MARMOLADA South face by Versante Sud srl

MAURIZIO GIORDANI

MARMOLADA South face

EDIZIONI VERSANTE SUD | COLLANA LUOGHI VERTICALI | CLIMBING

First edition. July 2008 Second edition. Juny 2017 ISBN 978-88-85475-02-1 Copyright © 2017 VERSANTE SUD S.r.l. Milano via Longhi, 10, tel. 027490163 www.versantesud.it All rights reserved world wide. No part of this book can be translated, electronically copied, reproduced, adapted partially or totally by any means.

Cover

Hansjörg Auer on Bruderliebe (© Damiano Levati)

Text

Maurizio Giordani (info@gmountain.it)

Photos

Maurizio Giordani where not otherwise stated

Translation

Alexandra Ercolani

Editing and Layout

Bruno Quaresima

Printing Tipolitografia Pagani (BS) Acknowledgments This guide book is the result of in-depth research on the part of the author who also took advantage of the help and collaboration of many people, without whose assistance the end product would have been very different. To those people goes a special thank you which embraces friendship, affection and gratitude. For the collection of reports, data,

Note Climbing is a potentially dangerous sport in which participation is entirely at your own risk. All the information in this guide has been updated based upon information at the time of publication, however it is vital to evaluate every situation yourself before placing yourself in a life threatening situation or to seek the advice of experienced and qualified individuals.

names, times and difficulties, my sources were the books on the ascents of the Rifugio Falier but the basis of all the work can also be found in my previous publications, 'Parete d'Argento' and 'Parete Sud', from where I started off and then carried on. Thanks also to anybody who would like to point out any possible omissions or inaccuracies.

Maurizio Giordani

MARMOLADA SOUTH FACE

EDIZIONI VERSANTE SUD

PREFACE

During my thirty three years of climbing on the Marmolada, three climbing guides have come to light in the world of alpinism. In the first by Heinz Mariacher in 1983 the original sketch of our “Via attraverso il pesce“ appeared, an ascent which has always tied me to the splendid pearl of the Dolomites, the south face of the Marmolada. The second guide came out in 1987, when the greatest number of new routes was opened on the south face. This time the author was Maurizio Giordani. I have always attached great importance to climbing guides because the information they contain is indispensable to climbers deciding to repeat already existing routes, but also for those who are looking for the last corners to

explore on the rock faces. Opening a new route, every responsible climber seeks out the most information possible of the rock faces and the routes on it, in order to trace a new line which is sensible and logical in resolving a problem but at the same time not ruining the possibilities for the next generation of climbers. Because every period has its “problems to overcome“, but the “last problems“ are never really the last. For this reason, when I was achieving my climbing projects, I often brought with me the best photograph of the wall I had, where, after studying the nearby routes in detail, I drew the new line which I intended climbing. The third guide, again by Maurizio Giordani, the greatest expert of the south face of the Marmolada, is based exactly on this principle and that is to take high quality photographs of the wall on which the lines of ascent are carefully drawn. I wish all those who fulfill their vertical dreams, with this guide book in their back pack to always find the right route and return safe and sound from the rocky world to “terra firma“, not forgetting the people who, living at the foot of the Marmolada, give us the possibility of spending happy days on our (and their) mountains. Igor Koller

INTRODUCTION BY THE AUTHOR In 1986, after a few intense seasons of total immersion in the vertical world of the South face, I decided to transfer what experience I had gained on to the pages of a climbing guide book: a brief collection of itineraries which could be useful to whoever wanted to climb Marmolada's face and needed fairly precise information in order to be able to make an informed choice on an itinerary. Before my guide book was published by Edizioni Mediterranee in 1986, there were few books available supplying information: there was the 1979 Bepi Pellegrinon guide, following on from Ettore Castiglioni’s in 1937, both well prepared but certainly out of date and incomplete. Then there was an excellent publication in German by Heinz Mariacher who carried out accurate research and preparation for a pocket sized edition, edited by Rother and published in 1983. It was one of the best guides written but did not solve any problems for those without a knowledge of German and considering also the continuous activity of opening new routes on the South face, it soon became incomplete. At that time not one single book existed which spoke in depth of climbing on the Marmolada or of its history; not one in the whole of Italian literature. So this was an ambitious and demanding project, to reach a similar objective, especially for me, completely unaccustomed to putting pen to paper. The idea was shared with Toni Cembran, a journalist friend from the Trentino region and also passionate about the Dolomites. Conceived at the bottom of the Militi rock face, near Bardonecchia, during the first climbing competitions which I took part in, more out of curiosity than for the true spirit of competition, the book materialised little by little over the following months. It was a real job consisting of historical research and when all our information was transferred on to paper, together with numerous photographs, “Sogno di pietra” was ready and came out in the bookshops under the editorship of Reverdito in 1986. Shortly after, my pocket sized guide book,

“Marmolada - parete d’argento” was also available in bookshops. To write a guide book is relatively easy; to do it well is extremely different. In fact it needs to be precise, complete and understandable and this brings some difficult choices. The only way to guarantee precision and objectivity is to repeat most of the routes making notes pitch after pitch. In this way mistakes are avoided which are bound to happen when you sit around a table and try to reconstruct from memory an itinerary which is 30 pitches long; besides, with direct experience it is easier to be objective in evaluating the difficulty. Mistakes will always be made but this is a good way of reducing them. Then there is the problem of comprehension and for this I chose technical sketches. When drawing an itinerary, if carefully done and backed up with the appropriate symbol and alongside a clear and detailed photograph, few explanatory words are necessary and it is certainly more understandable than a three page written report. I further simplified things by turning my attention to an in-depth examination of the only main face, the South, instead of the entire, much vaster, group. 2006 arrives. Another 20 years have passed, 80 routes have been added to the hundred or so contained in my first guide. Alpinism has not stopped; it has not given in to the fear of more limited spaces, of possibilities no longer available. The alpinist has exhausted neither his motivation nor his enthusiasm, nor imagination and has explored further, to express oneself, to play, fight, rejoice, maybe even to understand … That is why the need to renew this book occurred, with renewed and updated information, more precise thanks to new technologies which offer innovative graphical techniques, photographs with resolutions which were unthinkable before and computers which are quicker and more efficient. The Versante sud series “Luoghi Verticali” presents “Marmolada – parete sud”.

From a pocket sized, this book has become more voluminous, not as essential with extra words beyond what is necessary because rock is not only rock, walls not only walls. This is where emotions lie, states of mind, experiences worth recounting and being read. Precisely, to understand better. Finally we come to today…to the beginning of summer 2017. More or less forty years have gone by since I touched the rock of Marmolada for the first time, and to be honest, I am a bit surprised at how I am still so enthusiastic and such a dreamer as never before, when looking at a photo of the wall while I add and correct routes in front of the computer, still captivated by projects of new adventures, as if not even a fraction of all this time has passed. Maybe I haven’t aged much, at least not in my passion …even if today’s aches and pains are different from yesterday’s and the mirror and date of birth bring me back to a reality I would like to forget. A lot has changed on the South face, but this was already happening before…the world is in constant movement, it is dynamic and one has to be ready to accept whatever is new. That is why I also left space for words not written by me; I added stories, impressions, the thoughts of others who have spent their energy on Marmolada, and have left their trace. This can help understand why a route on the face is inextricably linked to the person who came up with the idea and then achieved it, and across the rock it is possible to read a lot, if one is able to interpret it. Even the description method has changed. I don’t like it when an excess of information, as well as creating confusion, trivializes the experience, making it prepackaged, therefore I have chosen not to go into great depth with the info…The route one wishes to climb is clearly highlighted on a high resolution photo, on which it is possible to notice every detail, especially if enlarged on a smartphone, as they do nowadays (best to take with you a photo than a heavy guide book), but I have removed the sketch, only leaving indications and essential data that helps to avoid errors on the route or of its evaluation. Grades given when opening the route, for obvious reasons are often not very precise, when they are stated (nowadays there is a tendency to "forget" its importance) they are shown in

the route's written description while along the itinerary all the difficulties found while repeating the route are highlighted, these are more reliable. A few of the most recent routes intersect existing routes various times. The hope is that such arrogance is repeated only in isolated cases and that never again in the future will the culture of respect be forgotten! It is true that free space for new ascents are and will be rare but this does not prevent the action, even if limited, of those who wish to leave their important mark on what is the big book of the South face’s history. The recipe, after all, is simple, it has already been written in the past. Avoiding the high difficulties which then force to place endless amounts of bolts on the rock face, but instead use less, less will allow true abilities to emerge and put into effect true masterpieces. Maurizio Giordani

MAURIZIO GIORDANI Has been an alpinist since 1979 and his experience ranges from high difficulties on rock and ice faces in the Dolomites and the Alps, to the elevated altitudes of the Himalayas with thousands of ascents often beyond 6th grade, as well as hundreds of new routes, dozens of winter ascents and solo ascents, most of them on extreme difficulties. A Mountain Guide, a passionate traveller, he boasts an activity of over 80 expeditions all over the world he has climbed to altitudes on Broad Peak, Gasherbrum III, Cho Oyu, Manaslu and Nanga Parbat, but he has also climbed other difficult mountains on rock and ice, from the peaks of Patagonia (Cerro Torre, Fitz Roy, Cerro Pier Giorgio, etc). to the walls of Mount Kenya, Aconcagua, Muztagh Alta, Golden Peak (Spantik), Trango Towers, Uli biaho Towers, Kedamath Peak, Baruntse II, Ama Dablam, Mount Cook, Ararat, Damavand, Huascaran, Pico de Orizaba, Elbrus, Kilimanjaro,

etc etc from Karakorum to the Andean Cordillera, to America to Africa to Asia. He has published three books on Marmolada: a book on the history of its alpinism, “Sogno di Pietra”, and two guide books on the routes of the South Face, published by Edizioni Mediterranee and Versante Sud. “Appigli sufggenti”, for Alpine studio is his most recent editorial piece of work in which a hundred or so narrations/anecdotes are collected…a complete biography. A great success is the trilogy of extreme solo ascents such as the first free solo of “Tempi Moderni”, the first winter solo ascent of “Supermatita” and the first solo ascent of the route ”via attraverso il pesce”. Marmolada’s south face is “his” wall with over 50 routes among the most beautiful and difficult ever.

INDEX OF ROUTES 1 - SERÀUTA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 038

1 POLVERE D'ORO NEGLI OCCHI . . . . . . . . . . . . . . 043 2 EAST RIDGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 043 3 MISURA PRECISA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 044 4 SUPER CAMINO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 044 5 INCOMPIUTA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 046 6 DIAGONALE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 048 7 JOINT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .048 8 VIA DELLE ZURLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 048 9 VETTORI VARIANTS . . . . . . . . . . . . . . . . . . . . . . . . . . 049 10 DIRETTISSIMA BEE . . . . . . . . . . . . . . . . . . . . . . . . . . 049 11 EZIO POLO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 050 12 DIRECT VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 052 13 SEPPE CONSE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 052 14 SALVANEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 053 15 FAFIFURNIO VARIANT . . . . . . . . . . . . . . . . . . . . . . . . 053 16 6 PILASTRI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 056 17 PIACEVOLISSIMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . 056 18 SANDRO PERTINI . . . . . . . . . . . . . . . . . . . . . . . . . . . . 060 19 MARIA ASSUNTA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 062 20 GIORDANI VARIANTS . . . . . . . . . . . . . . . . . . . . . . . 063 21 ATTEMPT MABBONI . . . . . . . . . . . . . . . . . . . . . . . . 066 22 SCACCIADIAVOLI . . . . . . . . . . . . . . . . . . . . . . . . . . . . 066 23 TRE CHIODI E QUATTRO ROSE . . . . . . . . . . . . 070 24 PISONI CASTIGLIONI . . . . . . . . . . . . . . . . . . . . . . . 070 25 OPUS POCUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 071 26 CANALONE DELLA S’CESORA . . . . . . . . . . . . . . 073 27 FUGGI FUGGI VARIANT . . . . . . . . . . . . . . . . . . . . . . . 073 28 METEORA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 075 29 STELLA COMETA . . . . . . . . . . . . . . . . . . . . . . . . . . . . 078 30 SPEEDY GONZALES . . . . . . . . . . . . . . . . . . . . . . . . . 078 31 DE DONA’ PAGANI . . . . . . . . . . . . . . . . . . . . . . . . . . . 080 32 CANALONE DI FORCELLA A V . . . . . . . . . . . . . 080

2 - OMBRETTA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 082

33 EGGER - GIUDICI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 087 34 PLACCA DEL BEPPE . . . . . . . . . . . . . . . . . . . . . . . . . 089 35 MABBONI VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . 089 36 ZULUM BABALÙ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 092 37 VIA DEI FRATELLI . . . . . . . . . . . . . . . . . . . . . . . . . . . . 093 38 HALLIGATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 094 39 VOGELWILD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 094 40 PROGETTO TESEO . . . . . . . . . . . . . . . . . . . . . . . . . 095 41 GROSSO CAMINO . . . . . . . . . . . . . . . . . . . . . . . . . . . 096 42 TOHUWABOHU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 096 43 STARTING VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . 097 44 BRUDERLIEBE - AMORE FRATERNO . . . . . . 098 45 VENERA VINUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

46 QUARANTA ANNI PER IL FALIER . . . . . . . . . . . 104 47 ENOLA GAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 48 AFRICA’S TIME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 49 ALI’ BABA’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 50 GRANDE TRAVERSO . . . . . . . . . . . . . . . . . . . . . . . . . . 114 51 KOKOTLER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 52 ELFENBEIN-PFEILER - PILASTRO D’AVORIO . . 115 53 SAVANA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 54 PROJECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 55 STEPS ACROSS THE BORDERS/SENKRECHT INS TAO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 56 FILO D’ARIANNA VARIANT . . . . . . . . . . . . . . . . . . . . 118 57 INVISIBILIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 58 SPECCHIO DI SARA . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 59 COITUS INTERRUPTUS . . . . . . . . . . . . . . . . . . . . . . 125 60 MINOTAURO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 61 SUL FILO DELLE APPARENZE . . . . . . . . . . . . . . . 128 62 EXCALIBUR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 63 SLOVAKIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 64 DULCINEA DEL TOBOSO . . . . . . . . . . . . . . . . . . . 132 65 PILASTRO ULI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 66 HATSCHI BRATSCHI . . . . . . . . . . . . . . . . . . . . . . . . . 134 67 HERZYK VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 68 AMORE - CIATO VARIANT . . . . . . . . . . . . . . . . . . . 136 69 EXIT VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 70 BARBIER - DAL BIANCO . . . . . . . . . . . . . . . . . . . . . . 137 71 GOLDMUND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 72 PILASTRO UPO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 73 MERCANTI DI SOGNI . . . . . . . . . . . . . . . . . . . . . . . . . 142 74 PISONI - CASTIGLIONI . . . . . . . . . . . . . . . . . . . . . . . 142 75 GIORDANI VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . . 143 76 ASPETTANDO L’ARRIVO DELLA PIOGGIA . 146 77 PLACCHEGGIANDO . . . . . . . . . . . . . . . . . . . . . . . . . . 146 78 VITA NEL CAMINO . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 79 LA MANCHA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 80 SANCHO PANSA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 81 EXIT VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 82 SCHWALBISTIGLIONI . . . . . . . . . . . . . . . . . . . . . . . 148 83 RE AZUL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 84 VIA DEI PICCIONI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 85 SCHWALBENSCHWANZ - CODA DI RONDINE . 150 86 GATTO DI MARMO VARIANT . . . . . . . . . . . . . . . . . 151 87 RIGHT VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 88 LEFT VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 89 JOINING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 90 COCO JAMBO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 91 DON QUIXOTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 92 STARTING VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . . 162

93 PILLAR VARIANTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 94 MINIPROGETTO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 95 LA MAMMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 96 MOBY DICK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 97 CONFORTO - BERTOLDI . . . . . . . . . . . . . . . . . . . . 167 98 PHILIPP - HENGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 99 EDITA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 100 ANDROMEDA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 101 STARTING VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . 173 102 VIA DI BERTAGNE . . . . . . . . . . . . . . . . . . . . . . . . . . . 176 103 IRREALE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176 104 STARTING VARIANT . . . . . . . . . . . . . . . . . . . . . . . . 177 105 VIA ATTRAVERSO IL PESCE . . . . . . . . . . . . . . . . 180 106 ITALIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 107 FRAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 108 END OF MISTERY . . . . . . . . . . . . . . . . . . . . . . . . . . . .187 109 AUSTRIA VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . . 187 110 FORTUNA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 111 FANTASIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 112 ILLEGALE/DER WEG IM LEBEN ZWEIER . . . 202 TAUGENICHTSE 113 IDEALE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 114 VARIANTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 115 MÜNCHHAUSEN VARIANT . . . . . . . . . . . . . . . . . 206 116 MESSNER EXIT VARIANT . . . . . . . . . . . . . . . . . . 206 117 MARIACHER EXIT VARIANT . . . . . . . . . . . . . . . . 206 118 COLPO DI CODA . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 119 ABRAKADABRA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 120 SIM SALA BIM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

3 - PUNTA ROCCA . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

121 GRAN DIEDRO MARTINI . . . . . . . . . . . . . . . . . . . . . 224 122 POLISH VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 123 PIACEVOLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 124 MOIRA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226 125 ALIEN-ZA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226 126 CANNA D’ORGANO . . . . . . . . . . . . . . . . . . . . . . . . . 227 127 FISCHIO VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 128 RIGHT VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 129 JOINING VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . . 229 130 ESTASI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 131 CATTEDRALE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 132 VINATZER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 133 FRANZ E PETER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 134 MEDUSA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240 135 VARIANTE STENICO . . . . . . . . . . . . . . . . . . . . . . . . . 242 136 VARIANTE LIVANOS . . . . . . . . . . . . . . . . . . . . . . . . 242 137 DIRETTA MESSNER . . . . . . . . . . . . . . . . . . . . . . . . . . 243 138 GIORDANI VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . 243 139 OLIMPO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 140 ATHENA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 141 MAZZOTTI VARIANT . . . . . . . . . . . . . . . . . . . . . . . . 245 142 ARCHIMEDE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

143 ULTIMA FOGLIA GIALLA D’AUTUNNO . . . . 250 144 VIA DEL SECOLO . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 145 AMICO FEO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 146 TEMPO ATOMICO . . . . . . . . . . . . . . . . . . . . . . . . . . 253 147 MODERNE ZEITEN - TEMPI MODERNI . . . . 256 148 EXTREM VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 149 FUTURA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262 150 CINQUANTENARIO FISI . . . . . . . . . . . . . . . . . . . . 265 151 PLACCHE VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . . 266 152 HARLEKIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 153 ROVERETO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

4 - PUNTA PENÌA . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

154 VIA DEI SUDTIROLESI . . . . . . . . . . . . . . . . . . . . . . . 276 155 GIORDANI VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . 277 156 FANT-ACQUA-SIA . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 157 NIAGARA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 158 PIOGGIA NEL SERENO . . . . . . . . . . . . . . . . . . . . . 280 159 OMBRELLO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 160 OMBRELLO DA SOLE - GLASPERLENSPIEL . 281 161 OMEGA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 162 TOMASSON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 163 RIZZI STARTING VARIANT . . . . . . . . . . . . . . . . . . 284 164 LEUCHS EXIT VARIANT . . . . . . . . . . . . . . . . . . . . . 287 165 XIDIAS EXIT VARIANT . . . . . . . . . . . . . . . . . . . . . . . 287 166 MIT FRACK UND CHAPEAU CLAQUE CON FRAC E TUBA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288 167 POLITICA SPORCA . . . . . . . . . . . . . . . . . . . . . . . . . . 289 168 ELSA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 169 MILLENIUM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290 170 ULTIMO PRESIDENTE . . . . . . . . . . . . . . . . . . . . . 290 171 VIVA GORBI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 172 BICENTENARIO GUARDIA DI FINANZA . . . 292 173 KOLLER VARIANT . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292 174 SLOVENA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 175 MICHELUZZI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 176 NUOVO PILASTRO SUD . . . . . . . . . . . . . . . . . . . . 294 177 VIA DEI SASSONI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296 178 L’ULTIMO DEI PARACADUTISTI . . . . . . . . . . . . 298 179 SOLDA’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 180 ALEXANNA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 181 LARCHER - VIGIANI . . . . . . . . . . . . . . . . . . . . . . . . . . 308 182 KAROL WOJTYLA . . . . . . . . . . . . . . . . . . . . . . . . . . . 310 183 VIA DEI QUARANTENNI . . . . . . . . . . . . . . . . . . . . . . 311 184 BELICA - ODSTRCIL . . . . . . . . . . . . . . . . . . . . . . . . . 312 185 UOVO DI COLOMBO . . . . . . . . . . . . . . . . . . . . . . . . 314 186 WEST PILLAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314 187 UNA VITA TRANQUILLA . . . . . . . . . . . . . . . . . . . . . 315 188 MENOMENOPIU’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316 189 VIA DELLE PLACCHE . . . . . . . . . . . . . . . . . . . . . . . . 316 190 PATÈ D’ETICA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316 191 DIEDRO DEGLI ARTIGLI DEL DIAVOLO . . . . 318 192 WEST RIDGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Punta PenĂŹa (3343 m)

Passo Ombretta (2704 m)

Fungo d'Ombretta (2653 m)

Rifugio Falier (2074 m)

ALBA

PENÌA

1828 Baita Robinson

 3029

 3205

 2882

Malga Contrin

2016 Rif. Contrin

Punta Cornates

 3343

2727 Biv. Dal Bianco

Passo Ombretta 2704

di Mezzo

cc iaio

Passo d'Ombrettola 2848

3058 

Sass Vernale

2100 Rif. Capanna Cima Undici

dei Fiacconi

 2792

Fe da ia

2883 

M. Fop

Malga Ombretta

 3035

Punta Seràuta

 2961

2056 Rif. Passo Fedaia

 2282

Sass del Mulo

p.so di Fedaia

Monte Seràuta Piz Seràuta  3069

Pale del Fop 2563 

Punta Ombretta

3230 

2950

d e l l a M a r m o l a d a Rif. Seràuta

Rocca Punta Penìa Punta  3309

Sasso delle Dodici Sasso 2626  2742 delle Undici Rif. Pian

Fungo  2983 Cime d d'Ombretta iO 2074  2653 m b Orientale Rif. Falier r e  3011 tt a

2988 

Occidentale

2910 Forcella della Marmolada

 3092

Piccolo Vernel

2494 

Col de Bous

Rif. Dolomia 2054

Pala di Vernel Gran Vernel  2983 2826 

2836 

Sas dal Pegorer

Roda del Mulon

 2231

Col dal Baranchie

2054 Rif. Castiglioni L

MALGA CIAPELA

1780 Capanna Bill

15 14 13

14 13

11 10

On 6 Pilastri route

Marmolada MarmoladaParete Parete SouthSud Seràauta face Seràuta Sud Seràuta

21 ATTEMPT MABBONI ÙÙÙÙ D. Mabboni, F. Poli, Summer 2012 Vertical height gain: 170 m Total length: 190 m Difficulty: 7b/RS4/III ED+ Time: 4 h Photo: pag. 65 This is the first, serious attempt to climb the large south face of Piz Seràuta, interrupted but not abandoned, it will eventually be attempted again and completed, the rock here is great and therefore so is the climbing, as well as the aesthetics of the line which is still to be drawn. We will let time run its course… (The sketch of the route comes from info by D. Mabboni) 22 SCACCIADIAVOLI ÙÙÙÙ G. Vergoni - R. Larcher, Summer 2014, 2015, 2016 Vertical height gain: 500 m Total length: 560 m (16P) Difficulty: 8a+, 8b/R4/IV EX Time: 10-12 h Photos: pag. 65, 66 Piz Seràuta’s south face with its large slab cannot be missed. It offers difficult but gratifying climbing thanks to the quality of the rock which is exceptionally solid and compact, and this itinerary which is the latest achievement in 2016, chronologically speaking, runs up this face. The first attempt was made by G.Vergoni, solo, during the summer of 2014 then the route was completed in a number of attempts in the successive two years, when it was also freed on the 26 and 27 August 2016 (with a bivvy). This is not a sports route even if 32 bolts were used along the pitches, excluding the anchors. There is an obligatory grade of 7c and often it is best to back up protection by using friends and stoppers therefore we recommend you bring a selection with you. (The sketch of the route comes from info by G. Vergoni)

Geremia Vergoni on Scacciadiavoli (© R. Larcher)

Marmolada South face > Ombretta

OMBRETTA This is not a real and proper summit but a long ridge made of towers, pillars and spires of which the highest reaches the height of 3247m; a ridge which is climbed for the first time from the V shaped saddle named ‘Forcella a V’ to Punta Rocca, by K. Leuchs and K. Finckh on 31st August 1903. The north face does not offer special mountaineering allure, making ascents to the summit along this side very rare. Seen from the other side instead, the southern side, this sector gains importance due to the fact that the most beautiful and difficult routes in Marmolada, in the Dolomites and probably the entire Alpine arc were born here. The long ridge develops horizontally for less than 2000 metres while the vertical height gain, in its highest point is 900 metres. The sector is marked to the left (West) from the “Gran diedro Martini” route and ends to the right (East) in the deep gulley of the V shaped saddle which separates it from the Seràuta sector. For convenience, since the itineraries inside these borders, including the variants are 84, we have split the area in three sections: east Ombretta, central Ombretta and west Ombretta. This sector is marked by “Torri di Marmolada d’Ombretta”, Dorso dell’elefante (which means Elephant’s back), “Specchio di Sara”, “Pilastro SudEst”, the pillars “Agnese”, “Franca”, “Rosanna”, “Dante”, “Uli”, “Upo”, a few magnificent, natural arches and “Parete d’argento” (Silver face) marked half way by a waterfall which comes from the melt water from the glacier above, with the sun’s rays making it look like a shiny ribbon. A wide ledge horizontally cuts across the rock face, from the Dorso dell’elefante to the “Torri di Marmolada d’Ombretta”, it is then interrupted, giving a surprising continuity to the area of rocks where the waterfall descends. Seen from the Falier hut this section offers a rare and unforgettable picture of beauty and boldness.

ACCESS ROUTES Due to its eastern position facing the rock face as a whole the only easy access route is along the Ombretta valley. It is therefore useful to sleep overnight at the Falier hut, from which in no time at all, you reach the start of the routes. By following route number 610 proceed to where the path, after a few switchback turns, aims directly towards west, towards Ombretta pass. You will find yourself below the vertical line of the waterfall which half way marks the large silver slabs; from the Falier Hut roughly 30 minutes. Once you leave the path, ascend the steep grassy slopes keeping to the left of the waterfall’s vertical line if you are aiming for itineraries 120, 119, 118, 113 and 112. The start of the routes 111, 110, 105, 103, 97 and 96 begin in succession to the right from the waterfall while for all the other routes it is worth moving obliquely aiming towards the evident ramp of scree which clambers up towards east and allows to overcome the steep rocky buttress and to reach the start of the following routes 92, 85, 80, 74, 66 and 64 (45-50 minutes from the Falier hut). You are now at the highest point of the buttress; walking along the rock face towards east and going down on the opposite side from where you ascended, you will reach the base of “Specchio di Sara” (vie 63, 62, 61, 60, 59, 58, 55) then, still walking round the rock face you will reach the base of the Dorso dell’elefante (itineraries 53, 52, 51, 49, 48, 46, 45, 44 - just over an hour’s walk from the Falier hut). The crossing in this section of the deep gully which delimits to the left Dorso dell’elefante is very dangerous due to rock fall. Watch out. Go round an area of loose rock, lower yourself down then back up you reach the base of the enormous south east pillar and therefore the start of the following routes: 43, 42, 40, 39, 38, 37, 36 and 34 (roughly half an hour from the Falier hut); to reach route 33 it is best to climb up Mount Seràuta’s buttress (the same for route 32), nearing the eastern face of the pillar along a more direct route (photo on page 73). It is possible to reach this area without walking

fish

Cable car station Punta Rocca 3265 m)

Parete dâ&#x20AC;&#x2DC;argento

Pilastro Dante

Pilastro Rosanna

natural arche

Pilastro Don Quixote

Specchio di Sara

Pilastro Hatschi Bratschi

Dorso dâ&#x20AC;&#x2DC;elefante

Pilastro Agnese

Pilastro Franca

Sout-east pillar

MARMOLADA

by Darshano Luggi Rieser At a first glance, this guide book is a work of art; it does not only collect data but it also narrates the human adventures experienced throughout many of the first ascents; precise facts which talk about stories, feelings, and which intertwine among themselves through subtle connections. Facts and words which help to observe in detail, to plan, to dream even before touching the rock, before starting the ascent, as if under the “Carpenter effect”. Wow, how fascinating! With the next glance one can proclaim that it is also a monument! Why? I would like to go back in time. Back to the first ascent in 1802 to the end of 1970, the year in which Heinz Mariacher, Reinhard Schiestl and I stepped onto the scene, in roughly 170 years, on the south face of Marmolada there were only twenty routes. In 2007 when the second guide book was published by Maurizio, there were 180 routes on the wall. In the 25 years since my first visit to Marmolada155 routes have been opened. The south face has thus been covered by a dense spider’s web of itineraries so much so that looking at the photos of the face with the routes running up and down them it doesn’t even look like a majestic mountain face. After this consideration, I can say that together with my friends I can also be accused of being guilty of this massive wave of development. But one thing must be taken into consideration; the style, the ethics used in opening the route should be used as a method to control excessive development. If you climb today at any cost without giving importance to the gear used the consequences will be that every squared metre of the rockface will be climbed sooner or later. On the contrary if you apply the tactics of retreating and/or patience (See Steps across the borders/ Senkrecht ins Tao), many sections of rock will remain free and available to better climbers who will be able to get there in the future. And they will come…

120

As in sports climbing you don’t use aid climbing to climb the route, (no redpoint exists using aid climbing) even in alpinism it is possible to give up the use of bolts, cliffs or other tricks, saving the natural boundaries of action. And giving up these killer boundaries means giving up on first ascents which are always forced and ends up being the best way to avoid a lively development, leaving space for the next generations. Obviously by climbing free, from the ground up, without previous exploration from above and only using natural protections like pegs, nuts and cams causes a climber to tackle long run outs and a very risky progression. I am not against bolted multi pitch routes. All climbers should be able to find itineraries which satisfy their personal tastes and abilities, but not in Marmolada, on the queen of all walls, where history teaches us how to act differently. It is the example of “clean” ethics and it should not be transformed into a play ground. Only alpinists

able to efficiently place gear should reach this mountain. This guide book is not only a work of art, but it is also a plea towards those who are reading, a plea towards those who wish to open a route using their own style. A plea to follow the example of the great masters of free climbing of every era and to stop using the alternative which makes everything easy by all means, transforming the south face into an impersonal and senseless network of routes which intersect and overlap; practically an endless labyrinth of itineraries difficult to make out, to follow, where everything loses personality and identity and where there will be no space for future generations. I have a vision, that in a not too distant future a mass of climbers will arrive who will know how to move safely even on the most difficult and steep rock, which today seems impossible. P.S. I was told by Maurizio that from 2007 until now only a dozen new routes have been added. Maybe this is already a sign that times are changing, and giving up has at least partly started to happen!

Darshano L. Rieser (ÂŠ Arch. D.L. Rieser) Darshano L. Rieser on Steps across the borders

121

Marmolada Marmolada Marmolada South Parete Parete face Ombretta Sud Seràauta Sud Seràuta

57 INVISIBILIS R. Larcher, G. Vergoni, estate 2009, 2010 e 2011 Vertical height gain: 320 m Total length: 345 m (9P) Difficulty: 7c+/RS4/III EX Time: 10-12 h Photos: pag. 119, 122 The “mirror” is attractive! The quality of the rock, its perfect verticality, its history, all act as a magnet and many, probably too many climbers have tackled this rock, wanting to draw their route, leave their signature. The spider’s web of routes which intersects, and overlaps with the image of the central area of the rock face has become an incoherent mixture of lines one over another, each one far too close to the other. If this is the fate of the more attractive rock faces, then it is a sad one, which an increased sense of respect and humility would help avoid. “Invisibilis” (which unfortunately is not invisible) is also this; maybe an addition which was not needed, it is without a doubt a magnificent itinerary, which on this rock couldn’t be otherwise. Including its anchor point, thirty or so bolts were placed (double the amount of “Specchio di Sara”) and this is impossible not to notice, in spite of the good intentions of its first ascenders. Nonetheless credit must be given: the route is a small master piece which rewards anyone who repeats it and has in their fingers and mind the necessary skills to tackle its difficulties (7a+obligatory). Attempted in 2009, 2010 and 2011, the route was freed first by G.Vergoni on the 1st July 2012 and then by R.Larcher in 10 hours on the 11th September 2012 and graded 7c+ on its most difficult pitch. To repeat the route you will require a good dose of physical and psychological endurance as well as an abundant amount of stoppers and friends of different sizes. It is easy to retreat, just abseil back down the route, otherwise it is possible to continue towards the summit by joining one of the routes which lead to the top. (Info R. Larcher)

Geremia Vergoni on Invisibilis (© G. Calzà)

122

58 58

123

MARMOLADA

by Matteo Della Bordella It is very difficult for me to choose an experience or an ascent on the South face of Marmolada to describe. This wall, more than any other, for me has always been the true queen of the Alps, a great wall of fantastic rock which attracted me as soon as I set eyes on her; testing ground, a reference point, something which is worth travelling so far from Varese and which continuously pulls you towards her. The Marmolada South Face is a wall which carries with it memories of unforgettable and unique days. For the past 15 years, Marmolada is synonymous with alpinism as a challenge, uncertainty, hard work, as well as amazing climbing on dreamlike rock and wall! Maybe not everyone knows that as a seventeen year old, in 2002, with my father Fabio, we tried to repeat the route “Vinatzer” and were brutally rejected after 3 or 4 pitches. That is where everything started. There are defeats which bring a lot more than many victories and for me this blow on such a classic route had the effect of “love at first sight” on this rock face. Since that experience I began visiting Marmolada every year, and after repeating the classic “Vinatzer-Messner”, “Don Chischiotte” and “Tempi Moderni”, in 2005 the time came for the route “Via attraverso il pesce”; a symbol and a thousand stories. A route my father and I considered a legend, something which was impossible, on which we thought we could never climb on. After a year of training and dreaming with eyes wide open, at 6 am on the 3 July 2005 we found ourselves under the route. 13 hours and a half later we shook hands on top: the rock face climbed by us entirely free and on sight, below a dream come true and shared with a special person, my Dad, one of the best memories of my life. Climbing “Pesce” for me was a turning point which opened the road to many other ascents and adventures; it was the first time I realised that often limits are the ones that we create

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in our heads and there I realised that if 3 years earlier I was rejected from the “Vinatzer” route and now I climbed the “Pesce” route on sight, in one day, then many things that before seemed impossible weren’t at all. Il Pesce has also opened a door onto a new level of routes to be repeated in Marmolada: “Specchio di Sara”, “Variante Italia” and the legendary “Fram” in 2007, with Fabio Palma, at his first experience on Marmolada but who entered this wall’s perspective straight away, taking on the first and extremely difficult pitch of this route. In 2008 then, with Alessandro Baù, we undertook a real improvement in our level and we looked for the first repetition of the legendary route “Fantasia”. The first attempt brought a defeat: we retreated after a dozen pitches, before the start of the real difficulties, but once again it was a defeat which gave us loads of energy to return fitter and even more prepared for this super route. The second attempt was planned two years later, in 2010; I still remember some of the pitches climbed as some of the most difficult, precarious and difficult of my entire career. Precarious, natural protection which was reduced to a bare minimum, perfect rock and a devastating mix of free climbing and moves on cliffs, which tested me both physically and above all mentally. Unfortunately half way along the second part of the route, after the large ledge and with 6, 7 pitches still to climb (of which a couple were very difficult) a violent thunder storm hit the wall and we are forced to descend. From that moment onwards we no longer returned to Fantasia; we both had the feeling that the pitches on the lower part were the kind of pitches that if climbed once you don’t want to ever climb again. We evaluated the opportunity of abseiling from above and repeating the missing part. In this way we could state to have made the first repetition, but honestly, to climb the route in this style was of no interest to us. We

tried it from the ground up, with courage and honesty; we gave it all we had and it was a really intense experience which put us to the test… this is what we were looking for. During the last few years, my visits to this legendary rock face have diminished also due to the fact that extra European expeditions keep me away most of the summer period, but they haven’t stopped of course! In 2012 I made the first repetition, totally free climbing the route “AlexAnna”, with Giacomo Neri. A masterpiece by Rolando Larcher, where up to three pitches to the end, I was so tired from the previous pitches that I was about to be stopped by the second last pitch of 7b+. And finally, on the 29 and 29 December of 2015, with Luca Moroni I visited Marmolada for the first time during winter. There wasn’t anything wintry really during that season apart from the very short days…but the route “Fortuna” helped

me remember what Maurizio Giordani’s routes are really made of; those kind of routes where it doesn’t matter what grade you climb at the crag…on these routes you have to keep on climbing, toe the line and climb up these compact slabs calmly and concentrated without thinking of anything else. After climbing the first part of this amazing route, commitments back home made us opt for an exit along the large ledge along the route “Attraverso il pesce”. This was the latest out of a series of intense adventures on the wall and it was even the first time I ever took the cable car to go back down.

Matteo on Fantasia (© A. Baù)

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Marmolada Marmolada Marmolada South Parete Parete face Ombretta Sud Seràauta Sud Seràuta

112 ILLEGALE/ DER WEG IM LEBEN ZWEIER TAUGENICHTSE ÙÙÙ Darshano L. Rieser, W. Müller, 2/10/1983 Vertical height gain: 650 m Total length: 720 m (17P) Difficulty: 6b/R3/III ED Time: 6-8 h Photos: pages 170, 202 This route is not equipped; the first ascenders placed 10 pegs (they have all been removed apart from 2 on the anchors), and it took them 7 hours to climb the route grading it 7°. Solid and compact rock, sometimes smooth due to the water from the waterfall. A variety of pegs, nuts and hexentrics and friends will come in useful. This ascent is not recommend when the waterfall has a lot of water or if there is a thunderstorm (the ideal period is autumn, only if dry). The waterfall, fed from the glacier above, which runs down the silver face, has smoothed the surrounding slabs making it difficult to find holds. The route runs up these rocks starting on the pillar to the left to then cross the waterfall to the right and then heads back to the left up high, it then joins up with the route Ideale before the bolted pitch. Here, in some sections, very close to the rock, a long metal cable runs up and acts as a lightning rod for the Punta Rocca cable car station above. The surrounding environment is striking due to the closeness of the waterfall; the climbing is sustained and very difficult due to the rock’s smoothness. Beware of rockfall from above. (The topo is drawn from info by . I. Hudecek and S. Silma’n who climbed this route on the 1 and 2 August 1985). 113 IDEALE ÙÙÙ A. Aste, F. Solina, from 24 to 29/7/1964 Vertical height gain: 920 m Total length: 1200 m (30P) Difficulty: 6a+ A2/R3/IV TD+ Time: 7-9 h Photos: pages 170i, 202i, 203h, 205, 207h Itinerary repeated frequently and consequently, today, it is equipped for the most part. It took the first ascenders 54 hours of actual climbing and they used 154 normal pegs, 5 wooden wedges and 14 bolts. They graded the route as extremely difficult declaring maximum difficulties of 6°+. You will find nuts and friends of various sizes useful for the repetition.

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The most extended and off putting area of slabs on Marmolada d’Ombretta presents itself as a unique, flat block of grey silvery limestone and it is marked vertically by a dark line. This grey line is the waterfall fed by the snow which is present on the rocky ridge, right on the south face’s limit. The “Parete d’argento” (Silver face), as Aste named it, was climbed on the left of the waterfall following the rock’s natural possibilities; the start of the route coincides with the left limit of a large leaning pillar, then the ascent develops up dihedrals, couloirs and cracks which are not very evident, which almost lose themselves, immersed in an endless sea of slabs. A smooth world which accepts climbing without offering any important resistance. Where the great wall straightens out underneath the enormous overhangs you will meet the slab with bolts, the waterfall is thus crossed to return just above, to the left, aiming for the water. This is where the last section begins; the waterfall is fed by a gully which acts as a drain pipe to the left, while to the right a funnel shaped valley leads to the exit couloir, which is often stacked with ice. A few roped parties have been stuck a few metres from the summit due to the impossibility of reaching the last section. This is also why it is preferable to choose the easiest escape route along the “Pesce”’s exit chimneys or else following the slabs and then the chimney on the Mariacher variant, a few variants are interesting and good alternatives, easy and safe, at the start of the central part of the original itinerary, which probably has never been followed entirely. The wall’s immensity allows for a number of possible solutions which can be left to your own imagination. Whatever itinerary is followed the result will nonetheless be a pleasant ascent, not very difficult but of great satisfaction, the wonderful environment in which it develops makes this ascent an unforgettable mountaineering experience. The rock is always solid and smeary and only in a few cases is it slippery due to the water, though this does not ruin the climbing which is constantly technical, aesthetic and rarely tiring. It can be dangerous to be near or inside one of the exit gullies when there are thunderstorms, as it can be dangerous to bivvy unexpectedly beyond the water fall, after getting soaking wet from the freezing cold water; but if this itinerary is tackled with caution it does not offer any other inconveniences.

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Marmolada Marmolada Marmolada South Parete Parete face Sud Seràauta Sud Seràuta Punta Rocca

132 VINATZER ÙÙÙ G.B. Vinatzer, E. Castiglioni, 2-3/9/1936 Vertical height gain: 830 m Total length: 1110 m (28P) Difficulty: 6a+/R2/IV TD Time: 6-8 h Photos: pages 223h, 234i, 235h, 238i, 239h, 243 Classic itinerary, amongst the most repeated in Marmolada, it appears well equipped especially on the lower section; it is sufficient therefore to bring a few friends and cams/nuts even if it is not a bad idea to bring some pegs for possible emergencies. The anchors are usually equipped and this allows you to abseil down the ascent route even if this solution sometimes ends up being difficult due to the oblique sections of this route. From the summit of Punta Rocca drawing a vertical line, a vast area of yellow overhangs acts as a supporting layer to a succession of smooth, grey slabs which climb up towards the terminal pillars; a single oblique crack, from right to left, cuts through this area suggesting the most logical route to follow to gain height, among overhanging vaults, towards the summit. The first 300 metres are more difficult, the rock then starts to lean in a little, even if up until the large ledge the difficulties are continuous and sustained. In the upper section the concave rock face can be avoided on the right, firstly along easy leaning gullies, then along a vertical chimney often clogged up with ice which opens the way directly to the highest point, a few steps from the cairn at the top. The long median terrace divides the itinerary into two sections, the second one is definitely easier. The environment is extremely harsh but the rock’s quality which is constantly solid allows for a safe, enjoyable and satisfactory type of climbing making this ascent famous and increasingly frequented.

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133 FRANZ E PETER ÙÙÙ F. Kröll, P. Brandstätter, 22/9/1980 Vertical height gain: 650 m Total length: 800 m Difficulty: 5 A0/R2/III D+ Time: 5-7 h Photos: pages 230h, 234i, 235h, 244i A rarely repeated itinerary and for the most part, unequipped. Bring a good choice of pegs, a few friends and nuts. Maximum difficulties, graded by the first ascenders, 5° grade with a short section of A0. A long water fall, channelled up high in a deep canyon, indicates this itinerary’s ascent line, which underneath the large ledge with great climbing, ascends slabs and cracks on solid rock. On the ledge, the route, which you leave on the fourth pitch, joins once again the “Vinatzer” route to then leave it again roughly after 150 metres. This is where the itinerary moves to the right, crossing a few water falls then moving into a long, deep gully between the Annetta pillar and the Sergio pillar which leads to the snowy slopes of the summit. The difficulties are never excessively high with the climbing turning out to be pleasant, especially lower down where the rock is grey and compact; an itinerary which is therefore interesting and recommended.

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Marmolada Marmolada Marmolada South Parete Parete face Sud Seràauta Sud Seràuta Punta Rocca

147 MODERNE ZEITEN TEMPI MODERNI ÙÙÙP H. Mariacher, L. Iovane, summer 1982 Vertical height gain: 830 m Total length: 1155 m (28P) Difficulty: 6c/R4/IV EDTime: 8-10 h Photos: pages 254i , 255h, 256i, 257h, 259 An itinerary which is increasingly repeated nowadays, so much so that it can be considered one of the great extreme classics of the Dolomites; for the most part it is equipped even if it is best to bring a choice of pegs, nuts and friends to strengthen protections which are never sufficient. The first ascenders used 60 pegs all together and opened the route by free climbing (grading the difficulties as 7°+), first difficult pitch included which was climbed on the second attempt after a short fall. The enormous spade shape wall facing south and marking Punta Rocca’s peak is marked to the left by a rounded pillar made of smooth slabs which are firstly grey then yellow and climb vertically high towards the summit. The climbing here does not have an obvious logic, it does not follow predefined lines, dihedrals or cracks, but to find the exact section to climb one has to count solely on one’s finger strength, one’s intuition, one’s self-control and then with a magnificent climb just follow that series of tiny pockets and holds which allows you to proceed up high, discovering each one move after move. And as you get closer to the summit the difficulties do not decrease, on the contrary you have to conquer the highest point, nothing should be taken for granted, requiring an effort right to the end. Lower down the climbing is the same, with the same difficulties, the same extremely solid limestone which changes colour here; the slab leans in slightly and grey is the predominant colour.

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148 EXTREM VARIANT ÙÙÙ M. Giordani, F. Zenatti, 1/9/1984 Vertical height gain: 180 m Total length: 215 m (5P) Difficulty: 6b/R4/IV TD+ Time: 2 h Photos: pages 255, 257 This is a variant to “Tempi moderni”’s exit (this came by an error of judgement while following the original itinerary) which climbs up the final 200 metres of rock face to the left of it, just before the sharp arete of “Cinquantenario FISI”. This can also act as a connecting itinerary between these two routes. Unequipped itinerary; very solid and inviting rock. It took the first ascenders two hours and they graded maximum difficulties as 7°-. Where “Tempi moderni” obliques towards the right, to bring itself on the direct line of the yellow grey terminal pillar, proceed directly towards a long chimney which leads to Punta Rocca’s south west arete. Before its end, moving to the right, you reach a vertical dihedral, which is open, and by following this you can join, higher up, the last pitch of the route you have just left. To reach the “Cinquantenario FISI” and to exit onto the summit along the same route all you need to do is follow the chimney up to the saddle on the arete.

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Marmolada Marmolada Marmolada South Parete Parete face Sud Seràauta Sud Seràuta Punta Penìa

180 ALEXANNA R. Larcher, M. Cagol, M. Paissan, F. Mich, R. Pedrotti, T. Buccella, summer 2007 and 2008 Vertical height gain: 450 m Total length: 535 m (13P) Difficulty: 8a+/RS4/IV EX Time: 12-14 h Photo: pages 297, 304 The mountaineering aspect of the climb takes shape where the pillars of Marmolada touch the sky in the highest point, near Punta Penìa, and the route thus gains its importance: for the elevated height , the highest in the Dolomites, for the bitter cold due to the proximity to the glacier, for the wind which here more than other places becomes stronger passing through the passage of Passo Ombretta, for the rock’s characteristics, which are still very compact, vertical or overhanging, for the environment and the atmosphere you breathe up here which is quite intimidating. Pilastro Lindo is probably the symbol of all the above; bulging and irreverent it seems to attract and repel at the same time, and the most important pages of alpinism in Marmolada have been written on its rock. The latest in chronological order has been described to us by R.Larcher who in 6 days, between 2007 and 2008 completed the itinerary and dedicated this route to his children. His climbing partners were: M. Cagol, M. Paissan, F. Mich, “Pedro” R. Pedrotti and T. Buccella with whom on the 14th July 2010 Larcher freed the route in 12 hours of tiring climbing and grading it 8a+. This is therefore not a sports route even if 11 bolts were used (8 were placed by hand) and 12 pegs on the pitches anchors excluded. It is not easy to reach the obligatory difficulties of 7a+ and you often have to protect yourself with stoppers and friends therefore we recommend you bring a good selection. (The sketch comes from info by R.Larcher).

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179 Rolando Larcher on AlexAnna (@ G. Calzà)

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Punta Penìa

ALEXANNA

by Rolando Larcher 6.30 pm on the 14th July, after 12 hours on the rock face we reach the cross of Punta Penìa. Excited and euphoric I hug Tiziano, thanking him for coming with me, supporting me on this long day of hard work and joy. I relive the emotions experienced 9 years ago on the Larcher-Vigiani route, same face and summit, with a prestigious redpoint ascent under my belt. This time though Vigio (Roberto Vigiani) is not with me sharing the responsibility, and I have a lot more gear tied to my harness … With today’s free ascent I have finally concluded the AlexAnna project. I had started it in 2007 and the following summer I had reached the top, without having any time to try its redpoint. I had postponed everything till 2009, but fulfilling the dream of an expedition to Pakistan had required a lot of effort and time of the already very short summer, and once I had returned, my arms were no longer up to the effort required. I therefore had to be patient and wait for another year, which

Rolando Larcher on AlexAnna (@ G. Calzà)

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I had spent training hard, fully motivated by this project, but worried that injuries could compromise it. I’m no spring chicken…and the route demanded the very best from me. In climbing, as in life, it is not enough to be motivated or ready to reach one’s objectives, you need the most essential thing, and that is luck, or as my uncle who is a priest calls it, divine providence ‘divina provvidenza’ (it is no coincidence that these are the names of two important routes.) I spent the past summer fully on this ascent, and I thought I would need many days to climb it. Unexpectedly fate is more magnanimous, since one of my moments of great physical form coincide with a period of high pressure never seen before, freezing level is at 5000m! Therefore with great surprise and with only two attempts I climb it. On the 4th July together with Tiziano Buccella, I look over the sequences and the protections

needed up to the 14th pitch, managing to climb the second pitch which is the most difficult. Then cramps and fatigue kick in and we abseil back down. I remember the key section as being a lot harder, maybe my form and the pleasant but unusual heat for this area, help things a little. Enough time to recover and I am already champing at the bit to make another attempt, the weather is good but binding commitments stop me, and my frustration increases, worried I will lose the moment. I’m ready on the 14th July: free from work, no other commitments, the weather is still perfect and I have a trusted climbing partner, Tiziano. We set off at 4.30am from rifugio Contrin, we climb up to val Rosalia and at 6.30 am we start on the route, simul climbing the first three pitches of the Soldà route, which take us to the base of the Cristina pillar, and this is where the new route begins. Mid morning we reach the ledge, I feel good and am optimistic, even if the real difficulties start now. If I climb the 11th pitch straight away I could hope to redpoint it. I change my climbing shoes, I put my tight ones on and set off, I can feel the tension, but nothing goes wrong and I reach the anchor a bit stiff. The next pitch is the second most difficult, I have enough energy and I control it well; the 13th is easier, all I have to do is remain calm and protect the route as best as possible.

Now I only have to climb the two bad pitches on the headwall, they run over the last overhang before the final slabs. I’ve looked over the first pitch, but not the second, I hope to remember it from 2008. The first is a terrible and precarious traverse, where the most important thing is how you climb and not how strong you are, I move along unscathed and catch the anchor. The successive pitch, the 15th, I remember it being physical, I still feel good and I throw myself at it dreaming of those exit slabs. As always memory plays tricks on you and the pitch has me swearing away. I reach a point in which I should place a cam, the peg is far, but I am too pumped to place it. I am pumped and if I fall or down climb I have no energy left for another attempt, I have to move on! I climb up desperately, looking for holds with my hands which keep opening up. I give it all I

have, dragging myself all the way to a small niche. Cyanotic, I improvise a precarious hand jam and catch my breath. With a bit of oxygen I gain some clarity and I finally place a cam and realise that the route is in the bag! I get to the anchor before shouting out and when Tiziano reaches me, I share my joy with him. There are two easy pitches to reach the summit, pure formality. I will remember them for ever as the best, not for their undeniable beauty, but for how light hearted I felt as I climbed them, a type of magic which only the awareness of having achieved something can give you. The idea of this route came to me in 2007, it came from the wish I had of tackling the same rock face, but changing the cards on the table. I wanted to climb trad as much as possible and lead the entire climb, to test myself and make a conscious evaluation on what style is the best when tackling a difficult rock face. I concluded AlexAnna in 2008, this is why I found it very helpful in May to have previously experienced in Wales the International Trad Meeting organized by BMC. On opening the route I on sighted the route to the ledge, beyond that I had to rest, for its difficulties, to place protection and to clean some sections, I redpointed the traverse below the roof of the 8a+ pitch, climbing it with pre-placed protection. I have to thank all my climbing partners who belayed me and shared the cold on this face: Michele Cagol, Michele Paissan, Francesco Mich, “Pedro” Roberto Pedrotti and Tiziano Buccella. I thank Andre De Bertol and his father Giorgio, they look after the Contrin hut, for their support and finally “Trota” Paolo Calzà for his magnificent photo shoot. AlexAnna is the acronym of my children’s names. Alessandro the eldest and Anna, born when I was half way done with my masterpiece. The route is dedicated to them, because it is one of my best masterpieces, and just like them, it required the best of me.

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F. Salvaterra, G. Zaccaria, Loss Pilati, Dain, Sarche camera Klaus Dellâ&#x20AC;&#x2122;Orto

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