managing Editor and resident wine expert at Panoram Italia magazine, Gabriel has been working in the wine industry for over 10 years and has travelled extensively to various wine regions of Italy.

From 2008 to 2010, he served as president of the Montreal Slow Food Convivium, organizing numerous gastronomical and wine tasting events.

Legend DOCG: Vino a Denominazione di Origine Controllata e Garantita DOC: Vino a Denominazione di Origine Controllata IGT: Vino a Indicazione Geografica Tipica

Types of wine Red wine White wine

Service

Notation

Price Ranges

Ready to drink

☆ Ordinary (75-79)

0 - 15$

☆☆ Good (80-84)

Sparkling wine

Ready to drink or keep until indicated

Liqueur

Keep until indicated

15 to 20$

☆☆☆ Very good (85-89)

☆☆☆☆ Excellent (90-94)

20 to 25$

☆☆☆☆☆ Sublime (95-100) ♥ Personal favourite

25 to 30$ 30 to 60$ 60$ +

N.B.: The prices incidated are subject to changes relative to the SAQ price policy.

PRICE RANGE

0-15$

Abruzzo

Abruzzo

Lazio

Monregale organic 2011

Ciao - Sangiovese/ Merlot 2011

Poggio del Cardinale Syrah 2011

Cantine Volpi Montepulciano d'Abruzzo DOC 14.30$ SAQ#11374374

Cantina Sgarzi Luigi Terre di Chieti IGT 14.50$ SAQ#11767389

Fontana di Papa Lazio IGT 8.95 $ SAQ#11315420

Slightly flowery bouquet with nice red cherry aromas. Vibrant, fluid red wine of medium intensity. ☆☆ 83

Jammy red berry nose with sweet, flowery undertones.

Round, faint body with a soft spicy finish. ☆☆ 82

Nice bouquet of stewed blackberries with a hint of pepper. Round, jammy red wine with streams of bell pepper and sweet, peppery spice. ☆☆ 83

Puglia

Puglia

Puglia

Sicilia

Sangiovese 2012

Luigi Leonardo 2012

Lapaccio Primitivo 2012

Nari 2011

Pasqua Puglia IGT 10.95$ SAQ#545772

Cantina Sgarzi Luigi Primitivo del salento IGT 12.95 $ SAQ#643544

Pasqua Salento IGT 14.20$ SAQ#610204

Firriato Sicilia IGT 13.95$ SAQ#11905809

Deep, fruity nose displaying rich strawberry aromas. Soft, sweet body lingering on a fruity, vibrant finish. ♥ ☆☆ 84

Nose displaying a mix of red and black berries with earthy, clay undertones.

Filling, fruity mouth of medium intensity filled with chewy tannins. ☆☆ 84

Faint bouquet of red cranberries. Smooth, fairly watery body of medium intensity. ☆☆ 81

Soft, red berry bouquet with light, smokey undertones. Spherical, fruity red wine with a nice peppery finish. ☆☆83

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WINE GUIDE Sicilia

Umbria

Friuli-Venezia Giulia

Cusumano Syrah 2012

Santa Cristina Campogrande 2012

Pinot Grigio 2012

Cusumano Sicilia IGT 14.05 $ SAQ#10960777 Delicate red berry nose with streams of red roses. Vibrant, slightly pungent body with chunky tannins and a warm, peppery ending. ☆☆ 84

Nice refreshing citrusy bouquet with hints of mandarine. Soft, lively white wine with a crispy mandarine finish. ☆☆☆ 85

Tenuta Ca'Bolani - Zonin Spa Friuli Aquileia DOC 16.60$ SAQ#10780397

PRICE RANGE

15-20$

Lovely apricot bouquet with almond undertones. Creamy white wine displaying fruity apricot and yellow plum flavours. ☆☆☆ 85

2015

Piemonte

Piemonte

Piemonte

Piemonte

Granée 2012

Castello del Poggio Moscato d'Asti 2011

Barbera d'Asti 2010

Abaco Pinot Noir 2008

Castello del Poggio Zonin Spa Barbera d'Asti DOC 17.95$ SAQ#11676567

Villa Fiorita Aziendra Agricola Monferrato DOC 18.65$ SAQ#11383633

Batasiolo Gavi DOCG 17.05$ SAQ#10388109 Fresh, minty bouquet with lime undertones. Sweet, crispy white wine with a fresh mineral finish. ☆☆☆ 85

Piemonte

2016

Casa Vinicola Zonin Spa Moscato d'Asti DOC 17.95 $ SAQ#11676591 Suave, flowery nose with peach and lychee aromas and a soft cinnamon spice.

Creamy, foamy white wine with a smooth, sweet fizzy ending. ☆☆ 84

2016

Piemonte

Piani Noce Parusso 2011

Mompertone 2010

Parusso Armando Dolcetto d'Alba DOC 19.25$ SAQ#11863240

Prunotto Monferrato Rosso DOC 19.95$ SAQ#11669148

Nose displaying discrete blackberry aromas with soft mineral streams of flint.

Medium to full-bodied red wine with a fairly discrete fruitiness, coating tannins and a vegetal ending. ☆☆ 84

Fresh, inviting redcurrant bouquet. Nice, vibrant fruity red wine with a sharp balanced finish. ♥ ☆☆☆ 88

Sicilia

30

Antinori Orvieto Classico DOC 14.45$ SAQ#18838

2015

Sicilia

2015

Tangy red berry bouquet with smooth red liquorice undertones. Sharp, vibrant mouth with a slightly green finish. ☆☆☆ 85

Soft raspberry bouquet with hints of sweet spice and violets. Nice, vibrant body with a warm, peppery finish. ☆☆☆ 86

2016

Puglia

Puglia

Chardonnay Preludio no. 1 2012

Violante 2009

Rivera Castel del Monte DOC 16.95$ SAQ#11451931

Rivera Castel del Monte DOC 17.90$ SAQ#11451923

Soft feminine nose with nice pear aromas and yeasty undertones. Fresh, slightly minty mouth with a lively green apple finish. ☆☆☆ 85

Nose displaying rich plum and blackberry aromas filled with nice flowery undertones. Rich, tangy red wine with muscular, yet well-tamed tannins. ☆☆☆ 86

2016

Sicilia

Sicilia

Zisola Mazzei 2010

Cusumano Benuara 2011

Anthilia 2012

Sedàra 2011

Marchesi Mazzei Sicilia IGT 15.45$ SAQ#10542225

Cusumano Sicilia IGT 17.30$ SAQ#105399

Donnafugata Sicilia IGT 17.85$ SAQ#10542137

Donnafugata Sicilia IGT 18.20$ SAQ#10276457

Nice, meaty bouquet with loads of blackberry aromas and inviting violet undertones. Tasty, mouth filling wine with streams of fresh tobacco hovering on a fresh, smooth finish. ♥ ☆☆☆ 88

Deep, charming nose of red figs and blackberries filled with streams of smooth ground coffee. Warm, savoury fruit jam flavours linger on a smooth floral ending. ☆☆☆ 87

Nice exotic aromas of ripe pinapple and guava with hints of honey. Lush, vibrant mouth with loads of fruits and a refreshing finish. ♥ ☆☆☆ 86

Soft bouquet recalling plum with hints of cedar. Vibrant, tangy, medium-bodied red wine with nice chewy tannins. ☆☆☆ 85

Sicilia

Toscana

Toscana

Toscana

Polena 2011

Santa Cristina 2011

Fumaio 2012

Donnafugata Sicilia IGT 18.55$ SAQ#11355704

Antinori Toscana IGT 15.45$ SAQ#76521

Complex, mineral bouquet displaying honeydew melon and petrol overtones. Sharp, tangy mouth lingering on a fresh minty finish. ☆☆☆ 86

Banfi Toscana IGT 16.25$ SAQ#854562

Chianti Superiore Santa Cristina 2011

Soft red berry aromas with a hint of cinnamon spice.

Sharp, tasty red wine with a lively fruity body and a vibrant, tangy ending. ☆☆ 84

PA N O R A M I TA L I A . C O M

Inviting nose of exotic fruits filled with grapefruit undertones. Smooth, vibrant white wine with a lush, fruity finish. ☆☆☆ 85

2016

Antinori Chianti Superiore DOCG 17.00$ SAQ#11315411 Silky red berry nose with streams of red roses. Soft, fluid red wine with a nice smooth, balanced finish. ☆☆☆ 86

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WINE GUIDE Toscana

2016

Poggio Badiola 2011 Marchesi Mazzei Toscana IGT 18.95$ SAQ#12073987 Racy nose with silky blackcurrant aromas and hints of cedar. Fruity and savoury medium body red wine with a smooth, sweet finish. ☆☆☆ 87

Umbria

2015

La Carraia Sangiovese 2010 La Carraia Umbria IGT 15.20$ SAQ#11660813 Nose displaying soft red berry aromas with hints of ripe tomatoes. Lively, juicy red wine with a soft, warm finish. ☆☆☆ 86

Veneto

2015

2017

Toscana

Toscana

Poggio ai Ginepri Bianco 2011

Castello d'Albola Chianti Classico 2009

Argentiera Toscana IGT 19.65$ SAQ#11952015

Castello d'Albola - Zonin Spa Chianti Classico DOCG 19.95$ SAQ#11472337

Lush, creamy bouquet with hints of honeycomb and flowery acacia aromas. Yeasty, fruity white wine with fresh, herbal undertones. ♥ ☆☆☆ 87

Nice floral bouquet filled with red berry aromas and underbrush undertones.

Savoury, floral Chianti displaying a soft, balanced medium body. ☆☆☆ 87

2015

Umbria

Vitiano 2011 Falesco Umbria IGT 16.45$ SAQ#466029 Nice plum bouquet with light violet undertones.

Smooth, fruity attack evolving on sharp chewy tannins. ☆☆☆ 85

Veneto

2016

Veneto

2016

Trentino-Alto Adige

Pinot Grigio 2012 Santa Margherita Valdadige DOC 18.95$ SAQ#964601 Lovely nose displaying peach and mango aromas. Crisp, lively mouth with a fruity, peachy finish. ☆☆☆ 86

Veneto

Serego Alighieri Possessioni Rosso 2011

Masianco Pinot Grigo Verduzzo 2012

Masi Agricola Veronese IGT 16.95$ SAQ#202095

Masi Agricola Veneto IGT 16.95$ SAQ#10439404

Silky plum and fresh fig aromas with lovely streams of thyme. Soft, round medium body red wine with a lush vegetal finish. ☆☆☆ 86

Appealing citrusy bouquet with hints of yellow plum and fresh hay undertones. Vibrant, lively white wine displaying a crisp, fizzy finish. ☆☆☆ 85

Veneto

2016

Veneto

2015

Bonacosta 2011

Velluto 2011

Palanca 2011

Secco Bertani 2010

Masi Agricola Valpolicella DOC 16.95$ SAQ#285585

Casa Vinicola Zonin Spa Veneto IGT 17.95$ SAQ#11975495

Tommasi Rosso delle Venezie IGT 17.95$ SAQ#11770756

Bertani Valpolicella DOC 18.65$ SAQ#12443

Tangy bouquet mixing raspberry and sandalwood.

Soft, fruity mouth with a warm, vibrant ending. ☆☆☆ 85

Lovely cherry and plum aromas mix with hints of eucalyptus and floral undertones. Sweet and lively red wine lingering on a smooth, violet finish. ♥ ☆☆☆ 87

Racy, jammy bouquet with loads of red fruits streamed with cedar undertones.

Juicy, gourmand straightforward pleasure wine with a sharp, floral finish. ☆☆☆ 87

Veneto

Veneto

Bandarossa 2012

Monti Garbi Ripasso 2009

Bortolomiol Spa Prosecco di Conegliano Valdobbiadene DOCG 19.55$ SAQ#10654956 Soft sparkling perlage with a sharp, racy nose mixing intense mineral and acacia aromas. Nice creamy Prosecco with fresh orchard fruit flavours and a smooth, floral finish. ☆☆☆ 87

2016

Sant'Antonio Valpolicella Superiore Ripasso 19.80$ SAQ#10859855 Soft, ethereal bouquet offering notes of plum, cocoa and eucalyptus. Sweet, mouth-filling red wine with nice chunky tannins and a warm, fruity finish. ☆☆☆ 88

Abruzzo

2016

Pan 2009

PRICE RANGE

20-25$

Bosco Nestore Montepulciano d'Abruzzo DOC 20.85$ SAQ#11949158 Deep black cherry bouquet filled with smokey liquorice undertones. Tasty, full bodied Montepulciano with chunky tannins lingering on a long lasting finish. ♥ ☆☆☆ 88

Veneto

2015

Rich, savoury bouquet combining plum aromas with smokey, vegetal undertones. Soft, classical Valpolicella of medium intensity evolving on a slightly vegetal finish. ☆☆☆ 86

Veneto

2015

Bolla Ripasso 2011

Arele 2010

Bolla Spa Valpolicella Ripasso DOC 19.95$ SAQ#11570682

Tommasi Parziale Appassimento 19.95$ SAQ#11770836

Vegetal, slightly gamy bouquet mixed with plum and liquorice aromas. Good Ripasso displaying rich plum flavours of medium intensity. ☆☆☆ 86

Fresh, lovely nose of suave red berries with streams of floral and sweet oak undertones. Gourmand, mouth filling, inviting red wine with sharp, lively red fruit flavours. ♥ ☆☆☆ 89

Calabria

Emilia-Romagna

Erotika Cioccolato Bosco Liquori

Sangiovese di Romagna Riserva 2010

Cosenza, Calabria 21.55$ SAQ#11392994

Umberto Cesari Sangiovese di Romagna DOC 20.10$ SAQ#10780338

Sweet, chocolaty aromas with soft minty accents.

Rich, gooey texture perfect on vanilla, praline or coconut ice cream.

2018

Clean, sexy fruity nose of field berries with hints of violets. Charming spherical red wine with coating tannins and a suave, lingering ending. ☆☆☆ 88

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WINE GUIDE

Emilia-Romagna

Emilia-Romagna

Liano Chardonnay / Sauvignon Blanc 2011

iove 2012

Pian Balbo 2011

Umberto Cesari Rubicone IGT 22.95$ SAQ#11766917

Poderi Colla Dolcetto d'Alba DOC 20.30$ SAQ#11863258

Rich, floral bouquet mixing red berries with nice grilled nut undertones. Tasty, inviting medium to full bodied wine with a soft floral finish. ☆☆☆ 88

Soft raspberry bouquet with hints of liquorice and cedar aromas. Lively, vibrant Barbera displaying chunky tannins and a slightly spicy finish. ☆☆☆ 87

Umberto Cesari Rubicone IGT 22.95$ SAQ#11661761 Sharp, citrusy nose with minty undertones. Fresh lime flavours hover on a crispy refreshing finish. ☆☆☆ 87

2017

Piemonte

Piemonte

2017

Piemonte

2016

La Luna & Falo 2011

La Lus 2009

La Tota 2010

Terra da Vino Barbera d' Asti DOC 21.75$ SAQ#627901

Banfi Monferrato DOC 23.95$ SAQ#11366112

Marchesi Alfieri Barbera d'asti DOC 24.15$ SAQ#12102389

Blackberry bouquet with slightly leafy undertones.

Vibrant medium body Barbera with coating tannins and an herbal, grassy finish. ☆☆☆ 86

Puglia

2017

Cappellaccio Aglianico Riserva 2006 Rivera Castel del Monte DOC 20.45$ SAQ#11580127 Intriguing nose mixing sour black cherry and savoury cured meat aromas with hints of clove spice. Rich, fluid, mouth-filling red wine with a sharp spicy finish. ☆☆☆ 88

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2016

Piemonte

2018

PA N O R A M I TA L I A . C O M

Smooth, delicate bouquet mixing soft notes of blackcurrant with fresh tobacco undertones. Silky medium body red wine with round tannins and a nice fresh liquorice finish. ☆☆☆ 88

Puglia

2016

Soft, elegant bouquet recalling ripe raspberry mixed with lofty, floral aromas. Suave and tangy mouth of great balance hovering on a smooth finish. ☆☆☆☆ 90

Puglia

2019

2017

Piemonte

Barbera d'Alba Punset 2011 Punset AA Barbera d'Alba DOC 20.95$ SAQ#10985747 Clean, rich mulberry nose mixed with fresh notes of violet. Fun, tasty rhubarb and mulberry flavours linger on a nice refreshing finish. ♥ ☆☆☆ 89

2017

Piemonte

Nebbiolo Parusso Langhe 2010 Parusso Armando Langhe DOC 24.35$ SAQ#11863266 Nice cherry aromas combine with notes of rose petals and sweet sandalwood. Full bodied mouth-filling red wine with chunky tannins and a lively bittersweet finish. ☆☆☆ 88

Sicilia

2015

Primitivo Triusco 2009

Il Falcone Riserva 2007

La Fuga 2011

Rivera Puglia IGT 22.20$ SAQ#11889546

Rivera Castel del Monte DOC 24.45$ SAQ#10675466

Rich, savoury bouquet with hints of bacon and juicy red berries. Full, solar red wine displaying loads of fruits hovering on a warm spicy ending. ☆☆☆ 89

Charming and elegant aromas of plum and blackberries intertwine with hints of vanilla, menthol and sweet spice. Full, mouth-filling red wine displaying lovely acidity and chunky tannins. ♥ ☆☆☆☆ 91

Donnafugata Contessa Entellina DOC 20.15$ SAQ#11580151 Nice, fresh aromatics of exotic fruits with hints of mineral undertones.

Luscious, fruity mouth evolving on ripe pineapple flavours and a sharp, refreshing ending. ☆☆☆ 88

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WINE GUIDE

Sicilia

2015

Vigna di Gabri 2011 Donnafugata Contessa Entellina DOC 24.00$ SAQ#11098269 Nice peachy nose with hints of orange blossom.

Fresh, vivid mouth with a zippy, refreshing finish. ☆☆☆ 87

Toscana

2017

Poggio ai Ginepri Rosso 2010 Argentiera Bolgheri rosso DOC 21.70$ SAQ#11161299 Soft blackberry aromas intertwine with hints of smoke and toffee. Fresh, lively medium body Bolgheri with a vibrant, tangy ending. ☆☆☆ 87

2018

Toscana

Sicilia

2017

Toscana

Cygnus Nero d'Avola 2009 Conte Tasca d'Almerita Sicilia IGT 24.50$ SAQ#11896519 Rich nose mixing elderberry and blackcurrant aromas with balsamic undertones.

Smooth, coating red wine lingering on a warm peppery ending. ☆☆☆ 88

Toscana

2017

2016

2019

Toscana

2018

La Braccesca 2009

Pèppoli 2010

Antinori Toscana IGT 23.95$ SAQ#10251348

Antinori Vino Nobile di Montepulciano DOCG 24.20$ SAQ#11324895

Antinori Chianti Classico DOCG 24.45$ SAQ#10270928

Rich bouquet of field berries with hints of violet and cedar undertones.

Vivid, medium body red wine with a sharp acidity, chewy tannins and a sweet spice finish. ☆☆☆ 88

Appealing nose of red berries with gentle accents of liquorice and smokey, mineral undertones. Juicy, tangy full-bodied Nobile with a good lingering peppery finish. ☆☆☆ 89

Soft, lofty nose of red berries with streams of sweet oak and nutmeg.

Elegant and fruity mouth with coating tannins and a lively harmonious ending. ☆☆☆ 89

Toscana

2020

Trentino-Alto Adige

Chardonay Gaun 2011

Barone Ricasoli Chianti Classico DOCG 24.95$ SAQ#3962

Antinori Bolgheri DOC 24.95$ SAQ#11347018

Alois Lageder Sudtirol Alto Adige DOC 24.25$ SAQ#742114

Deep, concentrated bouquet of blackcurrant aromas with smokey, balsamic undertones. Soft, silky body with loads of fresh fruits ending on notes of ground red pepper. ♥ ☆☆☆☆ 90

Soft, delicate nose offering fresh pear and green apple aromas. Sharp, mineral white wine with a crispy, refreshing ending. ☆☆☆ 87

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Tangy red berry bouquet with hints of green tomatoes. Vivid, fluid Chianti recalling red berries flavours lingering on a grassy finish. ☆☆☆ 86

Villa Antinori 2009

Il Bruciato 2011

LACHENAIE MASCOUCHE BOIS-DES-FILION STE-MARTHE-SURLE-LAC

Carpineto Chianti Classico DOCG 20.35$ SAQ#00478891

Suave, silky notes of blackcurrant intertwine with tobacco and eucalyptus undertones. Charming and lively mouth recalling black berries ending on a vibrant spicy finish. ☆☆☆ 87

Toscana

2017

Carpineto ChiantiClassico 2011

Marchesi Mazzei Maremma Toscana IGT 20.20$ SAQ#10843394

Brolio 2010

Charming notes of red berries intertwine with red roses and soft vanilla undertones. Rich, mouthfilling Chianti showcasing a lush, well balanced finish. ☆☆☆ 89

Toscana

Buelguardo Serrata 2007

2015

Trentino-Alto Adige

2015

Beta Delta Chardonnay 2011 Alois Lageder Sudtirol Alto Adige DOC 24.70$ SAQ#11534462 Clean, lofty feminine bouquet of pear and white peach. Fresh, zippy mouth displaying a tangy yellow plum finish. ☆☆☆ 87

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PA N O R A M I TA L I A . C O M

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WINE GUIDE Umbria

2016

2018

Veneto

2017

Campofiorin 2009

Valpolicella Ripasso 2011

Castello della Sala - Antinori Umbria IGT 22.90$ SAQ#10781971

Masi Agricola Veronese IGT 20.95$ SAQ#155051

Pasqua Valpolicella Ripasso Superiore DOC 22.95$ SAQ#602342

Lovely mango and apricot aromas intertwine with sweet honey undertones. Fresh and fruity white wine displaying a lush minty finish. ☆☆☆ 87

Silky red berry bouquet with hints of fresh thyme and toffee. Smooth, juicy super Venetian wine with a soft refreshing finish. ☆☆☆ 89

2018

Suave, inviting bouquet of chocolate ganache mixed with raspberry and cherry blossom. Sweet, jammy accessible red wine ending on a warm, gourmand finish. ☆☆☆ 88

2019

25-30$

Bricco del Drago 2008

Barolo 2009

Fonterutoli Mazzei 2010

Banfi Brachetto d'Acqui DOCG 25.15$ SAQ#10458488

Poderi Colla Langhe DOC 27.65$ SAQ#927590

Batasiolo Barolo DOCG 29.40$ SAQ#10856777

Marchesi Mazzei Chianti Classico DOCG 25.70$ SAQ#856484

Suave red berry aromas intertwine with soft floral undertones. Fine, delicate strawberry and raspberry flavours linger on a soft delicate foam and a fresh crispy finish. ☆☆☆ 87

Clean, deep bouquet recalling soft plum and black cherry jam aromas.

Sapid and fluid Langhe with charming bittersweet notes of liquorice and chewy tannins. ☆☆☆☆ 90

2019

Barone Ricasoli Chianti Classico DOCG 27.45$ SAQ#10253440 Lofty bouquet displaying rich scents of field strawberry, floral undertones and streams of cedar.

Charming, vibrant Chianti with sharp muscular tannins and a soft floral finish. ♥☆☆☆ 89

Toscana

2019

Toscana

2020

Farnito CabernetSauvignon 2005 Carpineto Toscana IGT 28.20$ SAQ#963389 Deep, appealing bouquet of blackberries, sweet liquorice and eucalyptus.

Warm, full-bodied super Tuscan with a lofty, harmonious ending. ☆☆☆☆ 91

Toscana

2018

Nice, ethereal nose with notes of kirsch, red roses and underbrush. Smooth, silky Barolo with a warm peppery finish. ☆☆☆ 89

Toscana

2020

Villa Donoratico 2010 Argentiera Bolgheri DOC 28.90$ SAQ#10845074 Sweet, velvety bouquet of ripe blackcurrant, fresh tobacco and cocoa. Rich, cherry and chocolaty flavours hover on a lofty, long-lasting finish. ☆☆☆☆ 90

Umbria

2019

Toscana

2018

Piemonte

Rosa Regale 2012

Rocca Guicciarda 2010

Piemonte

PRICE RANGE

Piemonte

Toscana

Attractive, ripe red berry aromas intertwine with lovely hints of rose petals and sweet vanilla undertones. Juicy, mouth filling Chianti with a vibrant, tangy finish. ☆☆☆ 88

Toscana

2021

Marchese Antinori Riserva 2009 Antinori Chianti Classico DOCG 29.75$ SAQ#11421281 Complex nose mixing rich plum and red berry aromas filled with nice streams of violet and ground coffee.

Charming, well balanced mouth with a smooth, tasty lingering finish, ♥ ☆☆☆☆ 92

Veneto

2019

Le Volte 2011

Lucente 2010

Fobiano 2009

Picaie 2009

Tenuta dell'Ornellaia Toscana IGT 29.95$ SAQ#10938684

Luce della Vite Toscana IGT 35.00$ SAQ#860627

La Carraia Umbria IGT 29.95$ SAQ#11580881

Cecilia Beretta Veronese IGT 26.20$ SAQ#11034396

Deep, suave blackcurrant aromas intertwine with lofty ground coffee and tobacco aromas. Rich, muscular red wine displaying robust, chunky tannins and a nice, long lasting peppery ending. ☆☆☆☆ 90

Nice, concentrated bouquet mixing ripe plum and fig aromas with chocolaty, smokey accents. Appealing, velvety mouth of great character and balance lingering on a tasty, refreshing fruity finish. ☆☆☆☆ 92

Lovely expressions of fresh red berries and floral undertones intertwine with soft notes of sweet sandalwood. Juicy, mouth-filling red wine, with loads of fruits lingering on fresh, floral accents. ☆☆☆ 89

Rich, blackberry bouquet with smokey cedar and violet undertones. Vivid, medium to full body red wine with soft notes of spicy cocoa on the finish. ☆☆☆ 88

Veneto

2019

Brolo Campofiorin Oro 2009 Masi Agricola Veronese IGT 27.95$ SAQ#11836364 Complex, savoury notes of sweet raisin and plum combine with smokey, fresh tobacco aromas. Round, appealing red wine of great depth and character. ♥ ☆☆☆☆ 90

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Veneto

Bramito del Cervo 2012

PA N O R A M I TA L I A . C O M

Veneto

Piemonte

2019

Domini VenetiValpolicella Superiore Ripasso DOC 28.25$ SAQ#10703981 Delicate figgy aromas interwine with bittersweet accents of chocolate ganache. Suave, gourmand, attractive mouth with chewy tannins and a nice sweet and spicy finish. ☆☆☆☆ 90

2020

Aurelio Settimo Barolo 2006

La Casetta 2009

PRICE RANGE

30-60$

Aurelio Settimo Barolo DOCG 38.00$ SAQ#11039269 Delicate cherry aromas intertwine with nutty, underbrush accents and sweet cinnamon spice. Warm, spicy full-bodied Barolo with muscular tannins and a soft floral ending. ☆☆☆☆ 90

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WINE GUIDE Piemonte

2020

Poderi Colla Barbaresco DOCG 43.50$ SAQ#11100120 Rich, elegant bouquet displaying lofty kirsch accents supported by fine notes of rose petals and truffles. Powerful Barbaresco revealing a decidedly masculine complexion with chalky tannins and a long-lasting finish. ☆☆☆☆ 90

Toscana

2016

Piemonte

Barbaresco Tenuta Roncaglie 2008

2019

Sicilia

2019

Toscana

Rosso del Conte 2007

Badia a Passignano 2008

Bava Azienda vitivinicola Barbera d'Asti Superiore DOC 47.25$ SAQ#519066

Conte Tasca d'Almerita Contea di Sclafani DOC 46.75$ SAQ#11577294

Antinori Chianti Classico Riserva DOCG 42.00$ SAQ#403980

Multilayered bouquet still revealing juicy red fruit aromas combined with complex gamy undertones. Sharp, gracious velvety Barbera with an elegant, balanced finish. ☆☆☆☆ 92

Refined, appealing plum aromas intertwine with soft toffee undertones and streams of coconut accents.

Rich, concentrated velvety mouth lingering on a warm peppery ending. ☆☆☆☆ 92

Inviting, racy fresh berry aromas cleverly combine with soft, floral accents and cedar undertones. Powerful, full-bodied Chianti of great character and impressive depth. ☆☆☆☆ 91

Toscana

2020

Toscana

2019

Val di Suga 2007

Castello di Brolio 2008

Pian delle Vigne 2007

Tenimenti Angelini Brunello di Montalcino DOCG 45.75$ SAQ#897017

Barone Ricasoli Chianti Classico DOCG 49.25$ SAQ#11266277

Antinori Brunello di Montalcino DOCG 50.75$ SAQ#12008288

Complex and inviting vegetal aromas cleverly combine with fig, plum and bush berry fragrances. Sapid and filling Brunello of great overall balance. ☆☆☆☆ 92

Deep, suave ripe bush berry and plum fragrances mix with lofty accents of sweet oak and violet. Smooth, sapid Chianti of remarkable depth evolving on a nice refreshing menthol finish. ☆☆☆☆ 91

Evocative bouquet of sweet field berries mixed with complex gamy and eucalyptus undertones. Warm, inviting mouth displaying a smooth, velvety character and a savoury long lasting finish. ☆☆☆☆ 94

Veneto

Veneto

2021

Amarone della Valpolicella 2009

2024

Sweet maraschino cherry and date aromas combine with spicy clove undertones. Suave date square fragrances hover on a rich, warm finish. ☆☆☆☆ 90

Toscana

2024

2021

Le Serre Nuove dell'Ornellaia 2011 Tenuta dell'Ornellaia Bolgheri DOC 59.75$ SAQ#10223574 Lofty blackcurrant fragrances elegantly intertwine with soft, floral accents and complex menthol undertones. Silky, charming mouth filling red wine of impressive pedigree. ♥ ☆☆☆☆☆ 95

Piemonte

2020

Sant'Antonio Amarone della Valpolicella DOCG 39.75$ SAQ#10704984

Rich, sassy toffee and dry fig aromas intertwine with hints of soft sandalwood.

Fruity, chocolaty heartwarming Amarone. ☆☆☆☆ 90

Toscana

Toscana

Selezione Amarone 2008

Pasqua Amarone della Valpolicella DOCG 37.00$ SAQ#11768171

2020

Stradivario 2001

2022

Parusso Barolo Bussia 2006 Parusso Armando Barolo Bussia DOCG 97.00$ SAQ#11532715

PRICE RANGE

60$ + Toscana

Elegant, complex bouquet mixing soft kirsch accents with rose petals, cedar and underbrush aromas. Powerful, coating Barolo with lofty tannins and a distinguished, wellbalanced finish. ☆☆☆☆ 93

Toscana

2025

2025

Luce 2009

Guado al Tasso 2009

Tignanello 2010

Ornellaia 2010

Luce della Vite Toscana IGT 99.75$ SAQ#11946467

Antinori Bolgheri Superiore DOC 100.00$ SAQ#977256

Antinori Toscana IGT 99.75$ SAQ#10820900

Tenuta dell'Ornellaia Bolgheri Superiore DOC 185.00$ SAQ#11973238

Classy, appealing nose filled with ripe blackberry, hints of violet and eucalyptus undertones. Lofty, mouth-filling super Tuscan with rich plum, chocolaty flavours, powerful chalky tannins and a nice peppery finish. ☆☆☆☆☆ 95

Luscious blackcurrant fragrances cleverly intertwine with complex balsamic undertones and lofty menthol accents. Refined, velvety mouth-filling Bolgheri of amazing depth and character. ☆☆☆☆☆ 96

Clean, appealing bouquet of ripe red berries displaying hints of cedar and sweet vanilla undertones. Sapid, complex tangy mouth with savoury mineral accents lingering on a warm, long lasting finish. ☆☆☆☆ 94

Rich and distinguished blackberry aromas graciously mix with complex smokey cedar undertones. Dense, luscious, velvety red wine with powerful well-tamed tannins and a warm persistent spicy finish. ☆☆☆☆☆ 96

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PA N O R A M I TA L I A . C O M

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FOOD

How to Make Homemade Potato Gnocchi Recipes by Chef Franca Mazza

Photography by Michel Ostaszewski

Gnocchi were created in the 16th century thanks to the introduction of potatoes on Italian soil. Since then, they have remained practically unchanged, and today they are commonplace throughout Italy.

T

hese small, round pieces of dough can be either boiled in water or broth and served with a number of sauces. While the dish has a doughy, uninspired look, its appearance belies its taste.

Although gnocchi are usually made with mashed potatoes, they can also be prepared using several types of flour or foods such as wheat, rice, bran, tubers or various green vegetables such as spinach or green peas, depending on the region. Gnocchi are especially esteemed in Rome, where they are made solely from flour.

The dish can be prepared in various colours by simply adding a few ingredients such as a spoonful of tomato paste, squid ink or boiled spinach.

Preparation 90 minutes

Tools • Gnocchi roller board • Potato ricer or vegetable mill • Cooking knife

Ingredients (Serves 6-8) • 2 pounds (1 kg) russet potatoes (about 6 potatoes) • 1 egg • 6 cups (780 g) all-purpose flour and more for rolling • 1 pinch of salt *some cooks add either pepper, nutmeg or olive oil to the mix.

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Instructions After scrubbing the skins of the potatoes, boil them whole in salt water for about an hour or until tender (or until their skin breaks). Drain potatoes but do not cool them. Then peel them while they are still warm by holding a rag. Pass potatoes through a vegetable mill or a potato ricer onto a clean pasta board that’s been covered with flour. Discard potato peels right away, as they get really sticky and hard to clean afterwards.

Mound the potatoes on your work surface (marble or granite is best). Make a well in the centre, sprinkling all over with flour (make sure to use all the flour). Add the egg and salt into the well and beat the egg using a fork or your fingers. Gradually incorporate the flour and potatoes into the egg mixture from inside the inner edge of the rim, expanding the well and making sure it retains its shape until the dough starts to form. Add more flour if it seems too sticky, but watch out not to add too much or the gnocchi will be overly dry.

Once the dough starts coming together, knead gently until a ball is formed. Knead for another 4-5 minutes until your ball reaches a firm consistency and is dry to the touch.

Divide into three to four pieces and roll each ball into 1-inch (3 cm) wide cylinders of about 12 inches (30 cm) long, adding a pinch of flour every time. Let the cylinder

form by gently rolling the dough with the palm of your hand, not your fingers as it will stick to them. Your dowels should be neither too soft nor too hard. Cut them into 1-inch (3 cm) pieces or bigger, depending on whether you prefer big or small gnocchi. Lightly knead the resulting small gnocchi by sprinkling them with flour before rolling and slightly pressing them on a fork or a gnocchi roller board. Don't worry if the pieces are not all the same. Then set them aside on a floured plate or pan to prevent them from sticking to one another.

If your sauce is ready, simply throw your gnocchi into hot salted water and boil for 2-3 minutes. Your gnocchi are cooked when they start rising to the surface. *The dough softens as you go along, so you have to hurry to roll your whole batch as quickly as possible. *If you want to keep or freeze your gnocchi, boil them until they float to the surface. Then quickly put them in a cold-water bath for about five minutes.

Transfer to a pan, drizzle with olive oil and put them straight into the freezer, as they will be easier to store afterwards in food freezer bags.

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PA N O R A M I TA L I A . C O M

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FOOD

Gnocchi and Tomato Sauce Tomato sauce ingredients • 1 chopped onion • 4 chopped garlic cloves • 12 vine-ripe red tomatoes • Fresh basil to taste • 4 tbsp. (60 ml) extra-virgin olive oil • Coarse sea salt to taste • 18 oz. (500 g) fresh gnocchi

Instructions Start boiling gnocchi. In a skillet over high heat, sauté onion and garlic in olive oil for 2-3 minutes.

Add tomatoes and salt, reduce heat, and cook for 15 minutes. Run sauce through a food mill until smooth (optional). Place sauce in pot and cook for 5 more minutes. Top with fresh basil. As soon as the gnocchi are ready, transfer them to the pot and coat with sauce.

Potato and Green Pea Gnocchi with Sage, Butter and Pecorino Tartufato Ingredients • 1/2 pound (225 g) of butter • 5 oz. (150 g) grated pecorino tartufato • Sage to taste (3 to 5 leaves) • 18 oz. (500 g) gnocchi • 2 pounds (1 kg) russet potatoes (about 6 potatoes) • 1 egg • 6 cups (780 g) all-purpose flour or more for rolling • 18 ounces (500 g) frozen green peas • 1 pinch of salt

Instructions Purée frozen green peas in a blender and set aside. Once potatoes are ready, slowly start incorporating purée to the mashed potatoes adding flour as you go along. Knead the dough uniformly and start rolling and cutting your gnocchi a bit at the time until done.

Start boiling water. In a pan, slowly melt butter at low heat. When butter is half-melted, add sage leaves. As soon as the gnocchi are ready, transfer them to the pan and coat with melted butter, cover with grated pecorino tartufato, and add salt and pepper to taste.

Franca Mazza Traiteur 514 214 9723 38

PA N O R A M I TA L I A . C O M

MTL OCT-NOV 39-52_Layout 1 13-10-02 1:56 PM Page 39

Das Auto.

Rimar Volkswagen 5500 Métropolitain east (Lacordaire exit) 514 253.4888 www.rimarvw.com

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RBQ 5639 2350 01 PA N O R A M I TA L I A . C O M

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Newlyweds Sposi novelli Nouveaux mariés

2013

Send us your wedding pictures!

Submit your picture on www.panoramitalia.com click on ‘Magazine’ followed by ‘Newlyweds,’ or by mail, and include their names and wedding date. To be published in our December/January issue.

Cost: $35 (tax incl.)

Deadline: November 4, 2013

Mandateci le vostre foto di matrimonio!

Si prega di inviare la foto a www.panoramitalia.com e cliccare prima su ‘Magazine’ e poi su ‘Newlyweds’, oppure spedirla per posta con i nomi degli sposi e la data di matrimonio.

Per l’edizione di dicembre/gennaio.

Costo: $35 (tax incl.)

Scadenza: 4 novembre 2013

Envoyez-nous vos photos de mariage!

SVP télécharger votre photo sur www.panoramitalia.com en cliquant sur ‘Magazine’ et ensuite sur ‘Newlyweds’ ou envoyer votre photo par la poste en incluant les noms du couple et la date de mariage. Pour parution dans notre revue de Décembre/Janvier.

Coût: 35$ (tax incl.) Échéance: 4 novembre, 2013

Angela Gentile & Antonio Sebastiani September 17, 2012

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Catherine Verdone & Donato Terrone October 15, 2012

9300, Henri-Bourassa ouest, bureau 100 St- Laurent, Qc H4S 1L5 info@panoramitalia.com

MTL OCT-NOV 39-52_Layout 1 13-10-02 1:56 PM Page 41

Treasures ofItaly Tour

2014

Tour Italy with Panoram Italia in June or September, 2014!

16 Days - 14 Nights Venice Florence Montecatini Cinque Terre Siena

San Gimignano Assisi Sorrento Rome

Departures / Prices June 27, 2014: $3,849 September 5, 2014: $3,899 per person for double occupancy (taxes incl.)

Hurry! Only 40 • Air conditioned coach

For booking information please contact: Tony Zara, Publisher

• 14-night accommodation in 4-star hotels

info@panoramitalia.com (514) 337-7870 ext. 504

Includes

places available per date!

• Direct flight to Venice and return from Rome • Guided tours of Venice, Murano-Burano-Torcello, Florence, Cinque Terre, Siena, Assisi and Rome

In collaboration with:

• All breakfasts and 13 dinners • Wine and olive oil tasting in San Gimignano

You can win this trip for 2 by subscribing to Panoram Italia!

See page 47 for details.

MTL OCT-NOV 39-52_Layout 1 13-10-02 1:56 PM Page 42

LIVING ITALIAN STYLE

Go to panoramitalia.com and click on “Living Italian Style” to submit your profile!

Anthony Ciccone

Alexandra Criniti

Nickname: Ant, Cicconz Occupation: Commerce student Age: 19 Generation: Third Dad’s side from: Larino, Campobasso Mom’s side from: Gildone, Campobasso Speaks: Italian, Dialetto Campobassano, English & French Raised in: Laval Clothes: Zara blazer, shirt and jeans, Hermès belt, and TW Steel watch.

Boutique: Zara Designer: Tom Ford Fashion idols: Mariano Di Vaio and David Beckham.

Passion: Soccer and fashion Goal in life: To have a successful career and raise a happy and healthy family.

Thing about you that would surprise most people: I actually like driving my girlfriend’s Fiat 500.

Restaurant: Ristorante Corneli Favourite dish: My nonna Graziella’s cavatelli Best pizza in Montreal: Joey Maiorano’s focaccia Best caffè in Montreal: Caffè Italia Best panino in Montreal: Paninneria Da Marco Favourite aperitivo: Gin 7-Up 42

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Best nightclub in Montreal: Buonanotte Italian saying or quote: “Fatti i cazzi tuoi, ca campi cent'anni” Best Italian song: Azzurro by Adriano Celentano Italian soccer team: AS Roma Sexiest Italian: Federica Nargi Best way to feel Italian in Montreal: When you’re eating the oversized lunch your mother packed for you at work and you’re asked: “C’est quoi ça?”

They’re jealous that they’ll never get a lunch like that!

How long have you been reading Panoram? Since day one!

Best memory growing up ItalianCanadian: Going to the farm to pick i pomodori with my nonna and nonno and stuffing some in the glove compartment to save that five bucks.

Nickname: Alex Occupation: Translation and Italian studies student at Concordia University Age: 22 Generation: Second Dad from: Santa Caterina Superiore, Catanzaro, Calabria Mom from: Santa Caterina Marina, Catanzaro, Calabria Speaks: Italian, French & English Raised in: Dorval Clothes: H&M top, H&M skirt, Zara shoes.

Boutique: Olivia Designer: Marc Jacobs and Calvin Klein Fashion idol: Victoria Beckham Passion: Food, baking, travel and health fitness.

Thing about you that would surprise most people: I have four sisters. My poor father had to put up with all the mood swings.

Restaurant: Garde Manger Favourite dish: My mother’s parmigiana is to die for!

Best caffè in Montreal: Circolo Sportivo in Lachine.

Best panino in Montreal: Non Solo Pane Italian saying or quote: “Il lupo perde il pelo, non il vizio” Last time you went to Italy: Summer 2013

Best Italian song: Aquila Bella by Marasà. My little cousin always sings it to me in Italy.

Sexiest Italian: Raoul Bova Best Italian district in Montreal: Lachine Best way to feel Italian in Montreal: During the Grand-Prix in Montreal, cheering for Ferrari.

What you like most about Panoram: The recipes. I like to try new Italian food recipes and cook for my boyfriend.

Most common name in your family: Antonio (6) Best memory growing up Italian-Canadian: Every Saturday after Italian school we would visit our nonni and they would give us empty soda cans to go to the dépanneur. They would let us buy candies with the leftover money.

MTL OCT-NOV 39-52_Layout 1 13-10-02 1:57 PM Page 43

Photography by Vincenzo D’Alto

Makeup by Emmanuelle Blanchard

Location: Station 16 Gallery

Isabella Tassoni

Lucio Panza Nome: Lucio Panza Soprannome: Chef Panza Professione: Chef al Ristorante Buonanotte Età: 25 Generazione: Seconda Parentela paterna da: Bari,Toritto Parentela materna da: Caserta, San Clemente di Galluccio Parli: Italiano, Francese, Inglese Cresciuto a: Rivière-des-Prairies Abbigliamento: Zara, Steve Madden Stilista: Diesel, Zara, Gucci, Versace Idolo in cucina: Gualtiero Marchesi Passione: Cucinare Obiettivo nella vita: Avere il mio ristorante italiano rustico Qualcosa di te che potrebbe stupire: Essere chef alla mia età Cose che odi: Quando la gente dice bugie. La vita è tanto più facile quando si dice la verita Piatto preferito: Spaghetti alla pummarola Miglior caffè a Montréal: San Simeon Miglior panino a Montréal: Quello che fa mamma a casa Proverbio o detto italiano: In bocca al lupo, crepi!

Tu sai che sei italiano quando o se: La sera, quando arrivo a casa, ci sono sempre dei biscotti freschi

LIVING ITALIAN STYLE

che ha fatto la mia mamma; e quando vedo che ha cucinato per tutto il quartiere!

L’ultima volta che sei stato in Italia: 2 anni fa (di solito vado ogni anno) Regione italiana preferita: Piemonte La canzone italiana preferita: Eros Ramazzotti – Più bella cosa Miglior quartiere italiano a Montréal: Rivière-des-Prairies Miglior modo di sentirsi italiano a Montréal: Stare con la famiglia e continuare la tradizione italiana della domenica passata tutti insieme Cosa ti piace di più di Panoram: Vedere che la cultura e le tradizioni italiane ci sono ancora.

Miglior ricordo dell’adolescenza italo-canadese: Andare a tutte le feste italiane a Montréal

Occupation: Political Science student at Concordia University Age: 22 Generation: Third Dad’s side from: Reggio Calabria Mom’s side from: Cosenza & Napoli Speaks: English, French & Italian Raised in: Laval Clothes: 1861 top, French connection Pants, Simmons belt, Zara shoes Boutiques: BCBG, French Connection, Zara.

Designer: Valentino Fashion idol: Olivia Palermo Passion: Gastronomy, travel and art.

Thing about you that would surprise most people: I would easily pick a night in with family over a night out with friends.

Restaurant: La Bêtise Favourite dish: Anything seafood!

Best pizza in Montreal: I'd be lying if I didn't say my mother’s.

Best caffè in Montreal: Cafe Olimpico Best panino in Montreal: Müvbox Porchetta sandwich Best nightclub in Montreal: Roxbury Nightclub

Italian saying or quote: ''Non c'é rosa senza spina'' You know you are Italian when or if: You weren't allowed to go out with friends because you had to make sausages with the family.

Favourite Italian city: Firenze Best Italian song: Piccolo Grande Amore by Claudio Baglioni Sexiest Italian: Simone Bredariol Best way to feel Italian in Montreal: Grocery shopping at Marché Jean-Talon on the weekend.

Most common name in your family: Roberto (3) Best memory growing up Italian-Canadian: Living with my grandparents in St-Leonard for a summer. I ate the best food, watched TV game shows (Price is Right), all while cleaning garden vegetables.

PA N O R A M I TA L I A . C O M

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FASHION 1.

2.

3.

4.

9.

5.

6.

10.

12.

11.

13.

14.

8.

18.

15.

16.

17.

L E G E N D

7.

1. Dior Fall Winter 2. Dior Fall Winter 3. Dior Fall Winter 4. Salvatore Ferragamo 5. Salvatore Ferragamo 6. Bottega Veneta 7. Fratelli Rossetti 8. Guess by Marciano 9, Corto Moltedo 10. Salvatore Ferragamo 11. Bottega Veneta 12. Andrea Ledaro 13. Bottega Veneta 14. Bottega Veneta 15. Loewe 16. Bottega Veneta 17. Roberto Cavalli 18. Dior Pre-Fall

Woven Wonders A look at the art of Venetian leather weaving

By Alessia Sara Domanico

The artisan shops that illuminate the narrow streets of Venice offer one of the only glimpses most people will ever get into the top secret laboratories of the local craftsmen. With their long tradition in manufacturing fine, handmade goods and accessories, Venetians are famously elusive, safeguarding their personal methods and staying mum on where they create those conversation pieces that tourists take back home in their luggage. ne particular Venetian tradition that forged a global reputation for itself is the art of antique Venetian weaving. This practice owes particular fame to luxury brands such as Bottega Veneta, the famous brand founded by spouses Vittorio and Laura Moltedo whose name literally translates to “Venetian Shop.”

Formed in the 1960s and based in the city of Vicenza, in the Veneto region, the luxury goods purveyor is best known for its signature leather-weaving technique known as intrecciato. The technique now extends to other materials such as satin, silk and cotton throughout the fashion industry.

When Bottega Veneta first began manufacturing this style, the Moltedos didn’t have sewing machines in their workshop that were designed to work with leather, only cloth. In order to master the effect, the artisans would have to use super fine leather along with a needle and thread, weaving it into the intrecciato pattern. This practice made the material stronger and more durable, as is seen today.

O

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The windfall experienced by Bottega Veneta prompted more and more local Venetian artisans to either adopt or increase their use of the intreccio weaving technique, as it is popularly known. As opposed to hand execution, intreccio is sometimes performed with the same loom that is used for carpet weaving. Thin strips of leather are woven together with cotton thread canvas of the same colour, making it a timeless and effortlessly chic piece.

From handbags to trolleys, shoes and smartphone cases, the top, high-end fashion houses from Hugo Boss to Gucci and Brioni have adopted the winning combination, often in the classic sense with fine leather and meticulous craftsmanship. It’s a true work of art that is perfect for the fall and winter season with accessories such as belts, bags, jackets, footwear and hats. Don’t keep it limited to leather either, ‘tis the season for woven wools and cashmeres!

MTL OCT-NOV 39-52_Layout 1 13-10-02 1:57 PM Page 45

www.plazapmg.com

MTL OCT-NOV 39-52_Layout 1 13-10-02 1:57 PM Page 46

TV Read Watch Interact Subscribe

Face Off: A young man enters an Italian bar to face off against his elders in a game of Briscola.

La Peperonata: Watch as this magnificent yearly tradition unfolds in one of Toronto’s back lanes.

Giovanni the Mosaicist: Enter the enchanting world of this talented Italian mosaic artist based in rural Quebec.

Sunday Dinner with Chef Daniel: A behind the scenes look at one of Toronto’s most promising Italian chefs as he prepares Sunday dinner for his pals.

Check out our NEW Web TV channel at www.panoramitalia.com

MTL OCT-NOV 39-52_Layout 1 13-10-02 1:57 PM Page 47

©2013 Porsche Cars Canada, Ltd. Porsche recommends seatbelt usage and observance of all traffic laws at all times. European model shown.

Much more than words in the air.

The road ahead of you is not always free of annoyances and obstacles created by Montreal road work. At Porsche Prestige, we go out of our way to make your purchase experience and your Porsche vehicle servicing as smooth as possible. Contact us for an appointment and WE will meet you for a personalized consultation with the Porsche model that you are interested in. When it is time to service your Porsche, no need for you to bring it to us. Let us come to you. We will pick it up, leave you one of our courtesy vehicles and then return your Porsche to you once the servicing is complete.

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MTL OCT-NOV 39-52_Layout 1 13-10-02 1:57 PM Page 48

VENEZIA

Par Valérie Vézina

À la découverte de Venise et ses secrets Venise, ville unique s’il en est une, dégage depuis toujours une aura de mystère. Qu’on soit à pied ou à bateau, l’absence de circulation automobile est sans conteste l’un des aspects les plus énigmatiques de l’endroit.

Comme irréel, ce silence associé à l’absence de cylindrées dans les ruelles étroites de la ville revêt de nos jours des airs de luxe. Pas étonnant qu’on ait surnommé Venise la Sérénissime.

xpliquer aux enfants ce qu’est Venise suscite en général bien des réactions.

Comment a-t-on pu construire de toutes pièces une ville sur l’eau ? Les bâtiments tiennent comme des jeux de cartes sur des pieux enfoncés dans un sol sablonneux et les bateaux y font office de taxis ! Quand on traverse les « rues », ici appelées « calle » ou « rio », on doit nécessairement emprunter un des 400 ponts de la ville ou le vaporetto, sorte d’autobus marin assurant le traghetto (la navette) le long des nombreux canaux de la cité. Quant aux traditionnelles gondoles, trop chères pour la vie de tous les jours, elles sont principalement empruntées par les touristes. Il n’y en aurait plus que 425 en circulation.

E

De capitale commerciale à capitale culturelle Si l’ancienne cité des Doges a fait fortune grâce au commerce maritime, c’est grâce au tourisme qu’elle prospère aujourd’hui.

Ville de navigateurs, Venise possédait le plus grand chantier naval de la Renaissance : l’Arsenal. Au faîte de la République, entre 13 000 et 16 000 personnes s’y employaient à fabriquer les fameuses galères vénitiennes, pierres angulaires de la Sérénissime. Ce lieu qui borde les Giardini, vastes jardins publics situés dans le sestiere (quartier) de Castello, sert désormais d’annexe pour la célèbre Biennale de Venise. Ce festival d’art contemporain, qui a lieu toutes les années impaires, surpasse certainement le carnaval en termes de glamour et d’attrait international.

Fondée au Ve siècle, Venise fut construite sur 118 petites îles situées en pleine 48

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lagune, dans la mer Adriatique. Grâce à sa position stratégique, la ville a longtemps été la rivale de Gênes, surpassant même, à son apogée, Constantinople en termes d’activités portuaires. La découverte de l’Amérique contribua toutefois à lui faire perdre peu à peu de son lustre, reléguant aux oubliettes sa flotte peu adaptée à la navigation en haute mer et, du même coup, sa position comme centre névralgique du commerce sur le vieux continent.

Dirigée pendant cinq siècles par des doges siégeant au sommet des arcanes décisionnels, la cité réputée indépendante a toujours été un puissant aimant culturel. L’avènement des touristes se concrétise dès le XVIIIe siècle. Mais c’est la construction du pont des Lagunes, au XIXe siècle, qui facilita grandement l’émergence du tourisme de masse en reliant la gare de Venise-Santa-Lucia (1850) au continent européen. Le bel aéroport Marco Polo a accentué plus récemment cette tendance.

Venise et ses sestieri Le meilleur moyen de découvrir Venise ? Se perdre délibérément dans ses dédales de ruelles – un éventuel guide de voyage à la main. Parce que la capitale de la Vénétie compte 177 canaux, 120 îlots, 455 ponts et 84 églises. À admirer : la patine des murs extérieurs comme intérieurs des palazzi, subtilement colorée. Remarquez la forme en ogive des fenêtres çà et là qui évoque l’ouverture sur le monde de cette ancienne cité portuaire. À noter que les adresses à Venise sont déterminées par quartier. Bonne chance

Photo by Pasquale Antonarelli

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pour vous repérer dans ce labyrinthe de rues et de ponts, puisque les numéros civiques ne se suivent pas nécessairement d’une porte à l’autre. Ainsi, il est possible de déambuler une heure dans la ville et de se retrouver ensuite, pantois, de retour à son point de départ !

La Sérénissime comporte de nombreux coins secrets à ne pas manquer, dont l’église San Sebastiano, située un peu à l’écart des sentiers battus, dans le sestiere de Dorsoduro. Celle-ci contient d’admirables œuvres grand format de Véronèse peintes sur les plafonds de la nef et sur l’autel sculpté lui aussi par le célèbre peintre dont la dépouille repose à droite de l’orgue.

Le Dorsoduro suit le Grand Canal – sur sa rive gauche – jusqu'à l’ancien édifice de la Punta della Dogana, aujourd’hui transformé en siège d'exposition de la collection d’art contemporain du richissime magnat français François Pinault. C’est dans ce joli quartier que se trouve également la collection du musée Peggy Guggenheim, localisée dans le palais Venier dei Leoni (sur le bord du Grand Canal).

La piazza San Marco et son campanile, situés dans le quartier éponyme, font naturellement partie des incontournables. En plus des marées de pigeons, il arrive que ce vaste square soit inondé par l’aqua alta lors des crues de la lagune.

Toujours sur la rive droite, direction palais des Doges et cathédrale Saint-Marc, deux exemples du style gothique vénitien ; préparez-vous à affronter les hordes de touristes et à faire la file pour y entrer. Attenant au palais, le fameux pont des Soupirs fut ainsi nommé en référence aux prisonniers qui devaient l’emprunter en route vers la «Nouvelle Prison» voisine. De la Riva degli Schiavoni adjacente, la vue sur le bassin de Saint-Marc, la Punta della Dogona et San Giorgo Maggiore, église conçue par Andrea Palladio, est sans doute la plus photographiée à Venise.

Pour fuir le tumulte, il suffit de s’éloigner vers le nord-est dans le sestiere de Castello pour y découvrir la vie quotidienne des Vénitiens à travers ses différents campielli. Ces jolies petites places bourgeonnent de vie, particulièrement à l’heure de l’apéritif.

Le sestiere de Cannaregio se distingue quant à lui par ses rues tranquilles et l’impression d’y sentir la vie couler tranquillement. Il abrita l’un des tout premiers ghettos juifs d’Europe qui fut finalement libéré par Napoléon pendant le Premier Empire. À découvrir dans les environs : les jardins cachés du palais de Savorgnan construit au XVIIe siècle et l’église de San Geremia.

Les sestieri de Santa Croce et de San Polo, où se trouvent le pont du Rialto, le mercato del pesce (marché aux poissons) ainsi que la superbe église et la Scuola Grande di San Rocco, sont des quartiers plus animés et fréquentés par les touristes.

Mais, l’attraction ultime de Venise demeure sans conteste son Grand Canal. Le chroniqueur Flamand Philippe de Commynes de passage à Venise en 1495, le décrivait comme « la plus belle rue qui soit au monde et la mieux maisonnée ». On y trouve encore de nos jours de nombreux palais dont le préfixe «Ca» indique la nature aristocratique, tels que le Ca’ Rezzonico, le Ca’ Dario, le Ca’Pisani ou le Ca’d’Oro, sans doute le plus célèbre d’entre tous.

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VENEZIA

Venerable Venetian Cuisine

By Amanda Fulginiti

10 of the most popular dishes in Venice The mythical city of Venice – unique in location as it is in its cuisine. For a lover of seafood there is no better place to sample a wide range of underwater catches since Venice relies heavily on the bounty collected from its lagoon. The Rialto Market is overflowing daily, from tiny snails called bovoleti to razor clams called cape longhe. For those faint of stomach, fret not. Venetian cuisine is varied and the well-known tradition of sampling small bites over big meals will allow you to dabble rather than commit. The following list presents 10 of the most popular and typical dishes to be found in Venice. Evviva la cucina Veneziana!

1. Cicchetti Nothing signals aperitivo time like cicchetti, small snacks unique to the bars of Venice. This is an excellent way to sample a variety of Venetian specialties without breaking the bank: ranging from about 1 to 3 Euros. Sometimes, however, you will pay extra for your drink and the treats are served buffet style at the bar. Choices vary from one bacari (small, local bars) or osteria (a small, simple restaurant) in Venice to the next. As fish is a staple of the Venetian diet, there are usually many seafood offerings options like fried smelts, shrimp or calamari. Traditional salt cod, baccalà, may be prepared as a salad or spread for toast.

Other popular cicchetti items include small sandwiches, plates of charcuterie, meatballs, marinated olives or grilled vegetables, fried cheeses and rice balls called arancini. One could make a whole meal out of cicchetti nibbles, and it will probably be cheaper, better and done in a more local atmosphere than any restaurant in Venice.

Servings start around 6 pm so get your cicchetti crawl on!

2. Ombra & Spritz Don't forget an ombra or small glass of wine to go with your cicchetti (the word “ombra” literally translated means shadow/shade). The tradition dates to when a portable wine bar scooted with the shadow of the Campanile bell tower across St. 50

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Mark’s Square. Stick with a vino bianco, vino rosso or prosecco and simply enjoy the basic house offerings that only cost a Euro or two each. Or, you might want to try another truly Venetian experience: a Spritz. This refreshing aperitif consists of wine or prosecco, sparkling water and liqueur, typically Aperol or Campari. Cin cin!

3. Seppia al nero Cuttlefish in black Seppia al nero is a classic first dish in Venice.

Chefs take the ink sack of the cuttlefish and pour it directly into the sauce where it will then turn a deep black colour. Venetians often grill the meat of the cuttlefish, which is sweet, and serve it on either a bed of linguine or risotto. It’s perhaps not the best dish to order on a date as it turns your entire mouth black and stains your teeth a bit.

4. Sarde in saor Marinated sardines This is a typical first dish and definitely the most popular in Venice. After the sardines are cleaned and fried, they are placed in a simple agrodolce (sweet and sour) marinade of vinegar, onions, raisons and pine nuts. The combination of sweet and sour put canned versions to shame.

5. Fegato alla venesiana Venetian liver Known for its simplicity, Fegato alla venesiana is enjoyed even by those who do not typically like eating liver.

It consists of finely sliced calf liver that is cooked together with chopped and gently stewed onions, and usually served with polenta.

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6. Baccalà Mantecato Mantecato cod fish A common delicacy served throughout Venetian cicchetti bars, baccalà is codfish that’s boiled, skinned, and literally beaten to a pulp. As an antipasto it is spread on fresh bread, or over grilled polenta, another staple of the Veneto diet.

7. Granseola Spider crab Arranged delicately on your plate, pasta is served with a light, fresh tomato sauce from the spider crab’s shell. Not only is this plate delicious, but it makes for some great artistic photos.

8. Folpetti consi Boiled baby octopus For the adventurous foodies, these small young octopuses are boiled typically with carrots and celery until tender, and then seasoned lightly with oil, lemon juice, salt and pepper.

While the flavour is delicious it is probably the texture and appearance that might throw some off.

9. Carpaccio di tonno Tuna carpaccio This is an excellent light lunch or first dish option.

The original version is made with paper-thin slices of beef drizzled with a light balsamic vinaigrette, but since fish is at its freshest in this historic city it is quite common to use steak-like fish such as tuna or swordfish.

10. Tiramisù There are many who would say you cannot leave Venice without indulging in this dessert, as it is argued that tiramisù was first created here. The original recipe called for custard and only recently has Mascarpone cheese been substituted. The basic ingredients are eggs, mascarpone cheese, Savoiardi cookies (or ladyfingers), cream, espresso coffee, and sometimes liquor like brandy, marsala, and rum. The whole thing is topped with a little bit of sugar and cocoa or shaved chocolate. Creamy and delicious, this treat will definitely give you the energy needed to endlessly wander the labyrinth that is Venice!

Where to go • For a real fish inspired cichetti experience head to Il Paradiso Perduto.

Fondamenta della Misericordia, 2540 Venice, Italy +39 041 720581.

• Whether you want to enjoy some aperitivo while admiring the Rialto or sharing a romantic dinner with that special someone, Taverna del Campiello Remer is a true gem of Venice.

• Be sure to hit up Cantinone gia' Schiavi. This 19th century bacaro is most known for its wine cellar! They have some of the most wildly inventive cichetti like smoked swordfish!

• Charming and intimate, Osteria ai 4 Feri is as authentic as it gets when it comes to local cuisine. Try the pesce fritte.

• If you are dying to try Seppia al nero then head to Al Profeta. Better known for its delicious, large pizzas, this restaurant offers a wide variety of dishes for both the adventurous and cautious of customers. Best part: you can eat underneath the stars of Venice in their backyard courtyard.

• Serving up an abundance of varied cicchetti is the famous Alla Vedova.

Do not miss out on the polpettine (little meatballs) or their sepe roste (roasted squid without its ink) and their folpeti consi (baby octopus boiled with vegetables).

• Off the beaten tracks, Osteria La Bottega ai Promessi Sposi serves one of the best sarde in saor – perfect blend of acidity and sweetness.

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COVER STORY

Venice: Theatrical Backdrop to the World

By Claudio Ortu hat one should really do in Venice is let oneself get lost; approach the city like a dream suspended in time.

To get a sense of the real Venice through its history and its importance to Venetians, and to glean some of Old Venice’s magic, Panoram Italia met with Concetta Voltolina Kosseim, president of the Association of Montreal Venetians, and Antonio Gasparini, the association’s vice-president.

“Venice is the backdrop in front of which unfurls the theater of Venetian life. It is the most beautiful stage in the world,” explains Professor Voltolina Kosseim in a manner that can scarcely better describe the unique aesthetics of this most seductive of cities.

But let's start with the city’s most complex and pressing challenge: the exodus of Venetians. Imagine yourself in the audience marveling at one of the most beautiful theatrical spectacles. And then, in the middle of the show, the actors begin to leave. They slowly exit the stage, leaving you alone to contemplate the beautiful, deserted backdrop.

This is precisely what has happened in Venice over the last forty years. In 1966, the city had 121,000 inhabitants, whereas today that number has dwindled to 56,000.

The problem is not that the Venetians don’t like Venice; rather they feel it no longer belongs to them.

“Tourists are always welcome, but there are those I call ‘barbarians’ who respect neither the beauty of Venice, nor its native population,” laments Voltolina Kosseim.

“Imagine 60,000 tourists, on average, visiting Venice each day, and throwing litter on the ground; the city quickly becomes a dumping ground,” adds Antonio Gasparini.

And yet, its beauty is not only threatened by pollution, but also by the march of progress. One growing irritant are the cruise ships that drop anchor some tens of metres from Saint Mark's Square, and then sit there like floating skyscrapers, disrupting the splendor of the lagoon.

“When I see them enter the Giudecca Canal, I feel a twinge in my heart,” confesses a visibly upset Voltolina Kosseim, describing what is now a daily occurrence. “And yet, the institutions have failed to deal with such issues, irrespective of their political persuasion. Funds are funnelled to projects of scant value, rather than being marshalled towards matters of true importance,” says Gasparini.

“This is the modern era,” Gasparini says in a resigned tone. Then he remembers: “Venice was not like this when I left in the eighties. We used to walk with friends and let the beauty of the canals soak in.

Dining at bistros and carelessly losing ourselves in conversation, with a glass of wine savouring life in our neighbourhoods.” To find this nowadays, one needs to go to secluded places that tourists are less likely to frequent.

When I go back on holiday, I often go through Burano where I still find old ladies sitting in front of their houses, knitting lace, and I spend hours conversing with them. Invariably, after a while they ask: “Vu, no gavé gnente da far? No, no so vignuo a far un ziretto, parché

W

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tuto questo e quelo fa parte de mi, dele mie origeni e del mio saver” (-You have nothing to do? -No, no, I walk around to take in the sights all around me, and you yourselves, are part of me, my roots and my culture).

“In Venice no one runs; it is not a city for people in a hurry,” insists Gasparini.

And, this is perhaps one of the reasons why many young people leave.” It is difficult for companies to settle in Venice. The city is no place for businessmen. Imagine the time lost getting to meetings and appointments in the centre of the city: between the plane, the bus and the vaporetto, one risks losing a whole day. Such delays are not profitable in our contemporary world, where even an hour of our time seems too precious.”

The history of this city is certainly not marked by mass production, a mainstay of capitalism, nor by ‘office work.’ We know it more for its artistic and literary creations. It is precisely this focus that explains why the greatest Enlightenment-era reformer of theatre and popular art was born here: Carlo Goldoni. And it is no coincidence that Voltolina Kosseim and Gasparini say his name in unison when asked who is Venice’s most representative figure.

They have such admiration for him that Gasparini had the costume you see on the cover sent directly from Venice. Its tailor, Pietro Longhi, is a member of the Associazione Veneziani nel Mondo, known for outfitting the most famous theatres in the city. “In 2007, I had a Goldoni-type costume made for his 300th anniversary’s celebrations,” says Gasparini. “It is a costume typical of the Venetian bourgeoisie and very reminiscent of the playwright.”

A suit that lovers of Venice may have seen during an exhibit presented at Château Dufresne during the summer of 2012, called Venice: From Sovereign of the Seas to Capital of Culture. “It was a great success,” recalls Voltolina Kosseim, adding that “it was the largest exhibition in North America. We want to convey some of the lesserknown aspects of Venetian culture: mosaics, lace, glassware and hand-wrought silverware. Those who come to our exhibits can relive the Venice of the past.”

So be sure not to miss the next Venetian exhibition, entitled Splendore a Venezia Art and Music from the Renaissance to Baroque in the Serenissima, which begins on October 11, 2013 at the Montreal Museum of Fine Arts.

Venezia: il Teatro del Mondo

Q

uello che dovete fare a Venezia è perdervi.

Sognate in una città sospesa nel tempo.

Per farci raccontare la città e la sua storia, come vivono i Veneziani e dove si può trovare un po’ di quella magia della Venezia di ieri, Panoram Italia ha incontrato il

presidente dell’Associazione Veneziani di Montréal, Concetta Voltolina Kosseim, e il vicepresidente, Antonio Gasparini.

“Venezia è un teatro dove va in scena la commedia della vita dei Veneziani. E’ il palcoscenico più bello del mondo”, la professoressa Voltolina Kosseim non poteva riassumere meglio la potenza estetica di una città che fa innamorare tutti.

Iniziamo con la situazione più complessa che Venezia sta vivendo: la fuga dei Veneziani. Immaginate di essere seduti in platea e nel bel mezzo di uno degli spettacoli più belli che abbiate mai visto gli attori se ne vanno.

Scendono dal palcoscenico e rimanete soli, a guardare una scenografia incantevole ma vuota.

Questo è quello che sta accadendo a Venezia da quarant’anni. Nel 1966 gli abitanti erano 121 mila, oggi sono 56 mila. Il problema non è che i Veneziani non amino più Venezia, ma che non riescono più a sentirla loro.

“I turisti sono sempre i benvenuti, ma ci sono quelli che io chiamo ‘i barbari’ che non rispettano la bellezza di Venezia e non rispettano neanche i Veneziani”, dice Concetta Voltolina Kosseim. Poi Antonio Gasparini aggiunge: “Immagina se i 60 mila turisti, in media, che visitano Venezia ogni giorno buttassero una carta per terra, diventerebbe un immondezzaio nel giro di qualche minuto”.

La bellezza non è a rischio solo a causa dell’inquinamento, ma anche del progresso. In particolare delle navi da crociera che passano a poche decine di metri da Piazza San Marco, dei veri e propri grattacieli sull’acqua che squarciano l’orizzonte della laguna. “Quando le vedo entrare nel Canale della Giudecca, sento una fitta al cuore”, così, sensibilmente turbata, la professoressa

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COVER STORY Voltolina Kosseim racconta quel che accade quotidianamente. “Le istituzioni, però, non si occupano di questi problemi e non c’entra il colore politico. I finanziamenti vengono utilizzati per sciocchezze e non per le cose serie”, conclude Antonio Gasparini.

“Questa è l’era moderna”, aggiunge un po’ rassegnato.

Poi ricorda: “Venezia non era così quando sono partito io, negli anni Ottanta. Prima passeggiavamo con gli amici per goderci la bellezza dei nostri canali, cenavamo all’osteria perdendoci in tante chiacchiere spensierate, bevevamo un buon bicchiere di vino e facevamo la vita di quartiere.

Oggi, per trovare tutto questo dobbiamo andare nei luoghi meno affollati dai turisti”.

“A me capita, quando torno per le vacanze, di passare spesso per Burano dove trovo ancora le signore anziane che, sedute fuori dalla porta di casa, fanno i merletti e con loro perdo delle ore a chiacchierare. Dopo un po’, però, mi dicono: ‘Vu, no gavé gnente da far? No, no so vignuo a far un ziretto, parché tuto questo e quelo fa parte de mi, dele mie origeni e del mio saver’, (Non avete niente da fare? No, no faccio una passeggiata e ho visto che tutto questo che ho intorno e quello che fate è parte di me, delle mie origini e della mia cultura).

A Venezia non si corre, non è una città per chi ha fretta”, afferma Gasparini.

E forse è proprio questo uno dei motivi per cui molti giovani se ne vanno. “E’ difficile che le aziende scelgano di stare a Venezia. Non è fatta per gli uomini d’affari.

Immaginate quanto tempo devono perdere per un appuntamento o una riunione nel centro della città: tra aereo, bus e vaporetto rischiano di perdere dei giorni e oggi, che persino le ore sono preziose, per loro non è conveniente”.

La storia di questa città non è certo segnata dalla produzione in serie, tipica del capitalismo, o dal lavoro “d’ufficio” quanto piuttosto dalla creazione di arte e letteratura.

Proprio per questo, qui, ha avuto i natali l’illuminista che ha riformato il teatro e l’arte popolare: Carlo Goldoni. E non è un caso che Voltolina Kosseim e Gasparini esclamino all’unisono il suo nome quando chiedo loro chi sia il personaggio più rappresentativo di Venezia.

L’ammirazione è tale che Gasparini ha fatto arrivare il costume che vedete in copertina direttamente da Venezia. Il sarto è Pietro Longhi, membro dell’Associazione Veneziani nel Mondo, conosciuto per le sue creazioni per i più famosi teatri della città. “Nel 2007 ho fatto fare un vestito di Goldoni per la celebrazione del suo 300° anniversario, è un costume della media borghesia veneziana e rappresenta perfettamente il drammaturgo”.

Un costume che gli amanti di Venezia hanno potuto vedere in occasione della mostra “Venise. De souveraine des mers à capitale de la culture” allestita al Musée Château Dufresne nell’estate del 2012. "E’ stato un grande successo – ricorda la Professoressa, che aggiunge – è stata l’esposizione itinerante più importante del Nordamerica. La cultura veneziana che noi vogliamo diffondere è legata agli aspetti meno conosciuti: mosaici, merletti, vetreria e argenteria battuta a mano. Chi viene alle nostre mostre rivive la Venezia di una volta”.

Sarà imperdibile, dunque, la prossima che inizierà l’11 ottobre 2013, dal titolo “Splendore a Venezia arte e musica dal Rinascimento al Baroco nella Serenissima”, al Musée des Beaux Arts de Montréal.

Venise: le théâtre du monde Ce qu’il faut faire à Venise, c’est se perdre et s’abandonner à rêver dans cette ville suspendue dans le temps.

Pour nous présenter la ville et son histoire, comment vivent les Vénitiens et où on peut trouver un peu de cette magie de la Venise d’antan, Panoram Italia a rencontré madame Concetta Voltolina Kosseim, présidente de l’Association des Vénitiens de Montréal, ainsi que le viceprésident Antonio Gasparini. « Venise est un théâtre qui met en scène la comédie de la vie vénitienne. C’est la plus belle scène du monde. » La professeure Voltolina Kosseim ne pouvait mieux résumer le pouvoir esthétique d’une ville qui nous séduit tous.

Commençons par la situation la plus complexe que connaît Venise en ce moment : la fuite des Vénitiens.

Imaginez que vous êtes assis dans un auditoire et qu’au beau milieu d’un des plus beaux spectacles que vous ayez jamais vu, les acteurs s’en vont. Ils descendent de la scène et vous restez seul à regarder un décor enchanteur, mais vide.

C’est ce qui se produit à Venise depuis quarante ans.

En 1966, il y avait 121 000 habitants, aujourd’hui ils ne sont plus que 56 000. Le problème n’est pas que les Vénitiens n’aiment plus Venise, mais ils n’ont plus l’impression qu’elle leur appartient. « Les touristes sont toujours les bienvenus, mais il y a ceux que j’appelle “les barbares”, qui ne respectent pas la beauté de Venise ni les Vénitiens non plus », explique Concetta Voltolina Kosseim. Puis Antonio Gasparini ajoute : « Imagine si les 60 000 touristes, en moyenne, visitant Venise tous les jours jetaient un papier par terre, la ville deviendrait un dépotoir en quelques minutes. » Sa beauté est en péril non seulement à cause de la pollution, mais aussi à cause du progrès. Notamment parce que les bateaux de croisière passent à quelques dizaines de mètres de la place Saint-Marc, de véritables gratte-ciel sur l’eau qui percent l’horizon de la lagune. « Quand je les vois entrer dans le canal de la Giudecca, je ressens un pincement au cœur », ainsi, visiblement troublée, la professeure Voltolina Kosseim explique ce qui se produit au quotidien. « Cependant, les institutions ne s’occupent pas de ces problèmes et cela n’a rien à voir avec la couleur politique. Les financements sont utilisés pour ce qui est secondaire et non pour ce qui est important », conclut Antonio Gasparini. « C’est l’ère moderne », il ajoute un peu résigné. Puis il se souvient : « Venise n’était pas comme ça quand je suis parti, dans les années quatre-vingt. Avant, nous nous promenions avec les amis pour nous réjouir de la beauté de ses canaux, nous soupions au bistrot et nous nous perdions dans de nombreux bavardages avec insouciance, nous

buvions un bon verre de vin et nous avions une vie de quartier. Aujourd’hui, pour retrouver tout cela nous devons aller dans les lieux moins fréquentés par les touristes. » « Quand j’y retourne pour les vacances, il m’arrive souvent de passer par Burano où je trouve encore de vieilles dames, assises devant la porte de leur maison, qui font de la dentelle, et je perds des heures à converser avec elles.

Cependant, après un certain temps elles me demandent : “Vu, no gavé gnente da far? No, no so vignuo a far un ziretto, parché tuto questo e quelo fa parte de mi, dele mie origeni e del mio saver” (Vous n’avez rien à faire? Non, non, je fais une promenade et j’ai vu que tout ce qui m’entoure et ce que vous faites sont aussi une partie de moi, de mes racines et de ma culture). À Venise on ne court pas, ce n’est pas une ville pour gens pressés », déclare Gasparini.

Et c’est peut-être l’une des raisons qui poussent beaucoup de jeunes à partir. « Il est difficile que les entreprises choisissent de s’établir à Venise. La ville n’est pas faite pour les hommes d’affaires. Imaginez combien de temps ils doivent perdre pour un rendez-vous ou une réunion au centre de la ville : entre avion, autobus et vaporetto, ils risquent de perdre des journées et aujourd’hui, puisque même une heure de notre temps est précieuse, cela n’est pas rentable. » L’histoire de cette ville n’est certes pas marquée par la production en série, caractéristique du capitalisme, ou par le travail « de bureau », mais plutôt par la création artistique et littéraire. C’est précisément pour cette raison qu’ici est né celui qui a reformé le théâtre et l’art populaire au siècle des Lumières : Carlo Goldoni. Et ce n’est pas un hasard si Voltolina Kosseim et Gasparini prononcent son nom à l’unisson lorsque je leur demande qui est le personnage le plus représentatif de Venise.

Ils ont pour lui une telle admiration que Gasparini a fait venir directement de Venise le costume que vous voyez en page couverture. Le tailleur est Pietro Longhi, membre de l’Associazione Veneziani nel Mondo, reconnu pour ses créations pour les théâtres les plus renommés de la ville. « En 2007, j’ai fait faire un costume de Goldoni pour les célébrations de son 300e anniversaire, c’est un costume de la bourgeoisie vénitienne moyenne et qui évoque parfaitement le dramaturge. » Un costume que les amoureux de Venise ont pu voir lors de l’exposition “Venise. De souveraine des mers à capitale de la culture”, présentée au Château Dufresne à l’été 2012. « Ce fut un grand succès – se souvient la professeure, et elle ajoute – c’était l’exposition itinérante la plus importante en Amérique du Nord. La culture vénitienne que nous voulons diffuser est liée à ses aspects les moins connus : mosaïques, dentelles, verrerie et argenterie martelée à la main. Ceux qui viennent voir nos expositions revivent la Venise d’autrefois. » Il ne faudra donc pas manquer la prochaine exposition qui débutera le 11 octobre 2013 au Musée des beaux- arts de Montréal, intitulée « Splendore a Venezia: Art et musique de la Renaissance au Baroque dans la Sérénissime. »

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VENEZIA

Li Wei "Flying over Venice" 2013 / Esposizione Internazionale d'Arte / Biennale 2013

Venise Par Gabriel Riel-Salvatore

De ville-musée à capitale de l’art contemporain

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Ville-musée par excellence, inscrite au patrimoine mondial de l’UNESCO, Venise s’affiche comme un chef-d’œuvre architectural à part entière. Loin de s’asseoir sur sa splendeur passée, la vieille dame des lagunes semble dorénavant vouloir plus que jamais faire peau neuve en misant sur un attrait bien de son temps : l’art contemporain.

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VENEZIA

Au

-delà des hordes de touristes qui transforment peu à peu Venise en simple parc à thème, la ville compte désormais son lot de fidèles attirés par cette nouvelle Mecque de l’art contemporain. Ce statut consacré est intimement lié à son exposition d’art international, mieux connue sous le nom de Biennale de Venise. Créée en 1895, cette foire vise à promouvoir à chaque deux ans le meilleur des pratiques artistiques des pays participants en couvrant tour à tour les thèmes de l’architecture, du cinéma, du théâtre, de la musique et de la danse. À l’origine peu ouverte aux innovations, l’électrochoc engendré par le mouvement futuriste des années 1910 contribua à propulser la Biennale sur l’avant-scène de l’avant-garde internationale. Elle présente ainsi depuis plus d’un siècle les travaux innovateurs des plus importants créateurs du monde entier.

Si ce happening a quelque peu perdu de son lustre au courant du XXe siècle, tout semble indiquer que le virage entrepris ces dernières années a réussi à braquer à nouveau les projecteurs sur la ville de Casanova.

Le site des Giardini (grands jardins publics situés dans le sestiere (quartier) du Castello) constitue le cœur historique de la Biennale et accueille aujourd’hui les pavillons permanents d’une trentaine de pays.

Plusieurs bâtiments, dont le Padiglione Centrale, le hall principal de l’exposition, furent conçus par certains des plus grands architectes du XXe siècle tels que Carlo Scarpa et Alvar Aalto. Inutile de vous dire que cette concentration d’architecture et d’art contemporain sur les rives du bassin Saint-Marc contraste de façon éclatante avec le style gothique et baroque des quartiers environnants.

D’abord confinée aux limites de ce parc urbain, legs de Napoléon, la Biennale s’étend aujourd’hui sur la grande majorité des sestieri de la cité.

Parmi les sites les plus importants, notons l’édifice historique de l’Arsenale qui fut cédé par la marine italienne aux organisateurs de la foire en 1980 et habillement rénové en hall d’exposition à partir de 1999. Ce fameux chantier naval de 50, 000 m2 fut le plus grand centre de production préindustriel de l’histoire et incarne ainsi la puissance à la fois militaire, économique et politique de la ville. Ce vaste espace situé dans la portion nord du sestiere de Castello permet maintenant d’accueillir les expositions thématiques liées à la Biennale, en plus de servir de vitrine aux artistes de plusieurs pays invités à participer à ce rendez-vous bisannuel.

De l’autre côté du Grand Canal à l'extrémité du sestiere de Dorsoduro, l’édifice de la Punta della Dogana (Pointe de la douane), symbole commercial de la ville datant du XVIIème siècle, a récemment rouvert ses portes au public, venant compléter l'offre culturelle

du Palazzo Grassi et de la Biennale en tant que siège de la Fondation François Pinault. Rénové de main de maître par l’architecte Tadao Ando, le musée du richissime collectionneur Français échappa au début des années 2000 au dessein malheureux de convertir ce joyau du patrimoine vénitien en une banale suite de condos. Depuis 2009, ce bâtiment unique de forme parfaitement triangulaire redonne ainsi accès à l’un des plus beaux sites de la ville.

Situé sur l’île voisine du Lido aux côtés du Casino de Venise et du fameux Grand Hôtel Excelsior, le Palazzo del Cinema est l’hôte du plus ancien festival de films au monde. Inauguré en 1932, l’Esposizione Internazionale d'Arte Cinematografica, aujourd’hui communément appelé la Mostra di Venezia, se hisse chaque été, d’août à septembre, avec Cannes, Toronto et Berlin au sommet des plus importants festivals de cinéma de la planète. Aujourd’hui partie intégrante de l’a-

abstraites en plus d’une salle entièrement consacrée à Jackson Pollock, dont Peggy Guggenheim fut la principale mécène.

Si au-delà de ses charmes intrinsèques, la Venise du XVIIIe misait sur le carnaval pour attirer les touristes, c’est sans doute aujourd’hui grâce à l’art contemporain qu’elle y parvient. À l’image du magnifique pont de la Constitution conçu par l’architecte étoile Santiago Calatrava qui enjambe le Grand Canal depuis 2008, Venise concilie aujourd’hui passé et présent dans un même souci d’excellence afin d’asseoir son statut de capitale des arts à l’orée du XXIe siècle. Contribuant à changer son image de ville figée dans le temps, la Biennale de Venise, qui en est à sa 55e édition, contribue non seulement à faire de la Sérénissime l’une des destinations les plus glamour de la planète, mais participe significativement au rayonnement et à la rénovation culturels de la plus petite des grandes villes du monde. * Remerciement spécial à Éloi Desjardins, MA

D’abord confinée aux limites de ce parc urbain, legs de Napoléon, la Biennale s’étend aujourd’hui sur la grande majorité des sestieri de la cité. panage architectural de la ville, l’édifice de style moderniste du Palazzo del Cinema reçoit chaque année les personnalités les plus en vue du septième art.

En plus des sites traditionnels associés à la Biennale, plusieurs palazzi et églises habituellement inaccessibles au grand public, accueillent diverses expositions inscrites à la programmation du festival dont le calendrier se prolonge désormais à l'année.

Il existe aussi à Venise, en dehors de la Biennale, plusieurs autres exemples de conversions d’édifices anciens qui contribuent derechef au rayonnement de l’art contemporain. On n’a qu’à songer au Musée Peggy Guggenheim logé dans le magnifique palais Venier dei Leoni sur le bord du Grand Canal qui contient l'une des plus belles collections d'art moderne d'Europe. On peut notamment y admirer des œuvres surréalistes ou

Enfant avec grenouille de Charles Ray

Palazzo del Cinema de la Mostra de Venise

Jusqu’au 24 novembre, 55e Esposizione Internazionale d’Arte La Biennale di Venezia Il Palazzo Enciclopedico, Giardini e Arsenale.

Horraire: 10-18, Fermé le lundì

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Venetian Splendours

Giovanni Antonio Canal, called Canaletto (1697–1768) The Bucintoro Returning to the Molo on Ascension Day 1760 Oil on canvas 58.3 x 101.8 cm Photo By Dulwich Picture Gallery Inv. DPG599

By Gabriel Riel-Salvatore

At Montreal’s Museum of Fine Arts Venice, in all its artistic splendours, will hold a very special place this fall at the Montreal Museum of Fine Arts (MMFA) thanks to an innovative interdisciplinary exhibition featuring approximately 120 paintings, prints and drawings, as well as historical instruments, musical manuscripts and texts by Venetian composers like Gabrieli, Monteverdi, Albinoni, Lotti and Vivaldi. Splendore a Venezia: Art and Music from the Renaissance to Baroque in the Serenissima paints a portrait of an extraordinary artistic and musical creativity that profoundly influenced visual arts and classical music genres across Europe from the 16th to the 18th centuries. Panoram Italia met with the Exhibition curator and Curator of Old Masters at the MMFA, Hilliard T. Goldfarb, to discuss this unique exhibit that features major works from Venetian painters such as Titian, Tintoretto, Bassano, Giovanni Battista and Domenico Tiepolo, Francesco Guardi, Bernardo Strozzi, Pietro Longhi and Canaletto.

Panoram Italia: How will the exhibition Splendore a Venezia portray the city of Venice?

Hilliard T. Goldfarb: The entire intention of the installation is to be evocative in presenting the major themes of the exhibition, ranging from the actual experience of walking through the city to the experience of entering an opera.

I tried to organize the exhibition so that the public will experience the show in an open-minded manner. Not bringing — although it is inescapable — their presuppositions, but rather finding the unique character of life in Venice in the period of its double golden age of music and visual arts at the same time as a period of gradual economic decline.

I want people to open themselves up to the experience of what it was to be Venetian in that period, which has certain aspects that are still compelling to our own experience and others that will seem quite remarkably distinct.

PI: So, this exhibition is geared both towards visual art and classical music aficionados?

HTG: Yes, it will definitely appeal to both audiences. For visual arts aficionados you have some magnificent works that include great masterpieces such as Titian’s Concerto interrotto (1507-08) coming from the Palatine Gallery in Florence. The art56

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works are focused upon the interrelationship between the visual arts and music.

Therefore, I wanted to give another dimension that impacted the selection of the artwork of course.

PI: Interestingly, the world’s first opera house (San Cassiano) was actually founded in Venice in 1637. Why did it set root in Venice and not in other Italian cities and pioneers of the genre such as Florence?

HTG: Because you had this remarkable number of musicians and composers, you had the financial means; Venice was a wealthy city. You already had a tradition of people willing to pay to attend musical performances and theatrical productions. In addition, you had patrons, such as the Grimani that actually owned the houses and hired “intendance” to operate them and were willing to take this financial risk. You also had a remarkable situation of licence and tolerance in Venice that allowed the publication of subjects that were not acceptable among court circles in other areas of Italy and elsewhere. The city was located where it could attract composers and musicians beyond Italy, from the northern European countries. And you could draw upon the talents that were already there earlier, forming in the context of the scuole of San Marco, and so on.

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VENEZIA Nine opera houses existed by the end of the 17th century in Venice. All created through public sales of tickets, they encouraged a shift from opera as it had previously been developing in courtly circles. Lyrical singable arias and dramatic theatrical productions were favoured to large choruses and troupes of dancers, and the entire direction of opera was, to a remarkable degree, influenced by these commercial innovations. This is when the divas began arising and getting remarkable salaries, because they were attracting clientele.

PI: How did Venice play a fundamental role in the diffusion of art and music in Europe?

HTG: In terms of diffusion of art in an international sense, you would have to think first in terms of music. The centre of music publication in Europe, for well over a century, was Venice, which created the first modern musical notation of movable type. Because these musical artworks were obviously published abroad, especially in the 18th century, music was a profoundly important industry financially for the city. Bach tremendously admired Vivaldi’s instrumental works, and in fact, plagiarized a couple for his own people’s concerti.

PI: If you could go back in time, which period would you choose between the 16th and the 18th century and which artist would you like to meet?

HTG: (laughs) Well, I am biased because I did my doctoral dissertation on the early career of Titian in Venetian culture in the first 20 years of the 16th century.

PI: So you have basically already met him?

HTG: I don’t believe in previous lives, so I have not physically met him. Presumably, we could not simply walk the street and meet these people even then. But, in that dream world, my heart is more in the 16th than in the 18th century. It is a period when everything is coming to its peak in art. One aspect is Monteverdi to Vivaldi, but you also have Willaert and Gabrieli. You have some remarkable music created in Venice in the 16th century as well. So, I would say the middle of the 16th century. Tintoretto would be painting in the scuola San Rocco. Veronese would be over at San Sebastiano.

Not to mention the palazzo Ducale and all that. I would miss Vecchio and Bellini, but I think I could survive that. Assuming I missed the plague.

PI: From the end of the 16th century to the 18th century, the Venetian school of art was one of the most fruitful in all of Italy. From Vittore Carpaccio, passing through the coloristi (Veronese, Giambatista Tiepolo, et al.) up to the vedutisti (Canaletto, Guardi, et al.), what has mainly distinguished the style of Venetian artists through time?

HTG: We can talk first about the location of the city and the variety of influences from both northern Europe and Italian painting. Moreover, geography played a profound role on the mode of vision – the actual palpable quality of vision – of Venetian painters and how they approached their artworks. Obviously, opulence was an important aspect of Venetian life in the early 16th century. There is tremendous appreciation of tactile substances, which is enhanced by the environment, the actual humidity of the air itself, which tends to refract forms through a palpable dense atmosphere that enriches the sensible experience of vision. That’s reflected in Venetian painting. Forms emerge and dissolve in light in a way they don’t in the crisp light, for example, of Tuscany, with its clear light to dark contrast, which highlights this emphasized contour in disegno as the Florentine admired it.

PI: Did the local culture, the Carnival for instance, also influence Venetian artists?

HTG: The carnival is probably one of the most important aspects to us in 21st century terms. In the 16th and 17th century, the carnival certainly existed, but the actual intense ceremony was limited to Mardi Gras.

By the 18th century, tourism became a much more important industry and the carnival expanded more and more. Because it was followed by lent, there was a concentration of the theatre season during the period of the carnival.

The exhibition clearly presents the cultural and popular life in Venice from the 16th to the 18th century, and thereby you can see transitions going on. Popular street comedy, masked balls and that sort of thing are mostly factors of 18th century life, even though you have images going back to the 16th century of charlatans and people wearing masks. The comedia dell’arte, which already was in decline in the 18th century when Giandomenico Tiepolo did his famous series of Pulcinella drawings, was still a living memory.

PI: Is the Republic’s decadence and rampant libertinism partly tied to Venice’s reputation as the European capital of hedonism?

HTG: I don’t know if rampant libertinism would have been an appropriate description of the life of most Venetians in the 18th century. The majority of Venetians did not visit the casinos. Yet, the tolerance in Venice towards all kinds of political and religious backgrounds and opinions and the fact that it was becoming a resort vacation centre became reflected in a less constrained social interaction. Courtesans had been part of Venetian life since the 17th century. There was a lot going on, but the average Venetians were not participating in the great majority of these activities. It tended to be more for visitors to Venice than the Venetians themselves, although some noble Venetians did participate in these activities, including sexual activities. Venice was always very tolerant of these sorts of things.

Giovanni Antonio Canal, called Canaletto (1697–1768) Interior of San Marco, Venice About 1760 oil on canvas 44.1 x 31.5 cm The Montreal Museum of Fine Arts Adaline Van Horne Bequest Inv. 1945.871

Splendore a Venezia: Art and Music from the Renaissance to Baroque in the Serenissima will be presented at the Montreal Museum of Fine Arts from October 12, 2013, to January 19, 2014. *Extensive associated programming includes a series of concerts with period instruments in the MMFA’s Bourgie Hall, as well as related activities throughout the city.

For more info visit: http://www.mbam.qc.ca/en/

F our W e a t h e r-S t ri p Wi n d o w Sys t e m

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VENEZIA

By Stephanie Grella

The Enduring Traditions of Venice Venetian streets are filled with historic mementos that are a testament to its status as one of Italy’s most remarkable cities.

Each artistic wonder and long-standing tradition comes with a story imbued with the triumph and passion that continue to entice tourists to this maritime republic.

Venetian masks

The Horses of St. Mark

The Winged Lion of Venice

“Man is least himself when he talks in his own person. Give him a mask and he will tell you the truth.” – Oscar Wilde.

From the thirteenth century until 1797, the tradition of Venetian masks reflected Wilde’s notion of concealed identity. During this period, the Veneto Republic upheld its reputation as one of the wealthiest regions in Italy. Venetian masks were luxuries that allowed citizens to choose their own identities, despite their social standings.

“When customers try on the masks, they feel different, and the mask quickly changes their character,” says Marta Tuscher, Venetian mask artist at Spirit of Venezia in Toronto. “That’s how it was in Medieval Venice: whatever mask people chose, they tried to embody that persona. It’s incredible how much of a lifestyle these masks created.”

However, with hidden identities came mischievous behaviour, including gambling and theft. Due to continuous criminality, the Venetian government eventually outlawed the wearing of masks. It wasn’t until the 1970s that a group of students revived the tradition in Venice, bringing back the mystery and excitement of Venetian masks.

Made of gilded copper, the Horses of St. Mark, also called the Quadriga, stand tall atop San Marco Basilica. Acquired by the Republic of Venice in 1204 after Western European armies ransacked Constantinople, the four life-sized horses are constant reminders of Venice’s global connections. “To me, the horses are both a symbol of Venice and of the violence of history,” says Pietro Giordan, Chair of the Department of Languages, Literature and Linguistics at York University. “Since Venice played the role of cultural bridge between Europe and the Middle East, the horses represent that kind of (close) otherness that played such an important role in the construction of Venetian culture.”

And part of this culture remains within the transient history of the Quadriga; the horses were taken to Paris from Venice under Napoleon’s reign, and then repatriated to Italy in 1815. From the First World War to the next, the horses were protected in various parts of Italy until they were permanently placed in the museum of San Marco Basilica for conservation.

Since 1977, replicas of the Quadriga have replaced the originals atop the Basilica.

The Winged Lion of Venice honours the city’s Patron Saint, Mark the Evangelist. Legend holds that Venetian merchants stole the body of the apostle Mark from Egypt, and on their return home, St. Mark himself appeared to the captain and saved the merchants from a vicious storm. In thanks for this miraculous rescue, the city bestowed St. Mark as Venice’s patron saint. An alternative legend tells of an angel who appeared in one of St. Mark’s dreams, indicating that one day, Venice would become his resting place. Despite contentious beliefs, the emblematic Winged Lion is a ubiquitous reminder of St. Mark’s role as protector of Venice.

Beyond o the legends ass iated with religion, there are also other societal and political motivations for the famous statue, according to Dr. Sarah Rolfe Prodan, Fellow at the Centre for Renaissance and Restoration at the University of Toronto. “The lion came to symbolize authority and the political ascendancy of Venice’s expanding dominion over the Italian mainland. By the fourteenth century, Venice had grown to be a powerful maritime republic.”

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Recommended Readings Venice: Art and Architecture Edited by Giandomenico Romanelli Published by Langenscheidt At just over 700 pages, divided in two volumes, Venice: Art and Architecture leaves no doubt about its commitment to capturing the artistic and architectural wonders of La Serenissima from the 13th to the 18th century.

Filled with hundreds of wonderful photographs from Piero Codato and Massimo Venchierutti, this superb book series is an essential reference to appreciate Venice’s many buildings and paintings from their various historical perspectives. Editor Giandomenico Romanelli, Director of the Correr Museum in Venice, does a remarkable job of bringing a unity to the books’ many images with comprehensive descriptions offering an inside view of Venice’s unique splendours. (RS)

Venice Is a Fish: A Sensual Guide

By Tiziano Scarpa Published by Gotham Far from traditional guidebooks, Tiziano Scarpa’s Venice is a Fish offers readers a quirky, charming and witty journey through the daily life of the author’s native city, daring us to lose ourselves, forget the travel guides, and experience Venice as Venetians do. Taking readers through tiny alleys, over bridges and city squares, Venice is a Fish provides no hotel ratings or museum hours. Instead, in a delightful initiation, Scarpa tells us how to balance while standing on a gondola; where lovers will find the best secret hiding places; the finer points of etiquette and navigation during an acqua alta; the rhythmic nature of Venetian dialect and how best to defend ourselves from the pitiless beauty of one of the world’s most stimulating cities. Reminiscent of Italo Calvino with a dash of Dante Alighieri and a sprinkling of Kurt Vonnegut, Scarpa, one of Italy’s brightest literary lights, allows readers to experience Venice off-the-beaten-track and through all the senses. (RS)

The Glassblower of Murano

By Marina Fiorato Published by St. Martin’s Griffin Alternating between 17th century and modern day Venice, The Glassblower of Murano paints a colourful picture of daily life for glassblowers at the height of the Venetian Republic, in addition to exposing some of the struggles that the glassblowing industry faces today Leonora Manin, a descendent of Venice’s greatest 17th century glassblower Corradino Manin, leaves an unhappy life in London to begin a new one as a glassblower in Venice. As she finds new life and love in her adoptive city, her fate becomes inextricably linked with that of her ancestor and the treacherous secrets of his life begin to come to light. The novel combines a good mix of mystery and historical context perfect for anyone looking for a literary escape to Venice. (SM)

A Thousand Days in Venice (Italian Memoirs)

By Marlena De Blasi Published by Ballantine Books Fernando first sees Marlena across the Piazza San Marco and falls in love from afar. When he sees her again in a Venice café a year later, he knows it is fate. He knows little English; she, a divorced American chef travelling through Italy, speaks only food-based Italian. Marlena thought she was done with romantic love, incapable of intimacy. Yet within months of their first meeting, she has quit her job, sold her house in St. Louis, kissed her two grown sons good-bye, and moved to Venice to marry “the stranger”, as she calls Fernando. This deliciously satisfying memoir is filled with the foods and flavours of Italy and peppered with culinary observations and recipes. But the main course here is an enchanting true story about a woman who falls in love with both a man and a city, and finally finds the home she didn’t even know she was missing. (GRS)

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ADVICE

WORDS FLY, WRITINGS REMAIN

By Pasquale Artuso, Attorney icola, the Purchaser, sues Carolina, the Vendor, for damages resulting from her failure to execute the deed of sale. Re-Minus Inc. sues Carolina for the commission of her agent Giuseppe pertaining to the sale of her property.The crux of the matter on both motions is whether a verbal agreement was entered into between Nicola and Carolina on March 30, 2010 to postpone the signing of the deed of sale in order for Carolina to provide Nicola with a copy of the insurance policy on her property and, if he was satisfied with the coverage, he would then sign

by April 15.Giuseppe gets a mandate to sell Carolina’s property and Nicola signs a promise to purchase for $5,000,000.00 which is accepted January 30, 2010. Following the inspection of the building, the offer is amended by Nicola on February 15 offering only $4,900,000.00. It is accepted by Carolina on February 17 “conditional to notarizing deed of sale by March 25, 2010.”

A further amendment is signed by the parties on February 19 which reads: “In reference to the Vendor’s request the Purchaser hereby agrees to notarize by no later than March 25, 2010 so long as mortgage financing assumption is approved

by Normal Life within the stated delay.”

The Purchaser’s notary Joseph Longshot asked to postpone the signing to March 30, as he was missing certain information from Normal Life to prepare the deed of sale. Carolina agreed. On March 29, a serious fire started on the top floor of the left side of the building and a second one reoccurred on March 30. All 90 tenants had to be evacuated.

Purchaser, nevertheless, asked Vendor to meet at the notary’s on the 30th as planned. Carolina attended with her husband Francesco, her father-in-law Giacinto, her brother-in-law Giorgio, and Giuseppe. Nicola attended with his father, his agent and Longshot. The deed was not signed. The property was sold to a third party two years later for $8,000,000.00.

During their testimony, they all agree, Giacinto started by stating: “We are here to sell.” Then the notary asked to speak to his client alone. They came back and the notary said he could not let his client buy the property as per the promise to purchase as it was not the same due to the fire.

Giacinto said: “Take the property and with the insurance you will have a new building.” Nicola responded that he would not sign without seeing the insurance policy. Francesco said: “We were insured 100%.”

Longshot testifies that he suggested that Carolina send a copy of the insurance policy and Nicola would examine it and, if satisfied with the coverage, he would sign the deed by April 15. Giuseppe testified that he then spoke privately with the Vendor and her family explaining, in Italian, the notary’s proposal and that they accepted it which they all deny.

Giacinto testified, he said: “They won’t sign, let’s go.” Giorgio testified that Giacinto had said Nicola would have the insurance and, that as they were leaving, he asked Giuseppe to write a letter stating the sale was null and void, which is denied by Giuseppe.

In this circumstance, the Court is faced with contradictory versions regarding the alleged agreement. Furthermore, the behavior of the parties as of March 31 tends to support the defendant’s version.

As of March 31, Carolina, through Francesco who was in charge of the property, hired a contractor and reconstruction started the following week.

Nicola, on the 31st, withdrew the $800,000.00 he had deposited with Longshot for the purchase. Also, Nicola had been in possession of the 11-page insurance certificate, which he and Giuseppe denied at trial, which detailed the coverage.

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However, Giuseppe, in his examination before plea in the motion by Re-Minus Inc. on April 21, 2011, page 15, line 23, admitted remitting it to Nicola with all the other documents for his due diligence.

Nicola also contradicted himself at the hearing when shown the first amendment to the promise to purchase of February 15 which stated that the deed had to be notarized by March 25, he stated he had never seen it or agreed to it. But when shown the second amendment which he signed on February 20, which incorporated that condition, he retracted and said: “I don’t remember.”

He also stated that nobody told him how much insurance there was, but he was in possession of the certificate and Francesco told him 100%. On a few occasions, he started by denying and then changing to “I don’t remember” when confronted with evidence to the contrary. Plaintiff has the burden of proof and, in view of all the contradictory evidence, the Court is not convinced that Carolina agreed to the proposal thus he has not discharged his burden of proof.

For these reasons, the court dismisses the plaintiff’s motions; the whole, with costs.

Moral of the case: always prepare a written document signed by the parties involved.

Me Pasquale Artuso represented Carolina.

Pasquale Artuso Avvocato di Fiducia Consolato Generale d’Italia

Elena Milioto Avvocatessa

Caroline Francoeur Avvocatessa

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MTL OCT-NOV 53-72_Layout 1 13-10-02 2:18 PM Page 61

ADVICE

The Family Trust A flavour of the times or an efficient financial planning tool? Is it the right option for me?

Avanti...insieme!

So what type of trust would best fit your financial planning needs?

There are a number of types of trusts corresponding to different needs and having different purposes.

For example in estate planning the most commonly used are the discretionary family trust, which is a living trust created by and for the members of the same family and the testamentary trust which is established via the last will and testament. Individual financial priorities and objectives will determine the best fit for you.

Trusts are very useful tax and estate planning tools for protection and bequeathing of assets. With expert advice, they could be the answer to your financial needs, no matter how simple or complex.*

Standing, from right: Jean-Philippe Savard, Nicole Mainville, Santo Benenati, Silvia Jimenez and Sabrina Alessandrini.

Front: Mariano A. De Carolis and Ermes De Dominicis.

Do these questions sound familiar to you? Well they do to us at the Caisse Populaire Desjardins Canadienne Italienne. More and more often our clients ask us these questions and seek informative answers.

The members of our Wealth Management team at the Caisse Populaire Desjardins Canadienne Italienne will be very happy to answer your questions, guide you in your decisions and work with financial experts to assist you in setting up your trust.

The Caisse Populaire Desjardins Canadienne Italienne offers a wide range of financial products and services that our advisors can tailor to meet your needs.

In today’s financial world where words like discretionary trust, non-discretionary, estate freeze, and capital gain exemption have become every day jargon, it still remains a difficult task for individuals to apply these concepts to their own personal situation, and understandably so. There are always a multitude of options, complexities and of course costs.

Give us a call and schedule a meeting with a member of our Wealth Management team.

So how do our Wealth Management Experts at the Caisse Populaire Desjardins Canadienne Italienne walk you through theses complexities?

Ermes De Dominicis Wealth Management Services Manager Mariano A. De Carolis General Manager

We begin with the basics: TRUSTS 101 As an active business person with a growing business, a real estate holder for yourself or with other family members/partners, or if you are at the stage where you are considering the transfer of assets to the next generation while still retaining income benefits and are concerned with preserving your hard earned capital, protecting your assets in the event of reversal of fortune, splitting income among family members, and/or avoiding high capital gains taxes on your estate, then the Family Trust may be an option for you and one worth considering.

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Our main concern is your financial success. *In the 2013 federal budget, the government announced plans to consult on measures to eliminate certain tax benefits for testamentary trusts and estates, including progressive tax rates. Our wealth management team can keep you abreast of any new developments

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ARTS & CULTURE

L’art d’apprécier les choses Le documentaire: Lucio, un trésor d’autrefois Par Aïcha Cissé

Il collectionne des trésors, restaure des souvenirs précieux et les vend à une clientèle à l’affut d’objets anciens et à une génération qui raffole du « vintage ». Alliant culture et commerce, l'antiquaire-brocanteur représente un pont entre le passé et le présent. Il arpente les lieux d’échange d’œuvres, l’œil aguerri pour dénicher la perle rare.

Mais c’est un trésor d’une tout autre nature que le jeune cinéaste Rocco Simone a trouvé en rentrant par hasard dans le magasin de Lucio Visconti lors d’une promenade sur la rue Saint-Denis: un sujet pour son premier film-documentaire, Lucio, un trésor d’autrefois. ’est avant tout une histoire de passion et de résistance au changement qu’incarne Lucio, un ancien professeur de français et d’italien à la retraite recyclé dans la vente d'antiquités et d’objets de seconde main. Ce penchant et cette sensibilité pour les choses du passé ont tout de suite intrigués Rocco lorsqu’il rencontra Lucio pour la première fois, en 2008.

En s’attardant sur un vieux cadre posé derrière la vitrine du magasin d’antiquités Les Trésors d’autrefois, Rocco ne se doutait pas de la suite des choses. « Je suis entré dans la boutique et j’ai tout de suite été surpris par l’endroit. Tout était désordonné, on aurait dit un tableau de Picasso. J’ai repéré Lucio, assis, en train de réparer une table avec tant de soin et d’attention qu’il m’a aussitôt fasciné. » Lors de la discussion animée qui s’ensuivit, Rocco et Lucio ont rapidement découvert qu’outre leurs origines italiennes, ils partageaient de nombreux points en commun, notamment un amour pour la langue française, une carrière dans l’enseignement et une passion pour les vieux objets.

Originaire du Molise, Lucio immigra à Montréal dans les années 1960s. Après 33 ans d’enseignement primaire, il se réoriente dans la vente d'antiquités afin de combler son « intérêt de collectionneur et son attrait pour les objets rétros ». Né dans la métropole de parents d’origine italienne, Rocco enseigne quant à lui la musique à l’école East Hill dans l’arrondissement Rivière-des-Prairies. Mue par une passion profonde pour le cinéma, il avoue avoir été inspiré par le parcours et le choix de vie de Lucio. Car mener à terme son projet n’a pas été une tâche facile pour le jeune professeur qui n’avait alors aucune expérience comme réalisateur.

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« En tant qu’antiquaire, Lucio n’a pas eu peur d’essayer de nouvelles choses. Un jour il était menuisier, le lendemain bricoleur. Il n’hésitait pas à prendre des risques. Ça m’a incité à en faire de même. C’est comme ça que le projet a débuté, » révèle Rocco qui s’est alors plongé dans l’univers de Lucio pendant un an, retraçant le quotidien pas toujours rose de ce brocanteur dilettante, jusqu’à la fermeture de son magasin en 2010.

Ce qui marque le plus la clientèle diversifiée de la brocante n’est pas les trouvailles, mais le lien d’amitié qui se crée automatiquement avec le charismatique Lucio. Des prix dérisoires aux livraisons gratuites en passant par les petits cadeaux pour les clients, il est évident que pour le commerçant, tout n’est pas qu’une question de vente et de profit. À l’instar du documentaire Roger Toupin, épicier variété de Benoît Pilon, Rocco nous fait découvrir le petit monde de Lucio et de sa perruche Chippie, entassés parmi les piles d’objets bigarrés, à la merci du temps qui passe et des clients toujours plus rares.

C’est ainsi, dans cette société du prêt à jeter, où restaurer fait presque figure d’anachronisme, qu’on découvre la philosophie de ce personnage coloré qui dépasse la simple idée de vendre à tout prix. « Je voulais transmettre des valeurs fondamentales en discutant avec mes clients pour m’assurer qu’ils valorisaient leurs achats.

De nos jours, beaucoup de personnes achètent pour acheter, sans prendre le temps de vraiment apprécier les choses. Par exemple, la table des années 50 n’est pas juste un vieux meuble, c’est une part de l’histoire. C’est pour ça que j’aime discuter avec mes clients et apprendre à les connaitre» explique le brocanteur. Témoin de cette simplicité, Rocco nous fait partager à travers ses images ces tranches de vie empreintes d’espoir et de nostalgie. « Les gens vont dépenser une fortune pour se procurer des objets rares, parfois à des prix exorbitants. Je trouvais ça un peu paradoxal, parce que sur une rue comme Saint-Denis, se trouvait un magasin qui offrait cette rare expérience pour presque rien.

Et je voyais les gens le dépasser, sans y prêter attention. La brocante de Lucio était comme un pont entre deux mondes, » explique Rocco.

Bien que son magasin ait fermé ses portes, Lucio continue d’exercer son métier et de vivre pleinement sa passion au Bazar St-Michel. Mais au-delà des regrets, Lucio peut s’avouer chanceux d’avoir trouvé une chose plus précieuse encore que ses trésors d’autrefois : un ami. Que pense-t-il du film ? « Je suis très content que Rocco m’ait immortalisé à sa façon ».

La première du film Lucio, un trésor d’autrefois, sera présentée au Centre Léonard de Vinci le mercredi 13 novembre, 2013 à 19h.

Urgel Bourgie / Athos vi invita alla

Festa di Ognissanti 27 OTTOBRE 2013 LE NOSTRE CERIMONIE

Jardin Urgel Bourgie Montréal

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3955, Côte-de-Liesse, Ville Saint-Laurent 14 h bilingue: francese e inglese

2500, avenue des Perron, Auteuil, Laval 13 h francese | 14 h inglese

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Le nostre cerimonie includono un rinfresco e sono celebrate con un accompagnamento musicale.

514 735-2025 | 24/7 www.urgelbourgie.com 62

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ARTS & CULTURE

Steve Galluccio and the St. Leonard Chronicles

By Anthony S. Calabrese and Diana Skaya

Screenwriter and playwright Steve Galluccio’s latest play entitled The St. Leonard Chronicles is a comedy about an Italian-Canadian couple who decide to move from their duplex in St. Leonard to a home in Beaconsfield, much to the dismay of their loved ones. The news about the couple’s move ignites turmoil within the family, which exposes unexpressed yearnings and builds tension to a hilarious conclusion. he play was inspired by Galluccio’s love of New York’s Broadway plays, which interestingly enough dictated his creation. “I wanted to write a one act play just like some of the recent plays I saw on Broadway. So, the format rather than the idea spawned Chronicles.”

The story takes place in one of Montreal’s East End Italian communities, St. Leonard, and the decision to use the borough as the play’s setting is no coincidence. “I know St. Leonard really well. I have family and friends who live there but more importantly, it has been a haven for Italian immigrants since the 50s. I also recently found out that St. Leonard was supposed to be called Il Giardino d’Italia during the 60s and 70s because there were so many Italians immigrating to that borough during that particular time.”

Galluccio has always had success writing about Italian-Canadians and Italian culture with a string of hits like Surviving My Mother, Mambo Italiano and In Piazza San Domenico. However, the secret to his success lies in how relevant his stories and characters are to a widespread audience. “I try to be honest with my work by creating characters that are relatable and human and the audience appreciates it.”

It’s important for Galluccio to go back to his roots by writing about his culture.

In many ways, The St. Leonard Chronicles appears to echo the trials and tribulations of Italian-Canadian family life in a comical fashion. “I like to explore patterns in the community that repeat themselves through my writing. Although I respect tradition,

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it can sometimes impede people from reaching their true potential. Tradition can limit one’s professional goals or personal life and I’m not sure that will ever go away.

However, tradition can help you strengthen your moral values and give you a sense of pride. It’s a complex world and it’s a complex community and I’ve always tried to figure out where I fit in.”

Over the years Galluccio had many obstacles to overcome. The writing business in Montreal is granted to those who are the most persistent and that’s one quality he’s learned to refine. He’s not fazed by the negative aspects of showbiz. He’s not afraid of being turned down by producers because he knows it’s the nature of the business. “I’ve sold material that hasn’t been made but you can’t live life in frustration. You have to have a fighter’s instinct. If you don’t, you’re never going to succeed. Not in a million years.”

One can’t deny that Galluccio is one of Montreal’s top stage writers and the secret to his success lies in his ability to be true to himself. “I don’t know how to measure success. With age you grow into yourself. Things that were important to me two years ago are not important now. Whenever I write something, it’s not a guarantee that it will sell or get made. I’ve never done anything that I thought would potentially sell. I just write what I believe in and it works for me!”

The St. Leonard Chronicles runs until November 3rd at Old Montreal’s Centaur Theatre.

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EVENTS

Vivere la Dolce Vita!

Montreal’s Italian Week celebrates 20 years

By Alexandro Loffredi

From August 9 to 18, Montreal’s Italian Week transformed the city into a piazza of colours, culture, and entertainment. From Rivière-des-Prairies to Notre-Dame-de-Grâce, Lasalle to St-Leonard, the festival celebrated the essence of being Italian. he final weekend in Little Italy set the stage for what is being called the best edition of Montreal’s Italian Week! Produced by the National Congress of ItalianCanadians (Quebec region), the event has grown tremendously over the past years with over 500,000 festival-goers annually.

This year, the event highlighted the Emilia Romagna region, particularly renowned filmmaker Federico Fellini, and the 200th birthday of the great Maestro, Giuseppe Verdi. Exceeding even the organizers’ expectations, the Fellini film festival attracted nearly 1,000 spectators at the Casa d’Italia and the Leonardo da Vinci Centre.

Local celebrities were among the masses to judge the sfogliatelle contest, including “In the Kitchen” host Stefano Faita, Top Chef Canada runner-up Danny Smiles, YouTube sensation Nonna Maria, and local media personalities. Hosted by comedian,

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Franco Taddeo, the sfogliatelle contest featured some of the best pastry shops in the city, but only one came out victorious; Pâtisserie Montebello (3322, rue Fleury Est) claimed the prize by a narrow margin.

The Loto-Québec stage hosted an array of acts, including a performance by Montreal’s own Misstress Barbara, an internationally renowned DJ who delivered an energetic show that had hundreds of people dancing. Star of the electronic music scene, Misstress Barbara has performed in some of the world’s most popular clubs while touring worldwide for more than 16 years.

The Moda Sotto le Stelle fashion show exemplified Italian fashion at its best, combining the edge of Lady Dutch, Maska, and Imperial with the sophistication of Signor Terry, Rinascimento, Lauro&Co, and Maria Arciero. GL Touch Coiffure added the finishing touches with trendy hair and make-up, while DJ Fabio Russo kept the crowd grooving to his fusion of old school, modern hits and Italian dance mixes.

The opera “La Traviata” marked the grand finale to a memorable 20th edition.

Featuring the astounding voices of Antonio Figueroa and Raphaëlle Paquette, under the direction of Italian maestro Gianluca Martinenghi, the opera was a great homage to Verdi’s celebrated masterpiece. A final triumph for Montreal's Italian Week!

After several months of hard work and dedication, the festival was a great success. Under the guidance of Director General Ms. Josie Verrillo, the team at Montreal's Italian Week was able to deliver a brilliant festival of unparalleled quality.

The staff was determined, volunteers were enthusiastic, and sponsors truly committed to the Italian community.

With a record number of people in attendance, the standard has been set for 2014. We greatly anticipate what next year will bring!

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EVENTS

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Built in limited numbers, the 2007 Alfa Romeo 8C signals the new styling theme as seen on the soon to be launched Alfa 4C. In the background, the compact Alfa MiTo. Photo by Alain Raymond

Forza

By Alain Raymond

“Every time I see an Alfa Romeo pass by, I raise my hat,” Henry Ford once said. A century later, the cars from Milan still garner passion and enthusiasm. ecades before Maserati and Ferrari and half a century before Lamborghini, there was Alfa Romeo. The Socièta Anonima Lombarda Fabbrica Automobili was founded in Milan in 1910. The company traces its origins to the Socièta Anonima Italiana Darracq, a subsidiary of the French Darracq company. In 1909 Darracq went bankrupt and its assets were taken over by a group of investors. Dropping the word Socièta, the company became known as Anonima Lombarda Fabbrica Automobili, ALFA. The first Alfas were large and powerful and the company immediately went into racing and introduced its first Grand Prix car in 1914.

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Nicola Romeo One year later, a daring industrialist by the name of Nicola Romeo gobbled up Alfa’s assets following its bankruptcy and changed the company’s name to Alfa Romeo.

The new patrone knew that racing would not only “improve the breed” but also serve as a formidable publicity tool. Hiring the best available engineers and drivers, Alfa Romeo met resounding racing success stretching from 1920 to 1940. The first Alfa contender was the 6C 1750 Gran Sport (1930) powered by a 6-cylinder engine designed by the brilliant Vittorio Jano. It was followed by another classic, the 8C 2300 Spider (1931), which boasted an in-line 8-cylinder coupled to a supercharger.

The road-going car gave birth to a series of Grand Prix racing cars that dominated the European scene in the mid-thirties, winning the formidable 24 Hours of Le Mans from 1931 to 1934.

Lovely Giulietta In the years immediately following World War II, European companies struggled to get back into production. Alfa Romeo introduced the 1900 range of cars that helped ease financial problems and led the way to ‘Project 750,’ an entirely new small car. At the heart of this effort was the all-new 1300 cc engine with aluminium block, head 68

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SPORTS

Classic Alfa Romeo interior from the 1960s.

Photo by Jason Dodd, Courtesy of RM Auctions

Alfa Romeo! and crankcase. This modern and beautifully designed engine found a home in a fourdoor sedan and a two-door coupé, both named Giulietta, a reference to Shakespeare’s Juliet and a fitting ‘companion’ for Romeo. Launched in 1954, the Giulietta Sprint, a two-door coupé penned by Bertone, was a runaway success. The next spring, the fourdoor sedan joined the Sprint, followed in 1956 by the Giulietta Spider. Great looks, affordability, good handling and a superb engine ensured Giulietta’s success, with the Spider making great inroads in America, notably in sunny California.

In the early sixties, the beloved Giulietta gave way to a more potent successor, the Giulia, powered by a 1600 cc version of the original engine. The topless version first called Duetto then Spider was made famous in the 1967 film The Graduate with a young Dustin Hoffman. In a recent contest chaired by the world’s top five designers, the Duetto was selected as the most beautiful convertible of all times, a fitting recognition of Pininfarina’s design maestra. The Spider remained in production for nearly three decades with minor mechanical and cosmetic changes.

Declining fortunes By the 1970s, struggling Alfa Romeo started seeking a new partner. Several suitors showed up, including Nissan and Ford, but Fiat eventually won the day, merging Alfa Romeo and its rival Lancia in 1986 to form Fiat's Alfa Lancia Industriale S.p.A. Models produced in the 1990s combined Alfa's traditional virtues, but the initial Alfa ‘soul’ seemed lacking in several models. Competing against German- made sports sedans, Alfa lost ground and the removal of the brand from North America in 1995 did nothing to improve the situation.

Renaissance at last?

Today, Alfa Romeo is struggling again with few models in its lineup. Alfistis have been promised a return to North America for the past three years. The new Alfa Romeo 4C is expected to land here before the end of 2013… maybe. Will the striking 4C signal a revival of the House of Milan? We certainly hope so. In the meantime, here’s a word of advice to all Alfa Romeo owners: keep the faith, keep your cars in tip-top shape and running and keep them as original as possible so as to safeguard this historic brand for future generations.

The future of Alfa Romeo? The stunning 4C is hotly awaited by Alfistis worldwide.

Photo by Alfa Romeo

PA N O R A M I TA L I A . C O M

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