Panoram Italia Luxury Edition 2008

ITALIA

PANORAM VIVRE AUX COULEURS DE L’ITALIE

CLOSE UP

90 HIGH END WINES FROM ITALY

LIVING ITALIAN STYLE

SUR LA ROUTE DU

SANGIOVESE www.panoramitalia.com

rolex.com

oyster perpetual explorer ii

I I NN

DAVID ROCCO

W

T H I S

THIS ISSUE

OLIVE OIL

W

W

2 PANORAMITALIA.COM

.

P

A

PAVAROTTI

N

O

R

A

M

I

T

A

L

I

A

.

C

O

M

I S S U E

ON THE ROAD OF SANGIOVESE

W

W

W

.

P

FRANCO BARBUSCI

A

N

O

R

A

M

CHE BELLA MACCHINA

I

T

A

L

I

A

.

C

O

M

PANORAMITALIA.COM 3

OUR TEAM Notre équipe FOUNDER - PUBLISHER Fondateur - éditeur ANTONIO Zara 514 337.7870 living@panoramitalia.com

editor in chief Éditeur en chef Geraldo Pace

2002

2003

2004

2005

2006

2007

514 915.0150 www.geraldo-pace.com

W I N E editor Chroniqueur en vin Gabriel Riel-Salvatore 514 941.2389

g.salvatore@panoramitalia.com

H E A D interviewer Intervieweuse en chef Shauna Hardy

contributors Collaborateurs Joanne Latimer

Guido Lorenz

Catherine Sazcka

Mark Hacking

Julien Proulx

Michele Topor

Barbara Bacci

Dany Kucharsky

graphic design Conception graphique Cassi Design 514 327.4404 www.cassidesign.com

WE LOOK FORWARD TO HEAR FROM YOU Faites-nous part de vos commentaires

P

A

N

O

R

A

T

A

L

Legal deposit - Bibliothèque nationale du Québec / National Library of Canada - ISSN: 1916-6400 Publications Mail Agreement # 40981004 Return undeliverable Canadia addresses to circulation dept.

9300 Henri-Bourassa West, suite 100 Montreal (Qc) Canada H4S 1L5

Paper: Inside - Hannoart Silk Text FSC - 70 lbs (Sappi) Cover - Hannoart Silk Cover FSC - 129 lbs (Sappi)

PRINTED BY :

4 PANORAMITALIA.COM

I

www.panoramitalia.com

living@panoramitalia.com

www.panoramitalia.com

M

9300 Henri-Bourassa West, suite 100 Montreal (Qc) Canada H4S 1L5 Tel.: 514 337-7870 / Fax: 514 337-6180

www.accentimpression.com printed in canada

I

A

Panoramitalia Prestige Edition / Panoramitalia Édition Prestige

P U B L I S H E R ’ S N O T E N o t e d e l ’ é d i t e u r

2 0 0 8

Living Italian Style !

Vivre aux couleurs de l’Italie !

Who never dreamed of winning a trip to Italy, owning a villa in Tuscany, exploring Roman ruins at the foothills of Mount Vesuvius, eating in the best restaurants of the Eternal City, visiting some of the best wineries of the world or simply wearing the most beautiful shoes and clothes crafted by some of the most fashionable Italian designers out there?

Qui n’a jamais rêvé de gagner un voyage en Italie, de posséder une villa en Toscane, d’explorer des ruines romaines au pied du Vésuve, de manger dans les meilleurs restaurants de la Ville éternelle, de visiter certains des meilleurs vignobles au monde ou simplement de porter les souliers ou les dernières créations de certains des designers italiens les plus en vue ?

Once again, Panoramitalia Living Italian Style is delighted to publish its Fall/Winter 2008 Prestige Edition destined to promote Italy’s irresistible charms and unique lifestyle.

Since the first edition of our European style publication (100% Italian-Canadian), our mandate has always been to enlighten people about the multifaceted beauty and the savoir-faire of Italy and Italians worldwide. This partially bilingual edition (English / French) is also an attempt to reach French-Canadians by waking up that touch of Dolce Vita they carry within them and by cultivating their natural affinity with Italy, its people and its culture.

Une fois de plus, Panoramitalia est heureux de publier son édition prestige automne-hiver 2008 destinée à promouvoir les charmes irrésistibles de l’Italie et son mode de vie unique. Depuis la première édition de notre publication au style européen (100% italo-canadienne), notre mandat a toujours été d’initier les gens aux diverses beautés de l’Italie et aux nombreux savoir-faire des Italiens établis à travers le monde. Cette édition partiellement bilingue (anglais / français) cherche aussi à rejoindre les Canadiens-français en réveillant le fond de Dolce Vita qui sommeille en eux et en cultivant le capital de sympathie exceptionnel qu’ils éprouvent pour l’Italie, ses gens et sa culture

Our goal is simply to entice our readers to all things Italian through thoughtful articles and evocative images, enabling them to imagine what it would be like to “live Italian style”.

Italy in itself is an endless serenata that easily makes you fall in love. This is exactly what this magazine is all about: love, passion and lifestyle, three words that Italians have contributed to spreading around the world with incredible success.

Notre objectif vise simplement à attirer nos lecteurs vers tout ce qui touche l’Italie grâce à des articles réfléchis et à des images évocatrices, leur permettant de « vivre aux couleurs de l’Italie » l’espace d’une lecture et des impressions qu’elle peut laisser. L’Italie en soi se présente comme une éternelle serenata qui rend facilement amoureux. Voilà exactement la raison d’être de notre revue : Amour, Passion et Mode de Vie, trois mots que les Italiens ont contribué à répandre à travers le monde avec un succès retentissant.

Still closely tied to its Italian origins, our Montreal-based team invites you to join in on the fun by helping you reconnect with your Latin roots, focusing this time on one of Italy’s greatest cultural splendours: wine. On the cover, Geraldo Pace, our conceptual photographer, has again captured in a two-dimensional frame one of the Belpaese’s strongest archetypes: presenting two wine glasses inserted one into the other, capturing the silhouette of a thinned out bunch of grapes, with a vine leaf curled up around one of the stems. Within the pages of this edition, you will discover some of Tuscany’s most famous wine regions and find an impressive selection of 90 of the greatest Italian wines. We will also draw your attention to many more topics ranging from Valentino’s impressive legacy in the fashion business and the late Luciano Pavarotti’s recipe for success, to a view of Italy’s simple pleasures through the eyes of David Rocco.

Encore solidement attachée à ses origines italiennes, notre équipe, basée à Montréal, vous invite à vous joindre à la partie pour renouer avec vos racines latines. Nous avons, cette fois-ci, concentré nos efforts sur une des richesses les plus appréciées de l’Italie : le vin. En page couverture, notre photographe conceptuel, Geraldo Pace, exerce à nouveau sa magie pour saisir en deux dimensions un des archétypes les plus représentatifs du Belpaese : un verre, les vrilles d’une feuille de vigne enroulées à sa tige, inséré à l’envers dans un autre, renfermant dans cet écrin nouveau genre un raisin unique au bout d’une grappe. Vous allez donc découvrir dans cette édition, certaines des régions vinicoles les plus reconnues de la Toscane en plus de trouver une sélection commentée de 90 grands vins italiens. Nous attirerons aussi votre attention sur bien d’autres sujets allant de l’impressionnant legs de Valentino au monde de la mode à la recette du succès de Luciano Pavarotti, alors que David Rocco nous guidera encore une fois au sein des petits plaisirs de l’Italie.

Enjoy your reading and most of all, grazie mille e alla prossima !

Tony Zara

Bonne lecture et surtout grazie mille e alla prossima!

Tony Zara

PANORAMITALIA.COM 5

A B O U T T H E C O V E R . . .

D

oing a Panoram Cover is always an exciting event for me. First comes the concept then the challenge in finding the props. On this cover the glasses were easy to find. I’ve always gotten wonderful assistance from the people at Bacchus on Laurier. Presently it has new owners, but still as friendly as ever. The problem, was the vine leaf. On my first venture out, not being properly prepared, I returned to the studio with vine clippings that I had wrapped in wet paper towels, watered by my supply that I kept in a plastic bottle in

long as the Pharoahs, literally had a pair custom made for me in New York and shipped to Montreal. The pasta was solved by my friends at Pasta Coloccia, who had helped me another time when I did the Italian Cinema Editorial. (Pasta on a film reel).

About twenty feet of Pasta!!!!

The olive oil also posed a problem. Try and get a syringe if you happen not to be a drug addict or a doctor. This syringe could give a booster shot to an elephant. That’s as much as I will reveal about this .

the car. When I unwrapped the vine, it was completely wilted. I should have realized that a plant that produces such a delicate substance, would also be delicate itself. So I returned to my vine source, (Chef Gérard at L’Heritage in Morin Heights) but this time equipped with a bucket of water. As you can see from the cover photo, my solution worked. Vine leaves love to bathe in water as much as I love to drink the wine it produces.

The Italian shoe editorial posed a different problem. I wanted a red satin shoe. Of course, at this time of the year,

If there is one thing I love doing, it is stories on chefs. I was priviledged to have Franco Barbusci, executive chef of the Mount Stephen Club, come to my studio in the Laurentians. He showed up in his APV 4- wheel drive filled to the sunroof. When I greeted him, I mentioned that we were only doing 3 recipes.

He answered, “true, but we must have lunch first. “ And what a lunch. His portrait, I believe, explains the man.

In closing, I just wanted to thank all the people who help

for some reason, it was nowhere to be found.Thanks to a dear friend, Tommy Alberga, who has been in the shoe business as

8 PANORAMITALIA.COM

me realize my sometimes crazy concepts, for without them, they would just stay as crazy concepts.

Geraldo Pace

T A BL E O F C O N TE N TS TA B L E D E S MATIÈ R E S 32

16

12

24

70

82

88

96

91

114

118

106

60

128

54

102

132

124

12

Well Heeled / BIEN CHAUSSÉ ZORAIDE

16

BOLOGNA THE FAT, THE LEARNED OR THE RED / BOLOGNE La grasse, la docte et la rouge

24

RECIPE FOR SUCCESS / LA RECETTE DU SUCCÈS DAVID ROCCO

32

On the Road of Sangiovese / Sur la route du Sangiovese

54

Culture Shock Tamara Andruszkiewicz

60

3 ecclectic recipes Franco Barbusci

70

Cream OF THE CROP Close up on 90 HIGH END WINES FROM ITALY

82

321... PROGRESS! / 321... PROGRÈS! JOSEPH IANNICELLI

88

Addicted to Olive Oil / Dépendance à l’huile d’olive

91

Great Olive Oils to Enjoy and Discover / De grandes huiles à découvrir et apprécier

96

EATALY Shop, Taste and Learn

102 SOUL MAN Domenic Chianese 106 King of the Red Carpet / le Roi du Tapis Rouge VALENTINO 114 CUE THE COMPETIZIONE: ALFA ROMEO roars back to America 118 The Legacy of Luciano Pavarotti / L’héritage de Luciano Pavarotti 124 SAVORING BOSTON’S LITTLE ITALY 128 AD MAN Aldo Cundari 132 Che Bella Macchina

PANORAMITALIA.COM 9

WWW.KEBECSON.COM

NOTRE GÉRANT EST TOMBÉ SUR LA TÊTE.

Well Heeled

Bien chaussé

Paola Bay is polite, but closed-lipped about the artisans who make her exclusive new line of shoes, Zoraide. “The craftsmen are my little secret,” says Bay, from her atelier in the Via Spiga district of Milan. For over 150 years, her family has owned an apartment in the same building that once housed Versace and Issey Miyake.

Raised in this chic milieu, Bay quickly became a design connoisseur and collector of vintage labels. Witness her 200 pairs of heels by Roger Vivier and her iconic pumps by André Perugia.

But lately, Bay hasn’t been satisfied with contemporary shoes on the market. “They aren’t feminine,” says Bay, “They are mass produced and the quality is terrible.” In 2006, she took action, launching her own luxury footwear label. Zoraide was born. Bay creates seven or eight styles per collection, and only makes only 400 pairs of each style. The collection is available in just nine stores worldwide, including Montreal’s high-end boutique Mona Moore, the exclusive Canadian retail location.

“I won’t sell my shoes just anywhere. These shoes like are my children,” says Bay, 41, who has two young boys and a bouncing Labrador retriever. “I want nothing but the best. I have the last craftsman in Italy who hand-carves beech wood u

12 P A N O R A M I T A L I A . C O M

By Joanne Latimer

Toujours polie, Paola Bay reste secrète quand vient le temps de parler des artisans qui fabriquent les souliers Zoraide, sa nouvelle ligne exclusive. « C’est mon petit secret », explique-t-elle de son atelier situé dans le district Via Spiga à Milan.

Depuis plus de 150 ans, sa famille possède un appartement dans le même bâtiment qui a servi à Versace et à Issey Miyake. Élevée dans ce milieu très chic, Bay est rapidement devenue une experte du design en plus de collectionner les marques classiques. Il suffit de voir ses 200 paires de souliers Roger Vivier et ses escarpins iconiques signés André Perugia.

Bay est plutôt déçue par les souliers que l’on retrouve sur le marché aujourd’hui. « Ils ne sont pas féminins, » dit-elle, « ils sont produits en masse et de très mauvaise qualité. » En 2006, elle décide donc de lancer Zoraide, une marque de souliers de luxe. Bay crée sept ou huit styles par collection et ne fabrique que 400 paires pour chaque style. La collection est en vente dans seulement neuf magasins au monde, dont la très huppée boutique Mona Moore de Montréal, seul point de vente au Canada. « Je ne vais pas vendre mes souliers n’importe où; mes souliers, ce sont comme mes enfants », révèle Bay, mère de deux jeunes garçons et propriétaire d’un golden retriever. « Je ne veux rien de moins que le meilleur. Je fais affaire avec le seul artisan en Italie qui taille encore à la main des talons en hêtre.

Il travaille dans une étable en Lombardie. Dans la région de l’Émilie-Romagne, il y a une famille qui tisse du velours pour mes souliers sur des machines vieilles de cent ans. 40 clous sont utilisés pour attacher la tige à la semelle; ça prend quatre jours pour faire un seul soulier. » u

Geraldo Pace

heels. He works in a cow shed in Lombardi. In the Emilia Romagna region, I have a family who makes velvet for my shoes on 100-year-old looms. They use 40 nails to attach the upper to the sole. It takes four days to make one shoe.”

Bay readily launches into details about the benefits of beech wood heels, explaining how the heel is comprised of two different pieces, with different wood grain, that must be fused together by a special machine. Her 38-year old cobbler, carrying on his grandfather’s trade, is teaching his son the family craft.

“If the heel isn’t well balanced, your lower back will ache and you get blisters,” explains Bay, who is a stickler about testing the Zoraide prototypes herself—for days. “It’s important to be comfortable and be able to dance all night.”

(Spoken like a woman who has limped home from a party, carrying her heels!)

Bay was characteristically discerning about naming her brand. Zoraide is a character from Rossini’s opera Ricciardo and Zoraide. “She is a Creole beauty, a princess,” explains Bay, who spent the first half of her career as a film producer in London before turning her full attention to footwear. “It’s a mysterious name, not well known, that’s very feminine, very special.”

Zoraide shoes embody these qualities and they’re priced accordingly. Each pair is close to $1700. For the price, one expects to be impressed. The shoes deliver. They’re striking.

Many styles are hand-embroidery, with hand-painted silk velvet. There are heels with gilded kid leather, silk jacquard and/or suede kid leather. Imagine silver lamé and saucy piping. There is an understated “Z” on the bottom of the sole.

Each purchase includes a collector’s shoe box containing a small book, care instructions, a shoe bag and heart-shaped shoe stuffers. The box is embossed with the Zoraide logo, which Bay says is based on a drawing of her “big nose”. Buying a pair of Zoraide shoes—like any well-conceived brand—feels like a lifestyle experience. The Zoraide experience harkens back to a day when noblewomen regularly visited their cobbler to order handmade shoes. It’s also akin to investing in art.

“The artisan is disappearing and with them goes the old way of making shoes. Paola isn’t about mass production. She’s about tradition,” says Anna Maria Varriano of Mona Moore in Montreal. “The shoes are extremely feminine, without a trace of Gucci or Prada in her work.”

The current collection is intricate, simultaneously celebrating Italian couture craftsmanship while being the inspired by 16th and 17th century women Italian painters. “My best friend is an expert of Old Masters artists,” explains Bay, who curates her own private fashion archive from the Zoraide atelier. “We went to an exhibit recently in Milan and saw the work of these unknown women painters. They were incredible.

They’d be famous if they were men.”

Chatting on the phone with Bay, it’s impossible to resist asking the obvious question: what are you wearing on your feet? “Oh, just some Jesus sandals,” she offers, improbably. u

14 P A N O R A M I T A L I A . C O M

Bay entre volontiers dans les détails des bénéfices du talon en hêtre, soulignant qu’il comprend deux morceaux séparés, composés de grains de bois différents, qui doivent être assemblés à l’aide d’une machine spéciale. Son savetier de 38 ans, qui a repris le commerce de son grand-père, enseigne aussi le métier à son fils. « Si le talon n’est pas bien équilibré, ça donne des maux de dos et des cloques, » explique Bay qui se fait un devoir de tester les prototypes Zoraide elle-même, pendant des jours. « C’est important de se sentir à l’aise et de pouvoir danser toute la nuit. » (Quelle femme n’a jamais peiné à marcher jusqu’à la maison après une soirée de fête, les souliers dans les mains…)

Bay a judicieusement choisi le nom Zoraide pour sa marque.

C’est le nom d’un personnage de l’opéra de Rossini, Ricciardo et Zoraide. « Elle est une beauté créole, une princesse », raconte Bay, qui était productrice de films à Londres durant la première moitié de sa carrière avant de se concentrer entièrement sur le monde de la chaussure. « C’est un nom mystérieux, pas très connu, très féminin et très spécial. » Les souliers Zoraide incarnent parfaitement ces qualités et leur prix le reflète bien : la paire se vend près de 1700 $. À ce prix-là, on s’attend à être impressionné, et on l’est. Les Zoraide sont saisissants. Beaucoup de modèles sont brodés à la main, avec du velours de soie peint à la main. Il y a des talons avec du cuir de chèvre doré, de la soie Jacquard et/ou du daim.

Imaginez un lamé argenté et un passepoil audacieux. On peut voir un « Z », discrètement placé sous la semelle.

Chaque achat inclut une boîte à chaussures qui contient aussi un livret, des instructions sur l’entretien du soulier, un sac à chaussures et du rembourrage en forme de cœur. La boîte est bosselée du logo « Z » qui, explique Bay, est basé sur un dessin de son « gros nez ». Acheter une paire de souliers Zoraide, comme toute autre grande marque, c’est se plonger dans un autre style de vie. L’expérience Zoraide rappelle le temps où les femmes nobles visitaient régulièrement leur savetier pour commander des souliers faits à la main. C’est aussi comme investir dans l’art. « Les artisans disparaissent peu à peu et avec eux disparaît la vieille méthode de faire des souliers. Paola ne veut rien savoir de la production de masse, elle valorise la tradition », explique Anna Maria Varriano de Mona Moore à Montréal. « Les souliers sont extrêmement féminins; pas la moindre trace de Gucci ou de Prada dans ses créations. » La collection actuelle est complexe; elle célèbre à la fois les artisans de la couture italienne et les femmes peintres d’Italie des 16ème et 17ème siècles. « Mon meilleur ami est un expert des Grands Maîtres (de la peinture), » révèle Bay, qui gère ses propres archives privées de son atelier Zoraide, « nous avons récemment visité une exposition à Milan et avons découvert l’œuvre de quelques femmes peintres inconnues. Elles étaient incroyables et seraient célèbres si elles étaient des hommes. » En conversant avec Bay au téléphone, je n’ai pu résister à la tentation de lui demander ce qu’elle portait aux pieds. « Juste une paire de sandales Jésus », répond-elle, étonnamment, « en haut je porte une vieille jupe Prada et un col roulé noir de Gap. J’adore Gap, on n’a pas ça ici. » u

“On top, I’m wearing an old Prada skirt with a black turtleneck from The Gap. I love the Gap. We don’t have it here.”

It’s hard to imagine her Gap pieces hanging next to her vintage Dior strapless dress or her Valentino silk gown. Her other treasures include a white Chanel suit from Coco’s last collection. But she loves her shirts from The Gap and she buys the boys’ clothing at Old Navy. Like many Zoraide clients, Bay has a mix-and-match wardrobe that doesn’t restrict itself to luxury brands.

“It’s all a question of where you want to spend your money,” explains Lisa Bush, co-owner of Mona Moore. “I’d rather drive a crappy car and have great shoes. These shoes are not disposable. You cherish them. I own a pair of Zoraides, but I also spend a lot of time in my Brazilian flip flops.”

For many women, the thrill of new shoes is in the hunt.

Sonja Bata, founding chairman of The Bata Shoe Museum in Toronto, says that shoe shopping is all about the retail therapy. “It makes a woman feel good,” laughs Bata, a renowned shoe horse. “It’s good for the psyche. Why not go shoe shopping instead of going to a psychologist?”

Dedicated shoe lover Claudia Navone agrees. Navone, a fashion director for Harper’s Bazaar based in Sydney Australia, is a devoted fan of Zoraide. “They feel like magic. I have a difficult foot because I was a classical dancer” says Navone, who owns five pairs of Zoraides. “I see them as an investment. Beautiful shoes can be unbearable after a few hours, but not these. They’re so comfortable that I don’t care how much they cost.”

Navone isn’t alone. “Much of our [Zoraide] stock never hits the floor because of pre-orders,” explains Varriano at Mona Moore. “Our customers are very discrete. They don’t want to be in the magazine because they don’t want their husbands knowing how much their shoes cost….They get very creative when they pay.”

Couture costs. It’s that simple. When an Italian artisan spends four days making one shoe, the price point will not compete with Crocs.

Does Paola Bay pooh-pooh our casual, flip flop culture? No way. But she thinks it’s important to put your foot inside a real shoe occasionally.

When that occasion arises, make it a Zoraide. ■

Difficile d’imaginer ses vêtements Gap accrochés à côté de sa robe Dior vintage ou encore de la Valentino en soie. On retrouve aussi dans sa boîte à trésors un tailleur Chanel blanc tiré de la toute dernière collection Chanel. Ça ne l’empêche pas d’adorer ses chemisiers Gap, ni d’acheter des vêtements pour garçons chez Old Navy. Comme beaucoup de clients de Zoraide, Paola Bay possède une garde-robe très variée qui ne se limite pas aux marques de luxe. « C’est une question de priorités, » explique Lisa Bush, copropriétaire de Mona Moore, « j’aime mieux conduire une voiture minable et avoir des souliers de qualité. On ne se débarrasse pas d’une telle paire de souliers, on la chérie. Je possède une paire de Zoraide, mais je passe aussi beaucoup de temps dans mes tongs brésiliennes. » Pour beaucoup de femmes, le plaisir d’acquérir de nouveaux souliers réside dans la chasse. Sonja Bata, présidente fondatrice du Bata Shoe Museum à Toronto, explique que le fait de magasiner pour acheter une paire de souliers n’est rien de moins qu’une thérapie. « Ça donne une bonne sensation aux femmes », dit-elle en riant, elle-même réputée pour être maniaque des souliers. « C’est bon pour la psyché. Pourquoi ne pas acheter une paire de souliers plutôt que d’aller chez le psychologue ? » Claudia Navone, passionnée de la chaussure et directrice de mode chez Harper’s Bazaar à Sydney, en Australie, est d’accord.

Grande fan de Zoraide – elle en possède cinq paires – Navone explique qu’ils sont « comme de la magie; j’ai fait de la danse classique alors j’ai un pied difficile. Je les vois comme un investissement. Les beaux souliers sont parfois insupportables après quelques heures, mais pas ceux-ci. Ils sont tellement confortables que leur prix ne m’importe pas. » Navone n’est pas seule. « La plupart de nos Zoraide sont vendus avant même d’atteindre les tablettes, » explique Varriano de Mona Moore, « nos clientes sont très discrètes; la dernière chose qu’elles veulent c’est que leurs maris sachent combien coûtent leurs souliers… elles peuvent être très créatives quand vient le temps de payer. »

La couture coûte cher, c’est bien connu. Quand un artisan italien passe quatre jours à travailler sur un seul soulier, c’est évident que le prix ne pourra faire concurrence à ceux de Crocs. Paola Bay n’a rien contre le côté informel des tongs, mais elle croit qu’il est important de porter des vrais souliers de temps à autre. Quand une telle occasion se présente, Zoraide s’impose. ■

P A N O R A M I T A L I A . C O M 15

The Fat The Learned (la grassa)

or

The Red

(la rossa)

Bologna, known colloquially as The Fat (la grassa), The Learned (la dotta), or The Red (la rossa), is the capital of the Emilia-Romagna regione in North-Central Italy.

Its long history, spanning more than three millennia, is evident in its medieval palaces (palazzi), basilicas, and fortified city gates — nine of the 12 original gates are preserved. The old town centre is perhaps the largest of its kind in Europe.

Beginning in the 12th century, the skyline of Bologna resembled New York City today. About 200 tall towers (torri) were built by wealthy families for defensive or religious purposes. Over time, most of the towers collapsed or were demolished; the remains of about 20 still exist. Two particular towers stand together, the larger one called Asinelli (97.2 m), the smaller called Garisenda (48 m), both leaning precariously, act as a centrepiece for the city— the smaller tower was cited by Dante in his Divine Comedy (circa 1308-21). Mountaineers may like to climb Asinelli’s 498 interior steps to gain an unprecedented view of the city!

The towers are a short walk from Piazza Maggiore, the central medieval square, overshadowed by the monumental u

(la dotta)

By Guido Lorenz

Parfois surnommée la grassa (la grasse), la dotta (la docte) ou la rossa (la rouge), Bologne est la capitale de la région d’Émilie Romagne dans le centre-nord de l’Italie.

Ses châteaux médiévaux (palazzi), ses basiliques et ses portes fortifiées, desquelles neuf des douze originales survivent encore à ce jour, attestent de la longue histoire de la ville qui remonte à plus de trois millénaires. La vielle ville de Bologne est même l’une des plus grandes d’Europe.

Au 12e siècle, la ligne d’horizon bolognaise ressemblait à celle de New York aujourd’hui, avec ses quelques deux cents imposantes tours (torri), édifiées à des fins défensives ou religieuses par des familles nobles. Au fil des siècles, la plupart de ces tours sont tombées en ruines ou ont été démolies, mais une vingtaine d’entre elles existent toujours. Deux de ces tours, dressées côte à côte, surplombent encore le cœur de la ville. La plus grande qui mesure 97.2 m est connue sous le nom d’Asinelli, la famille qui la fut érigée au moyen âge. La plus petite (48m), la Garisenda, fut quant à elle mentionnée par Dante dans sa Divine Comédie, écrite entre 1308 et 1321. Les visiteurs intrépides peuvent gravir les 498 marches à l’intérieur de l’Asinelli ; une vue époustouflante de la ville les y attend au sommet ! u

Basilica di San Petronio, perhaps the fifth largest church in the world. Building began in 1392 and was never finished, mainly due to a dispute with Rome over its size rivalling that of St. Peter’s. The basilica was built to honour Bishop Petronio who, 900 years earlier, initiated the restoration and reinforcement of Bologna after the fall of the Roman Empire.

Bologna has been lovingly called la grassa for centuries— the name refers to the warm hospitality of its people and its outstanding cuisine, perhaps the finest in Italy. Local specialities abound and some are famous worldwide. The tortellino symbolizes la cucina di Bologna. According to legend, this small hand-rolled egg pasta sculpture, with a rich meat or vegetable filling, was modelled on the belly button of Venus. Tortellini are traditionally served in brodo, a thin tasty broth.

Mortadella, the fine pink sausage containing white squares of fat called lardons, is synonymous with Bologna where it has been produced since the 13th century. Its name derives from the mortar (mortaio) and pestle used by the monks to grind meat of various types including donkey, wild boar and pig into a fine consistency. By the 17th century, mortadella had become a highly prized commodity throughout Europe, a currency used in exchange for goods.

Les tours ne se trouvent qu’à une courte distance de marche de la Piazza Maggiore, la place médiévale qui constitue le cœur de la ville. La place est dominée par la façade monumentale de la Basilica di San Petronio, la cinquième plus grande basilique au monde, dont la construction entamée en 1392 ne fut jamais complétée à cause d’une dispute avec Rome sur sa taille qui aurait rivalisé celle de la Basilique Saint-Pierre. Ce projet grandiose fut mis de l’avant pour honorer la mémoire de l’évêque Petronio, qui fut le principal responsable de la renaissance et du renforcement de Bologne après la chute de l’Empire Romain neuf siècles plus tôt.

Bologne est aussi affectueusement connue depuis plusieurs siècles comme la grassa. Ce surnom réfère à l’hospitalité de ses habitants et à leur remarquable culture culinaire parmi les plus renommée d’Italie. Ces nombreuses spécialités locales sont appréciées mondialement. Symbole par excellence de la cucina di Bologna, le tortellino, petit anneau de pâte aux oeufs roulée à la main, serait selon les légendes une copie du nombril de Vénus. Les tortellini sont traditionnellement servis in brodo, c’est-à-dire en soupe dans un léger bouillon.

La mortadella, ce saucisson rosâtre contenant de petits cubes de gras nommés lardons, est un autre synonyme de Bologne, où on en produit depuis le 13e siècle. Son nom dérive du mortaio (mortier) utilisé par les moines de l’époque pour broyer finement divers types de viande, par exemple l’âne, le sanglier et le porc. Déjà au 17e siècle, la mortadelle était devenue un produit de grande valeur, une devise employée pour régler les échanges de biens commerciaux à la grandeur de l’Europe.

Tagliatelle (from tagliere, meaning to cut), another member of Bologna’s epicurean tradition, was created in 1487 for the marriage of Giovanni II, Crées en 1487 pour le mariage de Giovanni II, seigneur Lord of Bologna. The art of production lies in the u de Bologne, les tagliatelle (dérivé de tagliare, couper en u

P A N O R A M I T A L I A . C O M 19

ability to roll pasta evenly without cuts or variation of thickness.

And of course we identify Bologna with ragù, meaning to stimulate the appetite, the classic tomato and meat sauce that is used for lasagna or ladled over tagliatelle (not over spaghetti, at least not in Bologna!).

Bologna, la dotta, is the home of Alma Mater Studiorum (meaning, fostering mother of studies), the world’s oldest university, founded in 1088. Today, as in past centuries, the university welcomes students and scholars from all over the world to its 23 faculties. They come to tread in the footsteps of Petrarch, Thomas Becket, Copernicus, Erasmus of Rotterdam, Dante, the physicists Righi, Galvani, and Marconi, and many more. Medicine, law and the humanities are particularly wellregarded. The academic population accounts for about a third of the city’s size, which is approximately 400,000 people.

Porticos (portici) are a common architectural feature in Italy. Extending a building outwards over the sidewalk provides accommodation above, as well as welcomed relief from sun and rain below. As Bologna became wealthy some centuries ago, the population increased and it became mandatory to build porticos within the city walls to gain extra space. Today, the portici di bologna are a unique feature of the city— they would stretch for over 40 km if placed end to end! On a clear day, the peaceful hilltop shrine of Santuario di San Luca can be seen 300 m above Bologna. The sanctuary can be reached on foot using the longest portico in the world— 3,500 m in length with 666 arches. The portico starts near Porta Saragozza at the beautiful Arco del Meloncello. The arch, portico and sanctuary were built in the mid-18th century, the work of the leading Baroque architect Carlo Francesco Dotti (1670-1759). u

20 P A N O R A M I T A L I A . C O M

Italien), sont une autre composante de la tradition épicurienne bolognaise. L’art de la production dépend de la capacité de produire une pâte uniforme dont l’épaisseur de varie pas, et ce sans la couper. Il est aussi évidemment impossible de dissocier Bologne et ragù (nom dérivé du verbe français ragoûter, ou stimuler l’appétit), cette classique sauce tomate à la viande employée dans la confection des lasagnes ou servie généreusement avec les tagliatelle, et non les spaghetti… du moins, pas à Bologne !

Bologne la dotta est le siège de l’Alma Mater Studiorum (ou la stimulante mère des études), la plus vieille université au monde, fondée en 1088, et dont les facultés de médecine, de droit et de sciences humaines sont particulièrement renommées.

Depuis des siècles, l’université accueille dans ses 23 facultés des étudiants et des savants du monde entier qui aspirent à suivre les traces de Pétrarque, de Thomas Becket, de Copernic, d’Erasme de Rotterdam, de Dante, des physiciens Righi, Galvani et Marconi, et bien d’autres encore. Le célèbre écrivain et philosophe italiens Umberto Eco y enseigne d’ailleurs la sémiologie. Des 400 000 habitants de Bologne, environ un tiers sont reliés à cet illustre monde académique.

Trait architectural commun en Italie, les portici (portiques) projettent les parois d’un édifice au-dessus des trottoirs afin d’augmenter leur aire exploitable tout en constituant une protection tant contre la pluie que contre le soleil. À mesure que les fortunes de Bologne croissaient au fil des siècles, la population augmenta rapidement, forçant la construction de portiques afin d’accroître l’espace habitable au sein de la ville.

Aujourd’hui, les portici di Bologna contribuent à distinguer la ville: ils sont si nombreux que, mis bout-à-bout, ils s’étireraient

u

sur plus du 40km ! Et c’est en empruntant le plus long portique du monde que l’on peut rejoindre, à pied, la chapelle du Santuario di San Luca, situé sur le faîte d’une colline avoisinante que l’on peut apercevoir par beau temps surplombant la ville. Ce portique, long de 3500m et constitué de 666 arches, s’étend depuis le magnifique Arco del Meloncello, situé à proximité de la Porta Saragozza jusqu’au sanctuaire qui, avec l’arche et le portique, a été construit durant le 18e siècle par Carlo Francesco Dotti, le célèbre architecte baroque (1670-1759).

Bologna, la rossa, refers to the predominant colour of its roofs and walls, a terracotta orange-brown that glows like the setting sun in the hot summer evenings. Red, meaning left-wing, has also been the colour of its politics until just recently leading to a low point in the city’s history. The clock at Bologna Centrale railway station always reads 10:25 am precisely, the time it stopped on August 2, 1980. A bomb planted, it is believed, by a neo-fascist terrorist group, exploded in the waiting room, destroying a section of station, killing 85 people and injuring over 200 others. The clock and a shrine inside the station form a constant reminder of this dark moment. August 2 is designated in Italy as a memorial day for all terrorist massacres.

Bologna lives on, ancient yet young at heart, proud of its learned history and its unforgettable cuisine. n

22 P A N O R A M I T A L I A . C O M

Bologne la rossa décrit aussi la couleur principale de ses innombrables toits et murs confectionnés d’une céramique rouge-brun qui brille sous l’intensité de ses couchers de soleil durant les chaudes soirées d’été. Le rouge est aussi associé à la gauche politique qui a dominé la ville jusqu’à tout récemment, comme en témoigne l’horloge de la station de train Bologna Centrale, stoppée à 10:25 depuis le 2 août 1980 quand une bombe posée par un groupe terroriste néo-fasciste a détonné dans une salle d’attente, tuant 85 personnes et en blessant 200 autres. L’horloge et une petite chapelle installée dans la station même commémorent ce moment sombre de l’histoire de la ville, et le 2 août est, partout en Italie, maintenant le jour du souvenir dédié aux victimes de tous les attentats terroristes.

Malgré tout, Bologne perdure, une ville ancienne au cœur éternellement jeune et fière de son histoire d’érudition et de son incomparable cuisine. n

Geraldo Pace

success

DAVID ROCCO RECIPE FOR

By Shauna Hardy

La recette du succès

We depend upon food – it provides the nourishment that propels us through our daily lives. But when you move beyond its most basic level, food takes on a wider variety of dimensions. It seduces, it excites, it can inspire conversation, deepen connections and comfort loved ones. For David Rocco, food is also a livelihood, giving him a chance to reach millions of viewers around the world and introduce them to his version

La nourriture, c’est la source d’énergie qui nous anime; on ne peut vivre sans elle. Mais au delà de sa fonction la plus élémentaire, la nourriture peut aussi séduire, exciter, inspirer de grandes conversations, renforcer les liens entre les gens et même réconforter des proches. Pour David Rocco, c’est aussi une carrière qui lui permet de rejoindre des millions de gens partout au monde et de leur présenter sa vision de la Dolce Vita.

of La Dolce Vita.

Growing up in Toronto with parents who hailed from Naples and Foggia, Rocco was never far from the kitchen, often helping his mother to prepare meals. And while he weekly advises Food Network viewers on how to cook Italian food and is launching a cookbook, David Rocco’s Dolce Vita, in November, he gingerly sidesteps the title of chef.

For Rocco the term has become over-hyped, building a sense of expectation that he is not interested in dealing with.

Instead, he attributes his skill to a deeper source, tracing it back to his roots. “I’m Italian - cooking is party of my birth right, it’s my cultural upbringing, it’s in my DNA,” he says with a smile. u

Nés de parents venus de Naples et de Foggia, Rocco a grandi à Toronto, jamais bien loin de la cuisine et toujours prêt à aider sa mère à préparer les repas. Bien qu’il conseille à chaque semaine les abonnés de Food Network sur l’art de cuisiner à l’italienne, en plus de préparer un livre de cuisine prévu pour novembre, David Rocco’s Dolce Vita, il évite avec précaution le titre de chef. À ses yeux, le mot « chef » est surévalué et crée un sentiment d’attente qu’il n’a pas envie de subir. Il attribue plutôt ses aptitudes à ses racines. « Je suis Italien, la cuisine fait partie de mon héritage, de ma culture. C’est dans mes gênes », dit-il avec le sourire. u

24 P A N O R A M I T A L I A . C O M

Geraldo Pace

“My cooking is a gift. It is incredible to be able to create something that gives pleasure. It is a skill set that I just seem to understand intuitively – I approach it with confidence.

« C’est un don; c’est merveilleux de pouvoir créer quelque chose qui apporte tant de plaisir aux gens. On dirait que je comprends l’art de la cuisine de manière intuitive; je l’approche avec confiance.

Some people know immediately how to take apart a car engine. I don’t know anything about cars, but put me in a kitchen and it’s a whole different story.” And while, Rocco adores Italian cuisine, he admits that as a child it sometimes proved to be a bit of a challenge. Growing up in a very Anglo-Saxon neighbourhood in Toronto often left Rocco feeling like a poor immigrant. His family’s food was not the peanut butter and jelly variety that his neighbourhood playmates enjoyed. “Bringing a lunch to school was always a bit of a challenge,” he admits. “I’d have sandwiches made with rapini and pecorino cheese. There was one time when we’d had rabbit one night and it ended up in my sandwich the next

Il y en a qui peuvent vous démonter un moteur en un tournemain – moi je ne connais rien aux voitures, mais mettez-moi dans une cuisine et je suis chez moi. » Rocco a beau adorer la cuisine italienne, il admet qu’enfant, ce fut parfois tout un défi. Celui qui a grandi dans un quartier très anglosaxon de Toronto s’est souvent senti comme un pauvre immigrant. La cuisine familiale était bien loin des sandwichs au beurre d’arachide ou à la gelée de ses copains du coin. « C’était souvent un défi d’apporter un lunch à l’école », se rappelle Rocco. « J’avais des sandwichs au rapini et au fromage pecorino. Un soir, nous avons mangé du lapin qui s’est retrouvé dans mon lunch le lendemain. Du lapin ! Un de mes amis en

day. Rabbit! My friend had a rabbit as a pet and here I am eating it!!

I had to lie and say that it was chicken.” When the family moved to an Italian neighbourhood, his family’s food became much more accepted and mainstream. But while young Rocco was eagerly embracing what Italian culture had to offer to the dinner table, he wasn’t quite as enthused about taking his first trip to see his parent’s homeland.

“I remember the first time I was told I was going to Italy. I fought and screamed until I cried. I was only six-years-old, but I knew that I didn’t want to go to some old country that didn’t have hockey, baseball or American-style football!” While Rocco’s introduction to Italy might have gotten off to a shaky start, the relationship quickly changed course as the youngster fell under the country’s spell. To this day he remains addicted to its people, its landscape, its artistry, its history and of course, its food.

Hoping to turn his passions into a career path, Rocco and his wife, Nina, hit upon the idea of creating a television series that unified everything that he loved.

Avventura: Journeys in Italian Cuisine blends the excitement

avait un comme animal domestique, alors j’ai cru préférable de lui dire que c’était du poulet. » Quand la famille a déménagé dans un quartier italien, la cuisine familiale est apparue tout à fait normale. Rocco s’imprégnait volontiers de ce que la culture italienne avait à lui offrir à table, mais il n’était pas particulièrement enthousiaste à l’idée de faire son premier voyage dans le pays d’origine de ses parents. « Quand on m’a dit qu’on allait en Italie, je me suis battu et j’ai crié jusqu’aux pleurs », se rappelle-t-il. « Je n’avais que six ans et je ne voulais rien savoir d’un vieux pays qui n’avait pas de hockey, ni de base-ball, ni de football américain ! » Évidemment, ce n’était qu’un faux départ et le jeune Rocco est rapidement tombé en amour avec l’Italie. À ce jour, il demeure passionné par ses gens, ses paysages, son art, son histoire et, bien sûr, sa cuisine.

Espérant transformer leur passion en carrière, Rocco et sa femme Nina ont eu l’idée de créer une série télé qui engloberait tout ce qu’il aime. Avventura: Journeys in Italian Cuisine combinait les joies du voyage au côté éducatif d’une émission de cuisine, tout en glorifiant famille, plaisir et bonne bouffe. Bien que u

u

26 P A N O R A M I T A L I A . C O M

of travel with the education of a cooking show, simultaneously celebrating food, family and fun. And while their vision was rather pioneering – these were the days before chefs had become stars and food shows were broadcast 24 hours a day - Rocco didn’t doubt the show’s direction for a second. “I could see the longevity of the project,” he explains. “We were at a pub and my friends were wondering how we were going to be able to do this. But I understood exactly what Italy and I could offer to viewers.”

Avventura was succeeded by Dolce Vita, a cooking and lifestyle show that is now broadcast in over 100 countries. Rocco and his wife are kept busy with every aspect of each show. And while there are many glamorous aspects: scouting locations, shoots and cooking on camera, Rocco’s favourite part occurs in the editing room. “I just love watching everything come together. Sometimes you feel like you didn’t get the right shots, that things aren’t going to come out right and then you step into the editing suite and it’s like magic,” he says excitedly. “It’s like fitting a puzzle together and then suddenly, everything comes to life! It’s like a gift from god – things you didn’t think work, now suddenly do!!” And while Dolce Vita combines culture and cuisine, it also represents a philosophy that Rocco embraces even when he walks off the set. “Dolce Vita is really about a state of mind – its like being an alchemist and turning simple ingredients into magical food – it’s the same principle that should be applied to life.” u

leur approche était assez avant-gardiste (c’était avant l’époque des chefs-vedettes et des émissions de cuisine diffusées 24 heures par jour), Rocco n’a jamais douté du chemin qu’il empruntait. « Je voyais un bel avenir pour ce projet », explique Rocco. « Mes amis et moi étions réunis autour d’un verre et nous nous demandions comment réussir notre coup, mais je savais exactement ce que l’Italie et moi avions à offrir aux téléspectateurs. » Après Avventura, ce fut Dolce Vita, une émission de cuisine et de vie moderne aujourd’hui diffusée dans plus de 100 pays. Les nombreux aspects de l’émission tiennent Rocco et sa femme fort occupés, et bien qu’il existe plusieurs tâches prestigieuses (chercher des lieux de tournage, être sous les projecteurs), l’endroit que préfère Rocco demeure la salle de montage. « J’adore voir se construire le résultat final. Des fois on pense que le tournage s’est mal passé, que ça n’a pas fonctionné comme on le voulait, mais une session dans la salle de montage et c’est comme de la magie », explique Rocco, excité. « C’est comme construire un casse-tête – soudainement tout devient clair. C’est comme un don de Dieu : quelque chose qui ne semblait pas fonctionner se met tout à coup à fonctionner. » En plus de combiner culture et cuisine, Dolce Vita illustre une philosophie à laquelle Rocco adhère dans sa vie de tous les jours. « Dolce Vita, c’est d’abord un état d’esprit; c’est comme être un alchimiste qui transforme de simples ingrédients en recettes magiques. Le même principe se doit d’être appliqué à la vie en général. » u

P A N O R A M I T A L I A . C O M 27

For Rocco, this means embracing the unexpected and leaving room for plenty of spontaneity and fun. He cites the following example: Not long ago, his brother called to tell him that the entire family was getting together for a pizza after a concert. While Rocco was ready for the companionship, he didn’t feel like leaving the comfort of his own home. Instead, he enticed everyone over to his place with an improvised meal of pasta and pancetta. The key to that moment lies in its effortlessness – it is simple, beautiful and features plenty of good food and family. These moments come from Rocco’s desire for authenticity.

“We complicate things to much these days,” he explains. “People are overscheduled; they’re often making plans to see each other two months down the line.

We don’t take time for a spontaneous moment –we have forgotten the “pop-in” factor. Through this show, I really want to inspire people, to get them to take a chance, invite someone over, to try something out of the ordinary or just try to make something simple and different.”

With production set to begin on the fourth season of Dolce Vita, Rocco shows no signs of slowing down. Favourite moments from past shows are too numerous to count, with each episode carrying at least one defining moment for its creator. And while Rocco confesses to experiencing the pressure and insecurity that every performer feels, the love for what he is doing dispels every uncertainty. “I want to make programming that inspires,” he explains. “These days television has become a lot about bickering and fighting – it’s quite sad and bleak. This show serves as a wonderful counterpoint. There is nothing like getting comments from our audience – notes from seven and eight-year-olds who are learning to cook through our show. My favourite comment came from a viewer who said, ‘Thank you, watching your show I realized that it was the first time that I smiled all day.’”

The world is dominated by so many impersonal forms of interaction - engagements are announced via nondescript web pages and text messages have replaced real-time conversation. Fast food and a fast life are still the dominant themes of our society. But take a half hour to tune into David Rocco and you’ll realize that the good life really does lie just below the surface. n

28 P A N O R A M I T A L I A . C O M

Pour Rocco, cela consiste à accueillir l’inattendu en laissant beaucoup de place à la spontanéité et au plaisir. Il nous donne cet exemple : récemment, son frère l’a invité à une petite réunion familiale après un concert. Rocco voulait voir ses proches mais il n’avait pas envie de quitter le confort de sa maison, alors il a plutôt convaincu tout le monde de venir chez lui pour une petite soirée « pasta et pancetta » improvisée. La clé de ce moment c’est qu’il ne demande que peu d’efforts; c’est simple, beau, ça inclut famille et bonne bouffe. C’est le désir d’authenticité de Rocco qui lui apporte ces moments spontanés.

« On complique trop les choses de nos jours », explique Rocco. « Les gens planifient trop leur horaire, des fois deux mois à l’avance juste pour voir quelqu’un.

On fait rarement les choses de manière spontanée. Avec Dolce Vita, je veux inciter les gens à prendre des risques, à inviter quelqu’un à dîner et essayer quelque chose de nouveau ou de simple, mais différent. » À l’aube de la quatrième saison de Dolce Vita, Rocco fonctionne toujours à plein régime. Les bons souvenirs des trois premières saisons sont trop nombreux pour garder le compte, chaque épisode renfermant au moins un moment unique pour son créateur. Et bien que Rocco admette qu’il n’est pas à l’abri du stress et de l’insécurité que vivent tous les artistes, son amour pour ce qu’il fait suffit pour dissiper tous les doutes. « Je veux faire de la télé inspirante », dit-il. « De nos jours, on voit surtout des chicanes et de la bagarre – c’est plutôt triste et désolant. Mon émission est tout le contraire. Rien n’est plus agréable que de recevoir des commentaires de nos téléspectateurs, des messages d’enfants de sept ou huit ans qui apprennent à cuisiner grâce à nous.

Mon commentaire préféré est venu d’un téléspectateur qui a écrit : merci, en écoutant votre émission je me suis rendu compte que j’ai souri pour la première fois de la journée. » Dans notre monde moderne, la communication est devenue très impersonnelle. On annonce les choses par Internet, on converse par messages textuels; on vit et on mange à toute allure, mais il suffit d’écouter David Rocco pendant trente minutes pour se rendre compte que la belle vie ne se cache pas bien loin. n

www.davidrocco.com

David Rocco’s recipes

SALSICCIE E FAGIOLI 4 tablespoons extra virgin olive oil (59ml) 3 garlic cloves, peeled and crushed 8 x 3 oz pork sausages (8 x 85g) 2 sprigs fresh rosemary 10 oz can peeled plum tomatoes (283g) 2 x 19 oz can cannellini beans, drained and rinsed (2 x 540ml) salt and freshly ground black pepper, to taste

4 cuillers à thé d’huile d’olive extra vierge (59ml) 3 gousses d’ail, pelées and broyées 8 x 3 oz de saucisse de porc (8 x 85g) 2 branches de romarin frais 10 oz de tomates italiennes (san marsano) pelées en boîte (283g) 2 x 19 oz de fèves cannellini en boîte, rincées et essorées (2 x 540ml) Sel et poivre frais broyé, au goût

To start your Salsiccie e Fagioli: In a saucepan, heat olive oil.

Saute garlic and add the sausages and rosemary. Cook for a few minutes, turning the sausages over. Pierce sausages to allow the fat to drip out and flavour up the dish. Add the tomatoes to the pan. With the back of a wooden spoon, break up the tomatoes into little chunks. Add half a cup of water and allow to simmer. Then add beans, salt and pepper. Let cook together for about 15 minutes or until the sauce has reduced and thickened.

Pour préparer vos Salsiccie e Fagioli: Faites chauffer l’huile dans une casserole. Sautez l’ail et ajoutez les saucisses et le romarin. Laissez cuire pendant quelques minutes en retournant les saucisses. Piquez les saucisses pour permettre au gras de fondre dans la casserole et raviver le goût du plat. Ajoutez les tomates dans la casserole. Avec le dos d’une cuiller, écrasez les tomates en petits morceaux. Incorporez une tasse d’eau et laissez mijoter à feu doux. Ajoutez ensuite les fèves, le sel et le poivre. Laissez cuire pendant près de 15 minutes ou jusqu’à ce que la sauce réduise et épaississe.

Per 4 persone

Pour quatre personnes

P A N O R A M I T A L I A . C O M 29

David Rocco’s recipes

PASTA AL FORNO 1 lb rigatoni pasta (450g) 4 tablespoons extra virgin olive oil (60ml) 2 garlic cloves, chopped 1 large eggplant, cubed 15 infornate olives, pitted and chopped 10 large sun-dried tomatoes, chopped 2 dried chili pepper, crushed (optional) 1 jar of tomato puree (750ml) 0.8lb freshly grated mozzarella (400g) Smoked scamorza cheese, as much as desired, roughly chopped Freshly grated parmigiano cheese for sprinkling

1 lb de pâtes rigatoni (450g) 4 cuillers à table d’huile d’olive extra vierge (60ml) 2 gousses d’ail, hachées 1 grosse aubergine, coupée en cubes 15 olives infornate, dénoyautées et coupées en morceaux.

10 grosses tomates séchées, hachées 2 piments forts sechés (optionnel) 1 bocal de purée de tomate (750ml) 0.8lb mozzarella fraichement râpée (400g) Fromage scamorza fumé, selon les goûts, coupé grossièrement Parmesan fraichement râpé pour saupoudrer Sel au goût

To start your Pasta al Forno: Preheat oven to 400 degrees Fahrenheit. While the rigatoni cooks in salted boiling water, prepare the sauce. In a saucepan heat up olive oil and sauté garlic, eggplant, olives, sun-dried tomatoes and chili peppers for a few minutes. Add tomato puree and salt. Let cook for approximately 10 minutes on medium heat. Drain rigatoni, add to the saucepan, sprinkle with some parmigiano and cook for another 30 seconds. Place half the rigatoni in a baking dish, adding a layer of half of the mozzarella, half of the scamorza and another sprinkle of parmigiano cheese over the pasta. Add the remaining rigatoni, and follow with a final layer of all the cheeses. Bake for 20 to 30 minutes or until golden brown.

Pour préparer vos Pasta al Forno: Préchauffez le four à 400 degrés Fahrenheit. Pendant que cuisent les rigatoni dans l’eau bouillante préalablement salée, préparez la sauce. Dans une casserole chauffez l’huile d’olive et faites sauter l’ail, l’aubergine, les olives, les tomates séchées et les piments forts pendant quelques minutes. Ajoutez la purée de tomate et le sel. Laissez cuire pendant approximativement 10 minutes à feu moyen. Essorez les rigatoni, ajoutez la sauce, saupoudrez de parmesan et laissez cuire encore 30 secondes. Mettez la moitié des rigatoni dans un plat de cuisson, en couvrez les pâtes d’une couche avec la moitié de la mozzarella, la moitié de la scamorza et du parmesan. Ajoutez les rigatoni restant, et rajoutez une dernière couche de fromage. Cuire de 20 à 30 minutes ou jusqu’à ce que le tout soit bien gratiné.

Per 4 persone

Pour quatre personnes

Salt to taste

30 P A N O R A M I T A L I A . C O M

Sangiovese On the Road of / Sur la route du

By Gabriel Riel-Salvatore

A visit into the heart of some of Tuscany’s best wine regions: Une visite au coeur de certaines des meilleures régions vinicoles toscanes :

Brunello di Montalcino, Vino Nobile di Montepulciano, Chianti Classico, Morellino di Scansano

Falling in Love with Sangiovese

I was first introduced to Sangiovese when I started working in the wine business as a salesman for the

SAQ (Société des alcools du Québec), Québec’s State owned monopoly. It was in 2000. At the time, the 1997 Chianti Classicos were already available and the Riservas had just started appearing on the market. My fellow wine advisers were so enthusiastic about this vintage they could not wait for the products to fill the shelves to call in their best clients. As the top Riservas were slowly coming in, the bottles were literally disappearing days, if not hours in some cases, after the wines had just entered the stores. Of course, everybody knew that 1997 was a great year for Tuscan wines; but, each time a bottle was finally available, our team would try it just to make sure the experts were right. And they were right, alright! Full, smooth, offering impressive red berry fragrances of such sublime balance, 1997 Sangiovese based wines really convinced me that not only do Italians made good wine, but they probably made the best wine there is. The tasting of the Brunello di Montalcino 1997 a few months later would confirm my beliefs, while the 1995’s I had been exposed to had decidedly set the table for a long lasting love story. u

Tomber en amour avec le sangiovese

Mon premier contact avec le sangiovese date de mes débuts comme vendeur à la Société des alcools du

Québec. C’était en 2000. À l’époque, les Chianti Classico 1997 étaient déjà disponibles et les Riserva venaient tout juste d’arriver sur le marché. Mes confrères de travail conseillers en vins semblaient si emballés par ce millésime qu’ils ne pouvaient se résoudre à attendre que les produits atteignent les tablettes pour contacter leurs meilleurs clients. Au fur et à mesure que les meilleurs Riserva arrivaient, les bouteilles disparaissaient littéralement des tablettes après seulement quelques jours, voire quelques heures dans certains cas. Bien sûr, tout le monde savait que 1997 marquait une grande année en Toscane, mais à chaque fois qu’une bouteille était finalement disponible notre équipe s’évertuait à en déguster un échantillon pour s’assurer du bien-fondé de l’analyse des experts. La rumeur était bien vraie ! Pleins, souples, offrant d’impressionnantes fragrances de fruits rouges d’un équilibre exceptionnel, les vins 1997 à base de sangiovese ont su me convaincre que non seulement les Italiens font du bon vin, mais qu’ils font probablement le meilleur vin qui puisse exister. La dégustation des Brunello di Montalcino 1997 plusieurs mois plus tard allait confirmer mes impressions, bien que les 1995 auxquels j’avais eu le privilège de goûter avaient décidément semé ce qui devait se transformer en réelle histoire d’amour. u

P A N O R A M I T A L I A . C O M 33

What started as a student job quickly became a passion and

Ce qui avait débuté comme un simple emploi d’étudiant s’est

right from the beginning I decided to build myself a wine cellar in

rapidement transformé en passion et, dès le commencement, j’eus

my parents’ basement. With a limited budget at first, I followed the

l’intention de me monter un cellier dans le sous-sol de mes parents.

principle that calls for buying small wines or small wineries during

Avec un budget limité au départ, je suivis le principe qui préconise

great vintages and buy great wines from great wineries in average

l’achat de petits vins ou de petits producteurs moins connus lors des

vintages. Thus, I initially focused on regular Chiantis and Chianti

grandes années et l’achat de grands vins des grands vignobles lors des

Classicos. Brolio and Barone Ricasoli, Nipozzano and Frescobaldi,

millésimes plus communs. C’est ainsi que je me suis initié aux Chianti

Ruffino and the rest of the gang, their names becoming more and

réguliers et aux Chianti Classico. Brolio et le Barone Ricasoli, Nipozzano

more familiar to me. Passions do in fact make people go mad. It

et la famille Frescobaldi, Ruffino et les autres sont vite devenus pour

always astonishes me how much money my girlfriend who is a make

moi des noms de plus en plus familiers. On dit que les passions rendent

up artist can spend for her make up. I console myself thinking that

les gens fou. Je suis toujours ébahi par l’argent que dépense ma copine

contrary to cosmetics, wine actually improves with time. If wine

pour son maquillage, elle qui est maquilleuse professionnelle. Je me

taught me anything over the years, it is that patience is indeed a

console en pensant au fait que le vin, contrairement aux cosmétiques,

virtue. Even if I must have spent close to half of my salary back then

s’améliore avec le temps. Et si le vin m’a appris quoi que ce soit au fil des

on top wine bottles, I clearly realise today what a great investment it

ans, c’est que la patience est bel et bien une vertu. Même si à l’époque

really was when I uncork my aged bottles of Brunello di Montalcino

j’ai dû dépenser près de la moitié de mon salaire en grandes bouteilles,

or Chianti Classico Riserva. This is why I still thank myself today for

je réalise à quel point ce fut réellement un bon investissement quand

not having followed the previously mentioned principle, which is

j’ouvre mes bouteilles de Brunello di Montalcino et de Chianti Classico

basically nonsense for real wine lovers.

Riserva après quelques années en cave. C’est pourquoi je me remercie

Of course I was first introduced to Brunello with Banfi and I

encore d’avoir fait à ma tête et de ne pas avoir suivi à la lettre le

am not shy to say that most of my remaining 1997 bottles of Castello

principe mentionné plus tôt qui, de toute façon, est un non-sens pour

Banfi Poggio alle Mura and Poggio all’Oro are some of my most

tout vrai amateur de vin.

precious bottles. Having spent most of my money on this flagship

winery at the beginning, little was left to buy less commercial brands.

et je ne suis pas gêné d’affirmer que mes bouteilles de Brunello Castello

But I have learned that there are more good vintages than we think

Banfi Poggio alle Mura et Poggio all’Oro 1997 figurent parmi mes

and there are more good wines out there than ever. The upcoming

meilleures bouteilles. Comme j’ai dépensé la majorité de mon budget

years would bring me to discover the joy tied to learning about new

sur cette célèbre marque, il me restait peu d’argent pour investir dans

wineries and appreciating new vintages. For instance, 1999, 2001,

d’autres producteurs moins connus. Toutefois, j’ai appris qu’il existe

2004 and 2005 were all great harvests in Tuscany. In hindsight, I am

plus de bons millésimes qu’on ne le pense et une sélection plus que

even compelled to think that 1999 was a better vintage than 1997.

jamais incroyable de bons vins. Les années à venir allaient ainsi me

As the years went by, my curiosity grew exponentially. I discovered,

permettre de faire la découverte de nouveaux producteurs et de nouveaux

through tasting and research, many great Tuscan wineries to replenish

millésimes. 1999, 2001, 2004 et 2005 sont toutes de grandes années

my cellar with. u

en Toscane, par exemple. Avec le recul, je suis même forcé d’admettre

Évidemment, j’ai d’abord été introduit au Brunello avec Banfi

que 1999 fut un meilleur millésime que 1997. Plus les années passaient, plus ma curiosité grandissait de façon exponentielle. J’ai découvert à travers mes dégustations et beaucoup de recherche plusieurs grands producteurs toscans avec lesquels reconstituer mon cellier. u

On the road of sangiovese

Sur la route du sangiovese

In 2007, I spent my entire summer visiting wineries and artisans

En 2007, j’ai consacré tout mon été à visiter des vignobles et des

across central Italy. It was a revelation for a young journalist who

artisans producteurs en Italie centrale. C’était une vraie révélation

always believed it was as important to know what is on, in and behind

pour un jeune journaliste qui a toujours cru bon comprendre ce qui se

a bottle of wine. As I went to visit a dear friend that worked in the

retrouve sur, dans et derrière une bouteille de vin. Alors que j’allais

wine business in the Montepulciano area I decided to look for those

visiter un bon ami qui travaille dans le milieu vinicole dans la zone du

terroirs that had generated the bottles I had been so passionately

Vino Nobile di Montepulciano, je me suis décidé à partir à la recherche

collecting for years. My ambition was to visit some of the best wineries

des terroirs qui ont généré les vins que je collectionnais depuis des

in Tuscany. This trip would lead me on the road of Sangiovese right

années. Mon but était de visiter certains des meilleurs vignobles de

into the heart of four of the main wine regions of Tuscany: Montalcino,

la Toscane. Ce voyage m’a ainsi conduit sur la route du sangiovese en

Montepulciano, Chianti Classico and Scansano.

plein cœur de quatre des principales régions vitivinicoles de la Toscane : Montalcino, Montepulciano, Chianti Classico et Scansano.

CLOSE UP ON SANGIOVESE

C

ultivated by the ancient Etruscs in present day Tuscany Sangiovese is one of Italy’s oldest and most widespread grape varietals, especially in the central regions of Tuscany, Umbria, Emilia-Romagna and Marche. Its name derivative of “sangue di Giove” or “blood of Jove” however suggests Roman ancestry. Associated for a long time with cheap Chianti sold in bottles dressed in hay, we have only recently discovered the true potential of Sangiovese with the rise of “Supertoscan” wines and stricter legislations. Nicola Belfrage (Master of Wine specialized in Italian Wines and contributor to Tom Stevenson’s Wine Report Guide Book) even suggests that recent clone experiments with projects such as “Chianti Classico 2000” founded by Carlo Ferrini in the late 1980s, have enabled producers across Tuscany to plant vines that now make the best wines ever made in the region’s entire history.

Various typologies of Sangiovese are found, but there exists two main categories: Sangiovese Grosso, the most praised, is cultivated in limited quantities almost exclusively in the Montalcino and Montepulciano area where it is respectively called Brunello and Prugnolo Gentile. The other and most common one is the Sangiovese Piccolo, also known under the historical name, Sangioveto, used for standard Chianti Classico DOCG (controlled and guarantied appellation) wines. A third variety, Morellino, related to Sangiovese Piccolo is used in the popular wine blend of the same name in Scansano, found in the southern part of Tuscany. It must however be stressed that most of the top wineries tend to use the Sangiovese Grosso varietals that offer more structure. Late ripening Sangiovese requires a moderately warm climate and fears rain more than any other grape type during harvest. Call it Brunello, Prugnolo Gentile or Morellino, Sangiovese is perfectly at ease in Tuscany, outside of which it has no match. u

LE CÉPAGE SANGIOVESE

C

ultivé par les étrusques sur l’actuel territoire de la Toscane, le sangiovese figure parmi les plus anciens cépages d’Italie et compte parmi les plus répandus, surtout dans les régions du centre de la péninsule: Toscane, Ombrie, Émilie-Romagne et les Marches. Son nom dériverait quand à lui du latin « Sangue di Giove » ou « sang de Jupiter ». Longtemps associé au Chianti de qualité douteuse vendu dans des bouteilles vêtues de pailles, nous avons seulement découvert récemment le vrai potentiel du sangiovese avec l’émergence des vins « super toscans » et l’apparition de législations plus sévères. Nicola Belfrage (Master of Wine, spécialiste en vins italiens et collaborateur dans le Tom Stevenson’s Wine Report Guide Book) suggérait même récemment que les expérimentations clonales effectuées grâce à des projets tel “Chianti Classico 2000”, piloté par Carlo Ferrini à la fin des années 1980, ont probablement permis aux producteurs toscans de planter des vignes qui offrent maintenant les meilleurs vins jamais produits dans la région.

On rencontre plusieurs typologies de sangiovese, mais il existe deux principales catégories : le sangiovese Grosso, le plus prisé, est cultivé en quantité limitée presque exclusivement dans les zones de Montalcino et de Montepulciano où il est respectivement nommé Brunello et Prugnolo Gentile.

L’autre et le plus commun des deux, le sangiovese Piccolo, aussi historiquement appelé Sangioveto, est utilisé pour la production du vin de Chianti standard ainsi que le Chianti Classico. Une troisième variété, le Morellino, proche parent du sangiovese Piccolo, sert à produire le vin du même nom dans la région de Scansano, située dans le sud de la Toscane. Il importe toutefois de préciser que la plupart des grands vignobles tendent à cultiver le sangiovese Grosso qui offre beaucoup plus de structure. Cépage à maturation lente, le sangiovese nécessite un climat modérément chaud et craint la pluie plus que tout autre raisin pendant les vendanges. Appelez-le Brunello, Prugnolo Gentile ou Morellino, le sangiovese est parfaitement à l’aise en Toscane, en dehors de laquelle il n’a nul pareil. u

Brunello di Montalcino

A

U

early, showing signs of “inviatura” (primary stage of maturation when

À la mi-juillet, les grappes de sangiovese démontraient trois semaines

grapes start turning red). Dottore Pierluigi Bonari from Casanova di

d’avance, montrant des signes « d’inviatura » (première étape de

Neri, was very enthusiastic about the progression of the growing

maturation lorsque le raison tourne au rouge). Dottore Pierluigi Bonari

season as we were standing under the burning sun in the “vigneto di

de Casanova di Neri était très enthousiaste quant à la progression de

Fiesole” located just in front of the farmhouse where their head office

la saison comme nous déambulions sous le soleil torride dans le «

and wine cellar are also located. A rainy month of June prevented

vigneto di Fiesole » situé en face du mas familial où siègent les bureaux

water stress. The thermometer indicated close to 45 C° (113 F) that

commerciaux ainsi que les chais du domaine. Un mois de juin pluvieux

day. Same reaction at Argiano on the other side of the hill near San

prévenait tout stress hydrique. Le thermomètre indiquait près de 45 C°

Angelo in Colle as Stéphane Schaeffer, the estate’s sales manager,

ce jour là. Même son de cloche chez Argiano de l’autre côté de la colline

was showing me green branches still stemming from the trunk of

près de San Angelo in Colle alors que Stéphane Schaeffer, le responsable

some grape vines. The milder climate in August, gave the grapes a

des ventes du domaine, me montrait des branches vertes qui jaillissait

period of respite. The fine conditions during the following September

encore de certains pieds de vigne. Les températures plus clémentes du

and October would allow the grapes to linger a little while longer on

mois d’août suivant allaient donner un peu de répit au raisin. Les belles

the vine, insuring a great harvest and high quality wines.u

conditions durant septembre et octobre allaient permettre aux fruits de

decade after the famed 1997, the weather conditions seemed just as promising in the Tuscan outskirts of Montalcino for one more

great vintage. By mid-July, the Sangiovese bunches were 3 weeks

ne décennie après le fameux millésime 1997, les conditions climatiques semblaient tout aussi prometteuses dans les

campagnes environnantes de Montalcino pour une autre grande année.

mûrir un peu plus sur les ceps, assurant ainsi une bonne vendange et des vins de grande qualité. u

Altesino SpA – Az. Agricola

53028 Montalcino (Siena) – Tel. +39 0577/806208 - Fax + 39 0577/806131 - www.altesino.it

M

y trip to Brunello di Montalcino had started that same morning at Altesino. Intoxicated by the beauty of the surrounding

Tuscan country side with its characteristic cypresses marking road

M

a visite dans le Brunello di Montalcino avait débuté le matin même chez Altesino. Charmé par la beauté de la campagne

toscane environnante avec ses cyprès caractéristiques qui balisent les

paths leading to awe inspiring properties, I was doubly delighted to

routes menant à des domaines somptueux, je fus doublement enchanté

be welcomed by a beautiful young American woman that spoke perfect

d’être accueilli par une belle et jeune Américaine, parlant un italien

Italian and that had the fortune to work at the Podere outside of her

parfait, qui avait le loisir de travailler au Podere en dehors de ses

other occupations teaching art history at the Firenze University.

occupations comme professeure en histoire de l’art à l’Università di

Dottore Guido Orzalesi would introduce me to the winery’s’ true

Firenze. Dottore Guido Orzalesi allait quant à lui m’initier aux vraies

beauties showing me around the property and the new wine cellar of

beautés du vignoble (surtout les cinq hectares parfaitement exposés

Contessa Elizabetta Gnudi Angelini, also owner of nearby Tenuta Caparzo and Borgo Scopeto in Chianti. I

du vignoble Montosoli visible au loin à partir de la villa de l’établissement) en me guidant à travers la propriété

was most impressed by the perfectly oriented five

et le nouveau cellier de la Contessa Elizabetta Gnudi

hectare Montosoli vineyard that could be seen

Angelini, aussi propriétaire du domaine voisin Tenuta

from the courtyard of the mansion. I would later taste the 2003 bottle of this cru (single vineyard), the real signature of the house crafted by local enologist

Caparzo et Borgo Scopeto en Chianti. J’allais plus tard déguster une bouteille du millésime 2003 de ce grand cru (réelle signature de la maison) confectionné

Paolo Caciorgna, one of Italy’s leading winemakers. It had just been

par l’œnologue Paolo Caciorgna, un des vinificateurs les plus en vue

bottled 15 days before my visit which explained the powerful and

au pays. Le vin venait d’être embouteillé 15 jours avant mon arrivé

slightly aggressive tannins that still needed more time to mellow.

ce qui explique la présence de tannins puissants et quelque peu

Still, a clean and elegant nose expressed a clear aromatic balance. A

agressifs demandant encore du temps pour s’assouplir. Néanmoins, un

nice acidity that would insure a good vibrancy after a few years lying

bouquet élégant exprimait un équilibre aromatique évident. Une bonne

horizontally confirmed the greatness of this wine. The tasting of the

acidité, assurant une belle longévité après plusieurs années passées

other wines of the Azienda, such as the Rosso di Montalcino 2004

à l’horizontale, confirmait la grandeur de ce vin. La dégustation des

and 2005, the Palazzo Altesi 2003 and the Brunello di Montalcino

autres vins de l’Azienda, comme le Rosso di Montalcino 2004 et 2005,

2002 (third of the production) and their more powerful Super Tuscan

le Palazzo Altesi 2003 et le Brunello di Montalcino 2002 (un tiers de

blend, Alte d’Altesi 2003, confirmed Orzalesi’s beliefs that “the

la production) et le puissant blend super toscan Alte d’Aletesi 2003,

nicest characteristic of Sangioseve is that it is never boring.”u

confirmèrent les dires d’Orzalesi : « le plus bel atout du sangiovese, c’est qu’il n’est jamais ennuyeux. » u

P A N O R A M I T A L I A . C O M 37

Azienda Agricola Argiano

Countess Noemi Marone Cinzano

S. Angelo in Colle – 53020 Montalcino (Siena) - tel. +39 0577/844037 – Fax +39 0577/84210 - www.argiano.net

M

M

presence of Mount Amiata which acts as a natural barrier against

du Mont Amiata qui agit comme barrière naturelle contre le mauvais

bad weather. “Sangiovese needs lots of heat,” explained Shaeffer,

temps. « Le sangiovese exige beaucoup de chaleur, » m’expliquait

revealing why it has a hard time maturing in the Bolgheri area.

Stéphane Shaeffer, me révélant ainsi pourquoi il a du mal à bien mûrir

With 50 hectares of vines, 30 planted with Sangiovese, Argiano, like

dans le Bolgheri. Avec 50 hectares de vignes dont 30 plantés en sangiovese,

Altesino, is an average size winery that stands among the regions

Argiano, comme Altesino, est un domaine d’envergure moyenne figurant

oldest vineyards such as Biondi Santi, Silvio Nardi, Col d’Orcia and

parmi les plus vieux vignobles de la région avec Biondi Santi, Silvio Nardi,

Poggio alle Mura. Lots of effort was put into conserving Argiano’s

Col d’Orcia et Poggio alle Mura. Beaucoup d’efforts ont été investis dans

heritage in the past decades, which has one of the most beautiful

la conservation du patrimoine d’Argiano au cours des dernières décennies,

estates of the region. The magnificent 16th century villa with its

un des plus beaux domaines de la région. La magnifique Villa du 16e siècle

lovely chapel and two 4 and 5 chambers apartments is flanked by a

avec sa charmante chapelle et ses deux appartements de quatre et cinq

French style garden that offers an impressive 180 degree view of the

chambres, est bordée par un jardin français qui offre une vue imprenable

Tuscan country side and nearby Poggio alle Mura from Banfi.

de 180 degrés sur la campagne toscane environnante et le Poggio alle

Mura adjacent, chez Banfi.

ontalcino has a micro-climate that benefits from the wind of the shorelines of the Maremma that provides fresh temperatures

at night which are ideal for a longer maturing period, and by the

Argiano literally experienced a renaissance during the 1990s

ontalcino possède un microclimat bénéficiant des vents marins des côtes de la Maremma voisine qui offrent des températures fraîches

pendant la nuit (idéales pour une maturation prolongée) et de la présence

led by none other than Giacomo Tachis, known as the father of Super

Tuscan wines, who was also behind the famous Solengo that was

1990, dirigée par nul autre que Giacomo Tachis, reconnu comme le

made for the first time in 1995. The flamboyant Hans Vinding-Diers

père des vins super toscans et comme l’artisan du fameux Solengo,

became the new winemaker of the estate in 2003 and baptized the

vinifié pour la première fois en 1995. Le flamboyant Hans Vinding-Diers

state of the art wine cellar that was recently financed by Countess

est devenu le nouveau maître de chai du domaine en 2003 et a baptisé

Noemi Marone Cinzano. “Working with nature is mandatory for us,”

le nouveau cellier ultramoderne récemment financé par la Contessa

mentioned Sheaffer. The winery only uses its own yeasts and ages

Noemi Marone Cinzano. « Travailler avec la nature est impératif pour

its grape parcels separately, blending them only before bottling.

nous » affirmait Sheaffer. Le vignoble utilise seulement ses propres

Carbonic maceration is reached at low temperatures to get the most

levures et vinifie ses parcelles séparément, les assemblant uniquement

fruit extraction and complexity as possible. No head plunging is

avant l’embouteillage. La macération carbonique est atteinte à base

involved, only remontage and malolactic fermentation that lasts

température afin d’obtenir une extraction de fruit optimale et le plus de

a few months to let the tannins mature. “Sangiovese is a very

complexité possible. Aucun pigeage n’est employé, que du remontage,

Argiano à vécu une réelle « renaissance » durant les années

tannic and acidic wine with an exceptional aging potential that u et la fermentation malolactique dure plusieurs mois pour laisser mûrir u Chapel Villa Argiano

Villa Argiano

New wine cellar

follows the strict aging requirements of the DOCG

les tannins. « Le sangiovese est un cépage très tannique

(Denominazione di origine controlata e garantita:

et très acide avec un potentiel de garde exceptionnel qui

controlled appellation),” explained Sheaffer. Argiano

explique les normes de vieillissement très sévères de la

has no white wines as it has neither appropriate soil

DOCG (Denominazione di origine controlata e garantita

types nor the facilities to justify its production.

ou appellation contrôlée),” expliquait Sheaffer. Argiano

n’a pas de vins blancs, car il n’a ni le type de sol approprié

Inspired by the Bordeaux philosophy, their

production model focuses on the making of a Brunello

ni les équipements pour justifier sa production.

(Premier vin) and a Rosso (Second vin) along with two

more expressions of their terroir marketed according

modèle de production d’Argiano se concentre sur un

to the same principles. At the tasting, the weaker

Brunello (premier) et un Rosso (second vin) avec en plus

2002 vintage Brunello was not bad at all. Lighter,

deux autres expressions de son terroir mises en marché

smoother and thinner than usual, it showed a more

selon les mêmes critères. À la dégustation, le Brunello

feminine character, but remained nonetheless classy

2002 issu d’un millésime plus faible n’était somme

and elegant. The 2005 Rosso expressed very classic

toute pas si mal. Plus léger, plus souple et plus mince

red berry fragrances typical of Sangiovese with nice

qu’à l’habituelle, il exprimait un caractère plus féminin,

roundness. The NC 2005, for Non Confonditur, the

tout en conservant beaucoup de classe et d’élégance.

second wine of Solengo was a straightforward medium

Le Rosso 2005 exprimait des fragrances très classiques

body wine mixing red and black berry aromas with a

de fruits rouges typiques du sangiovese et démontrait

slight rustic touch. Finally, the Solengo 2004 offered

une bonne rondeur. Le NC 2005, pour Non Confonditur,

a good mix of structure, baked fruits and spices

le second vin de Solengo, présentait un vin très droit

lingering on a distinctly modern style revealing a 15

de moyenne densité mariant agréablement fruits noirs

months aging in new oak barriques.

et fruits rouges sur une finale légèrement rustique.

Casanova Di Neri vigneto Fiesole

S’inspirant de la philosophie bordelaise, le

Finalement, le Solengo 2004 offrait un bel équilibre entre structure, fruits cuits et épices, persistant sur un style moderne qui révèle sans détour un élevage de 15 mois en barriques de chêne neuf.

Town of Montalcino

Azienda Agricola Casanova di Neri

New wine cellar

53024 Montalcino (Siena) - +39 0577/834455 - Fax +39 0577 846177 - www.casanovadineri.com

S

E

Poderuccio, Cerretalto, Pietradonice, and Cetine,

terroirs, Fiesole, Poderuccio, Cerretalto, Pietradonice et

reflect the amazing diversity of the terroirs of this

Cetine, reflètent l’incroyable diversité du sol de cette

48 hectare property owned by Giacomo Neri. “Our

propriété de 48 hectares qui appartient à Giacomo

wish is to respect this diversity through a system of

Neri. « Nous souhaitons respecter cette diversité grâce

“Cru”.” The poor soils of Montalcino that compare

à un système de crus, » me révélait-il d’entrée de jeu.

to the soils in some parts of Burgundy are made

Les sols pauvres de Montalcino qui se comparent à

up of a mix of mineral, more clay-based “albarese”

ceux de certaines parcelles en Bourgogne, combinent

in the south, characteristic of the classic, simple

un mélange argileux plus minéral « albarese » dans

and less structured Brunelli from Bondi Santi for

le sud, caractéristique des Brunelli classiques plus

instance, and marl and limestone “galestro,” in the

simples et moins structurés de chez Biondi Santi par

north, offering more rustic and structured Brunelli.

exemple, et de marne calcaire « galestro, » dans le nord,

This is especially marked in the East-North-east area

produisant des Brunelli plus rustiques et structurés. Ceci

where the Fiesole and Cerretalto vineyards stand.

est particulièrement marqué dans la portion est-nord-

“While many producers draw fruit from both places and

est où sont situés les vignobles de Fiesole et Cerratalto.

blend, our wines at Casanova di Neri must reflect the

« Alors que beaucoup de producteurs combinent des fruits

“Territorio” (land) and every zone has its own Brunello

provenant de ces deux secteurs, nos vins chez Casanova

that is aged separately according to its production

di Neri doivent refléter le « Territorio » et chaque zone

trolling down from the beautiful village of Montalcino my quest for top Sangiovese led

me to Casanova di Neri. Five main terroirs: Fiesole,

n descendant les pentes du magnifique village de Montalcino, ma quête pour les meilleurs sangiovese

allait me mener chez Casanova di Neri. Cinq principaux

area,” mentioned Neri. “The most important thing to u possède ainsi son propre Brunello vinifié séparément, » u

Town of Montalcino

us is our “materia prima” (raw material) and its incredible quality,

me mentionait Neri. « Le plus important pour nous est notre « materia

which reveals our true signature.” As a result, no wine was made in

prima » (matière première) et sa qualité exceptionnelle qui révèle notre

the puny 2002 vintage.

vraie signature. » Par conséquent, aucun vin n’a été commercialisé lors

The technical and technological improvements of the past

du faible millésime 2002.

two decades have literally transformed winemaking in Montalcino,

Les avancés techniques et technologiques des deux dernières

putting the vine at the center of things. While vineyards used to

décennies ont littéralement transformé la viticulture à Montalcino,

adapt to machinery, now it is the machinery that adapts to vineyards,

mettant la vigne au centre des préoccupations. Alors que les vignobles

enabling substantial increases in density that jumped from 4000 to

avaient tendance à s’adapter aux machines, ce sont aujourd’hui les

7000 plants per hectare at Casanova di Neri, favouring greater care

machines qui s’adaptent aux vignobles, permettant ainsi d’accroître

of bunches. “Our philosophy is more oriented on work done in the

plus facilement la densité qui a bondi de 4000 à 7000 plants par hectare

vineyards than in the cellars,” revealed Giacomo Neri. This is not to

chez Casanova di Neri, et d’offrir plus d’attention aux grappes. « Notre

say that focus on wine making is not important as their winemaker,

philosophie est plutôt orientée sur le travail effectué dans le vignoble

since 1993, is none other than Carlo Ferrini, Italy’s own Michel

que dans les chais, » révélait Giacomo Neri. Ceci n’enlève rien au travail

Rolland, who recently inaugurated their state of the art three-tier,

de vinification alors que leur viticulteur, depuis 1993, n’est nul autre

gravity-flow winery. What is the next step I asked Neri whose wines

que Carlo Ferrini, le Michel Rolland italien, qui a inauguré récemment

are considered some of the best in the world? “We always try to

leur cellier gravitationnel ultramoderne à trois étages. J’ai demandé à

improve. Since we are a medium size winery, the only way to do so is

Neri, considéré comme un des meilleurs producteurs au monde, quelle

to work on the quality of our products.” This has been the leitmotiv

était la prochaine étape dans le développement de son vignoble?

of most of the top wineries of the region, but it led to incredibly high

« Nous cherchons toujours à nous améliorer. Comme nous sommes un

levels of satisfaction at Casanova di Neri. This success lies on the

domaine de moyenne envergure, le seul moyen d’y parvenir consiste

three main principles: maximum simplicity, humility and passion.

à accroître la qualité de nos produits. » Ceci a été le leitmotiv de la

“Montalcino is Sangiovese!” said Giacomo Neri, “we have unique

plupart des grands vignobles de la région, mais a mené à de prodigieux

wines here.” And what is the best wine you ever made I dared to ask

niveaux de satisfaction chez Casanova di Neri. Ce succès repose sur

him? He stood up, walked into the nearby enoteca and then handed

trois grands principes : une simplicité exemplaire, de l’humilité et de la

me a bottle of Brunello di Montalcino Cerretalto 1999 to judge for

passion. « Montalcino, c’est le sangiovese ! » m’affirmait Neri. « Nous

myself. The rest is history. u

avons des vins uniques ici. » Et quel est le meilleur vin que vous n’ayez jamais fait, me suis-je risqué à lui demander. Il s’est alors levé, s’en est allé dans l’enoteca jouxtant son bureau et revint en me tendant une bouteille du Brunello di Montalcino Cerretalto 1999. La suite passera certainement à l’histoire. u

“We always try to improve. Since we are a medium size winery, the only way to do so is to work on the quality of our products.” Giacomo Neri « Nous cherchons toujours à nous améliorer. Comme nous sommes un domaine de moyenne envergure, le seul moyen d’y parvenir consiste à accroître la qualité de nos produits. » Giacomo Neri

Vino Nobile di Montepulciano

A

A

Montepulciano. The next day, I would discover the famous country

la ville de Montepulciano. J’allais découvrir le lendemain la fameuse

side that gave its name to the Vino Nobile di Montepulciano that must

campagne qui donne son nom au Vino Nobile di Montepulciano, à ne

not be confused with the grape of the same name grown in Abruzzo,

pas confondre avec le cépage du même nom cultivé dans la région des

Molise and Marche regions.

Abruzzes, du Molise et des Marches.

fter a quick stop in Montalcino’s central piazza to have a nice refreshing glass of Vernaccia di San Gemignano, I hopped

back to my friend’s house in Chianciano Terme near the city of

près un bref arrêt dans la piazza centrale de Montalcino pour déguster un verre de Vernaccia di San Gemignano bien frais, je

me suis dirigé chez mon ami en route vers Chianciano Terme près de

Notwithstanding its proximity to the warm inland climate of

Malgré sa proximité au chaud climat intérieur de Montalcino, la

Montalcino, the region of Montepulciano presents fairly different

région de Montepulciano présente des conditions climatiques quelque

climatic conditions as a result of being deprived of the beneficial

peu différentes, dépourvues, par exemple, de la brise maritime rencontrée

maritime breezes enjoyed just 20 miles away. This tends to make

20 kilomètres plus loin. Ceci à pour effet d’offrir des sangioseve plus

an earthier Sangiovese, with slightly less-polished tannins, yet

rustiques, avec des tannins moins polis, mais démontrant toutefois une

displaying impressive color and intensity. I personally enjoy Vino

couleur et une intensité impressionnantes. Personnellement, j’apprécie

Nobile a great deal. It offers a bit more bite than most Chiantis, even

beaucoup le Vino Nobile. Il offre à mon sens un peu plus que la plupart

Classicos, and the Riservas are quite interesting displaying nice baked

des Chianti, même les Classico, et les Riserva sont très intéressants,

fruit fragrances of great complexity and have the advantage of being

offrant de belles fragrances de fruits cuits d’une grande complexité et

much more affordable than Brunellos. Paolo Trapolini, winemaker

ayant l’avantage d’être beaucoup plus abordables que les Brunello. Paolo

at Avignonesi, one of the regions greatest estates with Poliziano,

Trapoloni, le viticulteur chez Avignonesi, un des meilleurs vignobles de la

Boscarelli and Fattoria del Cerro, even confessed to me that while

région avec Poliziano, Boscarelli et Fattoria del Cerro, m’a même confié

his wines are not necessarily the best (compared to top Brunellos),

que bien que ses vins ne sont pas nécessairement les meilleurs (comparés

glasses always get empty. u

aux grands Brunello) les verres finissent toujours par se vider.

u

Avignonesi Fattoria Le Capezzine

53040 Valiano di Montepulciano (Siena) - Tel. +39 0578/724304 Fax +39 0578/724308 - www.avignonesi.it

W

A

Avignonesi’s main property, located in the southern part of the Vino

la Fattoria Le Capezzine, la propriété principale d’Avignonesi, située

Nobile territory near Cortona along the Strada del Vino Nobile di

dans la portion méridionale du territoire du Vino Nobile vers Cortona

Montepulciano where some of the region’s most praised parcels are

le long de la Strada del Vino Nobile di Montepulciano, où se trouve

located. The Falvo family have owned this property for generations.

parmi les parcelles les plus prisées de la région. La famille Falvo

This historic domain was tied for a long time to the breeding of the

possède cette propriété depuis plusieurs générations. Ce domaine

famous Chianina bull (Torro Toscano used for Fiorentina Steaks)

historique a longtemps été associé à l’élevage du fameux taureau

which still proudly stands as one of the estate’s symbols, figuring on

Chianina (Taureau toscan utilisé pour les steaks de Fiorentina) qui

the label of their top Super Tuscan blend: Desiderio. But most of all,

demeure encore le symbole du vignoble et pose encore fièrement

Avignonesi is recognized worldwide for its incredible Vin Santo di

sur l’étiquette de leur grand super toscan: Desiderio. Mais avant

Montepulciano, probably Italy’s very best. As impressive as their Vin

tout, Avignonesi est mondialement reconnu pour ses incroyables Vin

Santo is their Vinsantaia, filled with 50 litres caratelli (casks) that

Santo di Montepulciano, probablement les meilleurs au pays. Aussi

contain the precious liquid for a minimum of ten years. Contrary to

impressionnant que le Vin Santo lui-même est leur Vinsantaia, remplie

regular wine, Vin Santo never ages in underground cellars. Its aging

de caratelli (petit barils) de 50 litres qui contiennent le précieux liquide

process is similar to that of balsamic vinegar and is stored in an

pendant un minimum de dix ans. Contrairement au vin traditionnel, le

attic-like building with windows that are constantly open to obtain

Vin Santo n’est jamais vieilli dans des caves souterraines. Son processus

maximum air circulation.

de vieillissement s’apparente plutôt à celui du vinaigre balsamique

emmagasiné dans un bâtiment aux allures de grenier avec des fenêtres

hile wines from Montepulciano are often overshadowed by their nearby cousins from Montalcino, the region’s beauty equals that

of its neighbour. This is especially the case at Fattoria Le Capezzine,

On top of the high quality of their grapes, what makes

lors que les vins de Montepulciano sont souvent éclipsés par leurs proches cousins de Montalcino, la beauté de la région équivaut

bien celle de son voisin. Ceci est particulièrement vrai dans le cas de

Avignonesi’s Vin Santo unmistakably unique is the “mother” (a

constamment ouvertes pour obtenir une circulation d’air optimale.

dark thick sediment which stays at the bottom of the caratelli, well

separated from the must, and which contains yeasts which can live

d’Avignonesi si unique est la « madre » ou mère (un sédiment foncé

and multiply in a condition of very high sugar percentage) that was

qui demeure au fond des caratelli, bien séparé du moût, et qui contient

given to the Falvo family more than a hundred years ago. Used over

des levures qui peuvent vivre et se multiplier dans un environnement à

and over, this secret ingredient never leaves the Vinsantaia and is

forte teneur en sucre) qui fut donné à la famille Falvo il y a plus d’un

carefully separated from the Vin Santo once the wine is ready. What

siècle. Utilisé encore et encore, cet ingrédient secret ne quitte jamais

En plus de la qualité de ses raisins, ce qui rend le Vin Santo

also makes Avignonesi’s Vin Santo so special is that they not only u la Vinsantaia et est séparé avec précaution du Vin Santo une fois que le u

make it out of white varietals (Greco and Malvasia Toscana), but also out of local Sangiovese Prugnolo Gentile grapes. It is in this case named Occhio di Pernice. The former carries a dark golden color, while the latter displays tones of amber and topaz. While both are true wines of meditation, I tend to prefer the Occhio di Pernice which offers more complex date and dried figs aromas that linger endlessly. Only available in half bottles these wines nonetheless out-price most Brunelli di Montalcino.

After a grand tour of the property amidst the impressive ancient wine cellar where the Riservas patiently wait for an 18 month period

in French oak barriques before being bottled and stored for an additional 6 months before release, I was introduced to the surrounding experimental vineyards of La Stella and Vigna Tonda. Avignonesi have reintroduced an old planting layout invented by the Romans called Settonce, which is a basic geometric system that uniformly divides the plants into regular hexagons allowing each of them to have the ideal amount of land and air for their development.

The results of these experiments proved highly satisfying while tasting the superb Vino Nobile di Montepulciano Grande Annata 2003

together with Jan Adams, Avignonesi’s sales manager, and winemaker Paolo Trapolini at the estate’s own private restaurant. Only made during top vintages, this signature wine truly embodies what great Prugnolo Gentile grapes can offer. Full-bodied, yet smooth and elegant with impressive style and clear and precise Sangiovese characteristics of great complexity, it recalled rose flower, cherry brandy, red berries, and tobacco with a lovely spicy filigree. The secret behind this wine, revealed Trapolini, is the particularly strict selection of bunches and the grapes’ brief exposure to liquid nitrogen that enables an incredible extraction of color and aromas. It is clearly an outstanding wine made by an remarkable winemaker that started working for the estate in the 1990’s at the age of 21 while he was still studying oenology at Università di Perugia. u

vin est prêt. Ce qui rend aussi le Vin Santo d’Avignonesi spécial c’est qu’il n’est pas fait exclusivement à base de cépages blancs (Greco et Malvasia Toscana), mais aussi avec des grappes de sangiovese Prugnolo Gentile. On l’appelle dans ce cas Occhio di Pernice. Le premier possède une couleur dorée foncée, tandis que l’autre présente des tons ambrés et topaze. Bien que tous deux de grands vins de méditation, je préfère l’Occhio di Pernice qui offre des arômes encore plus complexes qui évoquent la date et les figues séchées, d’une longueur en bouche presque éternelle. Disponibles seulement en demi-bouteilles, ces vins coûtent néanmoins beaucoup plus cher que la plupart des Brunello di Montalcino.

Après une visite complète de la propriété au sein des impressionnantes caves où les Riserva reposent patiemment pendant dix-huit mois,

j’ai eu l’occasion d’admirer les vignobles expérimentaux de La Stella et de Vigna Tonda. Avignonesi a réintroduit un ancien modèle de plantation inventé par les Romains appelé Settonce, un système géométrique qui consiste à diviser les plantes en hexagones réguliers, allouant ainsi à chaque plant une quantité de terre et d’aération optimale pour son développement.

Les résultats de ces expérimentations semblaient tout à fait répondre aux attentes alors que je dégustais le superbe Vino Nobile di

Montepulciano Grande Annata 2003 en présence de Jan Adam, responsable des ventes, et de l’œnologue Paolo Trapolini dans le restaurant privé du domaine. Produit uniquement lors des grands millésimes, ce vin signature incarne à merveille tout le potentiel du cépage Prugnolo Gentile.

Puissant, mais soyeux à la fois, élégant et impressionnant, exhibant un style et des caractéristiques typiques du sangiovese, d’une grande complexité, il évoquait la rose, la cerise, les baies rouges, le tabac ainsi qu’une douce pointe d’épice en filigrane. Le secret derrière ce vin, révélait Trapolini, repose sur la sélection sévère des grappes et leur brève exposition à l’azote liquide qui permet une incroyable extraction de couleur et d’arômes. Bref, il s’agit clairement un vin remarquable, fait par un viticulteur tout aussi incroyable, qui a commencé à travailler pour le vignoble dans les années 1990 à l’âge de 21 ans avant même de terminer ses études en œnologie à l’Universtità di Perugia. u

P A N O R A M I T A L I A . C O M 43

Chianti Classico

A

A

also one of the best examples of the country’s success at promoting

du meilleur exemple de succès promotionnel au pays directement

its unique terroir through effective marketing schemes similar to

calqué sur l’approche commerciale bordelaise. Les producteurs du

those used for the promotion of Bordeaux wines. Chianti producers

Chianti ont travaillé très fort pour convaincre le public qu’à l’endos

worked hard to convince the public that behind their labels lies more

de ses étiquettes se trouve plus qu’un simple vin. C’est la Toscane

than just wine. It is Tuscany, with its specific splendours that can be

et toutes ses splendeurs que peuvent apprécier les consommateurs

ppreciated worldwide for its medium-to-full body character and for its rich red berry aromas, typical of the Sangiovese grape,

Chianti is probably Italy’s most famous and appreciated wine. It is

pprécié au monde entier pour son caractère moyennement corsé et ses riches arômes de fruits rouges, le Chianti est sans doute

le vin le plus connu et le plus apprécié d’Italie. Il s’agit aussi

appreciated when savouring a bottle

en savourant une bouteille de Castello

of Castello di Brolio, Fonterutoli or

di Brolio, de Fonterutoli ou de Badia

Badia a Coltibuono. The ever increasing

a Coltibuono. Le nombre croissant de

numbers of tourists flowing into regional

touristes dans les vignobles de la région

wineries as well as the excellent export

et les statistiques de vente enregistrées

figures registered for 2006-2007 listed

pour 2006-2007 lors du denier VinItaly,

at last VinItaly, clearly expresses the

confirment l’enthousiasme entourant le

enthusiasm for the Black Rooster, the

Gallo Nero (coq noir), le symbole des

symbol of Chianti wines.

vins de Chianti.

Chianti is produced right in

Le Chianti est produit au centre de

the center of Dante’s home region in

la région du célèbre Dante Alighieri

a large territory that stretches from

dans un large territoire compris entre

Pisa to Florence, Siena and Arezzo,

Pise, Florence, Sienne et Arezzo, qui

and their seven surrounding sub zones

compte sept sous-régions nommées Colli

called Colli (hills), the best ones being

(collines), les meilleures étant Chianti

Chianti Montalbano and Chianti Rufina.

Montalbano et Chianti Rufina. En plein

Right in the heart of it all, stands

cœur de cette zone s’étend le Chianti

the Chianti Classico area, the oldest of

Classico, la plus ancienne portion de

the appellation. This is where Chianti,

l’appellation. C’est ici depuis 1716 que

Italy’s first DOC (Certified appellation) wine (1716), was originally

le Chianti, première appellation DOC d’Italie, était originellement

produced before the production zone was extended to answer the

produit avant qu’on élargisse la zone de production pour répondre aux

needs of the growing international demand of the past decades.

besoins croissants de la demande internationale au cours des dernières

Although both Chianti and Chianti Classico now carry the upscale Denominazione di Origine Controlata e Garantita (DOCG) appellation, the latter includes the best vineyards, the most renowned producers and is considered

décennies. Bien que le Chianti et le Chianti Classico jouissent tous les deux de l’appellation contrôlée et garantie (DOCG), le Classico contient indéniablement les meilleurs terroirs et les producteurs les plus reconnus. Depuis 1996, le Chianti Classico

since 1996 an independent appellation

bénéficie d’une appellation distincte de

from the other Chianti wines, which

celle du Chianti régulier qui généralement

are generally much cheaper. u

beaucoup moins cher. u

Wine cellar Mazzei

Marchesi Mazzei Agricola

Via Ottone III n°5, Loc. Fonterutoli, I – 53011 Castellina in Chianti (Siena) - Tel. +39 0577/735720 Fax +39 0577/735720 - www.mazzei.it

H

E

established in the medieval burg since 1435. Dottore Giovani Mazzoni

bourg médiéval depuis 1435. Dottore Giovani Mazzoni m’attendait pour

was waiting to lead me into the estate’s new gravitational flow winery

me montrer le nouveau cellier à flot gravitationnel du domaine, encastré

nestled in a nearby hilltop with sweeping views of the surrounding

dans la crête d’une colline voisine et offrant une vue imprenable

landscape, most notably a remarkable vista on Siena. The main goal

sur les environs. Le principal objectif associé à ce magnifique cellier

of this state of the art three story wine cellar is to boost the levels of

construit sur trois étages est d’améliorer l’excellence des vins du

excellence of wines from the winery by limiting grape manipulation

vignoble en limitant la manipulation des raisins sans recourir au

without using any pumping through a gravity principle while limiting

pompage (grâce au principe de la gravité), tout en limitant les

the production’s environmental impact. The cellar features its own

conséquences environnementales. Le cellier possède même sa propre

underground spring and bare rock walls that combine to naturally

rivière souterraine qui, combinée à des murs à même le roc, assure

regulate humidity levels. Moreover, even if their grapes are not

un contrôle naturel du taux d’humidité. De plus, même si leurs fruits

certified organic, lots of effort is put into the quality of the vineyards.

ne sont pas certifiés bio, beaucoup d’efforts sont consentis pour

“Parliamo di naturalità!” argued Mazzoni when asked if some of the

améliorer la qualité du vignoble. « Parliamo di naturalità » (parlons

vineyards are indeed organic. u

de « naturalisme ») répondit Mazzoni alors que je cherchais à savoir si

eading towards Castellina in the heart of the Chianti Classico I ended up at the Castello di Fonterutoli locality, a beautiful

village owned for the most part by the Marchesi Mazzei family

n me dirigeant vers Castellina dans le cœur du Chianti Classico, je suis finalement arrivé au joli village du Castello di Fonterutoli,

détenu en majorité par la famille des Marchese Mazzei établie dans ce

certaines parcelles étaient effectivement certifiées bio.

u

Private historic library - Mazzei - Castello Fonterutoli

For generations the Marchesi Mazzei familly has been

Village of Fonterutoli

Depuis des générations, la famille des Marchesi Mazzei produit

producing wines in their awe-inspiring domain that offers some of

dans son somptueux domaine parmi les meilleurs Chianti de la région,

the best Chianti of the region, mixing tradition and modernity. “Our

alliant merveilleusement tradition et modernité. « Nous cherchons

goal is to assert Chianti as a wine of international level,” explains

à affirmer le Chianti comme un vin d’envergure internationale, »

Mazzoni. The main philosophy of the estates is to “anobilire il vino”

m’expliquait Mazzoni. La principale philosophie du vignoble se veut

(give it a noble character and pedigree). We are now talking about

d’anoblir le vin. On parle maintenant d’un projet de « Château » lorsqu’on

a “Château” project referring to the Sangiovese based wines with a

se réfère aux vins à base de sangiovese du domaine avec un Premier vin

Premier cru (Castello di Fonterutoli), a Second cru (Fonterutoli) and

(Castello Fonterutoli), un Deuxième vin (Fonterutoli) et un Troisième vin

a Troisième vin (Poggio alla Badiola). This concept does not prevent

(Poggio alla Badiola). Ce concept ne les empêche nullement d’atteindre

them from reaching extremely high quality standards with their

de formidables niveaux de qualité avec leurs vignobles côtiers de la

shoreline vineyards wines from the Maremma and Scansano or their

Maremma et de Scansano ou avec leur superbe cru Siepi, fait à base d’un

outstanding “Cru” Siepi made out of a 50 / 50 blend of Sangiovese

blend 50 / 50 de sangiovese et de Merlot issus du vignoble éponyme.

and Merlot from its eponymous vineyard.

We then proceeded to the marvelous tasting room which is

dégustation installée dans l’enoteca locale. Le Castello di Fonterutoli

also the local enoteca. The Castello di Fonterutoli Chianti Classico

Classico DOCG 2004 offrait une superbe expression de sangiovese

DOCG 2004 was a superb expression of Sangiovese blended with a

assemblé avec un petit pourcentage de Cabernet Sauvignon cultivé

small percentage of Cabernet Sauvignon raised in the best terroirs of

dans les meilleurs terroirs de la propriété. À l’instar d’un Riserva, il a

the property. Similar to a Riserva, it has been aged for 16 to 18 months

été vieilli de 16 à 18 mois en barriques de chêne français. La qualité

in French oak barrels before being bottled. The quality of this amazing

de ce produit issu d’un beau millésime révélait un vin distingué à la

vintage reveals a distinguished and lovely personality expressing

personnalité marquée par de doux effluves de cerise, de rose, de vanille,

fragrances of cherry, rose flower, vanilla, hints of blackberries, violets

de fruits noirs, de violette et de notes de sous-bois appuyées en bouche

and underbrush undertones endorsed by well tamed tannins (thanks

par des tannins bien ficelés. Frais et équilibré, il démontrait une belle

to the use of barrels). It was fresh and amazingly balanced with a

allonge. Le Fonterutoli Chianti Classico DOCG 2006, un vin goûteux à

smooth lingering finish. Their Fonterutoli Chianti Classico DOCG 2006,

base de sangiovese assemblé avec de petites quantités de malvasia

a tasty Sangiovese based wine combined with small quantities of

nera, de colorino et de merlot, offrait de riches saveurs marquées par

Malvasia Nera, Colorino and Merlot was rich and flavorful with hints of

un léger côté bois grillé élégamment intégré à des arômes de fruits

roasted wood and leather elegantly integrated to red berry aromas. It

rouges. Il était absolument parfait avec la salade de pecorino et le

was just perfect with the insalata di pecorino and the risotto al Chianti

risotto au Chianti Classico servis au dîner ce jour-là à la trottoria locale

Classico I had with it for lunch at the local Mazzei Trattoria. u

du domaine Mazzei. u

Nous nous sommes ensuite dirigés vers la magnifique salle de

Barone Ricasoli Cantine del Castello di Brolio 53013 Gaiole in Chianti (Siena) - Tel. +39 0577/7301 Fax + 39 0577/730225 - www.ricasoli.it

T

he Barone Ricasoli Cantine del Castello di Brolio estate located in the village of Brolio, near Gaiole in Chianti, represents an

important milestone of Tuscany’s viticulture. Among the largest

L

e domaine Cantine del Castello di Brolio près de Gaiole in Chianti, dans le village de Brolio, représente une icône importante de la

viticulture toscane. Parmi les plus gros producteurs de la région, le

producers of the region, the name Ricasoli has been tied

nom Ricasoli est associé à la production de vin en Chianti Classico

to wine making in Chianti Classico for almost 1000 years.

depuis près de 1000 ans. Le Barone Bettino Ricasoli (premier

Barone Bettino Ricasoli (19th century’s Prime Minister of

ministre de l’Italie unie après Cavour au 19e siècle) introduisit

united Italy after Cavour) introduced the present expression

même la présente expression du Chianti Classico, étant le

of Chianti Classico; for he was the first to promote the

premier à promouvoir l’idée d’un Chianti fait essentiellement

idea of Chianti prominently made with Sangiovese,

à base de sangiovese, le cépage phare de la région.

Tuscany’s flagship varietal. His formula also

Sa formule recommandait aussi un assemblage fait

recommended making wines strictly using red

uniquement à base de raisins rouges, anticipant

grapes, anticipating by a century the 1996 regulations around

ainsi de près d’un siècle les régulations de 1996 entourant la

the production of Chianti Classico.

production du Chianti Classico.

I was warmly welcomed by Sveva Consonni Folcieri, external

Je fus chaudement accueilli par Sveva Consonni Folcieri, la

relations manager, in the beautiful wine bar of the estate adjoining

responsable des affaires externes, dans le magnifique bar à vin du

the head office. I then had the privilege of meeting Barone Fancesco

domaine. J’eus aussi le privilège de rencontrer le Baron Francesco

Ricasoli, the family’s latest heir who used to be a professional

Ricasoli, le plus récent héritier de la famille qui a aussi longtemps

photographer in the field of advertising. He decided in 1993 to u pratiqué la photographie dans le milieu de la publicité. Il décida u

P A N O R A M I T A L I A . C O M 47

buy back his ancestral property from the hands of

toutefois en 1993 de racheter le patrimoine de ses

Hardy’s of Australia who had in turn bought it from

ancêtres des mains du groupe Hardy’s d’Australie qui

the multinational spirit magnate Seagram’s. In doing

l’avait lui-même acheté à la multinationale Seagram.

so, he closed a 20 year chapter of unprecedented mass

Ce faisant, il mettait fin à une production de masse

production. With the help of Carlo Ferrini, also tied to

sans précédent à l’œuvre depuis 20 ans. Avec l’aide de

the Mazzei family, he turned the property back into a

Carlo Ferrini, aussi consultant pour la maison Mazzei, il

family owned business oriented on quality rather then

reconvertit la propriété en entreprise familiale orientée

quantity like Antinori and Frescobaldi. This endeavor

sur la qualité plutôt que la quantité, comme chez

was very important to him as he believes that “Brolio

Antinori et Frescobaldi. Ce projet comptait beaucoup

represents Chianti!” and that this turnover finally

pour lui, car il croit fermement que « Brolio représente

brought back to Barone Ricasoli a personality and a

le Chianti » et que ce changement a enfin redonné à

clear identity that now grows with the estate.

Barone Ricasoli sa vraie personnalité.

After a tour in the vineyards of Castello di

Après une visite des vignobles du Castello di

Brolio in the nearby hills and the impressive barricaia

Brolio et de l’impressionnante barricaia (celliers) qui

(wine cellar) that looks like a giant archive center with

ressemble à un centre d’archives géant avec ses milliers

its thousand of barrels piled in shelves like books in

de barils empilés dans d’immenses étagères (comme des

a library, it was time to move on to the tasting room

livres dans une bibliothèque), il était temps de passer à

and appreciate the end result of the marvels I had

la salle de dégustation pour apprécier le résultat final

just contemplated. Their classic Brolio Chianti Classico

des merveilles que je venais de contempler. Leur Chianti

DOCG 2005, a clear expression of pure Sangiovese

Classico DOCG 2005 de base, une bonne expression

had a harmonious nose offering a pleasant mix of

de sangiovese en pureté, présentait un bouquet

ripe cherry and violets with discrete tones of barrique

harmonieux mélangeant la cerise mûre et la violette

wood on a slightly spicy finish. The Castello di Brolio

avec des tons discrets de barriques se prolongeant sur

Chianti Classico DOCG 2003, expressed clear, fully ripe

une finale légèrement poivrée. Le Castello di Brolio

Sangiovese selected from the best parcels. Classier

Chianti Classico DOCG 2003, offrait un bon exemple de

than the Brolio, the Castello still offered characteristic

sangiovese bien mûr sélectionné parmi les meilleurs

red berries aromas, while leaned more towards cooked

parcelles du vignoble. Plus élégant que le Brolio, le

fruits, with a typical scent of violets. Tannins were

Castello exprimait lui aussi des arômes caractéristiques

especially smooth for a wine coming from such a dry

de baies rouges (tendant plutôt sur les fruits cuits)

vintage. Finesse is the best word to describe this

accompagnés de parfums typiques de violettes. Les

unctuous and amazingly balanced wine. u

tannins étaient plutôt souples. Bref, finesse est le mot qui décrit le mieux ce vin onctueux et bien équilibré. u

Barone Francesco Ricasoli

Morellino di Scansano

S

angiovese is a grou p of impressive varietals, comfortable in many soil types and at the origin

of many great wines. Some people argue that the wine

L

e sangiovese comporte une variété de clones assez impressionnante, confortables dans plusieurs types

de sols et à l’origine de nombreux grands vins. Certaines

that best embodies the expression of true Sangiovese

personnes avancent même l’idée que le vin qui incarne

is found in the heart of the Tuscan Maremma in

le mieux le sangiovese se trouve en fait au cœur de

the Morellino di Scansano area. Here Sangiovese is

la Maremma toscane dans la région du Morellino di

generally aged in oak barrels of second and third

Scansano. Ici, le sangiovese est généralement vieilli dans

passage because of the smoother character of its

des barriques de second et troisième passage en raison du

tannins favored by the hot and dry climate of the

caractère plus souple de ses tannins, résultat du climat

Maremma that often results in an over maturation

chaud et sec de la Maremma qui mène souvent à la sur-

of the grapes. Morellino di Scansano was awarded

maturation des raisins. Le Morellino di Scansano s’est

a DOCG (controlled and guarantied appellation)

récemment vu décerner le statut de DOCG (appellation

status in 2007 confirming the area’s high standards

contrôlée et garantie) en 2007, confirmant ainsi les hauts

of quality and “typicite”.

standards de qualité et de typicité du vin de la région.

Morisfarms – Fattoria Poggetti – Cura Nuova 58024 Massa Marittima (GR) Tel. + 30566/919135 Fax +39 0566/919380 - www.morisfarms.it

I

f your are on the lookout for top Sangiovese wines in Tuscany, you must visit the Morisfarms winery,

probably the area’s best example of high quality

P

our trouver les meilleurs sangiovese de la Toscane, un saut chez Morisfarms s’impose, un des grands

vignobles du Morellino di Scansano avec Le Pupille.

Morellino di Scansano along with Le Pupille. I met

J’ai rencontré le docteur Adolfo Parentini, manager

Dottore Adolfo Parentini, Morisfarms estate manager

du vignoble et mari de Madame Moris (propriétaire

and husband of Miss Moris, owner of the winery, at the

du domaine) à sa propriété de 56 hectares de Poggio

Poggio la Mozza’s 56 hectare property in the heart of

la Mozza dans le cœur du Morellino di Scansano.

the Morellino di Scansano. The Moris family, originating

La famille Moris, originaire d’Espagne, habite la

from Spain, has been living in the Tuscan Maremma for

Maremma toscane depuis 250 ans. Malgré sa longue

the past 250 years. Notwithstanding its long time relationship with the territory, it only recently

relation avec le territoire, elle n’a commencé que récemment à produire du vin de qualité avec

started making high quality wines with the

l’arrivée de Parentini dans les années 1970.

coming of Parentini in the 1970s as the

Son implication au sein de la l’entreprise

winery’s head manager. His involvement

familiale l’a mené à amorcer un important

in the company led him to operate an

virage qualitatif qui allait se refléter plus

important qualitative turnover that would

tard dans toute la région, passant d’une

later on reflect itself over the whole region,

production annuelle de 500 000 litres de vin

switching the business orientation from a

bon marché vers une production embouteillée

yearly production of 500,000 liters of cheap bulk

dans des bouteilles bordelaises avec une étiquette

wine to a bottled production in Bordeaux style bottles

identifiant clairement le nom et l’écusson du domaine.

with a label clearly presenting the winery’s name and

Son travail a mené à des résultats étonnants qui ont

escutcheon. His work led to amazing results reaching

atteint leur apogée dans les années 1990 avec le

its zenith in the 1990s with the now famed Avvoltore,

fameux Avvoltore, un incroyable vin IGT (Indicazione

an incredible IGT (Indicazione Geografica Tipica :

Geografica Tipica : une appellation contrôlée autorisant

a controlled appellation that allows a blend of non

l’assemblage de cépages non-autochtones), le Maremma

autochthonous grapes) Maremma Toscana is a blend

Toscana, mariant 75% de Sangiovese, 20% de Cabernet

of 75% Sangiovese, 20% Cabernet Sauvignon, and 5%

Sauvignon et 5% de Syrah cultivés dans le vignoble

Syrah grown in its eponymous vineyard. Their annual

éponyme. Leur production annuelle moyenne compte

production now averages 350,000 bottles divided into

350 000 bouteilles divisées entre leur Morellino di

their Morellino di Scansano and Morellino di Scansano

Scansano et leur Morellino di Scansano Riserva DOCG,

Riserva DOCG, their Monteregio di Massa Marittima

leur Monteregio di Massa Marittima DOC et leur Avvoltore

DOC and the Avvoltore Igt Maremma Toscana. u

Igt Maremma Toscana. u

Parentini, was the first person to truly believe in the huge

Parentini, fut ainsi la première personne à croire réellement

potential of the region that was practically unknown up to a few

au potentiel énorme de la région qui, jusqu’à tout récemment, était

years ago. Wines of the area have now started to become much

pratiquement inconnue. Le Morellino di Scansano commence maintenant

appreciated both by motivated producers and the public in general

à être de plus en plus respecté tant par les producteurs motivés que par

that increasingly savor the lovely medium bodied character of these

le public en général qui apprécie son aspect moyennement corsé et son

wines that offer great value. Today, Parentini is still focused and

rapport qualité/prix. Aujourd’hui, Parentini est encore très déterminé

believes that “it is not time to start offering novelties, but to assert

et croit qu’il n’est pas encore temps d’offrir des nouveautés et qu’il vaut

the brand. People are not looking for new products, they prefer

mieux continuer à consolider la marque. « Les gens ne recherchent pas

certainties.” Later on that day, as I was having lunch with Parentini’s

de nouveautés, ils préfèrent les certitudes. » Plus tard ce jour-là, alors

son at a local trattoria near the Fattoria Poggetti, their dream 420

que je dînais avec le fils de monsieur Parentini dans une Trattoria non

hectare property, he argued that “a good wine is always a wine that

loin de leur somptueux domaine de 420 hectares, Fattoria Poggetti

is both good and that has a good price. When a wine is sold for 300€

m’affirmait « qu’un bon vin est toujours un vin qui est à la fois bon au

a bottle and is only ok, it is only “bonino” (good enough).” The

goût et qui se vend à bon prix. Quand un vin coûte 300€ la bouteille

2004 Morellino di Scansano Riserva we tasted while I was eating

et qu’il est seulement ok, il est seulement bonino (plutôt bon). » Le

my wild boar ragù, with its smooth tannins and unmistakable baked

Morellino di Scansano Riserva que nous avons dégusté ce jour-là, alors

strawberry flavors balanced by discrete wood aromas, seemed indeed

que je me régalais d’un ragoût de sanglier, semblait en effet plus que

more than good enough. ■

bonino avec ses tannins veloutés et ses saveurs caractéristiques de framboises cuites, équilibrées par de doux arômes boisés. ■

Dottore Adolfo Parentini

Geraldo Pace

Geraldo Pace

Culture Shock

By Catherine Szacka

I met Tamara Andruszkiewicz in her favorite restaurant, CavaTappi, a small bar tucked away in Campo della Guerra, not far from Piazza San Marco in Venice. At CavaTappi Tamara is clearly a regular costumer: it is noticeable by the way she enters this classy bar and is followed by her new dog, Ginger.

An elegant woman of forty-something, Andruszkiewicz is a Canadian but from a Polish family. Nevertheless it is not to Poland but rather to Italy that Andruszkiewicz chose to move over 15 years ago. After a short stay in Perugia studying Italian at the Università per Stranieri, she moved to Venice, a city she had never visited before. Like Peggy Guggenheim and the many other famous and less famous people before her, Tamara immediately fell in love with the city of Venice where she still lives and works today.

When I asked Andruszkiewicz to describe her job in Venice she claimed to be a sort “cultural-translator”. She explained to me that her role is to be “a link between Venetians and people from Canada or the US.” Thus, she sees herself as a sort of mediator, making things easier or, sometimes just making things happen in a city where things move really slowly (when they move at all). Andruszkiewicz was first employed by the National Gallery of Canada and the Ministry of External Affairs to act as a liaison agent for the Canadian Pavilion at the Venice Biennale, a job which occupies just part of her year – particularly the months preceding the opening of the Biennale. During the rest of the year, she works as a freelance event

54 P A N O R A M I T A L I A . C O M

manager, organising wine tastings, weddings, conferences, birthday parties, and other events in the city of Venice.

She is a link, a translator, a bridge between Canada and Italy. Having started her business slowly, she now has a strong clientele that she developed through word of mouth and networking.

It was in 1993 that Andruszkiewicz decided to leave everything behind in order to move to Venice. But why Italy?

Where had this passion come from? “I got closer to Italy and Italian culture in high school” she says. Her best friend’s family was from the province of Benevento. Through her, she discovered a culture that she learned to like and admire. She was amazed at the very special way of living on a day-to-day basis that Italians have. “In Italy, there is still old-fashioned courtesy, a strong sense of family and the love of gathering around good food,” she explains. Andruszkiewicz noticed that Italians “have that

P A N O R A M I T A L I A . C O M 55

capacity of living in the moment.” She observed how the Italian language has a “strong disposition for the present tense, where in English we use the past, future or the present perfect… In Italy, there is a sense of immediacy, of the present because that is where we are right now.”

And that is basically Andruszkiewicz’s job: to observe and reflect upon these small differences that differentiate Canadians from Italians. “I remember when I was in Canada, I would plan my week ahead starting Monday morning.

Here, it’s impossible, it’s more like the days starts and you never know how it’s going to end,” she observes.

both to the incredible number of cruise ships that now stop in Venice’s harbour and to the cheap fares from Ryanair and EasyJet who now offer flights to Venice-Treviso from most European capitals. Hence, the number of tourists visiting Venice has grown exponentially, but also the type of tourist coming to the city has changed. It is a consequence of the New Europe and Venice is thus becoming a sort of Disneyland for adults. Not knowing whether to laugh or to cry, she tells me about an American tourist who once asked her: “but… at what time does Venice close?” As a cultural translator, Andruszkiewicz is also an incredible source of information about where to go and what

At the Biennale, Andruszkiewicz’s role is essential. Every year, as soon as the artist (or the architect) as been selected to represent Canada at the Biennale, she will start working with them to facilitate their participation at the Biennale and their stay in Venice.

As a cultural translator, Andruszkiewicz has witnessed a lot of incomprehension. She told me about many awkward situations, when one year the transport company that exhibitors representing Canada were using, realized all too late that Venice was on water and that they would need boats to deliver their material to the Biennale Gardens. When that kind of problem occurs, she explains, you need someone who knows the city and its transport companies in order to react quickly and efficiently.

Andruszkiewicz has now lived in Venice for almost fifteen years. Is she missing home? Not really, as she now truly feels at home in Venice. Nevertheless, she confesses to me that she sometimes misses the ‘easygoingness’ of Canada. In Canada, she says, things are logical and don’t require long bureaucratic processes or, at times, “byzantine” protocol. Although she deplores the ever-growing number of tourists coming each year to Venice, Andruszkiewicz finds herself in a paradoxical situation: “I live from tourism” she emphasises, “I have nothing against tourists. But I do wish certain infrastructures in the city were better managed.”

According to Andruszkiewicz, the problem is partly due

56 P A N O R A M I T A L I A . C O M

to do in Venice. She knows all the good addresses of this magical city. Apart from CavaTappi the bar where I met her, she recommends La Cantina in Strada Nuova and la Fiaschetteria Toscana.

To eat, she recommends the Caffé Quadri from where you can enjoy the magnificent view of the Piazza San Marco, or Al Bacareto near Campo San Stefano, where you will find a family atmosphere. As a pleasant walk in Venice she suggests going to the Zattere, the long sun-drenched quay between Venice and the Giudecca Island, going for a boat trip on the Laguna or taking a walk in the Giardini della Biennale.

Although it’s surprising, she assures me that some of the best gelati (ice cream) in Venice can be found right in Piazza San Marco just near the two columns that open out onto the water.

Named Todaro, this gelateria is one of the oldest in Venice, and it is here that most Venetians went in their childhood, after going to Mass at the Basilica. Andruszkiewicz told me to try their Nocciola (hazelnut) ice cream - it is especially delicious.

© Studio Joe Oliveira campagne et conception graphique

LA CUISINE RÉINVENTÉE 4823A, boul. St-Laurent, Montréal 514-504-7788

www.tendances-concept.com

475, Sainte-Marcelle, Saint-Jérôme 1-877-438-3388

3

Barbu sci Franco

EXECUTIVE CHEF OF THE MOUNT STEPHEN CLUB

ecclectic recipes

60 P A N O R A M I T A L I A . C O M

Geraldo Pace

SUSHI TUNA MAKI AND SALMON,

cream of wasabi mustard and papaya & mango salad, fried ginger 150g sushi tuna 150g salmon 1 nori leaf 100g green papaya 1 ripe mango 1 fresh chili pepper 100ml crème fraîche

15 to 25g wasabi mustard powder 35g fresh ginger 150ml tempura mix 150g enoki mushrooms 100ml peanut sauce 50ml sesame oil

Method • Portion fishes in long cube form • Season fishes and wrap together in a nori leaf • Dip the roll (maki) in the tempura mix and cook in oil for few minutes • Remove & reserve on paper towel • In a bowl, peel & shred the green papaya • Add the mango, cut into small dices • Add chili pepper, chopped in small dices • Season with salt, pepper and olive oil • Reserve the salad • Add wasabi mustard to the crème fraîche. Reserve Montage • On a square plate, put a spoonful of crème fraîche and wasabi mixture • Slice the maki in 4 and lay on top of crème fraîche • Add the salad next to the maki • Garnish the plate with fried ginger, enoki mushrooms, sesame oil and peanut sauce Franco Barbusci

Geraldo Pace

BRAISED LAMB RAVIOLI

with arugula pesto; pistachio pan seared fillet, black truffles & parmigiano shavings Lamb ravioli 450g fresh ravioli pasta 400g braised lamb shank with vegetables, onions and red wine 100g shredded Parmigiano cheese Arugula pesto 100g arugula leaves 25g roasted pignola nuts 200ml olive oil 100g shredded Parmigiano cheese Lamb fillet with pistachio nuts 450g pan seared lamb fillet 150g crushed pistachio nuts 100ml honey Method • Cook ravioli in hot water • Pan seared the lamb fillet • Rub with honey and roll in crushed pistachios Montage • Put on the plate one pesto quenelle • Add one ravioli with some drippings from the lamb’s cooking pan • Slice the fillet • Garnish with black truffles & parmigiano shavings Franco Barbusci

Geraldo Pace

SEMI-FREDDO OF WHITE CHOCOLATE AND LAVENDER FLOWER...

Ganache of dark chocolate and chili pepper Ganache of chili pepper 150g dark chocolate 150g milk chocolate 250g cream 10g chili pepper flakes Semi-freddo 380g whipping cream 10g crushed lavender flowers 120g white chocolate, melted at 40°C Method • Infuse the chili pepper in the cream, bring to boil • Pass through a sieve over the chocolates • Blend delicately • Reserve in the fridge • Whip the cream with the crushed lavender flowers • Add the melted white chocolate Montage • Mold the cream in a round circle • Put in freezer • Unmold this semi-freddo once well frozen and put on a plate • Bring the ganache at room temperature • Form a quenelle • Put on a plate, next to the semi-freddo • Garnish with small fruits and lavender flowers Franco Barbusci

Geraldo Pace

Roundhouse Community Arts & Recreation Centre

a tasting of

CALGARY - 30.10.2008 Calgary Telus Convention Centre

TORONTO - 03.11.2008 Roy Thomson Hall

MONTRÉAL - 05.11.2008 Marché Bonsecours

QUÉBEC - 06.11.2008 Espaces Dalhousie

from

wines Italy

une dégustation

vins d’Italie de

2008

VANCOUVER - 28.10.2008

Participating producers Produceurs participants ABRUZZO VINI VC AGRICOLA SAN FELICE TMQ ASCHERI TM AURELIO SETTIMO TM AZ. AGR. CASTELLO ROMITORIO VCTMQ AZ. AGR. FORNACELLE DI BILLI STEFANO TM AZ. AGRICOLA MARCHESI FUMANELLI TMQ AZIENDA AGRICOLA CICCIO ZACCAGNINI VC AZIENDA AGRICOLA COTTANER A DI CAMBRIA GUGLIELMO TMQ AZIENDA AGRICOLA RONCOLATO ANTONIO VCTMQ AZIENDA MARR AMIERO BADIA A COLTIBUONO VCTMQ BAGLIO DI PIANETTO VCTMQ BANFI TMQ BATASIOLO TMQ BELLENDA TM BELLUSSI SPUMANTI TM BERSANO VINI VCTMQ BIONDI SANTI TM BISOL DESIDERIO & FIGLI VCTMQ BOCCADIGABBIA TMQ BOSCO NESTORE & C. VC CA’ DEI MANDORLI TMQ CALDOR A VINI VCTM CANTINA COLLI DEL SOLIGO TMQ CANTINA DEI VINI TIPICI DELL’ARETINO TMQ CANTINA SANT’EVASIO TM CANTINA TUDERNUM VCTM CANTINE PATRIA TM CANTINE SALVALAI VCTM CANTINE SANTA BARBAR A VCTM CANTINE SGARZI LUIGI TMQ

CASA GIRELLI VCTMQ CASA VINICOLA CALATR ASI VCTMQ CASA VINICOLA F.LLI BIXIO VC CASA VINICOLA ZONIN TMQ CASAL THAULERO VCTM CASALE DEL GIGLIO AZIENDA AGRICOLA VCTM CASTELLARE DI CASTELLINA / ROCCA DI FR ASSINELLO VCTM CASTELLO DI CIGOGNOLA VCTM CASTELLO DI GABIANO TM CASTELLO DI NEIVE TM CASTELLO DI VERDUNO TMQ CASTELL‘IN VILLA VC CAVIT TM CECCHI VC CERETTO TM CITR A VINI VC CONSORZIO TUTELA VINI MONTEFALCO TM DE ANGELIS & C. VCTM DONNAFUGATA VCTMQ EUGENIO COLLAVINI VITICULTORI VC FARNESE VINI VCTMQ FATTORIA DEI BARBI TMQ FATTORIA DI CASALBOSCO TM FATTORIA LA VALENTINA VC FAZIO WINES TMQ FEUDI DELLA MEDUSA TMQ FEUDI DI SAN MARZANO TM FIRRIATO VCTM FONDO ANTICO SOCIETÀ AGRICOLA TMQ FONTANAFREDDA VCTMQ FR ATELLI FARINA TM GALASSO MONTEPULCIANO D’ABRUZZO TM GENAGRICOLA VCTM GER ARDO CESARI VCTM

GRILLESINO TM ICONE TMQ MARCHESI ANTINORI TMQ MARCHESI DE ‘ FRESCOBALDI TMQ MARCHESI MAZZEI TM MAROTTI CAMPI VC MASI AGRICOLA VCTMQ MASOTTINA TM MAURO SEBASTE TM MICHELE SATTA TMQ MONTE DEL FR À TM NINO FR ANCO SPUMANTI VCTMQ NONINO DISTILLATORI VCTMQ PININO AZ. AGR. VCTM PLANETA VCTMQ PODERE CASTOR ANI VCTMQ PODERI COLLA TMQ PREMIUM WINE SELECTION VCTM RINALDI PIETRO AZIENDA AGRICOLA TM RIZZUTO-GUCCIONE SOCIETÀ AGRICOLA TM ROCCA DELLE MACIE VCTMQ RUFFINO VCTMQ SAN PATRIGNANO SOC. COOP. SOCIALE TM SAROTTO ROBERTO AZIENDA AGRICOLA TM SCRIMAGLIO TM SELLA & MOSCA TMQ S.I.V. TMQ SOCIETÀ AGRICOLA PANIZZI TMQ SPADAFOR A DEI PRINCIPI DI SPADAFOR A TM SPAMA CA’ DELL’OZIO TM SPINELLI TM STREDA BELVEDERE VCTMQ STROPPIANA ORESTE DI STROPPIANA DARIO TM TENIMENTI ANGELINI VCTMQ TENUTA ARGENTIER A TMQ TENUTA OLIM BAUDA VCTM

TENUTA S. ANTONIO VCTMQ TENUTA SAN MAURO TM TENUTE DI TOSCANA DISTRIBUZIONE TMQ TENUTE RUBINO VCTMQ TERRE CORTESI MONCARO VCTM TERUZZI & PUTHOD TM TORRE FORNELLO DI SGORBATI ENRICO TMQ TRAVAGLINI GIANCARLO TM VALDO SPUMANTI TMQ VEGLIO MICHELINO & FIGLIO VCTM VELENOSI VCTM VESEVO TM VIGNE DEI MASTRI TM VILLA CALCINAIA TM VILLA DI MASER VCTMQ VILLA RUBINI VC VILLA SANDI TMQ VINI TONON TMQ VITICOLA TOSCANA VCTMQ VITICOLTORI ASSOCIATI DI VINCHIO VAGLIO SERR A VC

V > Vancouver

T > Toronto

Q > Québec City

www.italytrade.com

VCTMQ

C > Calgary

M > Montréal

3119

B!ubtujoh!pg!xjoft!gspn!Jubmz !

Vof!e hvtubujpo!ef!wjot!eÖJubmjf 24ui!Fejujpo;!Upspoup-!Npousfbm 7ui!Fejujpo;!Wbodpvwfs-!Dbmhbsz Tqfdjbm!Fejujpo;!Rvfcfd!Djuz (400 Anniversary)

The Italian Trade Commission presents its 13th edition of a “Tasting of Wines from Italy”. Started in Montreal and Toronto in 1995, this event has since benefited from a relentless success with steady growths in its participating rates year after year. Vancouver and Calgary were included in the itinerary six years ago with the same enthusiasm and warm welcome.

This time, 110 Italian prestigious wineries will feature over 500 products from 15 regions of Italy with the objective to consolidate their presence and launch new products on the Canadian market. Half of these guest wineries will make the stop in the Western Provinces this year where a technical tasting on Montepulciano d’Abruzzo involving height estates will also take place. Sagrantino di Montefalco will however be the guest star in Ontario and Quebec with a technical outlook on 12 houses selected by the Consorzio di tutela vini Montefalco.

The tastings is restricted to professionals, hotel managers, sommeliers, wine club presidents, journalists and restaurant owners as well as trade and marketing directors of the country’s various liquor boards

C

Geraldo Pace

Wine selection & scoring by

Gabriel Riel-Salvatore

Cream of the

Close up on 90 HIGH END WINES FROM ITALY

P A N O R A M I T A L I A . C O M 71

ABRUZZO

2015

¨Dgfl]hmd[aYfgÛ\¿8ZjmrrgÛ; F : © Villa Gemma 2003, Masciarelli Montepuciano d’Abruzzo (ha 10 ; 15.000) $76 750 ml (saq - 10863782) ~ ÉÛÛ¨ ©

CAMPANIA

2015

(Colli di Salerno Rosso i.g.t) Montevetrano 2003, Montevetrano Cabernet sauvignon, merlot, aglianico ( 19.000) $92 750 ml (saqÛ¦Û~ ~ © ~ ÉÛ¨ ~©

FRIULI 2010 VENEZIA GIULIA

¨=jamdaÛ>jYn]Û; F : © Friuli Grave Vistorta 2005, Vistorta Merlot (ha 37 ; 60.000) $28.80 750 ml (saq – 10272763) ~ ÉÛ¨ ©

This Villa Gemma 2003 truly reflects the “new Italian style” with its intense bouquet of black berries, complex underbrush and spicy undertones. Its robust character combined with strong tannins is well-balanced with a vibrant acidity.

From a seemingly standard vintage, this wine evolves in to nice red and black berry aromas letting Aglianico’s sweet and delicate fragrances flourish despite its mere 10 percent of the blend.

Powerful and complex with minty and spicy undertones, it is still too tannic to enjoy now. Patience will reward those who dare venture in the realm of Salerno’s prodigal son.

The Vistorta 2005 expresses a fine merlot based wine of rare elegance with an intense bouquet of red fruits and enjoyable tannins that linger on a modern finish. A remarkable bargain.

FRIULI-VENEZIA GIULIA

LOMBARDIA

LOMBARDIA

Featuring a straw yellow colour with greenish reflections, it is unctuous and smooth mixing fine and delicate perfumes of bee wax, green apple with a typical almond flavour (Tocai friulano).

The mouth is fresh and fruity and carries on an ample body that recalls some of Alsace’s finest white wines.

Suggestive is the best word to describe this elegant and refined Cuvée Prestige produced with the best grapes of Ca’ del Bosco’s winery. The nose reveals a classy wine with evocative expressions of exotic fruits such as grapefruit and pineapple paired with vibrant pear and apple aromas that combine with a fine “perlage” and long-lasting bubbles.

K`]Û >jYfÛ :mn#]Û GYkÛ Fh]j#Û ~Û embodies true elegance with charming and delicate peach and pear aromas supported by lovely nutty and pastry undertones.

PIEMONTE

PIEMONTE

PIEMONTE

The Meirana 2006 is quite expressive with rich persisting aromas of hawthorn flowers, white peach and discrete vegetal undertones. Quite refreshing, it evolves on to a lovely mineral finish.

Blangé Arneis is a lovely white wine carrying apple, pear and anise aromas evolving on to a vibrant, fresh, mineral citrusy fizz.

¨:gddagÛ9aYf[gÛ; F : © Fosarin 2006, Ronco dei Tassi Tocai friulano (40%), malvasia (20%), pinot bianco (40%) (ha 2,5 ; 14.500) $24.70 750 ml (saqÛ¤~ © Û ÛÛÛÛÛÛÛÛ~ ÉÛ¨ ©

¨>YnaÛ; F : > © La Meirana 2006, Broglia Gian Piero Cortese (ha 15) $20.10 750 ml (saq – 10873008) Û ~ ÉÛ¨ ©

2019

¨=jYf[aY[gjlYÛ; F : ©Û Franciacorta Cuvée Prestige, Ca’ del Bosco Chardonnay (75%), pinot blanc (10%), pinot noire (15%) ( 50.000) $105 750 ml (saq – 10350135) Û ~ ÉÛ¨ ~©

2011

¨CYf_`]Û8jf]akÛ; F : © Blangé 2006, Ceretto Arneis (ha 50 ; 600.000) $23.50 750 ml (saqÛ¦Û~ © Û ~ ÉÛ¨ ©

2019

¨=jYf[aY[gjlYÛ; F : ©Û Franciacorta Gran Cuvée Pas Operé 2001, Bellavista Chardonnay, pinot blanc, pinot noire $69 750 ml (saqÛ¤Û~ © Û ÛÛÛÛÛÛÛÛ~ ÉÛ¨ ©

2011

¨Ig]jgÛ; F : > © Bruno Giacosa Roero 2006, Bruno Giacosa Arneis (ha 20 ; 100.000) $34.50 750 ml (saq – 10556969) Û ~ ÉÛ¨ © The Roero 2006 displays a clear and intense flowery character combined with typical Arneis’ peach, pear and apple fragrances. A classy Italian dry white among some of the best available on the market.

LEGEND D.O.C.G.Û ÛMafgÛYÛ;]fgeafYragf]Û\aÛFja_af]Û:gfljgddYlYÛ]Û>YjYflalY D.O.C.Û ÛMafgÛYÛ;]fgeafYragf]Û\aÛFja_af]Û:gfljgddYlY I.G.T. : Vino a Indicazione Geografica Tipica Red wine White wine Sparkling wine Sweet wine Ready to drink Ready to drink or Keep until indicated year Keep until indicated year

72 P A N O R A M I T A L I A . C O M

Aged in Stainless steel Aged in french barrique of 225 litres Aged in wood cask of various size, medium to large Grape or grape types used ha : hectares of vines used for production; from single or multiple vinyards. : Average number of bottles produced yearly Coup de coeur

PIEMONTE

PIEMONTE

Intense aromatics express black berry, violet, liquorice and coffee. A firm mouth lingers with pretty dry and muscular tannins balanced by a vivid acidity and a spicy finish.

The name Vilot is a derivative of this wine’s unmistakable violet highlights that offers a classy expression of Dolcetto with refreshing aromas of blackberry, roses and violets complemented by a lively fruitiness with good structure that elegantly evolves in to fresh almond fragrances. Very good as well as being very affordable.

This Barbera d’Alba is a beautifully juicy and fruity wine packed with plum, black cherry, and red berry aromas endorsed by fine wood perfumes. Pretty straight with tannins still firm and high acidity.

Wine of great class that should preferably wait a few more years in the cellar.

PIEMONTE

PIEMONTE

PIEMONTE

¨;gd[]llgÛ\¿8dZYÛ; F : © San Rocco 2005, Ascheri Dolcetto (ha 1.2 ; 7.500) $18.50 750 ml (saq - 10856700) Û ÛÛÛÛÛÛ~ ÉÛÛ¨ ©

2010

¨CYf_`]ÛIgkkgÛ; F : © Monsordo 2003, Ceretto Cabernet Sauvignon, Merlot, Syrah and Nebiolo (ha 11 ; 40.000) $26.15 750 ml (saq -10856769) Û ~ ÉÛ¨ ©

2010

¨;gd[]llgÛ\¿8dZYÛ; F : ©Û Dolcetto d’Alba Vilot 2006, Ca’Viola Dolcetto (12.000) $21.95 750 ml (saq – 10858211) Û ~ ÉÛ¨ ©

2015

¨CYf_`]ÛE]ZZagdgÛ; F : © Nebbiolo Ciabot della Luna 2005, Gianni Voerzio Nebbiolo (ha 1 ; 6000) $44.50 750 ml (saq – 10860303) Û ~ ÉÛ¨ ©

PIEMONTE

2012

¨9YjZ]jYÛ\¿8dZYÛ; F : ©Û Barbera d’Alba Brichet 2005, Ca’Viola Barbera (10.000) $29.95 750 ml (saq -10858238) Û ~ ÉÛ¨ ©

2013

¨Dgf^]jYlgÛ; F : © San Germano 2005, Marchesi Alfieri Pinot noir (ha 2 ; 4.100) $35 750 ml (saq – 10872970) Û ~ ÉÛ¨ ©

Full-bodied wine, with generous oak and smooth tannins reinforced by sweet spice and vanilla undertones.

The Ciabot della Luna 2005, aged in new French barriques, is a perfect example of modern Nebbiolo. This powerful and intense wine with lovely cherry, black liquorice and smoky nuances carries a fresh vibrancy on the palate that cleverly balances its rich structure.

K`akÛ \]fk]Û ~ ÉÛ GafglÛ EgajÛ oaf]Û g^Û great character aged in French oak barrels displays rich fruity aromas of cranberry and sweet spices. Its texture is smooth supported by well structured tannins. An impressive wine showing good aging potential.

PIEMONTE

PIEMONTE

PIEMONTE

2012

¨9YjZ]jYÛ\¿8klaÛJmh]jagj]Û; F : © Le Rocchette 2004, Tenuta Olim Bauda Barbera (ha 3.5 ; 10.000) $30 750 ml (saq - 10385995) Û ~ ÉÛ¨ ©

2012

¨9YjZ]jYÛ\¿8klaÛJmh]jagj]Û; F : © Alfiera 2004, Machesi Alfieri Barbera (ha 4.5 ; 16.000) $42 750 ml (saq - 978692) Û ~ ÉÛ¨ ~©

2012

¨9YjZ]jYÛ\¿8klaÛJmh]jagj]Û; F : © Barbera d’Asti Superiore Bionzo 2004, La Spinetta Barbera (ha 14 ; 35.000) $59 750 ml (saq -10783168) Û ÛÛÛÛÛÛÛÛ~ ÉÛ¨ ©

Le Rocchette reflects the Bertolino siblings’ dedication for well-crafted Barbera. Lovely aromas of fully ripe plum fruits, cocoa with a touch of spice liven up this classy, full and well structured Barbera. A truly graceful wine.

This amazing wine reveals the real potential of Barbera, the star of the winery, with its deep plum, kirsch, pink pepper, liquorice and minty sensations.

A good warm, supple and structured oaf]Û g^Û _j]YlÛ [gehd]palq Û Ff]Û g^Û l`]Û most sought after Barbera.

A remarkable Barbara d’Asti presenting pronounced aromas of black fruits of great finesse, with flavour notes of liquorice, wild mushrooms and vanilla.

FfÛ l`]Û hYdYl] Û l`akÛ e]\ameÛ lgÛ ^mddÛ bodied wine is quite intense yet smooth, its rich plum flavours and good acidity well balanced by finely knit tannins. An outstanding wine of impressive overall structure with a long and classy finish.

PIEMONTE

PIEMONTE

PIEMONTE

2011

¨9YjZYj]k[gÛ; F : > © Barbaresco Rio Sordo 2001, Produttori di Barbaresco Nebbiolo (ha 4.5 ; 15.000) $48.75 750 ml (saqÛ¤Û~ © Û ~ ÉÛ¨ © In this Barbaresco, ripe cherries blend to typical scents of tar and tobacco, marked by amazing depth and complexity. This surprisingly balanced Barbaresco truly expresses how a good vintage combined with ancestral savoir-faire can indeed intencify a terroir’s potential.

2011

¨9YjZYj]k[gÛ; F : > © Barbaresco Campo Quadro 2001, Punset Nebbiolo $62 750 ml (saq – 10816679) Û ~ ÉÛ¨ © This single vineyard Barbaresco demonstrates fine Nebbiolo with lovely aromas of blackberry and cherry perfectly integrated to spicy undertones of vanilla and liquorice. Its long linear finish lingers on nice bitter almond fragrances.

¨9YjgdgÛ; F : > © Barolo Chinato, Gagliardo Nebbiolo $41.25 750 ml (saq – 885012) ~ ÉÛ¨ ©

Galgiardo’s Barolo Chinato exudes rich caramel and toffee aromas, supplemented by fruit cake and orange zest notes. It is intensely aromatic smooth and full-bodied on the palate.

P A N O R A M I T A L I A . C O M 73

PIEMONTE

2011

¨9YjgdgÛ; F : > © Barolo Bussia « Dardi Le Rose » 2001, Poderi Colla Nebbiolo (ha 6 ; 29.000) $62 750 ml (saq - 10816775) Û ~ ÉÛ¨ ©

PIEMONTE

2011

¨9YjgdgÛ; F : > © Barolo Monprivato 2000, Giuseppe Mascarello Nebbiolo (ha 6 ; 20.000) $89 750 ml (saqÛ¤Û~ © Û ~ ÉÛ¨ ©

PIEMONTE

2010

¨9YjgdgÛ; F : > © Barolo Cannubi Boschis 2003, Luciano Sandrone Nebbiolo (ha 2.25 ; 10.100) $127 750 ml (saq – 10329387) Û ~ ÉÛ¨ ©

The Dardi Le Rose 2001 is typically Nebbiolo with a very complex bouquet showing decided character and personality displaying gorgeous cherry, plum and dry rose aromas combined with mineral and animal notes.

The Monprivato 2001 shows a captivating nose of roses, cherry, tar and licorice. While the body seems a bit weaker than the nose it is nonetheless quite classy.

This wine of notable aromatic finesse still carries very powerful tannins. While innovative in his global handling of the vineyard, Luciano Sandrone’s wines remain very traditional in style. A sleeping dragon with great potential.

PIEMONTE

PIEMONTE

PIEMONTE

2016

¨9YjgdgÛ; F : > © Barolo Vursu Vigneto Campè 2001, La Spinetta Nebbiolo (ha 8 ; 20.000) $148 750 ml (saq - 10783192) Û ~ ÉÛ¨ ©

2011

¨9YjgdgÛ; F : > © Barolo Falletto di Serralunga 2003, Bruno Giacosa Nebbiolo (ha 5 ; 14.500) $159 750 ml (saqÛ¦Û~ © Û ~ ÉÛ¨ ©

2011

¨9YjgdgÛ; F : > © Barolo Riserva Grandbussia 2001, Poderi Aldo Conterno Nebbiolo (Michet, Lampia) ( 9000) $208 750 ml (saqÛ¤Û~ © Û ~ ÉÛ¨ ©

This Barolo Vursu 2001 is a rich and decadent wine with red fruits, plum, rose petal and gunflint on the nose.

Full-bodied, with chewy tannins and a velvety texture it carries highly aromatic plump fruity, floral and mineral components lingering on a long complex finish. An elegant and elaborate beauty.

The Barolo Falletto di Serralunga 2003 displays a charming nose of cherry and lovely raspberry jam with delicate fresh rose undertones. Sharp flavours, wellbalanced wood and great smoothness make this wine excessively attractive and simply helps us reconsider the idea that Barolo cannot be appreciated in its youth. A compact, charming and fruity Barolo.

The Grandbussia 2001 expresses a notable pedigree with typical scents of rose petals amixed with more complex mineral, tar and still very woody aromas. Do not even think of uncorking a bottle now as it would kill the potential of this wine.

PUGLIA

SICILIA

SICILIA

2010

¨:Ykl]dÛ\]dÛDgfl]Û; F : © Il Falcone Riserva 2004, Rivera Nero di Troia (70%), Montepulciano (30%) (ha 16 ; 150.000) $23.30 750 ml (saqÛ¦Û~ © Û ~ ÉÛ¨ ©

2010

(Sicilia I.G.T.) Ramione 2004, Baglio di Pianetto Nero d’Avola, merlot (ha 44 ; 90.000) $20.70 750 ml (saq - 10675693) Û ~ ÉÛ¨ ©

~

(Sicilia I.G.T.) Burdese Cabernet Sauvignon 2004 , Planeta Cabernet Sauvignon (70%), Cabernet Franc (30%) ( 50.000) $30 750 ml (saq – 10221106) Û ~ ÉÛ¨ ©

K`]Û=Yd[gf]ÛIak]jnYÛ ÛakÛYÛ`]Y\q Ûja[`Û and elegant wine showcasing complex baked fruits, leather and chocolaty aromas. It expresses the great potential of this blend of two autochthonous varietals that cleverly combine the structure of the Nero di Troia and the roundness of the Montepulciano. Warm and luscious, a wine full of sunshine.

IYeagf]Û Û hj]k]flkÛ YÛ fa[]Û combination of intense blackberry and jammy red fruits endorsed by a gentle touch of sweet spice and vanilla. Quite palatable to the taste, it is harmonious and smooth with good structure and vibrant acidity.

K`]Û 9mj\]k]Û Û akÛ \YjcÛ Yf\Û Yehd] Û with a distinct olfactory background of blackberry and sour black cherry evolving in to bell peppers, leather, tobacco and cocoa with hints of balsamic notes. The mouth is full and vibrant with great structure and well-knit tannins.

SICILIA

SICILIA

SICILIA

2011

¨:gfl]kkYÛ<fl]ddafYÛIgkkgÛ; F : © Tancredi 2005, Donnafugata Nero d’Avola (70%), Cabernet Sauvignon (30%) (ha 21 ; 90.000) $33.75 750 ml (saqÛ¦Û~ ~ © Û ~ ÉÛ¨ © The Tancredi 2005 displays a vibrant nose of plum, blackberry, dry fruits, chocolate and coffee endorsed by well integrated wood. A great wine with firm tannins and good structure.

74 P A N O R A M I T A L I A . C O M

2011

¨:gfl]kkYÛ<fl]ddafYÛIgkkgÛ; F : © Mille e una Notte 2005, Donnafugata Nero d’Avola (90%), other autochthonous varieties (10%) (ha 14 ; 45.000) $62 750 ml (saqÛ¦Û~ © Û ~ ÉÛ¨ ~© The Mille e una Notte 2005 carries intense fragrances of sweet, ripe plum fruits with nice complex floral accents of violets ending on balsamic and tobacco highlights. A wine of great structure and impressive character showcasing what real Nero d’Avola should be like.

2011

¨:gfl]YÛ\aÛJ[dY^YfaÛ; F : © Rosso del Conte 2003, Tasca d’Almerita Nero d’Avola (85%), Perricone (15%) $46 750 ml (saqÛ¦Û ~~ © Û ~ ÉÛ¨ © The Rosso del Conte 2003 features delicate and well-integrated cherry, marasca, sweet cinnamon and minty spice typical of Nero d’Avola, mixed with lovely hints of balsamic, vanilla and tobacco. A great expression of rich and ripe Nero D’Avola.

SICILIA

2020

(Passito di Pantelleria) Ben Ryé 2006, Donnafugata Zibibbo (ha 27 ; 50.000) $34.75 375 ml (saq - 10520309) Û ~ ÉÛ¨ ~©

This wine of incredible complexity displays silky fragrances of peach and apricot marmalade, dry figs, saffron and tobacco ending on hints of spicy and zesty candied orange peel. A great wine of impressive depth that will simply blow you away.

TOSCANA

2011

(Toscana Rosso IGT) La Vite Lucente 2005, Luce - Marchese Frescobaldi Merlot (50%), sangiovese (35%), cabernet sauvignon (15%) ( 150.000) $38.50 750 ml (saq - 860627) Û ~ ÉÛ¨ ©

TOSCANA

2010

(Toscana IGT ) NC Non Confunditur 2005, Argiano Cabernet Sauvignon, Merlot, Syrah and Sangiovese (ha 6 ; 60.000) $25 (saq - imp. Privé) Û ~ ÉÛ¨ ©

TOSCANA

2010

(Toscana IGT ) Al Poggio 2006, Castello di Ama Chardonnay, pinot grigio e malvasia Bianca (ha 5 ; 37.000) $32.75 750 ml (saqÛ¦Û~ ~© Û ÛÛÛÛÛÛÛÛ~ ÛÉÛ¨ ©

Straightforward generous, round red wine of medium body, the NC 2005 offers an interesting blend of red and black berry aromas with a slight touch of spice. A wine of good structure that cleverly combines strength and smoothness.

This medium-bodied wine expresses lovely apple, peach and honey aromas with a creamy texture and a long finish.

TOSCANA

TOSCANA

2010

(Toscana Rosso IGT) Casalferro 2003 , Barone Ricasoli – Castello di Brolio Sangiovese (70%) Merlot (30%) ( 60.000) $40.50 750 ml (saq – 880211) Û ~ ÉÛ¨ ©

2013

(Toscana Rosso IGT) Ghiaie della Furba 2001, Capezzana Cabernet sauvignon, merlot, syrah ( 40.000) $41.50 750 ml (saqÛ¤Û © Û ~ ÉÛ¨ ©

Seductive and elegant wine combining a suite of aromatics recalling dark cherry, plum, and fruit preserves ending on leather and smooth vanilla.

Dense and fine-grained tannins are supported by a lively acidity and good overall structure.

A rich bouquet of dense and intense wild blackberries combines with spicy, peppery and leathery undertones.

The mouth is full, almost sweet, with powerful tannins. A potent wine of great concentration, lovely aromatic complexity and a lot of character.

The Ghiaie della Furba 2001 carries a dense and meaty nose of plum and blackberries with hints of gunflint evolving on to a peppery finish. A warm and powerful mouth of fresh and sweet fruits lingers on a slightly rustic finish.

An intense and complex Bordeaux blend decidedly Super Tuscan in style.

TOSCANA

TOSCANA

TOSCANA

2011

(Toscana Rosso IGT) Avvoltore 2001, Moris Farms Sangiovese, cabernet sauvignon & syrah (ha 14 ; 45.000) $62 750 ml (saq - 875930) Û ~ ÉÛ¨ ©

2013

(Toscana Rosso IGT) Giorgio Primo 2003, La Massa Sangioves (70%), merlot (30%) ( 35.000) $60 750 ml (saqÛ¦Û~ © Û ~ ÉÛ¨ ~©

2013

(Toscana Rosso IGT) Cepparello 2003, Isole e Olena Sangiovese ( 43.000) $138 1.5 l (saqÛ¤Û © Û ~ ÉÛ¨ ©

Full-bodied and soft, suggesting a velvety sensation on the palate, it offers a warm mix of dense plum and blackberry flavours, with supporting notes of cedar, dark chocolate, coffee and leather complemented by a delicate liquorice spiciness. Albeit a very muscular wine, it nonetheless presents a very smooth, almost sweet structure.

This 2003 is simply gorgeous with a fascinating array of dark fruits, cherry, violets, cinnamon clove, tobacco, and well-integrated smoky oak aromas. A very modern and palatable wine that offers outstanding length and great overall balance.

Attractive meaty elements and deep ripe fruits with earthy and dark chocolate aromas gently intertwine on the nose. Round and supple, the palate demonstrates terrific balance and impressive elegance. A beautiful expression of deep, rich and smooth Sangiovese surprisingly refreshing for a vintage this hot.

TOSCANA

TOSCANA

TOSCANA

~

(Maremma Toscana Rosso IGT) Ilatraia 2004, Brancaia in Maremma Cabernet sauvignon, sangiovese & petit verdot (ha 6 ; 30.000) $70 750 ml (saqÛ¦Û~ ~ © Û ~ ÉÛ¨ ~©Û

Ff[]Û Y_Yaf Û YÛ eY_fa^a[]flÛ 9gj\]YmpÛ blend of decisive modern Tuscan character, combining silky blackberry, bell pepper and soft leather. Elegant and complex, it expresses a classy feminine character with well-polished tannins and good structure. A well-crafted champion as precise as a Swiss clock.

2013

(Toscana IGT) Solengo 2003, Argiano Cabernet sauvignon, merlot, syrah (ha 5; 30.000) $86 750 ml (saqÛ¤~ © Û ~ ÉÛ¨ © Interesting red and blackberry fragrances intersect with sweet, spicy, earthy and eucalyptus undertones that linger on distinctive new oak aromas.

Warm and fruity, the mouth is full with impressive tannins. A truly modern “campione”.

2013

(Toscana IGT) Luce della Vite 2004, Luce Marchese Frescobaldi Sangiovese, merlot ( 48.000) $98 750 ml (saq – 10222766) Û ~ ÉÛ¨ © A fruity and complex bouquet mixes flowery violet undertones with jammy plum and cherry aromas endorsed by notes of toasted coffee beans and black pepper. Deep and well structured, the mouth is impressively generous ending on tight and chalky tannins and vivid acidity conferring to this wine an impressive aging potential.

P A N O R A M I T A L I A . C O M 75

TOSCANA

2011

(Toscana Rosso I.G.T.) Lupicaia 2001, Catello del Terriccio Cabernet sauvignon (90%), merlot (10%) ( 27.000) $144 750 ml (saqÛ¤~ ~© Û ~ ÉÛ¨ ~© A typical Super Tuscan wine, the Lupicaia 2001 has the dashing looks of a juvenile lead with a faultless nose, great roundness and incredible depth. A sure investment that will leave no one indifferent.

TOSCANA

2015

¨9gd_`]jaÛIgkkgÛJmh]jagj]Û; F : © Le Serre Nuove 2005, Tenuta dell’Ornellaia Merlot (50%), Cabernet Sauvignon (35%), cabernet franc (10%), petit verdot (5%) ( 135.000) $57 750ml (saqÛ¦Û~ © Û ~ ÉÛ¨ ©

TOSCANA

~

(Toscana I.G.T.) L’Apparita 2004, Castello di Ama merlot $181 750 ml (saqÛ¦Û~ ~© Û ~ ÛÉÛ¨ ©

TOSCANA

~

¨9gd_`]jaÛIgkkgÛJmh]jagj]Û; F : © Sapaio 2004, Podere Sapaio Cabernet Sauvignon (70%), cabernet franc, merlot, petit verdot ( 24.000) $49 750 ml (saq - 10860805) Û ÛÛÛÛÛÛ~ ÉÛ¨ ©

An impressively structured monovarietal merlot of serious structure recalling some of the best St-Emilions’ with a typical vibrant, Tuscan character. It exalts elegant, smooth and classy cassis, chocolate and sweet toasted oak aromas with complex mineral mf\]jlgf]k Û Ff]Û g^Û l`]Û egklÛ Z]Ymla^mdÛ merlot based wines of the Belpaese.

A wine of great concentration and complexity on the nose that reveals lovely expressions of deep blackcurrant, anise and toasted oak with hints of gunpowder. Powerful, rich and savoury with a mouth filled with chalky tannins lingering on a creamy vanilla finish. A world Class “Bordolese”.

TOSCANA

TOSCANA

2015

2015

¨9gd_`]jaÛIgkkgÛJmh]jagj]Û; F : © Guado al Tasso 2004, Tenuta Guado al Tasso - Antinori Cabernet Sauvignon (60%), merlot (30%), syrah (10%) $79 750ml (saq – 977256) Û ~ ÉÛ¨ ©

¨9gd_`]jaÛIgkkgÛJmh]jagj]Û; F : © Ornellaia 2005, Tenuta dell’Ornellaia Cabernet Sauvignon (60%), Merlot (22%), cabernet franc (14%), petit verdot (4%) ( 136.000) $159 750 ml (saq – 908061) Û ~ ÉÛ¨ ©

An amazingly balanced wine with a distinctive fleshy merlot character combines notes of violet, blackberry and raspberry with spicy and minty undertones supported by well integrated oak. A classy mouth filling structured wine with delicate streams of plum and black cherry and vibrant acidity and sophisticated tannins.

Dense and fragrant highlights of red berries, sweet dark fruits, liquorice, cedar and leather combine with chocolaty and toasted undertones. A powerful sweet and suave Bolgheri that elegantly brings together smoothness and structure. A wonderful, classy wine of amazing depth.

Gorgeous aromatics of great complexity express soft black berry, cedar, liquorice and lovely spicy undertones. A velvety, feminine structure flows into a long fruity finish with streaming balsamic and mineral fragrances. Well-knit tannins of impressive finesse are gracefully balanced by a refreshing acidity.

TOSCANA

TOSCANA

TOSCANA

2010

¨Dgj]ddafgÛ\aÛJYfkYfgÛ; F : > © Morellino di Scansano 2005, Morisfarms Sangiovese (Morellino) (ha 31 ; 260.000) $21.65 750 ml (saq – 907527) Û ~ ÉÛ¨ ©

2012

¨Dgj]ddafgÛ\aÛJYfkYfgÛ; F : > © Morellino di Scansano Riserva 2004, Morisfarms Sangiovese (Morellino) (ha 4 ; 26.000) $48 750 ml (saq – 907527) Û ~ ÉÛ¨ ©

2012

¨MafgÛEgZad]Û\aÛDgfl]hmd[aYfgÛ; F : > © Poliziano 2004, Poliziano Sangiovese (Prugnolo gentile) (ha 12 ; 25.000) $25 (89)

Fresh and smooth, it offers lively dried cherry and raspberry fruit with hints of dust and pepper on a medium bodied frame with good length and terrific overall balance.

Lovely wine as well as a great value.

Avoiding the pitfalls of over-extraction and excessive use of new oak barrels, l`]Û Û Dgj]ddafgÛ \aÛ J[YfkYfgÛ Iak]jnYÛ reveals attractive notes of black cherry, licorice, smoke and cleverly balanced toasted oak. The wine’s gorgeous depth, palate presence, texture and finessed tannins all make for a beautifullybalanced, totally compelling wine.

Fully ripe overtones of cherry and violets with hints of oak dominate the bouquet.

Well structured, this medium bodied wine is round with pronounced acidity and pleasant woodsy cherry flavours.

The finish is delightfully dry, and lingers elegantly for some time.

TOSCANA

TOSCANA

TOSCANA

2015

¨MafgÛEgZad]Û\aÛDgfl]hmd[aYfgÛ; F : > © Asinone 2001, Poliziano (80%) prugnolo gentile, (20%) merlot, canaiolo nero, mammolo & colorino (ha 12 ; 25.000) $56 750 ml (saq – 10382161) Û ~ ÉÛ¨ © The nose displays rich and complex notes of baked wild berries of impressive smoothness evolving in to graceful spicy, chocolaty and oaky undertones. Spherical and mouth filling, it displays amazing balance as it lingers on rich fruity and cocoa fragrances and structured powdery tannins enhanced by an uncanny freshness. A true pleasure wine.

76 P A N O R A M I T A L I A . C O M

2013

(Cortona I.G.T.) Desiderio 2000, Avignonesi Merlot & cabernet ( 50.000) $83 750 ml (saq - 10222571) Û ~ ÉÛ¨ ©

An intense and robust merlot-based wine revealing clean, pleasing, refined and elegant aromas of ripe, almost cooked wild berries, plum and violet with a hint of cigar box, roasted coffee, liquorice and vanilla.

Full-bodied, harmonious and round, it carries good tannins balanced by intense flavours and a good alcohol content lingering on a long-lasting finish.

2011

(Sant’Antimo Bianco) Le Grance 2004, Caparzo Chardonnay (75%), Sauvignon & Traminer ( 9000) $25.40 750 ml (saqÛ¤~ ~ © Û ~ ÉÛ¨ © This powerful white displays a great structure with a complex nose of bee’s wax, honey, grilled almonds, dry citrus and flowery undertones. Full and rich with pleasant spicy honey and grapefruit flavours it is overall quite refreshing.

TOSCANA

2011

(Sant’Antimo Rosso) Ca del Pazzo 2001, Caparzo Sangiovese Grosso (Brunello), Cabernet Sauvignon ( 15.000) $47.50 750 ml (saq – 928960) Û ~ ÉÛ¨ ©

TOSCANA

2010

¨IgkkgÛ\aÛDgflYd[afgÛ; F : © Rosso di Montalcino 2006, Argiano Sangiovese (ha 10 ; 80.000) $27.25 750 ml (saq – 10252869) Û ~ ÉÛ¨ ©

TOSCANA

2010

¨IgkkgÛ\aÛDgflYd[afgÛ; F : © La Caduta Rosso di Montalcino 2004, Caparzo Sangiovese Grosso (Brunello) (ha 7.5 ; 20.000) $31 750 ml (saq - 857987) Û ~ ÉÛ¨ ©

Jammy marasca cherry, ripe blackcurrant, liquorice, complex truffle and spicy vanilla combine with toasted aromas. A warm, full bodied and generous, velvety wine of impressive character evolving in to slightly dusty aromas of toasted almond.

Lovely nose of ripe red berries, cherry, underbrush with a gentle touch of spices. A pleasant freshness combines with soft and structured tannins. A very elegant and enjoyable Rosso with a rich fruity finish.

Quite intense nose of charming ripe berry, cherry, rose petals, toasted bread and cocoa aromas, all elegantly integrated with delicate wood fragrances. The mouth is rich with soft tannins and a slight bitterness that brings a nice dose of complexity to this really enjoyable wine.

TOSCANA

TOSCANA

TOSCANA

2013

¨9jmf]ddgÛ\aÛDgflYd[afgÛ; F : > © Brunello di Montalcino 2001, Altesino Sangiovese grosso (Brunello) (ha 19 ; 90.000) $57 750 ml (saq – 10221763) Û ÛÛÛÛÛÛ~ ÉÛ¨ ©

2013

¨9jmf]ddgÛ\aÛDgflYd[afgÛ; F : > © Brunello di Montalcino 2001, Poggio Salvi di Montalcino Sangiovese grosso (Brunello) (ha 3 ; 8.000) $60 750 ml (imp. Privée) Û ~ ÉÛ¨ ©

2013

¨9jmf]ddgÛ\aÛDgflYd[afgÛ; F : >© Vigna del Fiore 2001, Fattoria dei Barbi Sangiovese grosso (Brunello) ( 200.000) $60 750 ml (saq – 10217300) Û ~ ÉÛ¨ ~©

Classic Sangiovese cherry followed by plum and blackberry aromas, dried violet, tobacco, liquorice, chocolate, vanilla and hints of black earth unmasked by oak. The mouth has good correspondence to the nose with a fairly tannic body, well balanced by alcohol, intense flavours, and a vibrant acidity.

A dry and velvety Brunello.

Ample bouquet of violet and vanilla with intense spicy marasca cherry wrapped by leather and underbrush undertones. Full and consistent, the mouth carries impressive tannins; a well structured body and pronounced acidity.

A classy and precise nose of great complexity recalls red berries, ripe cherry, violets, cedar and cigar box.

A silky and harmonious mouth mixes structure and finesse with such overall balance notwithstanding the still firm yet quite enjoyable tannins. Simply irresistible Brunello ready now, but that will only improve with time.

TOSCANA

TOSCANA

TOSCANA

2011

¨9jmf]ddgÛ\aÛDgflYd[afgÛIak]jnYÛ; F : > © Brunello di Montalcino, La Fiorita Sangiovese grosso (Brunello) (7 ha ; 20.000) $84 750 ml (saq- 10868321) Û ÛÛÛÛÛÛ~ ÉÛ¨ ©

2011

(Brunello di Montalcino) Montosoli Brunello di Montalcino 2001, Altesino Sangiovese grosso (Brunello) (ha 5 ; 15.000) $98 750 ml (saq – 10221683) Û ~ ÉÛ¨ ©

2011

¨9jmf]ddgÛ\aÛDgflYd[afgÛIak]jnYÛ; F : > © Cerretalto 2003, Casanova di Neri Sangiovese grosso (Brunello) (ha 7.7 ; 15,000) $190 750 ml (saqÛ¦Û~ ~~ ~© Û ~ ÉÛ¨ ©

A fantastic nose of impeccable precision reveals velvety fragrances of red berries and violet endorsed ZqÛ \ak[j]l]Û lgYkl]\Û mf\]jlgf]k Û F^Û incredible smoothness and impressive balance, the mouth is just magnificent.

There is no need to wait anymore to fully appreciate this great expression of Tuscany’s unique splendours.

The Montosoli cru carries an engaging and complex nose of floral aromas infused with vanilla spice, hints of strawberry and black cherry jam followed by notes of tobacco, liquorice, dried violet, chocolate, pink pepper and underbrush. The mouth has good correspondence to the nose with a slightly tannic character balanced by intense flavours, lingering on a persistent finish.

Earthy nose of dried cherries, leather and dried flowers and a bit of sweet mocha. Palate of sour cherries, cranberries, coffee, and leather. The finish is expansive, long, and drying oal`Û YÛ ljY[]Û g^Û ko]]lÛ gYc Û Fn]jYdd Û YÛ very well-made modern Italian wine.

Not over the top but just enough new oak to give the Sangiovesse some weight. A stunning wine.

TOSCANA

TOSCANA

TOSCANA

2012

¨:`aYflaÛ:dYkka[gÛ; F : > © Brancaia 2004, Brancaia Sangiovese (ha 8.5 ; 50.000) $34 750 ml (saqÛ¦Û~ ~ ~© Û ~ ÉÛ¨ ©

Harmonious nose of black cherry, blackberry, mocha with hints of graphite. Rich and jammy chocolaty body of great generosity balanced by a lively acidity and chalky tannins. Great modern style Chianti Classico with a very promising future.

~

¨:`aYflaÛ:dYkka[gÛ; F : > ©Û Chianti Classico 2004, Castello di Ama Sangiovese (ha 50 ; 140.000) $36.25 750 ml (saq - 10663810) Û ~ ÉÛ¨ © Woody, chestnut and leather notes combine with vanilla and ripe berry fruit on the nose. The mouth displays a pleasant character with good correspondence to the nose evolving on spicy plum flavours.

A wine showing a vibrant personality and great overall balance with characteristic dry chalky tannins.

~

¨:`aYflaÛ:dYkka[gÛ; F : > © Castello di Fonterutoli 2004, Marchesi Mazzei Sangiovese ( 50,000) $42.75 750 ml (saq – 10813769) Û ~ ÉÛ¨ ~© Lovely bouquet of cherry, rose flower, vanilla, hints of blackberries, violets and underbrush undertones endorsed by well-tamed tannins.

Expansive and smooth, the mouth is soft and jammy combined with good acidity, and a rich and savory finish.

A great Chianti Classico.

P A N O R A M I T A L I A . C O M 77

TOSCANA

2012

¨:`aYflaÛ:dYkka[gÛ; F : > ©Û Castello di Brolio 2004, Barone Ricasoli Sangiovese (85%) Cabernet Sauvignon (15%) ( 60.000) $44 750 ml (saq - 702223) Û ~ ÉÛ¨ ©

TOSCANA

2012

¨:`aYflaÛ:dYkka[gÛ; F : > © Torre a Destra 2003 Castello della Paneretta Sangiovese (ha 2 ; 13,000) $46.25 750 ml (saq – 10818551) Û ~ ÉÛ¨ ©

TRENTINO ALTO ADIGE

¨Kj]flgÛ9jmlÛ; F : ©Û Ferrari Perlé Brut 2001, Ferrari Chardonnay (ha 78) $37 750 ml (saqÛ¤Û~ ~ © Û ~ ÉÛ¨ ©

Classy and refined bouquet displaying wild berry, ripe cherry, typical scents of violets evolving towards smoky balsamic undertones. A wine of great balance, good concentration and especially smooth tannins.

A great Sangiovese presenting rich red cherry and pomegranate aromas with smooth vanilla undertones. Full-bodied warm and savoury. A massive Chianti Classico showing meaty, plum, cherry flavours and soft integrated tannins.

A delicate perlage (bubbles) gives this wine a smooth and silky character.

Its impressive freshness gives it even more refinement. A clean and bone-dry sparkling wine with delicate yeast and nutty flavours that clearly demonstrates impeccable machinery and a unique savoir faire. For those of you that enjoy a nice luxurious ride.

TRENTINO ALTO ADIGE

TRENTINO ALTO ADIGE

UMBRIA

2012

(Vigneti delle Dolomiti I.G.T.) Villa Gresti 2005, Tenuta San Leonardo Merlot and Carmenère (ha 4 ; 21.000) $39.75 750 ml (saq – 11036009) Û ~ ÛÉÛ¨ ©

2012

(Vigneti delle Dolomiti I.G.T.) San Leonardo 2000, Tenuta San Leonardo Cabernet sauvignon, cabernet franc, merlot (ha 12 ; 87.000) $75 750 ml (saqÛ¦Û~ ~ ~©Û Û ~ ÛÉÛ¨ ©

2013

¨Kgj_aYfgÛIgkkgÛIak]jnYÛ; F : > © Riserva Rubesco Vigna Monticchio 2001, Giorgio Lungarotti Sangiovese (70%), canajolo (30%) (ha 12 ; 50.000 ) $37.25 750 ml (saq - 10295789) Û ÛÛÛÛÛÛ~ ÉÛ¨ ©

Second wine of the winery, this Merlot based wine is mixed with 10 percent g^Û :Yje]f$j]Û YÛ nYja]lYdkÛ j][]fldqÛ reintroduced in Italy with growing success.

It carries nice floral aromas mixed with black berries and meaty and underbrush fragrances ending on a nice spicy finish.

The mouth is full, warm and impressively rounded with soft tannins that make it ideal to drink now.

This Bordeaux blend “par excellence” could clearly be attributed the generic term of “Super Trentino”. It is a remarkable wine of great aromatic complexity with characteristic blackcurrant and bell pepper fragrances.

Full and unctuous, the mouth is nonetheless impressively fresh. Clearly a wine as charming as the region it originates from.

The 2001 Riserva shows impressive depth and savoir-faire with smooth tones of wild berry marvelously integrated with toasted aromas lingering on complex mineral fragrances. A classic wine that meets modern standards.

UMBRIA

UMBRIA

VENETO

2015

(Umbria I.G.T.) San Giorgio 2001, Giorgio Lungarotti Cabernet sauvignon (50%), sangiovese (40%), canajolo (10%) (ha 5 ; 30.00 ) $37.25 750 ml (saq - 10298306) Û ~ ÉÛ¨ ©

2015

¨JY_jYflafgÛ\aÛDgfl]^Yd[gÛ; F : > © Collepiano 2000, Arnaldo Caprai Sagrantino (ha 20 ; 75.000) $51 750 ml (saqÛ¤Û ~ © Û ~ ÉÛ¨ ~©

(Proseco di Conegliano Valdobbiadene) Crede 2006, Bisol Prosecco (85%), Pinot Bianco (10%), Verdiso (5%) (ha 12 ; 80,000) $21.75 750 ml (saq – 10839168) Û ~~ ÉÛ¨ ©

Well-evolved wine that lingers on cooked black and red berries and prune fragrances and that offers a smooth and fluid mouth charmingly persisting on balsamic undertones. It is tannic yet velvety ending on a slightly peppery touch. A sure bet.

Quite complex, powerfull, fat, ropy and full-bodied red of great ageing potential produced solely with Sagrantino, a unique variety grown only in Montefalco. Strong nose of blackberries, black fruits, combined with meaty and balsamic notes, violets, nutmeg, with oak that blows off after a bit of air.

Very smooth on the palate with good acid balance; some dry tannin makes it excellent with meat.

Lively and easygoing sparkling wine with notes of pear and apples and refreshing zesty undertones. Light and delicate it presents a fine mousse of good persistence and nice suave and crispy flavours. By far, one the best Proseccos around.

VENETO

VENETO

VENETO

~

(Veneto I.G.T.) Oseleta OZ 2004, Zymé $51 750 ml (saq – 10773269) Û ~ ÉÛ¨ ©

DY\] oal` Fk]d]lY dg[Yd M]jgf]k] autochtonous varietals, this wine presents an austere and intensely spicy character mixed with cherry and smoky aromas. The mouth is rather monochrome with dusty tannins and sustained acidity. Uncanny wine that should reveal itself after a few years left untouched.

78 P A N O R A M I T A L I A . C O M

2010

(Veneto I.G.T.) Teroldego 2000, Marion Teroldego (ha 1 ; 4000) $44 750 ml (saq – 10863660) Û ~ ÉÛ¨ ©

Following the region’s winemaking techniques, it is made according to a Ripasso method with a proportion of partially dried grapes. As a result it presents intriguing aromas of cooked fruits mixed with raisin and prune. A wine with a clearly distinctive style.

2010

¨MYdhgda[]ddYÛJmh]jagj]Û; F : © Valpolicella Superiore 2003, Marion Corvina Gentile (10%), Rondinella (20%), Corvina Grossa (60%) , Teroldego (10%) (ha 4; 6000) $40.50 750 ml (saq – 10710268) Û ~ ÉÛ¨ © The 2003 offers a complex mix of red berry aromas with quite vegetal undertones and empyreumatic smells of tar, burnt wood and coffee. The mouth is much finer with the red fruit flavours leading the charge, leaving the tarmac aspect lingering behind.

VENETO

2010

¨MYdhgda[]ddYÛJmh]jagj]Û:dYkka[gÛ; F : © Valpolicella Superiore Classico Monte Cà Paletta 1999, Giuseppe Quintarelli Corvina and Corvinone (55%), Rondinella (15%), Cabernet, Nebbiolo, Croatina and Sangiovese (15%) $86 750 ml (saq – 10811253) Û ~ ÉÛ¨ ©

VENETO

2012

¨MYdhgda[]ddYÛJmh]jagj]Û; F : © Valpolicella Superiore Monte Lodoletta 2002, Dal Forno Romano Corvina and Corvina Grossa (70%), Rondinella (20%), Croatina (5%), Oseleta (5%), (ha 15 ; 22.000) $113 750 ml (saqÛ¦Û~ © Û ~ ÉÛ¨ ©

VENETO

2021

¨8eYjgf]Û\]ddYÛMYdhgda[]ddYÛ:dYkka[gÛ; F : © Vaio Armaron 2001, Serego Alighieri Grapes: Corvina (65%), Rondinella (20%), Molinara (15%) (39.000) $71 750 ml (saq – 10896197) Û ~ ÉÛ¨ ©

The Valpolicella 1999 is simply one of a kind. Before spending seven years in medium - large Slavonian oak barrels it undergoes a “Ripasso” on the marc of Quintarelli’s renowned Amarone. The result is simply outstanding with its spicy and austere character well balanced by charming cherry undertones. An authentic classic.

The 2002 Valpolicella stands out with its distinctively spicy character recalling sweet wood aromas such as nutmeg and cinnamon harmoniously combined with deep red fruits and toasted fragrances. A complex wine showing interesting floral undertones with ample structure regardless of l`]Û o]YcÛ Û naflY_] Û Ff]Û g^Û l`]Û classiest Valpolicella available.

Harmonious and well-coordinated aromas that start with hints of plum jam, black cherry and blackberry followed by aromas of blueberry, violet, vanilla, tobacco, pink pepper, cinnamon, clove and cocoa. The mouth has good correspondence to the nose.

Full-bodied it displays intense flavours, firm tannins balanced by agreeable acidity with shifting hints of sweetness.

VENETO

VENETO

VENETO

2018

2018

2021

¨8eYjgf]Û\]ddYÛMYdhgda[]ddYÛ:dYkka[gÛ; F : © Amarone della Valpolicella Classico 2003, Allegrini Corvina Veronese, Rondinella, Oseleta (ha 30 ; 120.000) $75-80 750 ml (saq – 907196) Û ~ ÉÛ¨ ~©

¨8eYjgf]Û\]ddYÛMYdhgda[]ddYÛJmh]jagj]Û; F : © Amarone della Valpolicella 2003, Marion Corvinone (45%), Corvina Gentile (25%), Rondinella (20%), Croatina and other varieties (10%) $97 750 ml (saq – 10665057) Û ~ ÉÛ¨ ©

Multi-layered wine of great balance and incredible complexity. Absolutely sublime soft, round and suave fragrances of maraschino cherries are elegantly balanced by a smoky and chocately character. Fine, ripe jammy plum, prune and licorise flavours linger endlessly supported by well tamed tannins and discrete roasted wood. Clearly a wine of meditation.

From year to year Marion has the ability to impress with a range of faultless wines. Above all, it is the Amarone that unveils Stefano Campedelli’s artistic craftsmanship. The 2003 has a rather discrete nose with delicate undertones of maraschino cherry and a dense and ample structure of incredible richness and smoothness. A very silky and feminine Amarone.

Concentrated and refined aromatics combine with spicy, floral and fruity notes of great intensity. Cinnamon, liquorice, cigar box aromas are followed by hints of dried flowers, blackberry jam, maraschino cherry and coffee.

The mouth is powerful, balanced and smooth, lingering endlessly on sweet, classy toasted undertones. A lush, dense single-vineyard Amarone

VENETO

VENETO

VENETO

2015

(Amarone della Valpolicella :dYkka[gÛJmh]jagj]Û; F : © Amarone della Valpolicella Monte Cà Paletta 1995, Giuseppe Quintarelli Corvina and Corvinone (55%), Rondinella (15%), Cabernet, Nebbiolo, Croatina and Sangiovese (15%) ( 15.000) $323.90 750 ml (saq – 10808716) Û ~ ÉÛ¨ © A multilayered bouquet of amazing complexity offers intense aromas of raisin, cooked figs and dry almonds elegantly endorsed by delicate plum jam and cherry perfumes with slightly smoky undertones. A potent and complex mouth filling wine, warm and spicy with amazing depth. A must for every serious wine lover.

2016

¨8eYjgf]Û\]ddYÛMYdhgda[]ddYÛJmh]jagj]Û; F : © Amarone della Valpolicella Vigneto Monte Lodoletta 2001, Dal Forno Romano Corvina (60%), Rondinella (20%), Croatina (10%), Oseleta (10%), (ha 1 ; 10.000) $367 750ml (saqÛ¦Û~ © Û ~ ÉÛ¨ ©

Rich and smooth, fruity and warm with amazing complexity, it still shows a distinctive sweet spicy character balanced by ample and incredibly smooth tannins. A truly emblematic wine.

About the Critic Gabriel Riel-Salvatore has been working for close to ten years in the wine business and has travelled extensively to various wine regions of Italy. He has been contributing to Panoramitalia Living Italian Style as the wine editor for the past two years and is currently president of Slow Food Montreal.

Gabriel Riel-Salvatore travaille depuis près de dix ans dans le milieu vinicole et a couramment visité plusieurs régions vitivinicoles d’Italie. Il contribue depuis deux ans à la revue Panoramitalia en tant qu’éditeur en vin et occupe présentement le poste de Président du mouvement Slow Food Montréal.

¨8eYjgf]Û\]ddYÛMYdhgda[]ddYÛ:dYkka[gÛ; F : © Amarone della Valpolicella Mazzano 2001, Masi Corvina (75%), Rondinella (20%), Molinara (5%) ( 14.200) $98 750 ml (saqÛ¦Û ~ © Û ~ ÉÛ¨ ©

2019

¨I][aglgÛ\]ddYÛMYdhgda[]ddYÛ:dYkka[gÛ; F : © Recioto della Valpolicella Classico Monte Cà Paletta 1995, Giuseppe Quintarelli Corvina and Corvinone (55%), Rondinella (15%), Cabernet, Nebbiolo, Croatina and Sangiovese (15%) $151.90 375 ml (saqÛ¦Û~ © Û ~ ÉÛ¨ © Similar to Quintarelli’s Amarone, it exalts complex and delicate sweet and jammy fragrances of cherry and red berries. Sweet and spicy it is smooth and velvety expressing a warm and elegant character balanced by a fine tannic back bone. A legend in itself.

SAGRANTINO DI MONTEFALCO: A Hidden Gem

By Gabriel Riel-Salvatore Sagrantino di Montefalco was until recently one of Italy’s best kept secrets. Since the early 2000, this unique wine from Umbria in central Italy has generated a growing interest among experts and wine lovers across the world.

The success of this wine is partly due to the specific nature of its grape from which it is named after. Like Nebbiolo, used for Barolo in Piemonte, Sangrantino’s low yields and sensitive character discouraged local producers from cultivating it. An ancient wine praised by the popes, it almost vanished during the 20th century victim of quantitative and financial interests at the expense of quality and secular traditions.

Today, Sagrantino still remains one of Italy’s most restricted productions, with only about 240 hectares, dedicated to its cultivation, limited mainly to the comuni of Montefalco and Bevagna, but also found in Gualdo Cattaneo, Castel Ritaldi and Giano dell’Umbria in the province of Perugia.

The first mention of Sagrantino, or uva negra sgranata, dates back to 1549. However, some experts believe it carries much older origins as it could be related to Pline the Elder’s description of Itriola grapes grown in the region more than two thousand years ago and recognized for their wines of great merit.

Various 16th century documents already confirm Sangrantino’s decisive powerful structure and qualitative components as it was often blended with cheap red wines to confer them

greater aromas, more colour and better taste.

These optimal blending characteristics match especially well with Sangiovese, the winning formula behind the Montefalco Rosso DOC appellation that according to Nicolas Belfrage (author of Italian guide book Brunello to Zibibbo), could well be compared to a Chianti with a greater kick to it. Thick-skinned, small-bunched and small berried, Sagrantino is the most tannic grape there is along with French Tannat. Deepcoloured, impressively tannic with a richness of alcohol that gives it a quasi-sweet finish, 100% Sagrantino based Sangrantino di Montefalco DOCG (also labelled Sagrantino Montefalco), will undoubtedly please those who appreciate Southern France Madiran’s great structure and chalky tannins. There also exists a particular “sweet” Passito version that stays uncannily dry due to its high tannic component.

The recent success of Sagrantino lies in the tremendous efforts of Arnaldo Caprai’s winery to modernize the unique wines of Montefalco. This initiative started in 1988, under Arnaldo’s son Marco Caprai, along with wine consultant Attilio Pagli and Università di Milano’s Department of Agrarian Sciences, who founded the “Progetto Sagrantino” that aimed at re-enacting the potential of the hidden gem that lay in the soils of the region. Marco Carpai recalls that his intention was to invest in this “spontaneous resource of quality” that is Sagrantino. His vision proved to be

right as the whole region now benefits from the new worldwide interest he helped generate. His initiative opened many doors for other talented producers such as Antonelli, Rocca di Fabbri and traditionalists such as Adanti. Now even the legendary Umbrian producer Giorgio Lungarotti, famous for his revival of the Torgiano appellation in the 1960s, has also started producing some Sagrantino di Montefalco. The well respected Saiagricola group, behind Fattoria del Cerro in Montepulciano, has recently purchased the Estate Colpetrone at Gualdo Cattaneo, proof of the growing attention for the region from external interests.

Since 2001, the strong Consorzio di tutela vini Montefalco also helps to protect and consolidate the integrity and the notoriety of the wines of Montefalco. In 2008, it even organized a worldwide tasting in 30 selected cities entitled “Sagrantino Day International” and will keep on using this promotion strategy in many more places. Sagrantino now benefits from a great recognition from Italian experts such as Luca Maroni who recently inserted Sagrantino in the “Olympus of wines”. With its impressive levels of quality, it is now only a matter of time before the recognition of Sagrantino starts to transcend the barriers of the Belpaese.

Sagrantino di Montefalco

ABRUZZO: Land of Montepulciano Giullanova Lido

Controguerra

Adriatic Sea

Teramo Pescara L’Aquila

Francavilla al Mare

Calascio

Chieti Bucchianico

Vasta Avezzano

Villa Sanata Maria Rivisondoli

Controguerra Montepulciano e Trebbiano d’Abruzzo DOC Montepulciano d’Abruzzo DOC “Terre dei Vestini” Montepulciano d’Abruzzo DOC “CColline Teramane” DOCG Montepulciano d’Abruzzo DOC “Casauria o Terre di Casauria”

By Gabriel Riel-Salvatore The Abruzzo region has been producing wine since the time of the Roman Empire, but remained little known outside the Belpaese up until recently. Often misjudged for its generic vini da tavola or vini sfusi (table wines or bulk wines) it can now easily compete with some of the best wine regions of the world, thanks to the impressive aging potential of its flagship varietals: the Montepulciano d’Abruzzo.

The qualitative revolution started in Tuscany in the 1970s slowly extended to most parts of Italy with beneficial impacts on winemaking and agricultural practices. Local autochthonous grapes were rediscovered and extensive clone selection combined with new production methods led to great qualitative improvements in traditional Italian wines.

Montepulciano d’Abruzzo is among the most representative wines of central Italy and must not be confused with the homonymous town of Montepulciano, home of Vino Nobile. Led by producers such as Edoardo Valentini, Dino Illuminati, Ciccio Zaccagnini and the late Gianni Masciarelli (who recently died at the age of 53 from a heart attack during a business trip

in Munich), it keeps on gaining credit from experts worldwide proving that low yields and technological investments payoff. Masciarelli’s Villa Gemma was even recently recognised as one of Italy’s absolute best wines in the Civiltà del Bere’s Guide of the Guides of Italian wines.

Robust and ropy, carrying moderate acidity; Montepulciano is a soft, medium to full-bodied, dark-coloured, fruity red, ideal for early drinking.

With their favourable location in the low hills of the region, tucked between the Appenine Ridge and the Adriatic coast, the Colline Teramane Docg (controlled and guarantied appellation) and Controguerra Doc offer the most interesting wines of the area, some showing impressive aging potential. With less restrictive measures limiting Montepulciano’s propensity for high yields, wines from the other areas of the region are often thinner, but nonetheless very enjoyable and well suited to Cerasuolo, one of Italy’s tastiest rosés. Latins used to say “Bacchus amat colles” (Bacchus likes hills). The beautiful rolling hills gently unfolding towards the Adriatic coastline are an integral part of the Abruzzese landscape and one of the key factors of the Montepucliano d’Abruzzo’s success.

Tra Mare e Montagne

JOSEPH IANNICELLI

1 32

Progress! . . . Progrès!

By Shauna Hardy

Mention the word “insurance”, and what Quand on entend le mot «assurance», do you think of? Stability, dependability, on pense d’abord à stabilité, sécurité et peace of mind… paix d’esprit... these are the typical stock phrases associated with the industry. Mention the business to me and my first reflex is usually to yawn. I must admit that it is not necessarily the first place that I would look when searching for an inspirational figure. But all that changed when I had the pleasure of sitting down with Joseph Iannicelli, president and CEO of Standard Life Canada. Our mile-a-minute conversation ping-ponged brightly from one subject to the next, covering everything from movies and books to values and social responsibility.

tels sont les thèmes typiquement exploités par l’industrie.

Parlez-moi d’assurances et mon premier réflexe consiste généralement à bâiller; disons que ce n’est pas le premier secteur où je pars à la recherche de personnages inspirants, mais toutes mes perceptions se sont envolées quand j’ai eu le plaisir de rencontrer Joseph Iannicelli, président et directeur-général de Standard Life Canada. Lors de notre conversation animée, nous avons abordé tous les sujets, du cinéma à la littérature, en passant par la responsabilité et les valeurs sociales.

There was absolutely no time for boredom.

Motivated by a love of travel, Iannicelli’s parents, who hailed from Naples, moved to Toronto when his mother, Carolina, was eight months pregnant with Joseph. Iannicelli remembers that while money was tight, the family never wanted for anything. “My father was an immigrant success story,” says Iannicelli proudly. “He had no language, no education when he arrived – it must have been absolutely terrifying. His main goal was to get the mortgage paid so that his family was taken care of – that was what was most important to him.”

Pas le temps de s’ennuyer!

Poussés surtout par l’amour du voyage, les parents de Iannicelli, originaires de Naples, se sont installés à Toronto alors que Carolina était sur le point d’accoucher de Joseph. La famille Iannicelli devait respecter un budget serré mais ne manquait de rien, se souvient Iannicelli. « Mon père est l’exemple parfait de l’immigrant qui a réussi », affirme Iannicelli avec fierté. « Il est arrivé ici sans connaître la langue du pays et sans éducation. Ce devait être absolument terrifiant. Son principal objectif était de payer l’hypothèque de la maison familiale, question d’assurer un minimum de confort à sa famille – c’était la chose la plus importante à ses yeux. »

82 P A N O R A M I T A L I A . C O M

Geraldo Pace

While Iannicelli enjoys an undeniably successful career, he admits that when he was younger, he had hoped his life would take him along a considerably different path. Drawn to the stage, his secret desire had also been to become an actor.

But when he expressed his dream to a career councillor, he was stonewalled.

“My councillor thought that I was out of my mind and when I told my father, he was shocked,” says Iannicelli. “He was very loyal and proud of his company, but he didn’t want me enjoying a similar fate. He showed me his hands and said, ‘You do not want these hands. You need to find a job where you wear a suit and tie every day - not a uniform.’”

While some children would scoff at their parents’ concern, hell-bent upon pursuing their dreams regardless of what it might cost them; Iannicelli was governed by a different principle. In his mind, children are bound to an agreement with their parents, acknowledging that each generation must progress past the accomplishments of the last generation. The momentum must keep going – especially if you happen to be the child of immigrant parents.

Iannicelli gathered that momentum and propelled himself forward, enrolling at York University to study economics and then getting himself a job as an insurance underwriter at Canada Life. While he might have had certain preconceived notions about the image of insurance at the beginning of his career, they evaporated as he moved up the industry’s rungs, graduating to a new position every three years. Talk to Iannicelli about insurance and he is passionate about the subject. u

Bien que Iannicelli possède un parcours professionnel couronné de succès, il admet que, plus jeune, c’est un tout autre chemin qu’il souhaitait prendre. Attiré par la scène, il entretenait le désir secret de devenir acteur, rêve qui devait être complètement anéanti par un conseiller en carrière.

«Il pensait que j’avais perdu la tête, et quand j’en ai parlé à mon père il n’en revenait pas», explique Iannicelli. «Il était très loyal et fier de son employeur, mais il ne voulait pas me voir aboutir au même endroit que lui. Il m’a montré ses mains et m’a dit : tu ne veux pas de ces mains-là, tu as besoin d’un travail où l’on porte un veston et une cravate, pas un uniforme.»

Beaucoup d’enfants auraient fait fi des recommandations parentales et auraient fait à leur tête, mais les valeurs de Iannicelli l’ont poussé à agir autrement. Pour lui, il existe une sorte de contrat entre parents et enfants qui stipule que chaque génération doit surpasser les accomplissements de la précédente, ce qui est particulièrement vrai pour les enfants d’immigrants.

C’est ainsi que Iannicelli a entrepris sa propre route, d’abord comme étudiant en économie à l’Université York, puis comme souscripteur chez Canada Life. Bien qu’il avait quelques préjugés envers le monde des assurances au début de sa carrière, Iannicelli les a vite oubliés à mesure qu’il progressait dans la hiérarchie de l’entreprise (à raison d’une promotion à tous les trois ans). Parlez-lui d’assurances, vous verrez rapidement qu’il est passionné par le sujet.

«Notre travail, c’est d’aider les gens», expliquet-il, «nos plans de retraite permettent aux gens de décider comment ils vivront leurs beaux jours, tandis que nos plans d’assurance santé peuvent permettre à un enfant d’avoir de belles dents droites ou à un travailleur de rester en santé et d’être productif. Nous sommes un élément essentiel du tissu social.» u

“We are in the business of helping people,” he explains. “Our pension plans help people to plan how they want to live the rest of their lives while our health plans help kids to get straight teeth and help people to stay healthy and lead productive lives. We are an integral part of the social fabric.”

That notion of helping people lies at the very core of Iannicelli’s outlook on life. It is not enough to be successful – that success is larger than a single individual, it is something that is meant to spiral outward impacting family, the community and finally society at large. Rather than something that should be valued simply on a personal level, success for Iannicelli is tied to legacy.

“Everyone needs to leave something that will better society,” he explains. “You have to leave this place better than it would have been had you not been around. You must become a part of the change – help to change something that isn’t working. That might mean donating to a cause you believe in, but it can be almost anything. Help to feed someone in a hospital ward who doesn’t have the family, for example. Even if you come home feeling as emotionally limp as a dishrag at the end of it, you will feel good because you have done something – you will have contributed.”

The company culture at Standard Life reflects Iannicelli’s creed. Committed to social responsibility, Standard Life teamed up with the West Montreal Readaptation Centre in September 2006 to create a work program for those with intellectual disabilities. At its inception, 5 people were hired to help collate communications kits. Since that time, three others have joined the team and the site has been voted as one of the Centre’s best places to work.

One’s legacy is not something that should be contemplated towards the end of one’s life either, emphasizes Iannicelli. It is a form of questioning that needs to be integrated into dayto-day life, a mode of thinking where parents and children, the individual and society look outside of themselves, constantly asking how they can do better. In Iannicelli’s world, there is no room for complacency, only action – action that will bring about a positive result. u

La notion d’aider son prochain est à la base de sa vision de la vie. Il ne suffit pas d’avoir du succès; ce succès est plus grand que l’individu lui-même, il doit le dépasser et avoir un impact positif sur la famille, la communauté et la société en général. Pour Iannicelli, le succès ne s’évalue pas sur une base individuelle, mais plutôt en lien avec l’héritage. « Tout le monde veut laisser sa marque, quelque chose qui va améliorer la société », remarque Iannicelli. « On veut quitter ce monde en pensant qu’il est un peu mieux qu’avant notre passage. On veut faire partie du changement, on veut aider à améliorer des choses qui ne fonctionnent pas. Ça peut vouloir dire faire un don pour une cause à laquelle on croit, ou tout simplement accompagner quelqu’un qui est à l’hôpital et qui n’a pas de famille, par exemple. Cette aide peut prendre presque n’importe quelle forme. Même si vous revenez à la maison épuisé mentalement et émotionnellement, vous vous sentez bien parce que vous savez que vous avez fait quelque chose de bien, que vous avez contribué au progrès de la société. » C’est sans surprise que la vision de Iannicelli se retrouve aussi dans la culture d’entreprise de Standard Life. Comme elle valorise la responsabilité sociale, Standard Life s’est jointe au Centre de réadaptation de Montréal-Ouest en septembre 2006 afin de créer un programme d’emploi pour les gens souffrant de maladies mentales. Au lancement du projet, cinq personnes ont été engagées pour aider à l’assemblage de kits de communication.

Depuis, trois autres personnes se sont jointes à l’équipe et le site a été choisi comme l’un des meilleurs du Centre.

L’héritage n’est pas quelque chose que l’on doit contempler vers la fin de sa vie, insiste Iannicelli.

C’est plutôt une forme de questionnement qui se doit d’être intégré à la vie de tous les jours, un mode de pensée selon lequel parents et enfants, individus et société doivent aller au delà de leur propre existence et rechercher constamment une façon de s’améliorer. Dans le monde de Iannicelli, il n’y a pas de place pour le contentement de soi, seulement pour l’action, celle qui entraîne un résultat positif. u

P A N O R A M I T A L I A . C O M 85

“Unrealized potential – that is what upsets me the most,” he states adamantly. “It drives me nuts – people are given a certain amount of raw talents, skills and strengths. They owe it to themselves and whoever gave it to them to maximize that combination. You don’t know what you are capable of until you try – you could be the next person to split the atom. Who knows?

There needs to be constant improvement and learning. The minute that you stop – you’re dead.”

And while he is constantly asking of himself, Iannicelli is also setting a positive example for his three children. He has taken the family back to Naples three times for ancestral walks down memory lane, but he is also helping them look toward the future, inspiring them to become involved at an early age. The family recently donated a healing garden to the Douglas Hospital – it is a calm sanctuary for patients afflicted with Alzheimer’s and other cognitive diseases. Committed to further involvement, Iannicelli’s teenage daughter also began volunteering at the hospital. In an age where too many of us are content to keep our gaze squarely centred upon our navels, Iannicelli is taking stock of everything around him and urging others to do the same.

“I consider myself so lucky to be living in an evolved world, in a developed country with electricity, cars and all the amenities,” he says. “Italians have contributed to this evolution throughout the ages. We have contributed a lot to the way the world is today. In Canada, we built it brick by brick and now I see us contributing intellectually, Italians are becoming politicians, doctors and engineers; we are making a difference in the lives of Canadians. I’m proud of being part of that generation, to hopefully do some good and lay the ground work so that others might be able to do the same. But things cannot be taken for granted. It is each individual’s duty to excel and go beyond the previous generation. And that is part of a parent’s legacy to their children – it is necessary that they see this attitude so that they might emulate it.”

In a world where so many things seem to be going wrong it’s easy to panic. It’s easy to despair, to think that, really, as a single individual, what can one person possibly do? One person alone cannot solve the environmental crisis, nor can they bring about world peace, or feed every hungry mouth that deserves food. But what if each person made a conscious choice to live their life to its fullest potential, to become an example to someone, to make decisions with the understanding that the consequences will reverberate throughout society? That kind of a life is the very opposite of despair, it is a life of progress. n

86 P A N O R A M I T A L I A . C O M

« Quelqu’un qui n’exploite pas son potentiel, c’est ce qui me choque au-dessus de tout », nous affirme Iannicelli. « Ça me rend dingue; les gens ont tous certains talents, certaines forces et habiletés. La moindre des choses, pour eux-mêmes et pour quiconque leur a donné ces aptitudes, c’est de les utiliser au meilleur de leur capacité. On ne sait jamais de quoi on est capable tant que l’on a pas essayé; personne ne sait qui sera le prochain grand génie.

Il faut constamment apprendre et s’améliorer; la seconde où l’on cesse, on meurt. » De par sa philosophie et ses actions, Iannicelli donne aussi le bon exemple à ses trois enfants. Par trois fois il les a amenés à Naples afin qu’ils apprivoisent leurs origines et leur passé, mais il les aide aussi à regarder vers l’avenir en les inspirant à s’impliquer socialement malgré leur jeune âge. La famille a récemment offert un « jardin de santé » à l’Hôpital Douglas, un petit sanctuaire destiné aux patients souffrant de la maladie d’Alzheimer ou d’autres troubles cognitifs. Résolue à en faire encore plus, la fille adolescente de Iannicelli s’est inscrite comme bénévole à ce même hôpital. À une époque où trop de gens se contentent de rester concentrés sur leur propre petite personne, Iannicelli s’informe de tout autour de lui et encourage les autres à en faire autant. « Je me considère très chanceux de vivre dans un monde évolué, dans un pays développé où il y a l’électricité, des voitures et tous les autres charmes », dit-il. « La communauté italienne a participé à cette évolution au fil des générations.

Nous avons grandement contribué à faire du monde ce qu’il est aujourd’hui. Au Canada, nous l’avons construit brique par brique, et maintenant nous contribuons aussi au niveau intellectuel. Nous sommes politiciens, docteurs, ingénieurs, nous faisons une différence dans la vie des Canadiens. Je suis fier de faire partie de cette génération; j’espère accomplir quelque chose de bien et ainsi permettre à d’autres d’en faire autant. Mais il ne faut rien tenir pour acquis; le devoir d’exceller et de surpasser la génération précédente revient à chaque individu - c’est là une partie de l’héritage que l’on laisse à nos enfants : ils doivent voir et comprendre cette attitude pour pouvoir un jour la répéter. » Il est facile de paniquer quand tant de problèmes affligent le monde, de désespérer en se disant qu’une personne seule ne peut changer le monde. Une personne seule ne peut régler la crise environnementale, ni déclarer la paix mondiale, ni nourrir tous les êtres humains sur terre; mais si chaque individu décidait d’exploiter pleinement son potentiel, de servir d’exemple aux autres, d’agir avec la ferme intention d’améliorer la société ? Mener une telle vie chasse le désespoir et laisse toute la place au progrès. n

Quattroporte 2009 Un secondo capolavoro

5155, rue De Sorel, MontrĂŠal

www.maseratiquebec.com 514.337.7274

Addicted to

Olive Oil

Dépendance à l’huile d’olive

By Shauna Hardy

Whether you’re drizzling it over a salad, using it as a flavourful finishing touch to a dish or serving it beside a basket of crusty bread, olive oil is guaranteed to add a palatable punch to all of your cooking. Recognized for its taste as well as its healthful properties, olive oil is a much-beloved staple in most Italian kitchens.

Olives are one of the world’s oldest fruits, having been enjoyed for over 6,000 years. Its trees which can range from 10 to 40 feet in height have been cultivated for over 2,000

Qu’on en verse sur une salade, qu’on l’emploie comme touche finale sur un mets, ou qu’on la serve comme accompagnement avec un bon pain croûté, l’huile d’olive ajoute toujours une touche délectable à toute aventure culinaire. Reconnue tant pour son goût que pour ses propriétés salutaires, l’huile d’olive est, bien entendu, une incontournable de la plupart des cuisines italiennes.

L’olive est probablement un des plus anciens fruits domestiques cultivés par l’homme. Les traces archéologiques

years. Bitter and tough, when they are first plucked, olives are first soaked in a wood ash treatment and then cured in either oil or salt. For added flavouring, they are packed with herbs, vinegars and oils.

The preparation and exportation of Italian olive oil can be traced all the way back to the 1st century A.D. Its main production was carried out in regions such as Umbria and Tuscany. When the Romans conquered the areas, they became captivated by olive oil, gradually spreading its production throughout their empire from Spain to Northern Africa. Nowadays, Italy is considered one of the principal producers of olive oil. And while technology has helped to make major advancements in most industries, the production of olive oil hasn’t changed that much. Some olives are still plucked by hand and some plantations can be traced

nous révèlent que son origine remonte à près de 6000 av. J.-C. L’olivier peut mesurer de trois à douze mètres, et certains arbres sont en culture continue depuis plus de 2000 ans. Parce qu’elles sont amères et coriaces une fois récoltées, on fait généralement macérer les olives dans une solution à base de cendre de bois avant de les conserver dans l’huile, dans le sel ou encore plongées dans une solution d’herbes, de vinaigres ou d’huiles.

La confection et l’exportation d’huile d’olive italienne remonte au 1er siècle ap. J.-C., époque à laquelle la production principale était concentrée en Ombrie et en Toscane. Lorsque les Romains ont conquit ces régions, ils s’enthousiasmèrent pour l’huile d’olive et en propagèrent la production à la grandeur de leur empire, l’introduisant partout de l’Espagne à l’Afrique du Nord. Aujourd’hui, l’Italie reste l’un des principaux producteurs d’huile d’olive et même si les développements technologiques ont permis d’accélérer les méthodes de production de bien d’autres produits agricoles, les techniques employées pour produire l’huile d’olive sont restées assez semblables à celles utilisées depuis l’Antiquité. Dans certaines oliveraies, la majeure part des olives est toujours cueillie à la main et certains arbres ont des racines plusieurs fois millénaires.

Le choix d’une bonne huile d’olive s’apparente à celui d’un bon vin. En plus d’évaluer son odeur et sa couleur, laquelle peut aller d’un champagne pâle presque transparent à un jaunevert sombre, il est nécessaire de décider quelles saveurs vous plaisent le plus. Votre sélection dépend aussi de l’usage que vous en faites, que ce soit pour cuisiner ou simplement relever le goût d’une salade. u

back over 1,000 years.

Choosing an olive oil that pleases your palate is a lot like choosing wine. Along with evaluating its scent and its colour, which can range from pale almost-transparent champagne to deep yellowy green, you’ll want to determine which flavours please you the most. Your selection will also depend largely on whether you are planning to cook with it or serve it directly out of the bottle with toasted bread or on a salad. The tastes of olive oils can be classified into three distinct categories.

Mild oils have a sweet, light taste. They are perfectly paired with mild cheeses, grilled fish, raw vegetables and carpaccio.

Fruity oils have a slightly more pronounced taste and are perfectly balanced with cooked vegetables and grilled meat.

The strongest tasting olive oils are distinguished by a slightly spicy flavour; this is best paired with heartier flavours that u

88 P A N O R A M I T A L I A . C O M

Geraldo Pace

you might find in aged cheeses and thick, hearty pasta sauces. Rather than relying on one oil, think about stocking a kitchen with a few selections, so that there is always an oil that will suit your needs.

In terms of quality, extra-virgin oils are always rated the highest. Virgin olive oils are those that have been produced solely by physical means (washing, centrifugation and filtration) and have not been altered chemically. For an oil to be considered part of the extra-virgin variety, the oil must have to have been obtained by being cold-pressed. This method only uses pressure to obtain the oil and results in a product with natural, low acidity.

Unlike wine, olive oil does not age well. Producers of olive oil generally try to press their olives as quickly as possible after they have been picked in order to cut down on the acidity that would be produced if the fruit started to ferment. Once this occurs, both the flavour and the aroma of the oil will be affected. Once you’ve purchased your oil, make sure to use it within a year. The oil should be stored in a cool, dry place and

Le goût de l’huile d’olive peut être classé en trois catégories. Les huiles douces ont un goût frais et léger idéal pour accompagner des fromages doux, du poisson grillé, des légumes crus ou du carpaccio. Les huiles fruitées ont un caractère un peu plus prononcé qui s’agence bien aux légumes cuits et aux viandes grillées. Les huiles les plus fortes se distinguent par leur côté légèrement épicé se mariant à merveille avec des aliments aux saveurs plus relevées tels des fromages âgés et des sauces tomates riches et onctueuses. Pour ces raisons, il convient plutôt d’avoir dans sa cuisine plus d’une variété d’huile d’olive afin de s’assurer de toujours avoir à portée de la main une huile qui réponde à toutes les circonstances.

Les huiles extra vierges sont considérées comme les plus fines. Les huiles vierges sont celles qui sont produites en n’employant que des traitements physiques simples (e.g., lavage, centrifugation, et filtrage), sans altération chimique.

Pour mériter le titre d’extra vierge, une huile d’olive doit être le résultat de la pression à froid, méthode qui n’emploie que la pression pour extraire l’huile et qui crée un produit à l’acidité

not come into contact with direct light.

While adding plenty of flavour to dishes, olive oil has also won the approval of nutritionists who consider it to be a healthy addition to a balanced diet. Along with lowering cholesterol, olive oil can help reduce the risk of heart attacks and lower the incidence of gall stones. Historically, olive oil has also been appreciated for its beautifying effects. Greeks and Romans used to moisturize their hair and skin daily with the oil, in order to get a healthy glow. The Italians worked the oil into ointments, using it to treat everything from insect bites to headaches and upset stomachs.

Whether you’re using it for health reasons or to enhance your cooking, it’s guaranteed that olive oil will soon become a staple that you can’t live without! n

naturellement basse.

Contrairement aux vins, l’huile d’olive vieillit mal. C’est pour cette raison que les producteurs s’efforcent de presser leurs olives le plus rapidement possible, afin de minimiser l’acidité de l’huile autrement causée par le début de la fermentation des fruits et qui affecte la saveur et l’arôme de l’huile. Une fois que vous avez acheté votre huile d’olive, il est préférable de la consommer dans l’année et de la conserver dans un lieu frais et sec et d’en minimiser l’exposition à la lumière.

En plus d’être un complément culinaire sans pareil, l’huile d’olive a aussi l’approbation de nombreux nutritionnistes qui la considère comme un « super aliment » idéal pour une diète équilibrée. En plus de contribuer à abaisser le niveau de cholestérol, elle aide aussi à amoindrir le risque de crises cardiaques et la fréquence des calculs biliaires.

Historiquement, on a aussi loué les propriétés esthétiques de l’huile d’olive. Les Grecs et les Romains l’utilisaient quotidiennement pour hydrater leur peau et leurs cheveux pour une apparence saine, et les Italiens l’ont longtemps utilisée dans la confection d’onguents employés pour traiter les maux les plus divers, des piqûres d’insecte aux maux de tête en passant par les douleurs d’estomac.

En somme, qu’on s’en serve pour des raisons de santé ou pour rehausser le goût des aliments, l’huile d’olive est certainement une denrée dont on ne saurait se passer. n

90 P A N O R A M I T A L I A . C O M

G reat

Olive Oils to Enjoy and Discover De grandes huiles à découvrir et apprécier

By Gabriel Riel-Salvatore

1. Colline Teatine « Vastese »

3. L’Affiorato

Superbe huile d’olive obtenue à partir d’olives typiques du Vastese : Leccino, Nebbio and Gentile di Chieti, issues de plantes bicentenaires.

De couleur dorée intense, cette huile offre une intensité moyenne exprimant d’agréables sensations d’amandes amères et de noix. Elle démontre un bel équilibre entre notes piquantes et amères.

Essayez-là sur une salade frisée aux lardons.

Le Frantoio (huilerie) Galantino est situé en plein cœur de la région des Pouilles dans le sud de l’Italie. À base d’olive Coratina et Ogliarola, cette huile est riche et onctueuse rappelant surtout au nez la tomate verte et l’amande séchée. L’attaque est fine et soyeuse libérant par la suite de doux arômes de radicchio et d’endive d’une bonne allonge.

Essayez-là sur un filet de maquereau cuit au court-bouillon ou sur des légumes grillés au BBQ.

Azienda Agricola La Selvotta (Abruzzo) Olio Extra Vergine di Oliva D.O.P. Cooline Teatine 750 ml 20$

Great olive oil produced with typical varieties from the Vastese: Leccino, Nebbio and Gentile di Chieti, coming from bicentenary plants.

Of an intense gold colour this oils of medium intensity expresses nice sensations recalling bitter almonds and nuts and demonstrates a great balance between spicy and bitter notes.

Try it on a curled salad with pancetta.

2. Colonna

Azienda Agricola Colonna (Molise) Olio Extra Vergine di Oliva D.O.P. Molise 375 ml 20-25$ L’huile certifier D.O.P. Molise, un blend de Rosciola, Leccino et Gentile di Larino typique de la région, a reçu plusieurs des plus grandes distinctions d’Italie. Elle est douce et savoureuse, avec un goût franc et distinctif accompagné de notes de pomme et de poire évoluant sur une finale moyennement poivrée.

Essayez-là sur des « pâtes à la crudaiola » servie sur des penne courtes avec des dès de tomates fraîches marinées au citron et des cubes de mozzarella fondants et du basilic frais.

The certified oil “Colonna D.O.P. Molise”, a blend of Rosciola, Leccino and Gentile di Larino specific of the region, has recently enjoyed some of Italy’s greatest recognitions. It is luscious and smooth, with a clear, distinctive olive flavour that is complimented by overtones of apples and pears and a gentle, spicy bite of medium intensity complying with the lowest degrees of acidity.

Try it on « pasta alla crudaiola » served on baby penne, fresh marinated diced tomatoes, warm mozzarella cubes and fresh basil.

Galantino (Puglia) Olio Extra Vergine di Oliva 500 ml 20$

The Frantoio Galantino is located in the heart of the Apulia region in Southern Italy. Produced with local Coratina and Ogliarola, this great quality oil is rich and unctuous recalling green tomatoes and dry almonds.

Soft and velvety, it lingers on fine radicchio and endive aromas.

Try it on a makerel filet cooked in court-bouillon or on grilled vegetables.

4. Castello di Ama

Azienda Agricola Castello di Ama (Toscana) Olio Extra Vergine di Oliva Chianti Classico D.O.P. 2005 500 ml 30$ Castello di Ama, aussi un des meilleurs producteurs du Chianti Classico, est une huile d’olive pressée à froid obtenue à partir de trois variétés distinctes Leccino, Moraiolo, et Correggiolo. Commercialisé sous l’appellation Chianti Classico D.O.P., elle est fruitée et élégante, démontrant à la fois vivacité et caractère avec de savoureuses notes végétales et une finale légèrement poivrée.

Servez-là sur un carpaccio di manzo avec des copeaux de parmesan et de la salade roquette.

Castello di Ama, also one of Chianti Classico finest winemakers, is a cold pressed olive oil obtained from three distinct varieties Leccino, Moraiolo, and Correggiolo. Labelled under the appellation Chianti Classico D.O.P., it is fruity and elegant, harmonious, yet showing verve and character with savoury vegetable notes and a light, peppery finish.

Serve it over a carpaccio di manzo with Parmigiano chips and arugula salad. u

P A N O R A M I T A L I A . C O M 91

5. PLANETA

7. CANTAGALLO

Établie à Capparina près de Menfi, entre Palerme et Agrigento, l’oliveraie de la famille Planeta (famille surtout célèbre pour ses vins) bénéficie depuis 2006 de l’appellation D.O.P. (dénomination d’origine protégée) Val di Mazara. Sa couleur dorée intense évoque le chaud soleil sicilien.

Son nez tout aussi charmant rappelle le foin, l’herbe coupée, la tomate verte, ainsi que de subtils arômes acidulés d’agrumes. Un équilibre parfait entre intensité et finesse marie agréablement l’aspect fruité et épicé de cette huile d’olive. Son goût riche évoque la tomate verte et l’artichaut progressant sur une amertume assez prononcée (l’ardence) au goût de salade frisée et de chicorée.

Essayez-là pour faire du Pesto Ericino (pesto sicilien aux amandes grillées, tomates et basilic), ou pour une Caponata aigre-douce à la sicilienne.

Huile haut de gamme faite à base de variétés toscanes traditionnelles: Frantoio, Moraiolo et Lecino. Elle dévoile une couleur intense et translucide. Le nez est fruité, plein et savoureux avec une bonne rondeur évoluant sur des notes épicées et herbacées rappelant la roquette et la noix de Grenoble.

Essayez-là sur une salade toscane de ton et de fèves Gamberi ou Cannelli ou sur une bruschetta.

Azienda Agricola Planeta (Menfi –Sicilia) Olio Extra Vergine di Oliva D.O.P. Val di Mazara 500 ml 20$

Established near Menfi, between Palermo and Agrigento, the olive grove of the Planeta Family (especially famous for its wines) benefits since 2006 from the Val di Mazara D.O.P. (protected appellation). Its intense gold colour evokes the warm Sicilian sun. The nose recalls hay, cut grass, green tomatoes and gentle grapefruit aromas. A perfect balance between intensity and finesse cleverly combines the fruitiness and the spiciness and this great oil. To the taste green tomatoes and artichoke flavours progress on fairly intense chicory fragrances.

Try it for pesto Ericino (Sicilian pesto with almonds) or with a nice caponata.

6. FINO DEI MONTI PISANI HIGH STANDARD Fattoria di Asciano (Siena -Toscana) Olio Extra Vergine di Oliva Corporazione dei Mastri Oleari 750 ml 30$

Contrairement aux autres huiles de la région généralement intenses et poivrées, l’huile Fino dei Monti Pisani High Standard de la Fattoria di Asciano exhale de doux arômes fruités combinés à des saveurs veloutées d’amande et de Radicchio rosso di Treviso évoluant tranquillement sur de douces notes d’épice. Non filtrée cette huile pressée avec des meules en pierre traditionnelles présente une robe légèrement voilée de couleur dorée aux reflets verts qui n’altère en rien sa saveur et sa qualité.

Elle se prête à merveille sur du poisson, des sauces et des mayonnaises légères.

Contrary to other oils of the region generally intense and peppery, the oil Fino dei Monti Pisani High Standard of the Fattoria di Asciano exhales soft fruity aromas combined to velvety almond flavours and Radicchio rosso di Treviso slowly evolving on smooth spicy undertones. Unfiltered, this oil pressed with traditional stone mills presents a slightly blurry golden colour with green reflections that does not alter its taste or its quality.

Ideal for a mayonnaise on cooked vegetables or over grilled fish.

Tenuta Cantagallo (Montalbano -Toscana) Olio Extra Vergine di Oliva Laudemio 500 ml 35-40$

High-end olive oil (olio di collina) made out of traditional Tuscan varietals: Frantoio, Moraiolo and Leccino. It displays a clear and intensely green colour. The nose is fruity, full and savoury with a clear, well rounded body evolving on a nice spicy finish recalling herbaceous sensations recalling arugula and walnuts.

Ideal on meats and vegetables. Try it on an Insalata di Tonno e Fagioli, with Gamberi e Cannelli (beans) alla Toscana or for a bruschetta.

8. EREMO

Frantoio Redoro (Garda -Veneto) Olio Extra Vergine di Oliva D.O.P. Garda Orientale 500 ml 25-30$ Cette savoureuse huile d’olive de la région du lac de Garde provident d’olive Casaliva et Drizzar. Elle présente une couleur vert doré intense.

Un nez doux et fruité d’amande fraîche et d’asperge accompagné en bouche d’un aspect beurré souple et onctueux.

Idéale pour un minestrone d’orzo, des viandes grillées ou sur du poisson.

This luscious oil of the Garda Lake area is made out of Casaliva and Drizzar olive trees. It displays a deep, intense gold green colour, with modest variations in the yellow component. It expresses light, fruity fresh almond and asparagus aromas combined to a soft and unctuous buttery mouth.

Ideal for a minestrone d’orzo, grilled white meats, boiled fish or oven cooked fish.

9. TENUTA DI SESTA

Tenuta di Sesta (Montalcino –Toscana) Olio Extra Vergine di Oliva Qualita superiore 35-40$ Cette huile de qualité supérieure est obtenue avec les meilleures olives du domaine : Moraiolo, Correggiolo, Leccino et Frantoiano. La récolte manuelle garantie des olives de conditions parfaites pressées dans les 24 heures. Elle offre des arômes d’herbe coupée, de foin et de tomate verte et de douces saveurs de noix et de radicchio poivré.

Essayez-là sur du saumon fumé servi avec des oignons finement coupés, des câpres et un soupçon de citron.

This superior quality oil is obtained with the best quality of olives on the estate: Moraiolo, Correggiolo, Leccino and Frantoiano. The manual harvest guarantees the perfect condition of the olives which are cold-pressed within 24 hours. It offers aromas of fresh cut grass, hay and green tomatoes and a gentle taste of nuts and peppered radicchio.

Try it on smoked salmon with fine cut onions, cappers and a touch of lemon. ■

92 P A N O R A M I T A L I A . C O M

PORTRAITS Par / By

GERALDO PACE pour / for information

5 1 4 . 9 1 5 . 0 1 5 0 w w w. g e r a l d o - p a c e . c o m

96 P A N O R A M I T A L I A . C O M

Shop, Taste and Learn

By Guido Lorenz

Antonio Benedetto Carpano invented vermouth in 1786. Due to its popularity the Carpano family built a vermouth factory in Lingotto, a suburb of Torino, and during the 20th century Fiat automobiles were made next door. When the vermouth business moved to Milano, Carpano’s factory fell into disrepair and the famous Fiat factory became a spacious shopping mall called Gallery 8, named after Ling(otto). But Carpano still lives. His factory has been beautifully renovated into a labyrinth of gastronome called Eataly, the brainchild of Oscar Farinetti, a wealthy 53 year-old entrepreneur from Alba, the town in Piemonte famous for white truffles and fine red wines.

Opened in January 2007, Eataly can best be described as a multifunctional centre, a place to shop, taste, and learn about Italian food, its provenance and its preparation. The vast floor space of 11,000 square metres occupies three levels. When I visited in January 2008 my guide was Simona Milvo, a project manager with the educational section. Entering the building from the street opposite Gallery 8, you’ll note checkout counters on the left and small carts for shopping. On the right an educational area— ­­easy chairs, a library, and further right, a room of apple computers provides access to gastronomic information of all kinds. Directly ahead, centre stage, are placards listing daily menus for the ristorantini (small restaurants) and a large exhibit encouraging the consumer to be prudent in seeking out the freshest produce as well as food that is currently in season.

Walking on the ground floor we encounter speciality areas, there are 10 in all, each one devoted to a particular class of food, Le Verdure (Vegetables), I Salumi e I Formaggi (Salami and Cheese), Il Pesce (Fish) and so on, each area having its own artisanal produce for sale and its own ristorantino, the idea being to combine buying with tasting in a relaxed way. We stopped at La Carne (Meat). Here are pre-packaged meats, a fully stocked butcher and a grill surrounded by a circular counter where customers sit on high-stools and dine informally on traditional meat dishes. I chose carne cruda, raw beef hash with salad accompanied by a full-bodied red wine from Alba. This small meal was light, fresh and delicious. The beef comes from la granda, a farm cooperative located near Cuneo that raises the Piemontese breed of cattle under strict environmental rules.

The ristorantino at La Pizza e La Focaccia serves Pizza da Napoli. The crust uses high-quality flour from Gragnano near Naples, the tomatoes are a sweet Neapolitan variety, and the mozzarella, made south of Naples, is limited in production and costly. Served plain or with prosciutto, this dish is something to remember and fairly priced, as are all dishes at the ristorantini. Nearby, the counter at Il Forno a Legna offers many varieties of crusty bread freshly baked in the custom-built wood-burning oven.

In small red-brick alcoves and in open airy spaces customers can find over 900 artisanal products carefully selected from the best Italian sources, all at reasonable prices— antipasti, balsamic vinegar, soft drinks, spices, kitchen utensils, glass storage vessels, fresh milk from a self-serve dispenser, on and on. u

P A N O R A M I T A L I A . C O M 97

For more information, visit

www.eatalytorino.it In a vaulted atrium there are long tables of locally grown fruits and vegetables and in the distance a sign Qui il Dolce (Here, the desserts) tempts us to taste quality ice creams and pastries. Turning left, through a narrow passage, a small espresso bar serves the best Guatemalan coffee and a tabled anteroom has shelves of Carpano vermouth—yes, he is still here!

A long moving walkway allows descent with shopping cart from the ground floor to the cellars— here are the original arched red-brick rooms where vermouth was once aged. Today there are racks of fine wines with labels too numerous to mention, and table wines for just two euros a litre. Small passages lead to confined cellars where cured meats hang aging and huge rounds of cheese lie calmly waiting for their day to come. In an area called Della Birra you may sample any of hundreds of Italian and imported beers, accompanied by a choice of dishes of the day and Del Vino offers a similar service in wine. Turning a corner we stand before the glass doors of the main ristorante, coincidentally named Guido per Eataly, a place to experience the best in Italian cuisine.

98 P A N O R A M I T A L I A . C O M

Above the ground floor are offices, tasting rooms, lecture halls, teaching kitchens for cooking classes offered to the public, and the Carpano museum containing chemistry apparatus, vats and many large metal canisters of film housing the dated and often amusing television advertisements for vermouth.

Eataly’s main goals run parallel with those of the international Slow Food movement, the non-profit organization founded by Carlo Petrini. These goals include the preservation and promotion of artisanal food production in Italy and throughout the world, and a fostering of the public’s awareness of the benefits of authentic cuisine. Eataly maintains close ties with Slow Food through the friendship of Petrini and Farinetti, a large number of Eataly’s products are endorsed by Slow Food and designated by the movement’s snail logo, often accompanied by explanatory text about the product. Many of the 200 young employees at Eataly are students of gastronome, some of these attend Slow Food’s private University of Gastronomic Sciences based in Pollenzo near Bra. Current plans to export Eataly to other locations worldwide include a 3,500 square metre two-floor Eataly at 18 West 48th Street in New York City which opened in the summer of 2008. n

Geraldo Pace

Beaucoup plus qu’un boucher ...

158, Place Marché du Nord Montréal (Québec) H2S 1A1 Tél: 514.276.1345

Geraldo Pace

Soul Man

Domenic Chianese

By Shauna Hardy in collaboration with Barbara Bacci

Meet a person for the first time and while performing the perfunctory handshake, chances are that you will look into their eyes. Sometimes that moment passes unobserved and sometimes, something holds you. In that split second, the shade is pulled back and you are treated to that person’s interior world. It might be a humorous world, perhaps a philosophic one. But in that moment, you experience a spark- the spark that ignites the desire for further conversation, the spark that kindles the curiosity to discover that interior world, the spark that fuels a connection. Domenic Chianese has those eyes.

Interviews can be slow, plodding, predictable affairs. You ask a question, you get an answer, ask another question, and get another answer. It’s a straight-forward, sombre march toward the finish line. But the conversation with Domenic Chianese was more like a dance. Improvised, dramatic and intimate, the gifted story-teller painted rich scenes of his life that revealed his depth of character and all that he holds dear.

Rather than bask in the success of his present moment, Chianese elected to conduct the interview at Quattro Gatto – a small Neapolitan restaurant that he lived above prior to getting his role in The Sopranos. Although those days were not the easiest for the actor, he looks back on them with particular fondness. It was an important time in his life, a time when everything was just about to explode.

“It was about 15 years ago, a low ebb in my career,” he explains. “I was struggling and broke and experiencing a certain kind of depression that artists go through at some point in their career. I was living above this restaurant in one little room – I felt like I was something out of an opera – La Bohème or something.”

But for all the struggling, there were still moments of happiness. The people that ran the restaurant were from Naples, Chianese’s grandfather’s birthplace. Coming into the restaurant, he could always hear the Neapolitan dialect and that brought him home - it was an anchor to his family,

102 P A N O R A M I T A L I A . C O M

an anchor to his roots. While the actor might have been questioning his direction and questioning what life was going to hand him, Quattro Gatto was able to deliver Chianese a little bit of paradise.

A second-generation American, Chianese’s grandfather came over from Napoli in 1904. His father, Gaetano, became a top-notch bricklayer. As the eldest of five children, he went to work at an early age in order to help to support the family.

While Domenic followed in his father’s footsteps, there was always another dream that tugged at his heartstrings. Even as a young child of three and four, Chianese had a beautiful voice and his family loved to hear him sing. “They were always saying ‘Sing for us! Sing for us!’” he remembers. “The love I got from singing emotionally touched something in my soul.

My grandfather would sit by the window and sing songs, he always loved music and that language became part of my soul.

The Italian culture is part of me because of my family.”

One day, while on his way to a brick-laying job with his father, 20-year-old Chianese came across an announcement for an audition for a Gilbert & Sullivan company. He asked his father if he could get off the bus and go to the audition. “My father’s eyes narrowed,” he remembers. “’An audition … what is that?’ I said ‘It’s to sing.’ He let me get off the bus; I went to the audition, got the job and travelled all over the States with the company.”

Music was a love that was found on both sides of the family. The fact that Chianese was able to chart a singing and acting career held incredible significance for the whole family. It went much deeper than simply being proud of a son’s accomplishments. “My uncles and my father really enjoyed singing. But they were the first generation of ItalianAmericans and there was no time to talk of dreams, they simply had to go to work. I was given the chance to actually live my dreams,” he recounts.

In the early years, Chianese relied on his natural ability to find work. But when he was 30, his love of text and plays pushed him into actually studying the craft. At that time, he was performing in Chekhov’s Three Sisters and the director, Phillip Burton, was so unhappy with a section of his performance, that he suggested that perhaps Chianese u

Studio Babaldi

should find another career path. The devastating comment sent Chianese to studying with acting coach Walt Witcover, a decision that would change his approach to acting forever.

“During class one day, I was told that my performance wasn’t quite believable,” he remembers. “Walt asked me to describe talk about a character I knew. I began describing my grandfather and what his hands looked like. The tears began flowing out of me and for 20 minutes I just kept talking about him. That moment gave me a way to approach acting which would tap into my emotional resources. That is my tool, you have to be in the moment, and then of course the imagination takes over and you can really create a character.”

Chianese has the distinct honour of being the only actor to have appeared in the biggest mafia movie of all time, The Godfather II and starring in the biggest mafia television series of all time, The Sopranos. The actor is not surprised by the attention that is aimed at mafia stories, there is so much drama swirling through the Italian culture, it seems only natural that people would want to tell its stories.

“I always appreciated George Bernard Shaw’s observation: In Italy, the worst actors are on the stage,” Chianese says. “We are natural actors. My father would hit his hand when he was working and he would curse in Italian. He never spoke Italian, but he would curse in Italian and he did it so beautifully - that is where his passions would come out. That passion comes from our love of life and family and trying to be as human as you possibly can be. In means embracing the dark and the light – Italians understand the shadows.”

Growing up in the Bronx as an Italian, Chianese was convinced that the entire world was made up of ItalianAmericans. He maintains that it was the perfect place to soak up all the culture that he would draw upon as an actor.

Years later, Francis Ford Coppola called him into his offices, spending 40 minutes with him talking about family and the

“What I liked about Uncle Junior was that he had a sense of who he was,” Chianese explains. “There is something magical about that. It’s rather psychological – once you have a take on who you are, it opens you up to really be that person and embrace it. I found him to be a very interesting character, almost something out of a Greek tragedy. He was very serious and the script gave me something to latch onto, I felt a reverberation in my soul.”

culture of Italian-Americans. Later, while Chianese was in Boston, he got a call requesting another meeting with Coppola – it was regarding a little film that Coppola was thinking of making. Chianese refused the meeting. His wife was pregnant, he was in a play and he didn’t have the money to return to New York. As a result, Chianese missed his chance to play in The Godfather, but Coppola stubbornly held on, casting him as Johnny Ola in the movie’s sequel.

Chianese’s acting repertoire is filled with roles from television, movies and theatre. One of the obvious highlights was his recent role as Uncle Junior on The Sopranos. Chianese was immediately drawn to the character’s spirit as well as to the show’s quality of writing.

encourage you, that support helps to stave off the rejection.

I think that everyone needs that kind of love. We all have to make some kind of contribution – to be respected for your talent, for your contribution is a very special thing.”

Chianese has hit upon a fundamental truth. That sense of recognition and acceptance is something that we all thirst for. When a person feels appreciated and understood, there is no limit to what they can achieve. While Chianese might have experienced his ups and downs, there is no doubt that the love and appreciation that he has felt from friends and family has been the driving force that has propelled him to greater and greater levels of success. In life, there is never a time at which to slow down, instead, we must continually strive to achieve what our soul years for. n

104 P A N O R A M I T A L I A . C O M

Chianese received two Emmy nominations for his work and while he loved the trip to the ceremony, it was being in the company of his fellow actors that really impressed him.

“Where we were sitting, there were some really wonderful actors behind me. Red Buttons was there and he made a motion with his hands as if he were applauding me.

That was enough of a reward – after that, I didn’t need to win.”

Themes of loyalty and friendship run throughout the conversation with Chianese. He speaks of his friends that he has made throughout his career, people like Al Pacino and Morgan Freeman, who have encouraged and helped him along the way. In speaking about his friends, one understands that Chianese treats his relationships with the utmost respect.

There is so much uncertainty and insecurity in the world, for Chianese it is important to acknowledge those around us – to pay attention to their efforts and make sure that they are recognized.

“As artists, we need to be accepted and applauded for our work. When we are respected that way, we feel happy, we feel content, we become better artists. You’re friends; they will

King of the Red Carpet le Roi du Tapis Rouge

By Joanne Latimer

Italy’s style icon stepped down L’icône italien du style a pris sa retraite this year, leaving a legacy of cette année, laissant derrière lui un héritage d’une opulence effrénée. unbridled opulence.

Ah, Valentino! Is there anyone else in the fashion industry that travels with six lapdogs, collects Picassos and owns a supersized yacht? Never one to hide his lavish spending, Valentino Garavani also maintains one of the most dazzling gardens in France, where he dotes over his roses—one million roses, to be exact—and 280 cherry trees. His dinner guests enjoy meals with over thirty courses. Yet, upon retiring this year, Valentino is afraid of being remembered solely for his opulence. If that’s true, perhaps he shouldn’t have allowed Oprah’s television cameras to follow him around Europe, inspecting his mansions. The gig is up. His lifestyle is an ode to self-indulgence and would we really want it any other way?

We expect nothing less from a man named after screen legend Rudolph Valentino. In his retirement, the designer can fully enjoy his amusements, surrounded by Meissen swans and Andy Warhol paintings. Bravo and well done. Valentino has earned his down time. Most fans don’t know the grueling work it takes to be an haute couture designer like Valentino, who pumped out two main collections a year to fuel the franchise.

He lorded over his accessories, fragrances, a men’s line and let’s not forget his bridal collections and one-off wedding u

Ah, Valentino! Est-il quelqu’un d’autre dans le monde de la mode qui voyage accompagné de six petits chiens, qui collectionne les Picasso et qui possède un yacht géant ? Valentino Garavani n’a jamais tenté de cacher ses dépenses extravagantes, lui qui entretient un des jardins les plus saisissants de France, couvert de roses (un million, pour être précis) et de 280 cerisiers. À table, ses invités ont droit à plus de trente services.

Pourtant, maintenant qu’il est retraité, Valentino craint qu’on ne se souvienne de lui que pour cette opulence. Si c’est vrai, il ne fallait peut-être pas permettre à Oprah et à ses cameramen de venir visiter ses somptueuses résidences partout en Europe.

C’est dans la logique des choses. Son style de vie est un hymne à l’hédonisme, et voudrait-on vraiment que ce soit différent ?

Il fallait s’y attendre venant d’un homme baptisé en l’honneur de la star de cinéma Rudolph Valentino. Retraité, le designer peut maintenant profiter de tous ses divertissements, sa porcelaine de Meissen et ses tableaux d’Andy Warhol. Bravo et bien fait ! Valentino a mérité ce repos. La plupart des amateurs ne réalisent pas à quel point il faut travailler dur pour être un designer de haute couture comme Valentino, qui créait deux collections principales par an afin de faire prospérer sa u

P A N O R A M I T A L I A . C O M 107

gowns for celebrities. Loyal clients require a certain amount of face time, so organizing Valentino’s social calendar is a task best handled by a high-ranking diplomat from the United Nations. With all of these demands on his time, Valentino was never interested in living like a journeyman, too harried to

marque; accessoires, fragrances, une collection pour hommes, sans oublier les collections de mariage et les robes de mariée uniques, destinées à des célébrités. Comme les bons clients requièrent une certaine quantité de temps passé en tête à tête, on comprend qu’organiser l’horaire de Valentino est une tâche

enjoy his accomplishments.

And talk about accomplishments! After the assassination of President Kennedy in 1963, Jacqueline Kennedy turned to

digne d’un haut diplomate des Nations Unies. Pourtant, malgré un calendrier aussi chargé, Valentino a toujours su prendre le temps de savourer ses réalisations.

Valentino the following year to make her entire wardrobe in black and white as she came out of mourning. Four years later she married Aristotle Onassis wearing an ivory georgette mini

Et que dire de ces réalisations ! Un an après l’assassinat du président Kennedy en 1963, Jacqueline Kennedy a demandé à Valentino de lui créer une nouvelle garde-robe complète en

dress of his design. “Jackie Kennedy made me famous around the world,” he said, famously. “It was that simple.”

noir et blanc, alors qu’elle terminait son deuil. Quatre ans plus tard elle se mariait à Aristotle Onassis, vêtue d’une mini-robe

Behind that modesty, of course, is the heft of his talent.

Valentino’s reputation as a couture designer is undisputed, but highly defined by feminine elegance. He made dresses

de georgette ivoire signée Valentino. « Jacqueline Kennedy m’a rendu célèbre autour du monde », dit-il. « C’est aussi simple que ça. »

that were graceful and flirty in a way that both men and women find flattering. What’s his stance on gold lamé and wild mink?

Bring it on! Bows, taffeta, chiffon, décolleté? It’s all good.

Bien sûr, derrière cette modestie se cache un immense talent. La réputation de designer de Valentino est incontestée, bien qu’elle repose essentiellement sur l’élégance féminine. Il

This sets him apart from designers like Prada, John Galliano and Yves St. Laurent, who push boundaries between art and

a su créer des robes à la fois gracieuses et aguichantes, que les hommes comme les femmes pouvaient trouver flatteuses. Ce

fashion. Valentino never apologizes for lacking conceptual depth and modern daring in his work. “Sometimes we forget: the lady makes the dress,” he explains, frequently, when asked

qu’il pense du vison sauvage et des tissus lamés d’or ? Amenezen ! Rosettes, taffetas, mousseline de soie, décolletés ? Pourquoi pas. C’est ce qui différencie Valentino de designers comme

about his “wearable” clothing. “I love a woman who eats food, who has a body - that is a woman and not a stick.” Spoken like a true Italian.

Prada, John Galliano et Yves St-Laurent, reconnus pour brouiller les frontières entre l’art et la mode. Valentino ne s’excuse pas du manque de profondeur conceptuelle et de risques modernes

Valentino was born in Voghera, Lombardy, in 1932. He apprenticed under his Aunt Rosa and local designer Eernestina Salvadeo before heading to Paris at the age of seventeen.

dans son œuvre. « On a tendance à oublier que c’est la femme qui donne vie à la robe », explique-t-il fréquemment quand on lui pose des questions sur ses créations portables. « J’aime les

After studying at the Ecole des Beaux Arts and the Chambre Syndicale de la Couture Parisienne, he worked under Guy u

femmes qui mangent, qui ont des formes; une vraie femme, quoi, pas un piquet ! » Un vrai Italien. u

108 P A N O R A M I T A L I A . C O M

“That’s the thing—they’re classic pieces that seem fresh each year.”

«C’est ça le secret; des pièces classiques mais qui semblent nouvelles à chaque saison.»

Valentino est né à Voghera, en Lombardie, en 1932. Il a appris son métier avec sa tante Rosa et la designer du coin, Eernestina Salvadeo, pour ensuite se rendre à Paris à l’âge de dix-sept ans. Après des études à l’École des Beaux Arts et Laroche, among others, until he returned home to Italy to hang out his shingle. His international debut in Florence in 1962 made him an emerging star, and that reputation was cemented in 1966 with his famous all-white collection and the new V logo. By the mid 1960s, he was dressing Elizabeth

Taylor, former Persian Empress Farah Diba, and a roster of Euro royals.

Today, Valentino’s command central is an 18th-century palazzo in the centre of Rome, next to the Spanish Steps. A former nobleman’s house, Palazzo Mignanelli serves as his global headquarters and couture studio, the lifeblood of his empire. Here, more than 60 seamstresses—mostly elderly women who have worked meticulously under klieg light for 25 to 30 years—labour for regulars such as Princess Firyal of Jordan, Lady Bamford, Princess Marie-Chantal of Greece and Kate Winslet. The palazzo also houses part of Valentino’s vast dress archive. Hundreds are kept in polythene bags; others are in a giant facility in Valdagno, northern Italy. He makes sure the history of every item lent is logged on a computer and that each creation is tagged.

“You can build a Valentino wardrobe and team it up with something new from season to season,” notes Alexandra Shulman, of British Vogue. “That’s the thing—they’re classic pieces that seem fresh each year.”

Shulman was at Valentino’s last haute couture runway show, held at the Musée Rodin in January 2008. The show followed a blow-out weekend in July in Rome, where there were lavish dinners at the Temple of Venus, the Villa Medici and the Villa Borghese. The weekend celebrated the 45th anniversary of Valentino’s career and the launch of a retrospective exhibit of 300 dresses at the Ara Pacis museum. The highlight of

à la Chambre syndicale de la Couture Parisienne, il a travaillé pour divers designers, dont Guy Laroche. Puis, il est retourné en Italie afin de lancer sa propre marque. Sa grande première internationale à Florence, en 1963, a fait de lui une étoile montante, réputation qui s’est consolidée quatre ans plus tard grâce à sa célèbre collection « toute blanche » et au nouveau logo V. Vers le milieu des années 1960, il habillait Elisabeth Taylor, l’ancienne impératrice de Perse Farah Diba, ainsi que plusieurs membres de la royauté européenne.

Aujourd’hui, l’entreprise de Valentino est située dans un palazzo du 18ème siècle, en plein cœur de Rome près de la place d’Espagne. Anciennement la propriété d’un noble, le Palazzo Mignanelli sert maintenant de siège-social et de studio de couture, l’âme de l’empire Valentino. Dans ce studio, plus de 60 couturiers (surtout des femmes âgées qui travaillent méticuleusement sous des projecteurs grand angle depuis 25 ou 30 ans) confectionnent les vêtements des clientes régulières telles la princesse Firyal de Jordanie, Lady Bamford, la princesse Marie-Chantal de Grèce ou encore Kate Winslet. Une partie du palazzo sert aussi d’archives pour robes – quelques centaines y sont conservées dans des sacs de polyéthylène, tandis que des milliers d’autres sont entreposées à Valdagno dans le nord de l’Italie. Valentino conserve un registre informatique de ses créations (toutes marquées) et des chemins qu’elles ont pris au fil des ans. « Vous pouvez monter une garde-robe Valentino et la combiner avec quelque chose de neuf à chaque saison », fait remarquer Alexandra Shulman du British Vogue. « C’est ça le secret; des pièces classiques mais qui semblent nouvelles à chaque saison. » Schulman était présente lors du dernier défilé haute couture de Valentino, au Musée Rodin en janvier 2008. Au mois de juillet précédent s’est déroulée à Rome une fin de semaine extravagante u

P A N O R A M I T A L I A . C O M 109

the weekend was a runway show, attended by Uma Therman, Jude Law, Sarah Jessica Parker, Sienna Miller, Eva Mendes, Claire Danes and Elizabeth Hurley (Hollywood was well represented, since Valentino has been as prominent on Oscar night as Meryl Streep and Jack Nicholson.) Actors mingled among Mick Jagger, Anna Wintour, Claudia Schiffer, Karl Lagerfeld, Manolo Blahnik and many more design heavy-weights.

Shulman notes that some fashion insiders considered the weekend in Rome to be Valentino’s real goodbye. But the last runway show in Paris was no less important. Not content to rest on his laurels, Valentino created a stunning lineup of pastel daywear: skirt suits in Easter egg shades of pink and purple; shimmering

u

PHOTO: FRANCOIS GUILLOT/AFP/Getty Images

(comprenant trois copieux dîners au Temple de Vénus, à la Villa Medici et à la Villa Borghese) afin de célébrer les 45 ans de carrière de Valentino et d’inaugurer une exposition rétrospective de 300 de ses robes au Musée Ara Pacis. Le clou du spectacle fut le défilé auquel ont assisté Uma Therman, Jude Law, Sarah Jessica Parker, Sienna Miller, Eva Mendes, Claire Danes et Elisabeth Hurley; si Hollywood était bien représenté, c’est que Valentino, à sa façon, a marqué les soirées des Oscars autant que Meryl Streep ou Jack Nicholson. Aux côtés de ces acteurs, Mick Jagger, Anna Wintour, Claudia Schiffer, Karl Lagerfeld, Manolo Blahnik ainsi que plusieurs autres grosses pointures du monde de la mode assistaient au spectacle.

Schulman affirme que pour bien des initiés du milieu de la mode, le week-end de Rome a marqué le vrai départ de Valentino, mais l’ultime défilé de Paris ne fut pas moins important.

Ne voulant pas se reposer sur ses lauriers, Valentino a créé une impressionnante collection de lingerie de jour aux couleurs pastel : tailleurs aux nuances « œufs de Pâques » rose et pourpre; feutres taupés éclatants; motifs floraux; un design à pois en noir et blanc; vestes de laine et

110 P A N O R A M I T A L I A . C O M

u

floral prints; a polka dot group in black and white; wool coats with matching gloves; white cashmere trench coats trimmed with satin. Cocktail dresses, worn under a ruffled bolero, were hand painted with irises. Evening gowns were shaped by sunray pleating and his famous

gants assortis; trench-coats de cachemire blanc ornés de satin; robes de coquetel aux motifs d’iris peints à la main, portées sous un boléro; robes de soirée conçues selon la méthode plissé soleil ou d’après sa fameuse technique du ruché-drapé.

Pour clôturer l’hommage, on a mis l’accent sur le ton de

ruch-and-drape technique.

For the closing homage to his signature shade of red, 30 models swanned onto the runway wearing identical red gowns to the tune of Annie Lennox’s No More I Love You’s. The standing ovation was thunderous. Nestled between the socialites and royalty in the front row was Alessandra Facchinetti, the former Gucci designer and Valentino’s replacement—a replacement hired by the private equity company that owns his empire, not a replacement hand-groomed by Valentino.

Is Valentino sad to go? One of his final dispatches on the matter in Italy said it all. “The world of fashion has now been ruined,” he declared recently to the newspaper, Il Messaggero. “I got rather bored of continuing in a world which doesn’t say anything to me. There is little creativity and too much business.” n

rouge unique à Valentino : 30 mannequins vêtus de la même robe rouge se sont baladés sur la passerelle au son de No More I Love You’s de la chanteuse Annie Lennox. L’ovation fut étourdissante. À la première rangée, entre les membres de la royauté et les personnalités bien en vue de la société, se trouvait Alessandra Facchinetti, ancienne designer chez Gucci et désormais remplaçante de Valentino – c’est la société de financement qui est propriétaire de son empire qui a fait ce choix; ce n’est donc pas quelqu’un que Valentino a façonné à sa manière.

Valentino est-il triste de partir ? Il suffit de lire une de ses dernières dépêches publiées en Italie pour comprendre : « Le monde de la mode a été ruiné », affirmait-il au journal Il Messagero. « Je n’avais plus envie de continuer à œuvrer dans un milieu qui ne me dit plus rien. Trop de business, trop peu de créativité. » n

Let the man get back to his Valentino peut se reposer dans rose garden. son jardin de roses.

P A N O R A M I T A L I A . C O M 111

Geraldo Pace

ue the

ompetizione: roars back to America

By Mark Hacking The last time a brand new Alfa Romeo appeared on North American soil, it was 1995. The model was the 164, a very capable sport sedan that failed to strike a chord with drivers accustomed to the more expected choices from Germany, Japan and Sweden.

So, while the 164 was intended to help Alfa Romeo gain a greater foothold in one of the most important markets in the world, it proved to be the vehicle that drove the company off into the sunset.

But make no mistake: The historic brand had enjoyed great success on these shores, particularly with the classic Spider convertible. This sexy two-seater first entered the collective consciousness in 1967 with its appearance in the Dustin Hoffman film, “The Graduate.” The scenes of the car being driven around San Francisco and Berkeley proved so memorable; the car was marketed as the “Alfa Graduate” in North America for some time (it was known as the Duetto in Italy).

114 P A N O R A M I T A L I A . C O M

Now, some 13 years after the appearance of the 164, a new Alfa Romeo sports car is primed to become a cult hit on the same scale as the Alfa Graduate. That car is the Alfa Romeo 8C Competizione â&#x20AC;&#x201C; and if itâ&#x20AC;&#x2122;s half as good as it looks on paper, the brand is about to enjoy an incredible renaissance. u

P A N O R A M I T A L I A . C O M 115

This

engine

produces

a

very

The 8C Competizione has endured

Such a limited-production run is

a long gestation period, first appearing

unusual for an Alfa Romeo – and so is

healthy 450 horsepower and 354 lb-ft

in concept form at the 2003 Frankfurt

the $250,000 price – until you consider

of torque. Early reports indicate that

Motor Show. The car echoed Alfa Romeo

the fact that the 8C Competizione is very

the Alfa should be able to sprint to 100

models from the past, particularly the

much a world-class exotic car.

km/h from a standing start in a shade over four seconds and reach a terminal

sweeping, Art Deco-inspired coupes of

Built in the Maserati factory in

the 1930s and ‘40s. Four years after that

Modena, Italy, the Alfa begins with a

debut, a mildly revised version of the

chassis and powertrain derived from

Power is distributed to the rear

two-seater went into production with

those of the Maserati Quattroporte

wheels through a six-speed sequential

plans to build just 500 examples for the

sedan and GranTurismo coupe. The

manual transmission. This high-tech

entire world. A further 500 examples of

sharing doesn’t end there; nestled in

gearbox has a number of different

the convertible version are also set to

the engine bay of the 8C is a 4.7-litre V8

settings for normal driving, slippery

be produced.

sourced from Ferrari.

conditions and sportier circumstances.

116 P A N O R A M I T A L I A . C O M

velocity of 306 km/h.

u

In Sport mode, drivers can perform shifts in a lightning-quick 175 milliseconds.

The 8C also benefits from a limited slip differential, which helps to reduce wheelspin under hard acceleration.

The Alfa rides on 20-inch tires that absolutely fill the

Of all the qualities of this car, the most impressive by far is

wheel openings, giving the car an even more aggressive

its styling. The sculpted carbon fibre shell is designed to stop

appearance. The tires are bigger in the back â&#x20AC;&#x201C; more rubber

traffic and start hearts pumping. Like Sofia Loren, the curves

hitting the road equals more traction for all that power.

are unmistakably Italian and absolutely indelible. In the 8C

On the other end of the scale, the braking system is also

Competizione, driving enthusiasts have a new reason to be

impressive; the 8C is capable of stopping from 100 km/h in

excited about one of the worldâ&#x20AC;&#x2122;s legendary car companies.

â&#x2013;

just 32 metres.

P A N O R A M I T A L I A . C O M 117

Nessun dorma! Nessun dorma! Tu pure,o, Principessa, nella tua fredda stanza,guardi le stelleche fremono d’amoree di speranza.Ma il miomistero e chiuso in me,il nome mio nessun sapra! No, no, sulla tua bocca lo diroquando la luce splendera!Ed il mio bacio sciogliera il silenzio che ti fa mia l nome suo nessun sapra!…e no dovrem, ahime, morir!Dilegua, o notte Tramontate,stelle!Tramontate,stelle!All alba vincero! vincero, vincero! Nessun dorma! Nessun dorma! Tu pure, o, Principessa,nellatuafreddastanza Nessun dorma! sapra Tu pure, o, Principessa,nellatuafreddastanza,guar di le stelle che fremono d’amore e d speranza.Ma il mio mistero e chiuso in me,il nome mio nessun sapra!No, no, sulla tua bocca lo diroquando la luce splendera!Ed il mio bacio sciogliera i silenzio che ti fa mia! Il nome suo nessun sapra! e noi dovrem, ahime, morir! Dilegua, o notte!Tramontate, stelle!Tramontate,stelle!All’albavincero vincero, vincero! Il nome suo nessun sapra! e noi dovrem, ahime, morir Dilegua,onotte!Tramontate,stelle!Tram ontate,stelle!All’albavincero!vincero,

Pavarotti The Legacy of Luciano

L’héritage de Luciano Pavarotti Par Julien Proulx

T­ his past September, the most famous tenor of all time, Luciano Pavarotti, died in Modena at the age of 71. During his remarkable 45 year career, Pavarotti’s accomplishments far surpassed those of other classical artists who had come before him. More than just an acclaimed singer, more than a

Luciano Pavarotti, le plus fameux ténor de tous les temps, est décédé en septembre 2007 à Modène à l’âge de 71 ans. Plus qu’un chanteur acclamé, plus qu’un homme au charisme sans pareil, Pavarotti représentait une légende, une icône du monde artistique dont les accomplissements de sa remarquable carrière

man with enormous charisma, Pavarotti was an icon, a legend.

He was celebrated around the world, but also denigrated by elitists who never appreciated the methods he used in order to seduce new listeners. To certain critics, he was someone who perverted opera down to the level of pop music. But, to his fans, Pavarotti was someone who brought opera music to those who would never have the opportunity to attend a live opera performance.

de 45 ans ont éclipsé ceux de tous les artistes classiques qui l’ont précédé. Artiste de renommée mondiale, il fut aussi dénigré par l’élite du monde du chant qui n’a jamais su apprécier à leur juste valeur les méthodes employées par Pavarotti pour séduire de nouveaux auditoires. Pour certains de ses critiques, Pavarotti aurait perverti l’opéra, la rebaissant au niveau de la musique pop, mais pour ses fans, il fut celui qui réussit à exposer l’opéra à un vaste public n’ayant jamais auparavant eu l’occasion de vivre une scène d’opéra.

Pavarotti was the first classical Pavarotti aura été le premier singer to become popular over chanteur classique à développer the boundaries of lyrical art. une notoriété au-delà des limites As a matter of fact, many people with no knowledge of opera will recognize not only a photo of the tenor, but also his voice. du monde des arts lyriques.

Nevertheless, this popularity didn’t come overnight and his rise to fame was well planned and had a purpose. Pavarotti wanted to bring opera music to everyone, to enter into their homes, just as Caruso, Gigli and other great tenors had entered his life when he was a young boy. Music played an important role in the Pavarotti home. Throughout his childhood, Luciano discovered music by listening, at his father’s side, to recordings of the great tenors of the day. He later sang in the town choir, but at that point in his life, considered music, like sports, to be just another hobby. Though he once said, after seeing a Mario Lanza movie, that he himself would become a tenor, Luciano never really thought seriously about music until the age of 19, at the end of his studies at the Istituto Magistrale. Luciano took singing lessons from that point on and, without realizing u

Bien des gens qui ne connaissent pas l’opéra reconnaissent non seulement ses photographies, mais aussi sa voix.

Il faut cependant souligner que sa popularité n’est pas venue du jour au lendemain et que son ascension aura été soigneusement planifiée. Son intention avouée visait à rendre l’opéra accessible à tous et introduire cette musique dans toutes les demeures, tout comme Caruso, Gigli et d’autres grands ténors s’étaient introduits chez lui dans sa jeunesse. La musique jouait un rôle important dans la maison du jeune Pavarotti qui la découvrit pendant son enfance en écoutant avec son père des enregistrements des grands ténors de l’époque. Plus tard, il chanta dans la chorale de la ville bien qu’il considérait alors la musique comme un simple hobby tels les sports auxquels il u

P A N O R A M I T A L I A . C O M 119

it, slowly began his successful career. Of course, we now think of him as the famous Pavarotti, but unlike most Hollywood stars, he was almost 50 years old when he actually became one. In fact, one of the keys to Pavarotti’s success was that he never missed a step. He studied vocal technique for 6 years before singing in his first opera. He then began performing in small opera houses and slowly sang his way into the opera world. Pavarotti was 34 when he made his first recording and did not have his New York triumph until the age of 39.

s’adonnait. Même s’il avait dit qu’il deviendrait lui-même ténor après avoir vu Mario Lanza au grand écran, Luciano ne considéra pas sérieusement une carrière musicale avant l’âge de 19 ans, à la fin de ses études à l’Istituto Magistrale. Ce n’est qu’à partir de ce moment qu’il suivit des cours de chant et que, sans s’en rendre compte, il intenta son brillant cheminement. Bien que l’on considère maintenant Pavarotti comme une vedette, il n’en devint une qu’à l’approche de ses 50 ans. La clef de son succès aura en effet été de ne sauter aucune étape : il suivit des cours de technique vocale pendant six ans avant de chanter son premier opéra, suite à quoi il commença à se produire dans de petits théâtres, chantant son chemin jusqu’au sommet du monde de l’opéra. Pavarotti était âgé de 34 ans lorsqu’il enregistra son premier disque et il n’obtint son triomphe à New York qu’à 39 ans.

After his success in New York, Pavarotti was in high demand at all great opera houses and enjoyed newfound worldwide acclaim.

Après ses succès, Pavarotti fut But that didn’t seem to be enough. Remembering back a few years earlier to London and the great impact of his first constamment sollicité par les grandes television performance, he began to use all of that new media’s possibilities to bring opera music into living rooms everywhere. maisons d’opéra et fut encensé par From then on, Pavarotti could be seen and, most importantly, la critique internationale. heard more and more, presenting increasingly bigger concerts, on television. This new career path led him to experimentation with new kinds of performances and, much like the pop stars of the day; he began presenting popular concerts in parks and stadiums. It was a risky move, but as history shows, a successful one. The natural beauty of Pavarotti’s vocal tone, his fantastic mastery of his instrument and his great musical generosity charmed everyone from opera connoisseur to new listener. u

120 P A N O R A M I T A L I A . C O M

Il est clair cependant que cela ne lui suffisait pas. Se rendant bien compte de l’impact qu’avait eu sa première performance télévisée à Londres quelques années plus tôt, il fit tout son possible pour exploiter le potentiel des ce nouveau média afin d’entrer dans les salons du monde entier. Dès lors, Pavarotti put être vu et surtout entendu davantage, alors qu’il présentait des concerts sans cesse plus importants diffusés à la u

télévision. Cette nouvelle trajectoire professionnelle le poussa aussi à s’essayer à différents types de performances, ce qui lui consentit de présenter des concerts dans les stades et les grands parcs, tous comme les étoiles de la musique pop de l’époque.

L’histoire témoigne à quel point cette progression d’apparence certes risquée se solda par un retentissant succès. La beauté naturelle de la voix de Pavarotti, sa remarquable maîtrise de ses cordes vocales et sa générosité musicale sans pareil surent charmer tout un chacun, du connaisseur d’opéra au néophyte.

C’est grâce à Pavarotti que le grand public se rendit compte qu’il ne fallait pas nécessairement des études en musique ou en langue étrangère pour apprécier l’opéra ; il suffisait simplement de le trouver agréable.

Thanks to Pavarotti, people realized that they didn’t need to have studied music or to understand foreign languages in order to appreciate opera; they simply had to enjoy it.

We could, of course, question the methods Pavarotti employed in order to win over new listeners. Maybe he went too far in his attempt to please and seduce more and more fans, but it is difficult to judge him. He was the first classical artist to attempt what he did, and as with many other pioneers, mistakes were made. But Pavarotti also gave opera back its true root: people. Opera is a complete art, created to reach everyone. It allows you to dream, laugh and cry all in the same evening. There is nothing elitist about opera, and Pavarotti, simply by proving that fact, forced the closed world of opera to rethink itself and its art.

On peut, bien entendu, questionner les méthodes par lesquelles Pavarotti fut capable de gagner ce nouvel auditoire et l’accuser aussi d’être allé trop loin dans ses tentatives pour séduire et plaire à un nombre grandissant de fans. Il est cependant difficile de lui en tenir rigueur puisqu’il fut le premier artiste classique à tenter cette aventure et, comme c’est le cas avec bien d’autres pionniers, certaines erreurs furent évidemment commises. Malgré tout, Pavarotti aura eu le mérite de rapprocher l’opéra à ses vraies racines, le peuple. L’opéra est un art complet destiné à toucher tout le monde et qui fait rêver, rire et pleurer un auditoire en une même soirée. Par le fait même, il n’y a rien d’élitiste à propos de l’opéra, chose qu’a amplement démontré Pavarotti en forçant le monde précédemment fermé de l’opéra à repenser tant son art que sa raison d’être.

But most of all, we will remember Pavarotti’s voice, his unique voice, recognizable above all others; a voice that has moved and seduced millions of people and will continue to do so for many years to come. If his dear friend, Princess Diana, was the People’s Princess, then Pavarotti was, truly, the People’s Singer. n

Mais plus que tout, nous nous souviendrons de la voix de Pavarotti, cette voix unique, reconnaissable parmi toutes, cette voix qui a séduit des millions d’auditeurs et qui continuera à le faire pour encore bien des années. Il est juste de conclure que, si son amie la princesse Diana était « la princesse du peuple », Pavarotti, lui, était vraiment « le chanteur du peuple. » n

P A N O R A M I T A L I A . C O M 121

Geraldo Pace

Geraldo Pace

SAVORING

BOSTON’S LITTLE ITALY

By Michele Topor

Situated between the high-rise financial district and the Inner Harbor, in a surface area now totaling slightly

merchants. Hanover Street, the main street, boasts two-way traffic, while the other streets are narrow, one-way

ingredients. Don’t miss the Salumeria Italiana, a modest little store on Richmond St, where you will find the very best

less than one-third of a square mile, lies Boston’s oldest residential and business district called “The North End”. Since 1636 when the prosperous English Puritans inhabited the area, this neighborhood has been home to a successive wave of immigrants including the working class Irish, Polish and Russian Jews, Portuguese and Italians.

By 1920 this “village” was comprised of 90% Italians, most from Central and Southern Italy. Today, one of the most famous historic districts in the U.S. is one of the few remaining close-knit Italian-American communities, bursting with multi-generational businesses representing Italian restaurants, bakeries, coffee shops and specialty food stores. Despite current gentrification and the fact that only 40% of its current inhabitants claim Italian heritage, this charming community retains the color, aromas and cachet of an old Italian village.

One hundred year old brick tenement buildings are now being renovated into modern apartments and condominiums above first floor

thoroughfares. And like any main street in Italy, Hanover is interspaced with banks, cafes, pasticcerias, gelaterias, churches and restaurants. The side streets offer many old European style merchants: candy, coffee and spice shops, greengrocers, pastry shops, butchers and salumerias.

Approximately 100 neighborhood eateries display a vast range of styles, from familiar Italian-American cooking to modern Italian-inspired cuisine.

People watchers and sophisticated palates seek window seats at the trendy but exceptional restaurants such as Marco’s, Bricco, Lucca, Maurizio’s, Mare, Monica’s or Taranta, while locals frequent the more family-oriented restaurants with familiar menu’s at Artu, Pagliucca’s and Antico Forno. If it’s just an arancini, calzone or that quick slice of Sicilian style pizza that you crave as you wander the streets, don’t be intimidated by the long line that moves very quickly at Umberto’s, which serves lunch only, cafeteria-style.

If you love to cook, the neighborhood is a rich source for genuine Italian

selection of olive oils, vinegars, cured meats, cheese, dried pasta, condiments and almost anything that you might need to create that authentic Italian dish. Just down the street is Cirace’s, a 100-year-old liquor store extraordinaire.

Unassuming from the outside, once inside you will think that you are in Italy when you see the award-winning selection of aperitivi to begin, wine to complement, and liquori, grappas and digistivi to conclude your meal.

On Salem Street, you’ll find Dairy Fresh Candies packed with specialty chocolates, imported Italian sweets, dried and candied fruits, Italian preserves, baking chocolate, nuts and confections.

Polcari’s Coffee is an absolute treasure; just stepping inside and u

124 P A N O R A M I T A L I A . C O M

breathing in the aromas will transport you back in time. Although they don’t sell brewed coffee, they have been stocking, since 1932, a huge selection of roasted coffee beans, tea, spices, dried legumes, edible seeds, flours and hard to find oils, extracts and baking products. Around the corner you’ll find Sulmona Meat Market with no meats displayed, but a line of chairs along the left wall in which to sit and patiently wait while the artisan butchers cut everything to your specifications. For the best seasonal fruits, vegetables, herbs and unique

Italian produce, don’t miss Alba Produce.

There’s no sign, no prices and just like in Italy, don’t even try to pick your own vegetables – you point, Albie picks.

While Mike’s Pastry is a mecca for every possible Italian-American sweet indulgence, I prefer the less pretentious Maria’s Pastry Shop where Maria and her sister Enza continue to make sfogliatelle, various biscotti, torrone, tortas and marzipan that will rival any made in Italy. For the best cannoli, there are those that swear by Maria’s and others that favor Modern Pastry.

While you’re walking around, notice some other Italian treasures. Take time to appreciate St. Leonard’s Church, on the corner of Prince and Hanover St., with its beautiful Peace Garden and statuary, is the first Roman Catholic church in New England built by Italian Immigrants in 1873. Or admire All Saint’s Way - the walls of a small private alley located off Battery St, are decorated with a colorful collage of Catholic saints, created by a longtime resident who wanted to satisfy a personal fascination.

If you’re looking to experience that “sentimental journey” of going back home, visit the neighborhood on certain weekends during the summer and you will encounter one of our religious feasts and processions where

people from various parts of Southern Italy honor their patron saint. The largest is the Feast of Saint Anthony of Padua (August 29-31, 2008) and the oldest is the Fisherman’s Feast - Madonna del Soccorso (August 14-17, 2008).

Today, the North End retains much of its original early 20th century Italian presence and character - its strong Catholic tradition, family cohesiveness and sense of neighborhood pride. What could be better than returning to those small village characteristics that many immigrants sadly left behind: a thriving street life, informal gathering places on corners and parks, religious street festivals, friends and neighbors living side by side, and small markets where you shop for fresh goods - every day - and socialize along the way, in true Italian tradition.

To immerse yourself in Italian culinary traditions take the North End Market Tour. Led by Michele Topor or one of her guides, this tour is like a cooking class on foot; learn about how Italians eat; glean insider cooking tips; gain resources and knowledge on how to identify and where to buy the very best ingredients. n www.foodtoursofboston.com

A

U

M

E

&

M

E

R

C

I

E

R

&

M

O

I

Photo © Jim Wright

B

Il est TEMPS de faire la différence. Pour en savoir plus sur la manière dont Baume & Mercier et ASHTON KUTCHER participent à l’accès à l’enseignement pour nos enfants, aident à lutter contre le cancer et protègent l’environnement, veuillez visiter le site: www.baume-et-mercier.com

RIVIERA

Montre XXL en acier, lunette tournante chronographe automatique

Geraldo Pace

­ hen Aldo Cundari was growing up, W his dream was to become a sculptor.

That dream led the teenage Toronto fine arts high school graduate to venture to Rome to study traditional sculpting at the Istituto Europeo di Disegno. Alas, Cundari didn’t become a Canadian Michelangelo when he returned to Toronto in the

A l d o

midst of a bruising recession in the early 1980s. “Obviously there wasn’t a lot of work for sculptors,”he says, although “I could’ve become a stone mason”.

But Cundari did mold his career into something similar – the creation of a creative design shop, originally out of his parent’s basement.

C u n d a r i

Flash forward almost 30 years later and Cundari Group Ltd., the integrated advertising and marketing firm that emerged from the basement and bears his name, has grown to become one of the largest independent agencies in Canada, with big name clients ranging from BMW Canada to Four Seasons Hotels to the Rona home improvement chain – its latest big account win. “Here I am 28 years later.

I don’t sculpt anymore, but I’m still in a related creative field and I’ve had a lot of fun doing it,” says the Cundari Group founder, chair and CEO. But we’re getting ahead of ourselves a bit. Cundari was born and raised in Toronto – his immigrant parents hailed from the region of Calabria, with his father initially working in Canada for the railway before settling down as an upholsterer. “My parents came from Southern Italy, so I had kind of a quasi-Italian, half-Canadian, half-English, half-Italian vocabulary,” Cundari recalls. As a result, when he went to Italy to study sculpting, Cundari spoke with a Calabrese dialect, with sometimes amusing results.

For example, while formaggio is cheese in Italian, in Calabrese the word for cheese is casa, the same word as house. “The funny thing is I thought I was saying the right word when ordering a ham and cheese sandwich, but what I was really ordering was a ham and a house sandwich.

So you learn really quickly.”

It took Cundari about three months to pick up the proper phrases and language and learn to read and write in Italian when he was in Rome. “Now when I speak Italian, I speak it with a Roman accent, which is kind of funny. When people ask, “‘Are you from Rome?’ I say, ‘No, I’m from Calabria.’”

When he returned to Canada from Italy, Cundari was 20 and broke and living in his parent’s basement. To make some money, he started to freelance in graphic design. One thing

led to another and within three to four months, he bought half of a one-man typesetting company that was doing poorly. Within a year, there were 10 employees, the company’s debt was erased and it was growing rapidly.

Cundari bought out the co-owner about a year later, and started to build his graphics business.

He started cold-calling new clients and a client at Spalding Canada gave him a shot at a project. Turns out the company was having trouble selling golf balls with corporate logos to the corporate trade. The client told Cundari – who had never played golf at that point - that if he could solve the problem a lot of business

By Danny Kucharsky would come his way.

He made mockups of beer cases, miniaturized them to hold a dozen golf balls, and called the concept Image-Pack.

“They were blown away by the concept,” he says of Spalding, and every sales call made by Spalding’s sales force landed a sale. Not surprisingly, lots of work came Cundari’s way from Spalding – from promotions to catalogues – and it turned out to be his biggest break in the early years. What’s more, Image-Pack became one of Spalding’s worldwide product lines. Cundari was well on its way to becoming a full-fledged advertising agency and grew rapidly after that.

That’s despite the fact the advertising industry wasn’t seen as the usual career path for a nice Italian boy, Cundari says. “That wasn’t normally what your family geared you to.

You were going to become a doctor, or a dentist or a lawyer, an architect or an engineer.” Very few Italians said they were going into graphic design or advertising.

In the 1980s, most marketing-communication work was done in silos – an advertising agency would handle advertising, a promotions agency would do promotions, and a direct mail agency would do direct mail. But since Cundari was doing whatever work Spalding and other clients tossed u

MAN

P A N O R A M I T A L I A . C O M 129

his away – from promotions to direct mail - he started to formulate the concept of an integrated advertising agency, a concept that didn’t exist then but is now big in the marketing world. “I believe I was one of the pioneers in the industry on the integrated approach.”

Eventually clients saw that the various marketing domains which were once considered disparate could work in harmony with one another. “Now people come looking for us because of that long history of doing what we do,” Cundari says. Meanwhile, the integrated concept has become a fad, with several multinational advertising agencies acquiring marketing firms that specialize in various disciplines and attempting to integrate them.

Unfortunately, while it sounds good, integration doesn’t work for many competitors, Cundari says, because they continue to operate their divisions as silos with separate profit requirements. On the other hand, Cundari considers itself as being a truly integrated agency, without bias towards

to think corporately and to take ideas right down to street level,” says Michael Brossard, Rona’s senior vice-president, marketing. For his part, Cundari calls the account win “a testament to where the organization has come.”

Other accolades have fallen Cundari’s way over the years.

In 1996, he was included in Marketing Magazine’s “Power List: The 100 Most Influential People in Canadian Communications.”

He is currently chair of the National Advertising Benevolent Society (NABS), the only charitable organization in Canada that provides assistance to advertising, media and related industry professionals, who may need help due to illness, injury, unemployment or financial difficulties.

“I think they’re possibly the best built and managed independent Canadian marcom services agency these days,” says Stan Sutter, Toronto-based vice-president and director of English content at Éditions Infopresse (a Montreal media company that specializes in marketing publications and events) and former editor of Marketing Magazine. “They don’t

“That wasn’t normally what your family geared you to. You were going to become a doctor, or a dentist or a lawyer, an architect or an engineer.” Very few Italians said they were going into graphics or advertising. any discipline. “We have one billing system, one fee system. It cuts across all disciplines.”

Cundari has innovated in other respects. Its branding group, Cundari SFP, has come up with a concept called place branding, which involves branding cities, regions, or areas within cities. It evolved when Cundari was pitching for branding work for the city of Toronto’s waterfront development. Cundari has gone on to do similar branding work for such clients as Washington, DC, Calgary and the Niagara Region.

The agency has also developed a suite of four tools called Brand Coach. One of the tools, called Adbuilder, is a Web site that allows, say, regional dealers within national firms to log on and build customized ads in five clicks. That concept is used heavily by longtime client BMW Canada.

Cundari’s integrated approach was instrumental in its win of the Rona account, home to one of the largest marketing budgets in the country. Rona, a major sponsor of the 2010 Olympics in Vancouver and of the Canadian Football League, has a marketing budget of more than $130 million, of which about $100 million is spent on all forms of advertising (from TV and magazine spots, to flyers). In winning the account, Cundari emerged victorious in an agency review by Rona that began last August with 22 agencies.

“We were very impressed with their strong, top to bottom thinking and approach, which provides them with the ability

130 P A N O R A M I T A L I A . C O M

get the press or creative kudos and awards of say a Taxi, a Rethink or Sid Lee (other prominent ad agencies), but I’ll bet they are more profitable.”

Still, while it may not be a big award-winner, Cundari has received plaudits for some of its creative work, like the short film it created for the opening ceremonies of the International AIDS Conference in Toronto in 2006. Shown at the Rogers Centre, the film was set 25 years in the future, and imagined a world where most of today’s problems have been solved. Cars run on water, cancer wards are closed due to a lack of patients, and there is peace in the Middle East. But AIDS still remains, filling graveyards. The message was that any problem could be solved once people put their minds to it.

Cundari Group now has more than 160 employees, primarily in Toronto, with another 20 in the Montreal office it opened a few years ago and a handful in Washington, DC. “We’ve been hiring a lot lately and we’ll be probably 200 by year-end.” Cundari is now negotiating to acquire an agency in Calgary and hopes to have a satellite Western Canadian office in Vancouver shortly. That should be followed by major US agency acquisitions, Cundari says.

Not too bad, overall, for a business that began in a basement, and which Cundari says “I kind of stumbled into.” n

Geraldo Pace

C

h

e

B

e

l

l

a

Italians are united by their passion for life – and their passion for taking to the open road in something fast and fabulous. Here’s a quick look at four of the most exciting new Italian machines set to hit the streets in 2008.

By Mark Hacking

F430 SCUDERIA On paper, the new Ferrari F430 Scuderia couldn’t possibly be anything less than spectacular. The legendary manufacturer has taken their wildly quick F430 coupe and made it even more so by reducing its weight by some 100 kg. The liberal use of superlightweight carbon fibre (for example, in the mirrors and interior trim) and carbonceramic brakes have lightened the load, enabling the V8-powered Ferrari sprint to 100 km/h in just 3.6 seconds. The Ferrari also features a 6-speed automated manual transmission with the company’s F1 Superfast software; using the paddle shifters, gear changes are engaged in a lightning-quick 60 milliseconds.

Price $TBA Engine 4.3-litre V8 Horsepower 503 hp @ 8500 rpm Torque 347 lb-ft @ 5250 rpm Transmission 6-spd sequential automatic 0-100 km/h (est.) 3.6 seconds Top speed 320 km/h.

132 P A N O R A M I T A L I A . C O M

M

a

c

c

h

i

n

a

GRAN TURISMO

The second Maserati to be produced since Ferrari took control of its former rival, the GranTurismo is a drop-dead gorgeous grand touring coupe in the finest tradition.

The car’s wide, concave front grille – with large chrome trident badge – echoes the Maserati A6 GCS of the 1950s. All the other lines of the car, as penned by design gurus Pininfarina, mesh together perfectly, creating an indelible mark on the motoring landscape. While the 4.2-litre V8 engine (also courtesy of Ferrari) develops a healthy 405 horsepower, this 4-seater is less of a stoplight hero and more of an effortless autostrada cruiser.

Price $134,000 Engine 4.2-litre V8 Horsepower 405 hp @ 7100 rpm Torque 339 lb-ft @ 4750 rpm Transmission 6-spd automatic 0-100 km/h (est.) 5.2 seconds Top speed 283 km/h.

P A N O R A M I T A L I A . C O M 133

C

h

e

B

e

REVENTON With an estimated production run of just 20 examples and an estimated cost of over 1 million euros, the new Lamborghini Reventón is a rare breed of supercar. Based on the Murciélago LP640 platform and sharing that car’s 6.5-litre V12 engine, the Reventón receives a mild power boost (to 650 hp) and some radical styling changes – there are massive air ducts in the front and to the sides. Inside, this Lamborghini is perhaps even more radical: The LCD instruments – including a g-force meter – are housed in a solid aluminum block protected by a carbon fibre casing.

Price $1,600,000 Engine 6.5-litre V12 Horsepower 650 hp @ 8000 rpm Torque 660 lb-ft @ 4250 rpm Transmission 6-speed sequential automatic 0-100 km/h (est.) 3.4 seconds Top speed 340 km/h.

134 P A N O R A M I T A L I A . C O M

l

l

a

M

a

c

c

h

i

n

a

GALLARDO

SUPERLEGGERA Employing the same kind of thinking, the Lamborghini Gallardo Superleggera tips the scales at some 70 kg less than the “standard” version. This slick coupe also gains 2 horsepower from its V10 engine and quicker shifting capability from the optional e-gear sequential automatic transmission.

Although the Gallardo is the “baby bull” in the Lamborghini fleet, it’s still a no-nonsense supercar with incredible performance characteristics. Aside from the 522horsepower engine, the Gallardo Superleggera also boasts a cutting-edge all-wheel drive system from parent company Audi. The result of having all four wheels distributing all that power: massive traction that leads to sheer, ground-swallowing capability.

Price $317,600 Engine 5.0-litre V10 Horsepower 522 hp @ 8000 rpm Torque 376 lb-ft @ 4250 rpm Transmission 6-spd manual/6-speed sequential automatic 0-100 km/h (est.) 3.8 seconds Top speed 314 km/h.

P A N O R A M I T A L I A . C O M 135

Geraldo Pace