Panoram Italia Vol. 5 No. 4 by Panoram Italia Magazine

I TA L I A

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PANORAM

OCT/NOV 2010• VOL.5• NO.4

T H E M AG A Z I N E M A I L E D TO I TA L I A N / C A N A D I A N H O M E S I N T H E G R E AT E R M O N T R E A L & OT TAWA A R E A S

BIMESTRIAL • BIMESTRALE • BIMESTRIEL

HALLOWEEN

COVER

SALSA DANCER

MARIE-JOSÉE STRAZZERO UNE D’ENTRE NOUS • ONE OF US • UNA DI NOI •

SPECIAL 70

ANNIVERSARY OF THE

INTERNMENT OF ITALIAN/ CANADIANS

GUIDE

DES VINS ITALIENS

2010

IN MEMORIAM

pa sub no sc r r .c a m i i p t i om ta on li a @

TESTIMONIALS

BIMESTRIAL

PUBLISHER AND EDITOR Tony Zara EDITOR-IN-CHIEF Filippo Salvatore MANAGING EDITOR Gabriel Riel-Salvatore ASSISTANT TO THE MANAGING EDITOR Adam Zara

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HAIR STYLIST & MAKE-UP Nazzareno Salvi - Estetica Emmanuelle Blanchard ADVERTISING - SALES Frank Crisafi PUBLIC RELATIONS Enzo Tirelli COVER PHOTO Farhi Yavuz www.yavuzphoto.ca

ART DIRECTOR Gabriel Riel-Salvatore Manon Massé GRAPHIC DESIGN Manon Massé PROOFREADING Marisa Pellegrino Carlotta Morteo EDITORIAL INTERN Amanda Fulginiti

CONTRIBUTORS Chiara Folini Alexandro Loffredi Sabrina Marandola Joey Franco Franca Mazza Anna Foschi Ciampolini Connie Guzzo McParland Mirella Ionta Salvatore Migliara Joanne Latimer

Me Pasquale Artuso Laura Casella Anthony Di Giorgio Loretta Di Vita Piero Facchin

Editorial

Carlotta Morteo Peter Pomponio Giovanni Princigalli Lidia Russo Luciano Salvatore

Life Style

Comments and opinions ................... 11 Editor’s note ..................................... 12 Il Cavaliere, il Colonnello e la realpolitik ................................... 13 Perdono, giustizia e risarcimento per gli internati italo/canadesi del 1940 ... 15

Cover story Marie-Josée Strazzero: Born to Dance ............................... 16-17

Life Stories In Memoriam ................................ 18-19 When the Saints Go Marching In ..... 20 Occhio, malocchio, prezzemolo e finocchio...................... 21 Cappuccini Marvels of the Underground ........................... 22 La vita di Vito Maurovich .................. 23 Teaching English in Italy ................... 24

Food and Travel Si prega di non toccare la mia Nutella ................................... 28 To tchin or not to tchin ..................... 29 Recettes ............................................ 30 Vin: Les vins du Piémont Visite du terroir des Langhe ... 32-33

Guide des vins italiens Guide annuel des vins italiens 2010 ........................ 36-43

Driving into Oblivion ........................ 49

Art and Culture Music Legend Louis Prima Just the Swing ............................. 50-51 Cinema: Sergio Leone .................. 52-53 Cinema: Guardarsi allo specchio ...... 54 Theatre: Interview with Vittorio Rossi .................................... 55 Literature: Italian-Canadian Writers: On the Move .................................... 56 Letteratura: Anna Maria Zampieri Pan ................. 57 Music: Chris Giannini ........................ 58

Business Advertorial: Inter-Quebec ................. 59 Affitto di immobili in Italia ............... 60 Selling a Business ............................. 61 Le secret du bonheur est-il dans la propriété d’entreprise?.......... 62 Where are you working from today? 63

Events Una Settimana di Luci e Colori..... 64-65 A Night in White ............................... 66 Auto Bugatti F1 Evening ................. 66 Graduates Erratum ........................... 66

Events Ottawa La Vendemmia .................................. 67

Sports

Life Style Living Italian Style ....................... 44-45 Fashion: Retro Redux ................... 46-47 The Language of Italian Gestures ..... 48

Sports and Studies Under One Roof ................................ 68 Entrevue: Alexandre Tagliani La force d’y croire ............................. 69

We look forward to hearing from you!

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Comments from our readers

Send us your thoughts and stories. Envoyez-nous vos suggestions et commentaires. Inviateci i vostri commenti e suggerimenti. Ho appena ricevuto la nuova rivista del mese di Agosto. È magnifica! Tutti gli italiani dovrebbero essere orgogliosi di avere una rivista cosi ben fatta, ben scritta, ben presentata e molto attraente da leggere. Personalmente sono abituato a criticare, ma questa volta non lo posso fare. La rivista è “perfetta”. Grazie di darci a noi italiani l’onore di avere una tale rivista sul mercato. Ho una scuola di cucina qui a Otttawa (da oltre 8 anni) e prima a Montreal. Farò vedere questa rivista ai miei allievi (sono avvocati, dottori, ecc.). Invierò a parte un piccolo montante per beneficio di questo capolavoro. Mario Novati , Ottawa I find your publication stylish and colourful, containing rich articles of pertinent interest to our Italian community. Its multilingual nature draws a full scope of readers. Reading it is not only informative but a pleasure. Thank you, Anthony Di Micco

To the Editor Tony Zara. It was gratifying to see Dr. Leopoldo Tarantino on the cover of your August issue, and to read about his dedication to his profession and to his patients as an ear, nose, and throat specialist. How many doctors at his age (79) are still practicing after 45 years? Not too many I suspect. Not mentioned in your article about the good doctor, however, is the fact that Dr. Tarantino, besides working at Santa Cabrini Hospital, is available once a week at a clinic in the Plateau, where I am one of those lucky enough to be treated by him, and for a number of years now. In a city where finding a regular doctor has become more and more difficult, if not impossible, it is remarkable that there are those in the medical field who, seeing the need, follow their heart like Dr. Tarantino, and who say, as he does, that “For as long as I am in good health, I won’t stop.” Bravo Dr. Tarantino! You are an inspiration to us all, especially to your readers who are in the helping professions! Sincerely. Richard Orlando, Montreal

My friend Lena sent me a copy from Montreal. Love it. I was one of the first volunteer working at Santa Cabrini. I was 12 years old and I worked in Dr. Tarantino’s office. Such nice memories. Thank you Panoram Italia. And by the way, very nice article on “Q by Pasquale.” Thank you Joey Franco. Lina Parrillo, Los Angeles

Bonjour, une collègue m’a offert la revue Vol. 1 No. 1 march 2010. Et c’est une des meilleures revues. Les articles sont de bonne qualité, instructifs et trilingues, ce qui me permet de ne pas oublier la langue italienne et anglaise. C’est un des cadeaux les plus appréciés. Ginette Alarie, Montréal

Your magazine is the most interesting and informative vehicle to keep Italians in tune with their valuable roots and culture. It is also a reminder of how important it is to pass on these values to the next generations that will keep us a distinct society. Maria Corsi, Montreal My two son-in-laws who are Italian have been telling me about your magazine for a while, saying it is a great way for me to learn the language through your multilingual articles. Great magazine! Joan F., Montreal Your magazine is the mirror of that Italian pride deeply felt by every Italian immigrant. The content and the articles are very informative, adding a lot to the reader’s culture. Your publication honours every Italian immigrant in the world and should be read by every one of them. Continue the excellent work of feeding that inner pride that makes us walk tall. A heartfelt thank you to the publisher-editor, the staff and contributors. Catherine Zoccoli, Lachine QC I receive Panorama at my home and love the magazine. I’ve always been impressed with its aesthetic beauty, and the quality of the writing. I love how it portrays the wide spectrum of talent and success in today’s Italian community. Sophia Trozzo, Montreal v

Publisher’s note

Panoram meets its readers at Piccola Italia Keep supporting your magazine by Tony Zara aking part in the 2010 edition of Montreal’s Settimana Italiana was a great pleasure for our team. This yearly Summer event really gives us at Panoram Italia the opportunity to meet our readers, get feedback, share ideas, and simply fraternize amongst the beautiful people of our Italian community. It was amazing to see the enthusiastic response we received following our Santa Cabrini 50th anniversary special. Panoram Italia’s Fiat 500 (see p.64-65 for pictures) was definitely a big hit with all of you that came out and special thanks are directed to all those who purchased goods and made contributions to support us. We also truly appreciate the heartfelt comments we received from our readers; they really make us strive to better ourselves with every issue. As we enter our fifth year of publication, we are proud to confirm that our transition from four to six issues per year has been very well received. New subscriptions are flooding in on a daily basis and thanks to our faithful fans and readers, advertisers are increasingly getting involved, allowing us to grow and still bring you the quality you have become accustomed to. Admittedly, publishing a magazine in three languages brings its share of headaches, but we sincerely believe our formula makes Panoram a unique publication that reflects the depth and openmindedness of our community. Once more, we ask that you encourage our advertisers to encourage us by paying them a visit whenever possible. This Fall (October/November), Panoram Italia once more offers you its exclusive annual Italian wine guide (see p. 36-41), prepared by our own wine expert and managing editor Gabriel Salvatore. Over the years, it has slowly become a true reference for Italian wines in Québec. Also look out for Filippo Salvatore’s editorial on the 70th anniversary of the Italian-Canadian interment camps at Petawawa (ON) and our exclusive interview with playwright Vittorio Rossi on his play Paradise by the River recalling this tragic page of Italian-Canadian history. Don’t miss our little Halloween special, our exquisite Fall recipes from Franca Mazza’s cookbook, our fashion and business section, our interview with Alexandre Tagliani and our cover story featuring the beautiful and talented salsa dancer Marie-Josée Strazzero who will compete next December at the Salsa World Championship in San Diego with her husband and partner Roberto Arenas, Jr. Last but certainly not least, we invite all the happy couples that recently tied the knot to send us their picture (details on p. 25) for our December special on Weddings of the Year so that we could make it our biggest edition yet. Happy reading and don’t forget to join our Facebook page if you haven’t already done so! v

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Editoriale www.panoramitalia.com Il Cavaliere, il Colonnello e la realpolitik

Considerazioni sulla visita di Muammar Gheddafi a Roma Filippo Salvatore

La recente visita a Roma (28-30 agosto 2010) del leader libico Muammar Gheddafi per celebrare il secondo anniversario del trattato di amicizia Italia-Libia ha suscitato scalpore,incredulità, risentimento, ma anche tanta soddisfazione. l presidente della Camera dei deputati Gianfranco Fini l’ha definita una ‘indecorosa genuflessione’ del governo di Silvio Berlusconi verso Gheddafi. Anche Mario Borghezio della Lega Nord ha dichiarato senza mezzi termini: ‘Le parole di Gheddafi esprimono il suo pericoloso processo di Islamizzazione per l’Europa’. Avvenire, il quotidiano dei vescovi, l’ha bollata come ‘una indecorosa messa in scena ricolma di momenti incresciosi ed urtanti... una provocazione poco seria, irrispettosa verso il Papa e l’Italia’. Certo la pacchiana messa in scena -le guardie del corpo, i cavalli da corsa, la tenda berbera montata nei giardini della residenza dell’ambasciatore libico a Roma- sarebbe da evitare in futuro. Ha colpito soprattutto la dichiarazione fatta dal capo dello stato libico davanti a 500 ragazze (appositamente reclutate e pagate) che ‘l’Islam dovrebbe diventare la religione di tutta l’Europa’. Andrea Pacini, consultore della Commissione per i rapporti con i musulmani presso il Pontificio Consiglio per il dialogo interrreligioso, ha definito le parole di Gheddafi una ‘boutade’. Di parere contrario è invece il gesuita di origine egiziana Samir Khalil Samir, famoso islamista, il quale crede che le parole del leader libico ‘debbano essere prese terribilmente sul serio’. L’islamizzazione dell’Europa non è, a suo avviso, una previsione campata in aria. Basta infatti tener conto del tasso di natalità degli europei che è la metà di quello degli immigrati extracomunitari, in gran parte musulmani. Due sono quindi le possibili valutazioni del soggiorno di Gheddafi a Roma. Da un lato, va visto come una pacchianata, una messa in scena accettata dal governo italiano

per soddisfare le velleità di grandeur e di rivincita anticoloniale di un vecchio dittatore. D’altro canto la dimensione teatrale va inserita nella logica della realpolitik, come ha dimostrato il ministro degli esteri Frattini. L’Italia, cerniera tra mondo islamico e cristiano, tra la parte ricca e la parte povera del mondo, vuole svolgere un ruolo importante nel Mediterraneo, politicamente ed economicamente. L’asse Roma-Tripoli mette in discussione il ruolo egemonico svolto da Washington, Parigi, Londra e Berlino in Africa del Nord. Ex potenze coloniali come la Francia ed il Regno Unito da decenni ricevono pomposamente, per ragioni di tornaconto economico e militare, tante figure poco raccomandabili delle loro ex colonie. Quello che succede tra la Libia, ex colonia italiana dal 1911 al 1945, e l’Italia di oggi si inserisce in questa scia, quella del rapporto tra colonizzatori e colonizzati. L’Italia persegue una logica precisa: servirsi della Libia per controllare l’immigrazione clandestina dall’Africa sub-sahariana. Di fatto, gli sbarchi di clandestini si sono ridotti di molto da quando la Libia collabora con l’Italia. Inoltre, l’Italia sta cementando un articolato programma di scambi con la Libia in diversi settori: petrolio, gas, infrastrutture, politica estera e anche nel settore militare con la creazione di un sistema satellitare di controllo dei flussi migratori provenienti da Sud. La pace firmata tra Roma e Tripoli due anni fa riconosce e condanna il passato coloniale italiano e compensa la Libia per i danni subiti. Questo riconoscimento, però, permette anche alle aziende italiane di svolgere un ruolo di primo piano nella costruzione di infrastrutture gigantesche, come la grande autostrada costiera che dovrebbe attraversare la Libia dall’Egitto alla

Tunisia e che sarà costruita con il risarcimento che l’Italia sta dando alla Libia di ben 5 miliardi di dollari nei prossimi 20 anni. L’Italia ha quindi interesse a cementare l’asse Roma-Tripoli. Peccato che siano due vecchi istrioni, Berlusconi e Gheddafi, che interpretano un ruolo in mordo tanto pacchiano in questioni tanto serie. Ma la storia, purtroppo, si scrive anche in questo modo. v

Editoriale

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Perdono, giustizia e risarcimento per gli internati italo /canadesi del 1940 Filippo Salvatore

In nome del Governo e del popolo canadese, presento le mie scuse piene ed intere ai nostri compatrioti d’origine italiana che hanno subito torti durante la seconda guerra mondiale’. (Brian Mulroney, Primo Ministro del Canada, Toronto, 4 novembre 1990). l 10 giugno scorso è ricorso il 70° anniversario della proclamazione da parte del governo federale del War Measures Act (Legge di misure in tempo di guerra) che decretava l’arresto e la prigionia in campi d’internamento di centinaia di cittadini canadesi d’origine italiana da Halifax a ‘ Vancouver perché ritenuti enemy aliens (stranieri nemici) suscettibili di commettere atti di sabotaggio e di formare una ‘quinta colonna’ a favore delle forze militari dell’Asse Roma-Berlino. In occasione della biennale del Congresso Nazionale degli Italo/Canadesi a Toronto il 4 novembre 1990, l’allora Primo Ministro Conservatore Brian Mulroney accoglieva la richiesta formulata dal presidente del CNIC, Anna Maria Castrilli, che l’11 gennaio dello stesso anno aveva chiesto alle autorità federali di riconoscere l’errore commesso nel decretare il 10 giugno 1940 l’arresto e l’internamento degli italo/canadesi accusati di costituire una minaccia in tempo di guerra per la sicurezza nazionale. L’ordine di arresto decretato dal ministro della giustizia Ernest Lapointe, malgrado le raccomandazioni contrarie dei funzionari, può essere visto, se inserito nel più ampio contesto politico e militare della seconda guerra mondiale, come una nota a piè di pagina, un fait divers, che non ha cambiato o modificato il corso degli avvenimenti. Ben più grave è stata la “crisi della coscrizione” che imponeva la leva militare obbligatoria anche nel Canada francese, massicciamente contrario alla partecipazione alla guerra. E se la storia si riducesse ad un semplice computo quantitativo si avrebbe ragione di crederlo. Ma la storia è fatta da persone che agiscono e soffrono. Ed è la sofferenza subita che lascia tracce indelebili. Questa è l’ottica a partire della quale va rivista la questione degli internamenti. Il comportamento del governo di Ottawa appare dopo sette decenni incomprensibile, discriminatorio ed ingiusto. E ‘abusivo, ingiusto ed illegale’ sono i termini usati dal Premier Mulroney nel qualificare il comportamento della polizia federale. La componente discriminatoria è evidente soprattutto nel trattamento riservato a migliaia di canadesi di origine giapponese che sono stati ‘rilocalizzati’ dalla costa del Pacifico verso vari campi delle praterie dopo aver subito la confisca dei beni, pur essendo fedeli cittadini del Dominion e non avere niente a che vedere con l’attacco a Pearl Harbour. Diverse centinaia di canadesi di origine germanica sono stati accusati delle stesse colpe ed hanno subito un trattamento simile a quello dei loro concittadini d’origine italiana e nipponica. Va ricordato che il Canada aveva decre-

‘É brava gente, di cui, la più parte, non ha che una cultura media, quando non è al di sotto della media. Essi sono stati soprattutto vittime di quel bisogno eccessivo di esteriorizzazione che forma il tratto specifico del carattere dei latini del Sud. Qualche sfilata in camicia nera... lo spiegamento di qualche bandiera... l’ebbrezza di un discorso pronunziato alla fine d’un banchetto... Ecco -a un dipresso- tutti i rimproveri che si possono rivolgere alla maggioranza degli internati italiani del Campo. Anche se nell’agire così non hanno obbedito a nessuna considerazione di filosofia politica.’ (da Mario Duliani, Città Senza Donne, Montreal, 1946, Nuova edizione con introduzione di Filippo Salvatore, Cosmo Iannone, Isernia, 2006.) tato durante il Primo conflitto mondiale, quello del 1914-18, il War Measures Act ed aveva internato migliaia di persone d’origine ucraina se guendo una logica simile. Certo in tempo di guerra prevale un clima di trepidazione e di intolleranza che la propaganda crea nei confronti del nemico. Le persone o le comunità che vengono ad essere identificate con il nemico divengono un facile bersaglio e poco conta il fatto che i diritti della persona non vengono rispettati. Proprio questo sono stati gli enemy aliens italo/canadesi: un facile bersaglio a causa del panico e dell’isteria provocati dalla dichiarazione di guerra del Duce. Va ricordato però che i leader comunitari laici (in particolare l’Ordine dei Figli d’Italia ed i vari direttori di giornali) e i leader religiosi (le parrochie cattoliche e le missioni protestanti a Vancouver, Toronto, Montreal ed in altre città) hanno una grande responsabilità per il trattamento umiliante riservato a tanti innocenti. La ricerca storica (Robert Harney, John Zucchi, Filippo SALVATORE, Roberto Perin, Angelo Principe, Joseph Anthony Ciccocelli, Raymond Culos, Kenneth Bagnell ed altri) ha dimostrato che le colonie italiane residenti in Canada, come le si definiva durante il regime mussoliniano, sono state fascistizzate dai prominenti, dai mezzi d’informazione, dai parroci o dai pastori protestanti in combutta con i consoli o vice-consoli italiani. Dal 1922 al 1936, dalla Marcia su Roma alla guerra d’Etiopia, amor di patria, italianità e fascismo erano presentati come sinonimi. Rare furono le voci, come quella del giornalista Antonino Spada e dell’Ordine Italo-Canadese, che seppero e vollero distinguere tra italianità e fascismo. Fu proprio questa ambiguità che causò tanti malintesi e creò animosità verso i canadesi d’origine italiana quando la stampa di lingua inglese ed il Governo del Canada cominciarono ad osteggiare il regime di Mussolini che si era alleato con la Germania nazista di Hitler. La seconda guerra mondiale comincia nel 1939. Nel 1940, chiunque era stato iscritto ad un fascio -e tanti lo avevano fatto per semplice patriottismo- o era stato un dirigente dell’Ordine dei Figli d’Italia veniva retroattivamente accusato

di aver commesso un reato e ciò giustificava l’arresto. Sicché tanti padri di famiglia, onesti cittadini che non si sognavano nemmeno di formare una quinta colonna, subirono l’onta di essere definiti e trattati da traditori della patria di adozione o di nascita, il Canada, che era, in realtà, la loro vera patria. Le spiegazioni storiche fornite ci permettono di capire meglio il clima che regnava in Canada quando il War Measures Act fu promulgato e le probabili motivazioni invocate dal ministro Lapointe. Non servono, tuttavia, a cancellare l’ingiustizia, le umiliazioni e le discriminazioni subite da centinaia di innocenti e dalle loro famiglie. Si pensi alle ripercussioni psicologiche sui figli degli arrestati ed alle gravissime conseguenze economiche per tante madri di famiglia che all’improvviso hanno perso qualsiasi forma di introito o si sono viste confiscare i loro averi. La demoralizzazione singola e collettiva all’interno delle comunità italo/canadesi è durata dal 1940 alla fine della guerra, ma la cicatrice psicologica, il senso di colpa immeritato, è durato per tutta la vita e dura ancora per i pochi superstiti. L’internamento di tanti innocenti permane nella memoria collettiva degli italo/canadesi una pagina nera indelebile di cui si prova ancora vergogna. Nella nostra realtà postideologica c’è ancora chi continua a giustificare l’operato del governo federale per chiare simpatie ideologiche. Il governo federale attuale del Primo Ministro Stephen Harper dovrebbe approvare il Private Bill del deputato Massimo Pacetti che chiede che sia il Parlamento a riconoscere (come è stato il Parlamento a sancire il War Measures Act), che il Canada ha commesso un errore nel decretare l’internamento di tanti innocenti. Condivido anche l’idea della distruzione dei dossier degli internati, la loro amnistia totale e ufficiale e l’Indennizzo da versare non alle singole persone, ma per la creazione di cattedre universitarie e di centri di ricerca sugli italo/canadesi. Solo così un episodio tragico di una delle componenti principali del popolo canadese potrà essere studiato e fatto conoscere alla presente e future generazioni. Solo così gli italo/canadesi otterranno finalmente perdono e giustizia e potranno far valere, senza ombra di dubbio, la loro legittimità di appartenenza al loro paese, il Canada. v

Our Cover

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By Laura Casella

Marie-Josée Strazzero Née pour danser

Marie-Josée Strazzero Born to Dance

On naît tous avec un talent. Que ce soit le chant, la musique ou l’enseignement, on a tous un don. Un don qui exprime réellement qui nous sommes. Un don qu’on ne peut ignorer.

We are all born with a talent. Whether it is to sing, play an instrument, be a teacher, an architect, or anything else, we each have a gift. A gift that truly exemplifies who we are: a gift you can’t ignore even if you try.

arie-Josée Strazzero sait qu’elle possède un don unique. « La danse a toujours été une passion dont je ne pouvais M pas me passer » m’explique-t-elle, alors qu’on s’assoie pour discuter dans son école de danse Chilital. « Je crois sincèrement que Dieu m’a offert ce don. » La talentueuse Stazzero a commencé la danse à l’âge de 4 ans. Ses parents l’avaient inscrite à des cours de ballet jazz et de danse contemporaine. Ils n’ont pas tardé à remarquer, tout comme ses professeurs, son talent exceptionnel. À 10 ans, Marie-Josée était déjà professionnelle. Elle a ensuite obtenu une bourse pour étudier la danse à l’école Louis Lapierre et à L’École Supérieure Les Grands Ballets Canadiens de Montréal. « C’était difficile de coordonner mes études avec la danse, » me révèle-t-elle, « mais ma mère s’assurait toujours que j’aie complété tous mes devoirs. » Strazzero a été élevée dans une famille italienne typique. Née à Terrebonne, elle a par la suite déménagé à Rivière-desPrairies lorsqu’elle avait 10 ans. Sa mère vient de Bari tandis que son père est à moitié sicilien et barese. Elle a un grand frère qu’elle surnomme affectueusement son « meilleur ami. » Ses parents étaient très stricts et la danse était pour elle une façon de s’échapper. « Ça a vraiment influencé ma personnalité. J’avais l’habitude de m’accrocher aux jupons de ma mère, parce que j’étais trop gênée. Mais, grâce à la danse, je pouvais m’exprimer autrement. » C’est seulement après avoir été initiée à la danse salsa que Strazzero a vraiment compris à quel point elle pouvait s’exprimer par la danse. Sa réelle passion pour la danse latine est apparue en 2002 lorsqu’elle a fait la connaissance de Roberto Arenas Jr., un danseur de salsa chilien, venu au Canada pour trouver une partenaire avec qui faire ses compétitions internationales. « Il a vu mon talent et m’a demandé si j’étais intéressée à devenir sa partenaire. Et j’ai dit oui. » C’est alors qu’ils ont ouvert leur école de danse Chilital (une fusion entre Chili et Italie). C’est à ce moment-là que Strazzero, maintenant âgée de 33 ans, a commencé à considérer la danse comme sa carrière. « Jusqu’à l'âge de 25 ans, je n’étais pas certaine où tout ça me mènerait. Je me suis dit : je dois me marier, fonder une famille et avoir un emploi stable. C’est impossible de vivre de la danse. » Elle a vite réalisé qu’il pouvait en être autrement. « Il y a ce tabou avec les Italiens qui insistent pour que tu te maries et que tu décroches un travail normal. Avec l’école, j’ai toutefois compris qu’il est possible de faire la carrière qu’on veut. » Une carrière qui l’a finalement propulsée beaucoup plus loin qu’elle ne l’aurait jamais imaginé. Non seulement Chilital est un grand succès, mais elle et Arenas se sont qualifiés premiers dans 15 compétitions en Amérique du Nord. Par-dessus tout, ils sont le seul couple canadien à avoir gravi le podium du Championnat mondial de Salsa, s’étant classés à deux reprises 2e et 3e au monde. Bien que tous ces trophées s’accumulent à Chilital, Strazzero cherche toujours à se faire reconnaître. «Les gens ne comprennent pas tout le travail qu’on fait. La danse est un sport. On mange d’une certaine façon, on s’entraîne, on prend soin de notre corps... mais les gens ne s’en rendent pas compte. » En plus de diriger son école, Strazzero et ses parents organisent chaque année le Festival International Salsa, un événement qui a lieu chaque été pendant 5 jours et dont l’objectif est de montrer aux Montréalais la vraie nature de la danse latine. « On fait venir les meilleurs danseurs au monde en plus de présenter des talents locaux, pour initier les Montréalais au monde de la salsa. C’est un monde magnifique, » rajoute-t-elle. Un monde qui a toutefois empêché cette beauté italomontréalaise de prendre des vacances depuis belle lurette. « Je travaille tout le temps ! À moins qu’un soir je décide de ne pas enseigner pour aller voir un film au cinéma, mais ça, ça arrive une fois tous les deux ans, » explique-t-elle en riant. Quels sont les plans pour l'avenir ? Il manque toujours un trophée à sa collection. « Nous travaillons très fort pour obtenir la première place au monde. Et notre prochain rendezSuite à page 17, colonne 1

arie-Josée Strazzero knows she was given a very special gift. “For some reason dancing was always a pasM sion that I couldn’t let go of,” she says, as we sit down for

incontro nella sua scuola di danza CHILITAL. "Credo veramente che il mio sia un dono di Dio." La talentuosa Strazzero ha iniziato a ballare a 4 anni grazie al sostegno dei genitori che le avevano offerto corsi di ballet jazz e di danza moderna. Non c'è voluto molto tempo prima che tutti si accorgessero del suo vibrante talento. A soli 10 anni la piccola iniziava a ballare professionalmente e otteneva una borsa di studio di danza alla scuola Louise Lapierre e alla Scuola Superiore de "Les Grands Ballets Canadiens" di Montreal. "Non è stato facile barcamenarmi fra studio e danza", ricorda l' artista. "Mia mamma peró mi è stata sempre dietro perchè io facessi i compiti di scuola." Marie Josée Strazzero è cresciuta in una famiglia italiana tradizionale. Nata a Terrebonne si è trasferita a Rivière-des-Prairies a 10 anni. Mamma di Bari, papà mezzo siciliano e mezzo barese. Un fratello maggiore che Marie Josée definisce il suo "miglior amico". I genitori erano severi con lei ma il ballo le ha anche permesso di liberarsi un pó. "La danza ha trasformato radicalmente la mia personalità. Prima ero così timida da tenermi sempre attaccata alle gonne di mia mamma. È attraverso il ballo che sono riuscita ad esprimermi." La giovane non aveva intuito peró quanto poteva ancora esprimersi attraverso la danza fino a che non inizió a ballare la Salsa. La passione per la focosa danza latina si è manifestata nel 2002 durante l'incontro con Roberto Arenas Jr., ballerino di salsa cileno, venuto in Canada in cerca di un partner che potesse esibirsi con lui sulla scena mondiale. "Roberto ha notato il mio talento e mi ha proposto di essere la sua partner. Ho detto subito di si." Da questo fortunato incontro è nata la scuola di ballo CHILITAL (dalla fusione di Cile e Italia) che riscuote grande successo. Dal momento della fondazione della scuola la Strazzero, ora trentatreenne, progetta il suo futuro nella danza. "Fino a 25 anni non ero sicura della direzione che avrei preso. Mi dicevo che avrei dovuto sposarmi, metter su famiglia, trovare un posto fisso. È impossibile guadagnarsi il pane ballando." Presto peró la giovane artista si rese conto del contrario. "Per gli italiani esiste il pregiudizio che bisogna sposarsi ed avere un lavoro normale. L' iniziativa della scuola mi ha fatto capire che la danza poteva rappresentare per me una carriera." Una carriera peraltro che ha dato frutti aldilà delle aspettative. Non solo Chilital ha un successo enorme ma Strazzero e Arenas si sono piazzati primi in oltre 15 compe-

an evening chat at her dance school Chilital. “I really believe God gave me this gift.” The talented Strazzero started dancing at 4 years old. Her parents enrolled her in ballet jazz and contemporary dance classes. It didn’t take long for them and everyone else to notice her vibrant talent. At only 10 years old Strazzero began dancing professionally. She obtained a bursary to study dance at Louise Lapierre and at L’Ecole Superieure of Les Grands Ballets Canadiens in Montreal. “It was difficult juggling my studies and dancing,” she recalls. “But my mom was always behind me making sure I had all my homework done!” Strazzero was raised in a traditional Italian family. She was born in Terrebonne and moved to Rivière-des-Prairies at the age of 10. Her mom is from Bari and her dad is half Sicilian, half Barese. She has an older brother who she calls her ‘best friend’. She says her parents were strict while growing up, but that dancing was a way of getting out. “It really changed my personality. I used to hold on to my mommy’s leg because I was so shy. But with dancing I was really able to express myself.” Strazzero didn’t realize just how much she could express herself through dance until she started Salsa dancing. Her true passion for the sultry Latin dance came in 2002 when she met Roberto Arenas Jr., a Salsa dancer from Chile, who came to Canada searching for a partner to dance with him on a worldwide stage. “He saw my talent and asked me if I’d be interested in being his partner. And I said yes.” That’s when they opened their successful dance school Chilital (a fusion of Chile and Italy). It’s only when she opened the school that Strazzero, now 33, envisioned a future for herself in dance. “Until 25, I wasn’t sure where I was going with all of this. I told myself- I need to get married, I need to have a family, and I need to have a stable job. It’s impossible to live off dancing.” But she soon realized that it didn’t have to be that way. “There’s this taboo with Italians that you need to get married and you need to have a normal job. But with the school I realized that there is a career to made out of this.” It’s a career that has blossomed beyond her beliefs. Not only is Chilital a great success, she and Arenas have placed first in over 15 competitions in North America. Most impressing, they are the only Canadian couple to be on the podium for the World Salsa Championships, having placed 2nd and 3rd in the world. But yet with all the trophies that line up the walls at Chilital, Strazzero still yearns to be recognized. “People don’t know all the hard work we put into this. Dance is a sport. We eat a certain way, train, take care of ourselves... but people don’t recognize it.” Besides running the school, Strazzero and her partner are the proud founders of the Summer Salsa Festival. It’s an annual 5-day extravaganza with the purpose to show Montreal what Latin dance is all about. “We bring in the world’s top dancers and amazing local talent for everyone to just enjoy and take with them a taste of our world. And it’s a beautiful world,” she adds. It’s a world however that hasn’t allowed this MontrealItalian beauty to take a vacation in a while.“I’m working all the time! Unless I decide that for one night I am not going to teach and go to a movie, then I’ll take the night off. But that happens once every two years,” she laughs. So what else is in store for our local Salsa queen? Well, there is still one trophy missing from her trophy ledge. “We are striving to win 1st place in the world. And we get our next shot in December in San Diego. We work really hard and we are confident we can win it.” I don’t doubt it.

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Marie-Josée Strazzero Nata per ballare Tutti nascono con un talento. Che sia cantare, suonare uno strumento, essere insegnante, architetto o altro, ognuno di noi possiede un dono. Un dono unico che ci identifica e che non potremmo ignorare anche se ci provassimo. arie Josée Strazzero conosce bene il suo dono particolare. "La danza è stata una passione alla quale non ho mai M potuto rinunciare" afferma la Strazzero durante il nostro

www.panoramitalia.com vous est pour décembre à San Diego. Nous sommes confiants de pouvoir y arriver, » affirme la danseuse. À la voir aller, je n’en doute pas un seul instant. Sa façon de danser est vraiment magnifique. Elle est rapide sur ses pieds, sa ligne est parfaite, elle est précise et sexy, et elle fait tout ça avec le sourire aux lèvres. « Bien des gens pensent que je suis cubaine ou mexicaine, » dit-elle en s’esclaffant. « Je leur réponds que je suis italienne ! Je crois qu’ils ne s’imaginent pas qu’une Italienne puisse danser ainsi. » Ce qui fait d’elle une vraie source d’inspiration pour bon nombe de gens, surtout les jeunes à qui elle a enseigné au fil des années. « J’ai les larmes aux yeux quand je les vois danser. Ça me rappelle quand j’étais jeune. » Une jeune fille, poursuit-elle, qui n’aurait jamais imaginé que son amour pour la danse la mènerait aussi loin. « J’en rêvais, mais je n'y pensais pas vraiment. Les gens me disent à quel point je les inspire et c’est un réel honneur, car tous ces enfants m’admirent. » Alors quel message est-ce que cette danseuse, professeur, juge et source d’inspiration peut-elle donner à des aspirants danseurs ? « Comme femme d’origine italienne, j’ai été élevée avec tant d’idées préconçues autour du fait qu’il est impossible de faire sa vie avec la danse. Mais j’ai dit non à ça, et je l’ai fait quand même. J’avais un but, j’y ai cru et je l’ai réalisé. Si j’ai été capable, tout le monde peut y arriver. » Grâce à Marie-Josée Strazzero, beaucoup de personnes ont été initiées à l’art de la danse. Sa passion est si forte qu’elle espère la transmettre un jour à ses enfants. « Je vais toutefois comprendre si mon fils préfère faire du sport, mais si j’ai une fille j’espère qu’elle aimera la danse ! Avec toute la passion qui m’habite, j’ai toutefois bon espoir qu’ils y prendront goût. » Finalement, il serait aussi difficile pour quiconque rencontre Marie-Josée de ne pas apprécier toute sa détermination et s’estimer ensuite incapable de réaliser tous ses rêves. Article de Laura Casella, adapté et traduit en français par Gabriel Riel-Salvatore v

Our Cover tizioni in Nord America. Importante sottolineare che si tratta dell'unica coppia canadese a salire sul podio del Campionato Mondiale di Salsa con un secondo e terzo posto. Nonostante peró i numerosi trofei esposti a Chilital, la Strazzero ancora desidera riconoscimento. "La gente non si rende conto del duro lavoro che richiede quest'attività. La danza è uno sport. Dobbiamo alimentarci come si deve, allenarci, prendere cura di noi..." Oltre alla gestione della scuola i due partner hanno dato vita al Festival Estivo della Salsa. Un evento di cinque giorni per fare conoscere la danza latina ai montrealesi. "Per questo festival oltre ai talenti locali invitiamo i migliori ballerini internazionali affinché il pubblico si possa divertire e scoprire il sapore del nostro mondo. Ed è un mondo stupendo”, aggiunge la Strazzero. Un mondo tuttavia che non ha permesso a questa bellezza italo-montrealese di prendersi una vacanza da tanto tempo. "Non faccio che lavorare! A meno che una sera decida di andare al cinema invece di insegnare ! cosa che accade una volta ogni due anni" aggiunge la giovane ridendo. Cos' altro c'è in "ballo" per questa regina locale della Salsa ? Ebbene manca ancora un trofeo alla sua collezione. "La nostra meta è quella di essere primi nel mondo. La prossima occasione per farlo è San Diego a dicembre. Stiamo lavorando veramente sodo nella fiducia di poter vincere." Io non lo metto in dubbio. Guardare la Strazzero che balla è un' esperienza favolosa. Svelta sulle gambe, linee perfette, penetrante, sensuale ed il tutto sempre con il sorriso sul volto. "Molti pensano che sia cubana o messicana" afferma ridendo l'artista. "Quando dico che sono italiana molti rimangono sorpresi. Forse non credono che un' italiana possa ballare così." Marie Josée Strazzero è di grande ispirazione per molti e soprattutto per tutti i suoi allievi. "Mi commuove vederli ballare. Mi fa pensare a quando ero ragazza." "Una ragazza, aggiunge, che non avrebbe mai potuto immaginare fino a dove l'avrebbe portata la passione per la danza." "Lo sognavo ma non ci credevo veramente. Molti mi considerano un' ispirazione. È un onore per me che questi ragazzi mi pongano su un piedistallo." Che messaggio potrebbe dare la ballerina, l'insegnante, la giudice e l'ispiratrice ad altri aspiranti ballerini? "Come donna italiana sono cresciuta con tutti i pregiudizi che il ballo non è un mestiere che possa offrire una carriera. Io peró ho detto no. Faró lo stesso ció che amo fare. Avevo un obiettivo, ci ho creduto e ho perseverato. Se l'ho fatto io, puó farlo chiunque." Grazie a Marie Josée Strazzero molte persone sono state coinvolte nell'arte della danza. La sua passione è tale che spera un giorno di poterla trasmettere ai propri figli. "Capiró se mio figlio vuole fare un altro sport, ma spero almeno che mia figlia amerà la danza." E sarebbe impossibile, incontrando Marie Josée, non farsi coinvolgere dal suo ardore ed accomiatarsi senza l'impressione che nella vita si possa realizzare qualsiasi cosa. Written by Laura Casella. Adapted and translated into Italian by Lidia Russo v

Watching Strazzero dance is a mesmerizing experience. She’s quick on her feet, her lines are perfect, she’s sharp, she’s sexy, and she does it all with a smile on her face. “A lot of people think I am Cuban or Mexican,” she laughs. “I tell them, no I’m Italian! I guess they can’t believe an Italian can dance this way.” Which makes her a real inspiration to many people- especially the many kids she’s taught over the years. “It makes me cry when I see them perform. It reminds me of when I was young.” A young girl, she adds, who never imagined that her love of dance would take her this far. “I dreamt of it but I never thought it. People tell me I’m an inspiration and it’s a real honour because all these children look up to me.” So what message would this dancer, teacher, judge, and inspiration have for other aspiring dancers? “As an Italian woman I was brought up with all these taboos that you can’t make a career out of being a dancer. But I said no; I’m going to do what I love anyway. I had a goal, I believed in it, and I followed through. If I can do it anyone can.” Thanks to Marie-Josée Strazzero, so many people have been touched by the art of dance. Her passion is so strong that she hopes it will be carried down to her children one day. “I’ll understand if my son would rather play sports, but if I have a daughter hopefully she’ll like to dance. But I think with all this passion inside me it would be impossible for my kids not to share some of that.” And it would be impossible for anyone who meets Marie-Josée not to appreciate her fervor and leave feeling that they too can do anything. v

In Memoriam

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“Love is stronger than death even though it can't stop death from happening, but no matter how hard death tries it can't separate people from love. It can't take away our memories either. In the end, life is stronger than death.” (Anonymous) Panoram Italia extends its deepest sympathies to the families of those that have passed on. They have helped build this wonderful country and will never be forgotten.

Angela Tarasco Grandillo Oratino, Campobasso 12 maggio 1934 Montreal 1 ottobre 2008 Arrivato in Canada Il 18 settembre 1966 Sono trascorsi giá due anni da quando ci hai lasciati. Ci mancano tanto il tuo soriso, il tuo amore per la vita e per la famiglia. Mamma, hai lasciato un vuoto incolmabile dentro di noi. Sei stata speciale per ognuno di noi. Vivrai per sempre nei nostri cuori.

Giuseppe Sivilla

Alfredo Scenna

Guglionesi, Campobasso 11 agosto 1926 Montreal, 25 maggio 2010 Arrivato in Canada il 1 dicembre 1953

Orsogna, Abruzzo February 3, 1925 Montreal, August 10, 2009 Arrived in Canada December 24, 1951

Hai lavorato tanto tutta la vita per la tua famiglia. Le tue mani, come quelle di un artista, hanno creato tante cose Grazie papá per tutti i sacrifici che hai fatto per noi. La tua malatia ti ha allontanato da noi, anni prima della tua morte. Questa e l’occasione per dirti semplicemente, grazie.

Our Dad, This picture was the beginning of the rest of your life. Your luggage contained your strength, your unlimited desire to work hard, and the family traditions which you eventually passed on to your own family. We will never forget your passions. Dad, you remain an inspiration to us all.

Fernando Tedeschi

Ascoli Piceno Marche August 8, 1946 Montreal, January 9, 2010 Arrivato in Canada il July 10, 1964 Thank you for being you, for caring about our family and looking out for us in so many ways, for dreaming dreams with me and helping to make them reality. Thank you, for understanding, for trusting, for loving me, your honey, Patrizia (Toppetta) Tedeschi, your sons and families Davide, Christine, Bianca, Elisa, Jason, Fallon

Giovanni Pietracupa Casacalenda, Campobasso October 30, 1933, Left us on July 23, 2000. He came to Canada in 1948, with a few dollars in his pockets. He met and married Elvira Cavallo and started his legacy, as with most Italians, the family.

Franceso Pampena

Calogero Aquilino

Spigno Saturnia, Latina 27 gennaio 1926 Montreal, 4 novembre 2009 Arrivato in Canada nel 1953 Hai lasciato questo mondo per un altro senza sofferenza. Ogni giorno che passa penso a te e mi manchi ancora di piu. La vita senza di te non e la stessa. Veglia sulla Nonna che ha bisogna di te. Ti voglio tanto bene Nonno. Grazie di tutto. Tuo nipote, Roberto Bisecco

Cattolica Eraclea, Agrigento 16 maggio 1919 Montreal, 16 marzo 2010 Arrivato in Canada il 2 novembre 1954 Amato sposo di Antonina Cirasella per oltre 62 anni! Padre adorabile di Antonietta e Anna. Nonno amatissimo di P i n a ( M i ke ) , M a s s i m o (Nadia) e Carlo. Bisnonno di Savanna, Emilia e Eva. Il suo ricordo sarà sempre vivo dentro di noi.

Carina Amodei 1901 – 14 settembre 1951

Giuseppe Pirolli Tina Cuscuna Infante

1894 – 14 ottobre 1951

Montreal, Quebec February 18, 1961 June 25, 2007

A mamma e papà,

Dear Tina, “No matter where our Paths may wind, Those childhood days We left behind Are with me in my Heart and mind, As I remember you.” Forever your sis

60 anni sono passati di Questa triste ricorrenza Partiste all’improviso Troppo grande ferita fu Nemmeno tempo a cancellato I vostri volti, sempre Vivi, nel cuor rimasti Lucio Pirolli

Vincenzella Masciuli Bucchianico

Iolanda De Fanti

Guglionesi, Campobasso 11 settembre 1912 Montreal (ospedale Santa Cabrini) 9 marzo 2009 Arrivata in Canada nel 1956

Jesolo, Venezia 14 ottobre 1929 Montreal, 4 Giugno 2010

Camillo Bucchianico

Villa, Forno di Zoldo, Belluno, 24 aprile 1928 Montreal, 20 luglio 2010

Guglionesi, Campobasso 24 aprile 1906 Montreal (ospedale Santa Cabrini) 12 novembre 1993 Arrivato in Canada nel 1954 Con amore Mario, Maria, Tony, Nicoletta, Fernando, Emilio, Luisa

Luigi De Fanti

Mamma e papà, avete lavorato tanto tutta la vostra vita per non farci mancare di niente. Adesso tocca a voi di riposare in pace. Sarete sempre presenti nel nostro cuore e nei nostri pensieri. Vegliate su di noi.

Nicola Mancini Guglionesi, Campobasso January 26, 1916 Montreal, May 27, 2010 Arrived in Canada in 1929 Beloved husband of Giovanna. Devoted and loving father of Antonio (Olivia), Lorenzo (Sandra) and Teresa and cherished Nonno to his greatest treasures, his grandchildren, Genevieve, Milan, Nicolas, Sophia and Laura. We'll miss his jolly disposition and his eternal optimism.

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In M e m o r i a m 3 0 t h A n n i v e r s a r y

Giulia Ferrante Zara

Nascita: 16 novembre 1933 a Portocannone, Campobasso, Molise Deceduta: 22 novembre 1980 a Laval, Quebec, Canada Arrivo in Canada: 14 agosto 1962 iulia, così la chiamavano in famiglia e gli amici, era una donna eccezionale. Dico eccezionale perché, come le donne della sua G generazione, era coraggiosa e generosa. Era soprattutto una madre

Born: November 16, 1933 in Portocannone, Campobasso, Molise Deceased: November 22, 1980 in Laval, Québec, Canada Arrival in Canada: August 14, 1962 iulia, as she was known to her family and many friends, was a remarkable woman. Remarkable I say because she was very representative G of the courageous, loving, generous and hardworking women of her gen-

esemplare che viveva ed era pronta a fare di tutto per i suoi due figli, Tonino e Pietro. Noi, italocanadesi, siamo fortunati di essere circondati da donne della sua tempra. Era la più giovane dei quattro figli di Giuseppe Ferrante e di Giustina Manes. Aveva solo tre anni quando suo padre la lasciò ed andò a cercare fortuna in Africa settentrionale. Lo rivide solo quando aveva quindici anni. A dodici anni fu mandata al Collegio di Santa Chiara a Castiglion Fiorentino in Toscana. Era lo stato che permetteva ad alcuni bambini bisognosi di potersi istruire. Questa esperienza, ripeteva spesso, cambiò per sempre la sua esistenza in quanto le permise di acquisire fiducia in se stessa, cosa che poche donne di allora possedevano. Quand’ero piccolo mi piaceva ascoltare mia madre raccontarmi le esperienze vissute in collegio. Al giorno d’oggi sono convinto che i suoi ricordi erano per lei una forma di evasione. Le si illuminava il viso ogni volta che ne parlava. Dopo la sua esperienza toscana, trascorse solo altri quattro anni a casa. Si sposò infatti a diciannove anni e cambiò di nuovo il luogo di residenza. Si spostò in un paese a soli cinque chilometri dal suo ed andò a vivere,come si usava allora, a casa dei suoceri. Mi faceva notare spesso che quei cinque chilometri avrebbero potuto essere benissimo cinquemila, perché ebbe poche occasioni di vedere la sua famiglia con la quale comunicava solo per mezzo di lettere. Un pensiero questo sul quale vale la pena meditare abituati come siamo nel mondo di oggi, in cui tramite vari mezzi di comunicazione, è sempre facile reperire chi si cerca. Diede vita al primo figlio a venti anni. Ne aveva ventitrè quando nacque il suo secondo. All’età di venttotto anni fece col marito Adamo ed i suoi figli il suo viaggio più lungo. Attraversò l’oceano e venne a vivere in Canada. Ricordo come fosse ieri la notte del 2 agosto 1962, quando mia madre disse addio per la terza volta al padre, un padre che non aveva mai avuto modo di conoscere veramente. Se ne rammaricava spesso. Lo rivide solo dopo undici anni. Trovò lavoro appena arrivò a Montreal nella fabbrica di abbigliamento maschile Hyde Park Clothes, che per quattordici anni diventò la sua seconda casa. Non era infatti solo un semplice luogo di lavoro dove si guadagnava da vivere, ma anche e soprattutto un luogo dove contrasse profonde e lunghe amicizie con altre giovani italiane, greche, portoghesi ed haitiane. Tante sono le persone che le hanno voluto bene. Erano centinaia le sue compagne di lavoro presenti al suo funerale. Abitò nel giro di diciotto anni in varie municipalità della zona di Montreal. (Chabanel, Montreal Nord, Saint Leonard, Nouveau Rosemont e Laval). Era una buona vicina di casa, pronta ad aprire la porta a chi ne aveva bisogno. A 46 anni, senza saperlo, fece il suo ultimo viaggio nella sua amata terra, Italia. L’anno seguente, il mese di luglio 1980, realizzò il suo sogno più grande. Mio padre le costruì il ‘bungalow’ (il villino) in periferia, ma lo fece addirittura vicino a quello del suo primo figlio che si era appena sposato. Il 22 novembre del 1980, la mia migliore amica e la mia carissima mamma morì a casa sua, stroncata da un infarto. L’essere stato testimone per ventisette anni di una vita tanto esemplare, come la tua, mamma, mi ha reso un uomo migliore e cerco quotidianamente di essere come sei stata tu. Anche se non hai mai conosciuto i tuoi nipoti, Adam e Anthony, mia moglie Angela ed io parliamo con loro spesso di te. Ti voglio tanto bene, cara mamma. Ci rivedremo un giorno. Tuo figlio Tonino che ti amerà per sempre tanto, tanto. Tengo a ringraziare i miei amici italocanadesi ed i lettori di Panoram Italia per aver avuto l’opportunità di esprimere la mia gratitudine ed il mio amore imperituro per mia madre nel trentennale della sua scomparsa.

eration. She was, above all, an exemplary mother who lived and breathed for her two sons, Tonino and Pietro. As Italian Canadians we are very fortunate to be surrounded by women like Giulia. The youngest of four children, she was the fruit of Giuseppe Ferrante and Giustina Manes’ love. When she was only three years old her father left the family to seek his fortune in north Africa. She would not see him again until she was 15 years of age. At age 12, she was sent away to study at the Collegio Santa Chiara in Castillion Fiorentino, Tuscany. This was made possible by the state which gave some underprivileged children the opportunity to further their studies. This experience, she often said, changed her life forever since the 3 years she spent there made her an educated woman and therefore gave her a certain confidence that very few women of her time possessed. As a young boy I loved to hear my mother recount stories of her time at the collegio. Today, I believe that this was form of escape for her since reminiscing about those three wonderful years always brought a smile to her face, no matter what the challenges of the day were. After returning from this bording school, she would only spend four more years at home since at the age of 19 she married and moved away again. This time to another village five kilometers away to live in the family home of her husband, as was then the custom. She would often say that those five kilometers might as well have been 5,000 since she would rarely have the opportunity to see her family. Her only regular method of communication with her parents was by letter. A sobering thought for this generation to ponder since we are surrounded with technology that allows us to reach anyone we wish instantaneously. At the age of 20 she would become a mother and at 23 again. At age 28 she, along with her husband Adamo and her two young sons, undertook that longest journey of all. I remember vividly the night of August 2 nd 1962, the night my young mother said goodby for the third time to her father, a father she never really had time to know. She would often lament about this. It would be 11 years before she would see him again. Fortunately, she started working the day after we arrived. Hyde Park Clothes, over the next 14 years, would become a second home for her. Not simply a place to work and earn a living but also a place where she made lasting friendships with other young Italian women. A loving and generous person with all, she also made many Greek, Portugese and later Haitian friends. So many loved her, as manifested by the hundreds of fellow workers that attended her funeral. Over the next 18 years of her short life, she lived in several areas of Montreal. (Chabanel, Montreal North, St. Leonard, Nouveau Rosemont and Laval ). No matter where, she was always a great neighbor to have. Her home was open to all. At age 46, unbeknownst to her, she would take her final trip to her beloved Italy. The next year, July 1980, she would realize her ultimate dream. Not only did my father and her build their “bungalow “ in the suburbs but they managed to do so on the same street as their oldest married son. November 22 nd 1980, my beloved mother and my best friend died, suddenly, of a heart attack at home. She was only 47 years old. Dearest Mother, a thousand thank yous for your unconditional love and support.Witnessing your exemplary life for the first 27 years of my life has made me a better man. I strive, every day, to be a little bit more like you. Even though you never met your grandchildren, Adam and Anthony, Angela and I made sure they know about you as much as we do. I hold you in my heart always. Till we meet again. Your loving son Tonino. To my fellow Italian Canadians and PanoramItalia readers, thank you for allowing me to express my gratitude and undying love for my mother on, this, the 30th anniversary of her death.

Tony Zara, editore di Panoram Italia

Tony Zara, Publisher of Panoram Italia

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Storie di vita e tradizioni

“When the Saints Go Marching In” Tutti i Santi Ognisanti By Amanda Fulginiti

www.panoramitalia.com G h o u l s, w i t c h e s a n d g h o s t s m a y r o a m t h e street on all Hallows Eve here in Montreal, but to our Italian friends across the pond there is no such cliché. This is probably because around the same time that our children run around on a sugar high, they celebrate what is called Tutti i Santi Ognissanti (aka All Saints Day): a national Catholic holiday on the first of November commemorating the Saint Martyrs.

emembering saints and martyrs and dedicating a specific day to them each year has been a Christian tradition since the 4th Century AD, but it wasn’t until 609AD that Pope Boniface IV decided to remember all martyrs. Originally May 13th was designated as the Feast of All Holy Martyrs. Later, in 837AD, Pope Gregory IV extended the festival to remember all the saints, changed its name to Feast of All Saints and changed the date to November 1st. The reason for the switch was to replace the pagan festival of celebrating the return to earth of witches and demons during the beginning of agricultural dormancydoes October 31st ring a bell? The idea behind this new holiday was that if you missed praying to the saint on his/her specified date, you could make up for it on November 1st. The following day, Commemorazione dei defunti or All Souls Day, is reserved to honour loved ones who are deceased and who are currently in purgatory. Italians celebrate the two holidays together, both in association with the Fall harvest. The festivities begin the evening of October 31st where they gather together to indulge in a typical feast. The menu usually includes the new unfermented wine from the year’s harvest, known as Ribolla or Novello. Later, when children are put to bed, small presents are placed around the house to be found the following morning. This is done because children are told that if they behave well the souls of the deceased family members will remember them and bring presents. After the goodies have been collected, everyone goes to mass and followers are required to try not to do any servile work for the rest of the day. On All Souls Day, they proceed to the cemetery to visit the graves of their loved ones. It’s customary to bring offerings of Fall flowers to decorate the graves. That evening another feast is enjoyed and the menu here usually includes such things as peas or lentils, which are considered Soul Food. Many homes will set empty places and leave the door open for the souls of the deceased. And now for the best part: the feast is finished up by indulging in the sweet cookie known as “Ossi di Morto” or “Bones of the Dead”. v

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Life Stories & Traditions

Occhio, malocchio, prezzemolo e finocchio By Sabrina Marandola

If you`re looking for a foolproof way to spark an animated discussion a r o u n d a n I t a l i a n d i n n e r t a b l e, t r y this: ask people if they believe in m a l o c c h i o ( Th e E v i l E y e ) . A g a t a D e Santis did... and it led to a 52-minute documentary. obody talks about it,” says De Santis, who grew up in an Italian home hearing about malocchio , yet never actually learned anything about it. “But everybody has a story about malocchio .” For De Santis, the “evil eye” has been on her mind for more than a decade. The documentary filmmaker graduated from university in 1996, which is around the same time that she came across a book all about the evil eye. “I started doing a lot of research on malocchio, and I was very surprised at some of the things I’d learned,” De Santis says. “First of all, it’s not just Italians who believe in the malocchio . It’s a belief that exists in so many cultures. And second, there are generations of believers. It’s one of the most widely held superstitious beliefs of all time, dating back to ancient Egypt 5,000 years ago. “Greeks, Portuguese, Italians, Haitians... these are all cultures that believe in the malocchio,” De Santis says. As the quick-paced, dynamic film explains, malocchio is the belief that someone can unintentionally make another person physically ill by envious glances or jealous thoughts. The belief is that evil eye can cause ailments such as a headache, a stomach-ache, or in extreme cases, even paralysis or death. The cure? A simple phone call to a “healer,” who is almost always a woman, with the know-how to cure it. De Santis’ film Malocchio [The Evil Eye], which was 5 years in the making, takes the viewer on a journey

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both around the world, and into De Santis’ conflicted mind. The 36-year-old explores the streets of Montreal, New York, British Colombia, and even the narrow alleys in the small town of Eboli in Italy, in search of an answer: Is malocchio real and does she believe in it? De Santis meets experts and academics who have spent years researching malocchio, and written hundreds of pages on the topic. “I was really surprised that none of the experts were just ready to dismiss it,” she says. “They acknowledged that for so many people and believers, this is real.” De Santis heads to a chemistry lab and has a scientist perform an experiment to try to get some concrete data on this superstition. And she also gets input from la famiglia. De Santis’ own mother says she can cure malocchio , and Aunt Franca swears her headache is gone as soon as a few prayers are whispered and drops of olive oil disperse in a bowl of water. “I knew I wanted to film my mom and my aunt just talking about it,” De Santis says. Her brother Peter - an engineer by profession, and therefore a malocchio skeptic - also chimes in. “Peter had never heard about malocchio, so I asked my aunt to explain to him what malocchio is, and I turned on my camera. They just went on and on. I knew right away it would be a crucial part of the film,” says De Santis, who admits the spontaneous and animated discussion between her brother and aunt is one of her favourite scenes in the film.

Malocchio [The Evil Eye] also takes a look at prevention. Viewers are shown a gamut of amulets, or charms. From the red bull’s horn hanging from the car rearview mirror, to the hunchback man, all these charms are familiar to many Italians - both old and young. “I assumed I would not be able to find young-generation Italians who believe in malocchio. But that was not the case - at all!” De Santis says. In the documentary, young Italian-Montrealers in their 20s and 30s share some of their personal stories about malocchio , and some say they learned how to cure it too. De Santis says she was surprised at how much buzz the topic of malocchio was able to generate and how many self-confessed believers there were. “As I was talking to people, the line came up all the time: It’s not real, but I believe,” she says. “It seems to make no sense, but what it means is that the logical part of you won’t admit it’s real, but deep-down you don’t want to dismiss it either, in case it is real. So people choose to believe.” So what will you do the next time you have a headache? Pop a pill for it, or call the old Italian woman who lives down the street, to hear her chant: “Occhio, malocchio, prezzemolo e finocchio?” For more information on Malocchio [The Evil Eye], i n c l u d i n g f u t u r e f e s t i va l s c r e e n i n g s, c h e c k o u t : www.redheadproductions.com. v

Life Stories & Traditions

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Cappuccini Marvels of the Underground By Adam Zara

If you’re the type to sometimes stray off the beaten path while touring famous cities, by all means, take a stroll down to Rome’s Cappuccini Crypt on Via Veneto and be prepared to discover a spooky hidden treat. Beneath Santa Maria della Immacolata Concezione Church lay the bones of 4,000 Cappuccini monks, deceased between 1528 and 1870, methodically arranged and on display for anyone with the stomach to witness them. Rome’s Cappuccini Crypt th

To back things up a little, the religious order of the frati minori Cappuccini arose in the 16 Century as an offshoot of the original Franciscan friars whom had supposedly strayed away from the manner of life that Saint Francis of Assisi had envisioned. Fast-forward over one hundred years, with the Cappuccini already well established in their Roman friary, and the issue of cemeterial space would push the order to take on a highly unusual practice regarding their dead. It is said that because the soil in the Church’s crypt was directly imported from the Holy City of Jerusalem, it made for a very desirable resting place for many people. Hence, due to overcrowding, the friars began to exhume and dismantle bodies as of 1631 to make way for new occupants. The bones of the unearthed were then used to create intricate, macabre designs covering the walls and vaults of five rooms within the crypt. The appropriately named ‘Crypt of the Skulls’, ‘Crypt of the Pelvises’, and ‘Crypt of the Leg Bones and Thigh Bones’ contain their respective artfully stacked bone-types, forming niches containing the still decaying bodies of monks dressed in their habit. The vaulted ceilings are decorated with floral patterns, also made-up of bones. Even the hallway is adorned with strikingly beautiful chandeliers made from - you guessed it human bones. Though unclear at first, the purpose of this whole gruesome display becomes transparent when coming upon a chilling inscription placed beside the skeleton of a child arranged to look like a grim reaper: “Quello che voi siete noi eravamo/ Quello che noi siamo voi sarete” (What you are now we once were/ What we are now you will be). The crypt acts not only as a reminder of the fragility of life, but also of how insignificant this life is when weighed next to eternity.

Palermo’s Cappuccini Catacombs Rome’s boney gravesite isn’t the only grisly gift our Cappuccini brothers have left us to gaze upon. Not to be outdone, the catacombs beneath Palermo, Sicily’s Cappuccini monastery arguably surpass its Roman counterpart in terms of shock-factor.

Time… to think about getting an A grade from your children.

The Sicilian monastery also outgrew its cemetery in the 16th Century, prompting monks to excavate crypts below it to place their deceased brothers. In 1599, Brother Silvestro da Gubbio became the first to be mummified and placed int the catacombs. While they were initially intended exclusively for dead friars, being entombed in the Cappuccini Catacombs eventually became a sort of status symbol for the Palermitano elite who would specify these last wishes in their wills. Until the early 20th Century, over 8,000 corpses were placed below the monastery. The mummified remains are eerily displayed out in the open, lining the halls, with many pinned against the wall standing upright, and others stacked in shelves, open coffins, or set in poses. The halls are divided into categories reserved for men, women, virgins, children, priests, monks, and professionals, each one dressed in their Sunday best. Religious figures would be dressed in their respective vestments, babies in christening gowns, soldiers in uniform. Relatives would visit the deceased to join hands in prayer and maintain the body in presentable condition. Some bodies are noticeably better preserved than others. It’s believed that the particularly dry atmosphere in the catacombs allowed for the natural mummification of the bodies. The dead were laid on shelves to allow them to be completely dehydrated. A full year later, the bodies would be rinsed in vinegar, dressed up, and sent to their proper room. One of the last and most famous to be interred in the Cappuccini Catacombs is the body of two-year-old Rosalia Lombardo. Laid to rest in 1920, Rosalia’s body is so remarkably preserved that she has been dubbed “Sleeping Beauty.” The embalming procedure, which was recently rediscovered after being lost for decades, was established by Doctor Alfredo Salafia and consisted of formalin, alcohol, glycerin, salicylic acid, and, most importantly, zinc salts to give the body rigidity. When all is said and done, it’s safe to say that these two tours aren’t exactly for the faint of heart. Few experiences can match the intensity of literally staring death in the face hundreds of times over. In terms of down-right disturbing locations, the Cappuccini monks have definitely set the bar high with these ones. Wandering through the Catacombs of Palermo and the Crypt of Rome will not only give you nightmares, but also forever alter your perception of mortality. v

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Life Stories & Traditions

Italiano per sempre: la vita di Vito Maurovich Carlotta Morteo

Vito Maurovich

ome lui e sua moglie ci sono 10.000 giuliani-dalmati in Canada e 340.000 giuliani-dalmati nel mondo. La loro è una storia di emigrazione, come quella di tantissimi emigrati italiani, ma è una storia unica, legata all’evoluzione particolare dell’Istria, del Carnaro e della Dalmazia. Questa zona geografica si estende da Gorizia a Ragusa, passando per Trieste, Pola, Fiume, le isole di Cherso e Lussino, lungo la striscia adriatica italo-croata. Per secoli, la zona è stata bramata da diverse potenze per la sua posizione strategica sul mare, all’incrocio di frontiere contestate. I confini dalmati sono stati il centro di tensioni e di politiche razziali tra slavi e italiani che hanno segnato la storia tra il 1400 e la fine della seconda guerra mondiale. Alla caduta del regime fascista nel 1943, la Germania occupa le città di Trieste, Gorizia, Pola, Fiume e Zara. Allo stesso tempo inizia la lotta dei partigiani di Tito in Istria in cui muoiono migliaia di italiani, molti dei quali buttati nelle foibe, (crepacci carsici naturali) tipiche di quelle parti. Trentamila dei seicentomila istriani italiani vengono trucidati. Nel 1945, i tedeschi vengono cacciati, ma gli iugoslavi occupano gran parte del territorio. Dael 1947 inizia l’esodo di 150.000 italiani verso l’Italia continentale, le Americhe, l’Australia e la Nuova Zelanda. Gorizia verrà divisa tra l’Italia e la Slovenia e Trieste rimarrà l’unica città con la bandiera tricolore. In quegli anni Vito Maurovitch scappa perchè sente di non avere futuro nella sua terra ormai occupata. A notte fonda incontra due suoi compagni nel bosco, un italiano e un filocroato. Non avevano parlato della loro fuga a nessuno, tranne forse alla mamma. In quei tempi, la discrezione e il silenzio salvavano la vita. Così, con una bussola ed un piccolo zaino, i due giovanotti di poco più di 18 anni saltano su una barchetta, mettono su la vela e si fanno portare dal soffio della Bora. Un comandante giuliano di una nave li prende a bordo e li porta a Catania. Da lì, Vito Maurovich manda un telegramma ai suoi familiari per far sapere loro che è vivo. Pensa di tornare a Venezia da sua sorella sarta per trovare lavoro e si mette in viaggio di nuovo. Arriva a Venezia con la barba lunga, i vestiti e le scarpe rotte, tanto che una collega di bottega dice alla sorella “c’è un povero alla porta”. Per un anno e più lavorerà a Venezia, non sapendo forse che la sua fidanzata e futura moglie, intanto, è stata catturata dai comunisti e mandata in Croazia nei campi di lavoro. A causa della situazione politica e militare alla fine della guerra, l’Istria e la Dalmazia si svuotarono dei loro italiani che arrivarono in Italia dove però non furono riconosciuti come tali. I giuliano-dalmati diventano profughi. L’italia, uscita dal conflitto semidistrutta, attraversa un

Tu t t o i n i z i a c o n u n i n c o n t r o. Vi t o M a u r o v i c h , Giuliano-Dalmato nato ad Ossero vive in Canada dal 1951. Quando è nato, l’Istria e la Dalmazia erano regioni italiane. Dopo la guerra, però, sono passate alla Croazia - che allora si chiamava Iugoslavia - e lui si è ritrovato senza terra. periodo critico con poco lavoro e mancanza di alloggi. L’ a r r i v o d e g l i e s u l i a g g r a v a u n a s i t u a z i o n e g i à precaria. Vengono creati centri di raccolta ma è l’intervento dell’International Refugee Organization (IRO) ad offrire a molti una vera soluzione, e cioè lasciare l’Italia e l’Europa pagando un biglietto transoceanico di sola andata. E così, nel 1951, Vito Maurovich arriva in Canada, da solo. Lavora in una miniera di grafite nel Nord Ontario per ottenere il libretto di lavoro. Poi va a Montreal, fa il carpentiere o lava piatti settantadue ore per settimana per guadagnare 18$, oppure fa l’aiutante in pasticceria, insomma si arrangia. Quando finalmente mette da parte $1200 dice alla moglie di raggiungerlo. Si sposano una settimana dopo il suo arrivo, nella chiesa di Notre Dame, in pieno inverno. Con il tempo, Vito fa carriera tra Toronto e Montreal: diventa capo pasticcere, poi direttore di distretto per il famosissimo Eaton’s. Per lui, il Canada è stata la porta verso una nuova vita. “Quando si perde la libertà, si perde tutto. In Canada sono libero” mi ha detto Vito. I Maurovich sono tornati ogni tanto in Italia a trovare i loro parenti rimasti là, hanno rivisitato la loro terra natale, ma le cose sono cambiate molto e non rimpiangono affatto la decisione di partire. Ciò non toglie che ricevono i giornali delle loro isole e le pareti di casa sono tappezzate di quadri delle loro parti. Non hanno ripudiato il passato ma hanno sempre guardato verso l’avvenire. È gente forte e generosa, allegra e saggia, e soprattutto orgogliosa dei figli e nipoti canadesi. Una nota nostalgica però c’è. ll mondo che hanno lasciato gli Istriani, Quarnerini, Fiumani... non esiste piú. Come Ulisse, hanno lasciato la loro Itaca, hanno attraversato i mari, superato difficoltà, approdato su nuove spiagge. Ma tornare alla loro Itaca, alla loro Penelope, non e’ più possibile perché Itaca non c’è più. A differenza di tanti italiani emigrati da altre regioni italiane, ai Giuliano-Dalmati non è permesso riavere un pezzo di terra, una casetta a cui tornare. Per di più il loro gruppo etnico in Canada e altrove non si è mai arricchito e consolidato con più recenti arrivi (qualcuno è arrivato negli anni 70 dopo la firma del trattato di Osimo che segna la rinuncia del rimanente territorio italiano della zona B, ma la maggioranza è arrivata negli ultimi anni della guerra e nei primi anni 50). Con loro -la generazione di Vito Maurovich e di sua moglie- si esaurirà la storia dei Giuliano-Dalmati. Per questo, Vito ha contribuito a fondare nel 1992 l’Associazione dei GiulianoDalmati, che permette loro di radunarsi, incontrarsi e condividere una storia ed una cultura comune, poco conosciuta anche in Italia. Vito Maurovich ha scritto molte poesie. Non hanno bisogno di commenti. Parlano da sole.

ITALIA, MADRE PATRIA NOSTRA, ASCOLTACI Siamo nati sotto il sole dell’Adriatico, figli siamo d’Istria, Fiume e del Carnaro, crescevam felici e completamente ignari di questo destino per noi tanto amaro! Eri tu la nostra Patria il nostro orgoglio, il vessilio tricolore era la nostra bandiera, che a Roma sventolava al Campidoglio. Eri per noi il credo, una madre vera! Patria amata, figli tuoi siam sempre stati Molti sacrificarono la vita in tua difesa, tanti altri sparsero il loro sangue per te, triste il ricordo che sul cor oggi ancor pesa. Per 50 anni e più siamo stati ignorati, del tutto omessi dalle pagine della storia, mentre noi tutti abbiamo sacrificato per te, E ci fu chiusa la porta. Quanto è triste questa memoria! Tanti sono gli anni passati da allora. Certo che nei nostri ricordi non siam fieri! Le nuove generazioni alla nostra si susseguono Mentre le memorie si seppelliscono in sconosciuti cimiteri. Nuovo millennio, nuova era per la nostra storia, In te si sveglia amor materno per figli abbandonati, Per noi esuli nei lontani angoli della terra, e per tutti coloro infoibati e trucidati. Le cicatrici dal cuor nostro non si cancelleranno mai, non si allevia in noi il dolore di figli abbandonati, Da un cuor ormai vecchio che ha tanto sofferto, per doveri e diritti sempre a noi negati. O Madre Patria nostra, ti preghiamo con ardore Scrivi la storia nostra nei libri e testi di scuola Che ben si sappia di chi non t’ha mai scordato Questo è tutto ciò che il cuor nostro vuole! v

Life Stories & Traditions

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Teaching English in Italy A Promising Job Market

by Mirella Ionta

English is recognized as one of the 23 official languages of the EU, but it is also the most taught foreign language within the European communities. ake Italy for example, where Italians are motivated more than ever to learn it and are often Tlearning encouraged to do so by their employers. Thus, while it may appear to be a daunting task, to teach English as a second language can be an excellent way to gain valuable life and career experiences- not to mention to get yourself better acquainted with il bel paese. Although teaching positions in Italy are not particularly high-paying, they are highly coveted due to the boundless and once-in-a-lifetime experience they reputably offer. Therefore, candidates should prepare for severe competition by completing their degrees from an accredited university and a CELTA, a certificate acquired after a one-month long study at the LSC in Toronto, which serves as an official University of Cambridge CELTA Training Centre. However, the website link tefl@britishinstitutes info may present alternatives to CELTA training in Toronto such as an online distance-learning program. It is widely known that European standards for teachers of foreign languages are generally higher than those for positions in Korean or Chinese schools. It is possible, nevertheless, to land a remunerated summer stint with no completed degree from your alma mater, but an internationally-recognized TEFL (Teaching English as a Foreign Language) certificate and “permesso di soggiorno” are absolutely mandatory for non-EU citizens. As much as many Italian language schools prefer British teachers, many persistent TEFL teachers effectively curtail this customary pretension. At McGill University, Oxford Seminars provide a free information session about teaching English as a second language and how to study and obtain a TEFL certificate (visit their website for their next session). American and Canadian teachers are becoming increasingly popular abroad, but private language schools will not help them gain working visas. It is advised to apply for one before scanning TEFL-appropriate internet sites for job announcements. An interview is demanded once an employer decides to seriously consider a candidacy for the position. It is important to write a resume that sells you to employers and to present yourself in a way that conveys who you are and what you have to offer. A great TEFL teacher presents the many cognates existing between the two languages and insists that the learner commits irregular verbs in the simple past to memory. Animated lessons involving multi-media and homework assignments requiring the downloading of BBC podcasts and other free e-learning websites will provide learners with limitless avenues to learn English creatively and autonomously.

More over, since many work contracts are written in Italian and are typically ten months for the extent of the regular school year or two months for summer sessions, the newly-hired should read them well before agreeing to the terms. Italy’s diverse landscapes, culture, and history make it one of the most popular TEFL destinations in the world. But, do your research, as conditions vary from the North to the South. Some teachers have revealed the poor conditions in the South; but, these regions also have their advantages. Cathy, as a classroom of adult learners affectionately addressed her four years ago, is one Canadian teacher who traded her sedentary office life for a TEFL certificate, and made her way to Southern Italy. In respect to salary she said: “Salaries earned there are not reduced proportionately to the lower overall cost of living as rent is relatively inexpensive so much so that it is almost half than that in Northern cities. This makes a huge difference if you are on a tight budget and are saving money for your sojourns to Puglia or Capri,” she reveals, adding that many schools provide furnished apartments, sparing TEFL teachers stress caused by apartmenthunting. “I made sure that the language institution paid for my accommodation and part of my travel expenses, and had available on the school premises such resources as a multi-media room, photocopy machine, and library,” she expresses. “Although it was a long process to acquire the necessary documentation, the experience was positive and memorable. It is especially suitable for university graduates wishing to build their resumes and develop their teaching skills in a foreign setting, and for experienced teachers who shy away from complacency.” Canadian teachers have a particular advantage over their British and American counterparts. Because of Canada’s geographical and cultural proximity to the United States, as well as its strong legal and cultural bonds with England, Canadians are familiar with the differences existing between British and American English. They can neutralize the British and American accents and serve as the by-product of and mediators for the linguistic variations enduring between the two nations. For those Italo-Canadians wishing to reconcile their habitual oscillation between standard Italian and the regional dialect of their parents, lessons can certainly serve as a trade-off between instructing English and advancing your knowledge of Italian.Whether the learner is preparing for business acumen, or learning English to solicit directions when traveling abroad, TEFL teachers and learners alike have everything to gain from these endeavours. v

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Newlyweds Sposi novelli Nouveaux mariés 200 9 / 2 0 1 0 For those that have recently tied the knot, send us your wedding picture to be published in our December/January issue. Include a picture of the happy couple, their name and the wedding date, as well as a minimum $30.00 contribution to the Friends of Panoram Italia program. To contribute visit www.panoramitalia.com and click Support us or mail your contribution by cheque to our address. Deadline for submission : October 22 nd 2010 Per tutti gli sposi novelli, mandateci la vostra foto di matrimonio e la pubblicheremo nella nostra edizione di dicembre/gennaio. Con la foto indicare anche i nomi della coppia e la data di matrimonio. Per avere la vostra foto pubblicata, è necessario fare un contributo minimo di 30,00$ agli Amici di Panoram Italia. Per contribuire visitare www.panoramitalia.com e cliccare su «Contribuite» o mandare il vostro assegno al nosto indirizzo. Scadenza per l’invio della foto : 22 ottobre 2010 Pour tous les nouveaux mariés, envoyez-nous votre photo de mariage et nous la publierons dans notre édition de décembre/janvier. N’oubliez pas d’indiquer les noms du couple et la date de mariage. Pour faire paraître votre photo, vous devez faire une contribution minimale de 30,00$ au programme Amis de Panoram Italia. Pour contribuer visitez www.panoramitalia.com et cliquez sur « Contribuez » ou postez votre contribution par cheque à notre adresse. Date limit e : 22 octobre 2010

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Food & Travel

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Si prega di non toccare la mia Nutella By Amanda Fulginiti

Don’t touch my Nutella. Seriously, don’t. Because for me and many other Italians, Nutella is much more than a chocolatehazelnut spread. It’s a cultural icon, the subject of memorable movie scenes, books, song lines, and most obviously, it ranks at the top of our comfort food list. o it’s no wonder that the mere suggestion that stricter European food labelling rules could harm the beloved product would have Italians up in arms. In June of this year, the European Parliament approved a draft measure requiring all processed foods to have fat, salt and sugar contents clearly labelled on packaging. The initiative is aimed at fighting obesity and giving consumers more informed choices. The legislation, which requires final approval from the EU’s executive body, was seen as a compromise because the parliament rejected a related measure that would have required food with lots of fat, sugar or salt -like Nutella- to carry red warning stickers. A government official launched a “Hands off Nutella” committee which was quickly supported by the governor of Nutella’s home base in Piedmont. The war became official when La Stampa declared on Thursday, June 17, 2010: the “Nutella Battle in Europe”. Francesco Paolo Fulci, the Vice-President of the Ferrero Group, said new regulations approved by the European parliament, which have yet to be endorsed by the council of ministers, could put Nutella “outside the law”. All this commotion has left many to reflect upon its long time ad: “What world would this be without Nutella?” As the most often quoted “must have in the pantry” in Panoram’s Living Italian Syle section, it is clear that we could not fathom such a world.

How did this tasty treat come to be? Well, Nutella’s history is as rich as its flavour. It was created in the 1940s by Pietro Ferrero, a pastry maker and founder of the Ferrero Company. At the time of its inception, very little chocolate was used because cocoa was in short supply due to WWII rationing. As clever as he was, Mr. Ferrero -to extend the chocolate supply- opted for Hazelnut as his main ingredient because they are plentiful in the Piedmont region of Italy. Nutella was actually initially made in loaves and wrapped in tinfoil so it could be sliced and placed on bread for mothers to make quick sandwiches for their children. However, it comes as no surprise that at first, many children simply discarded the bread... Mr. Ferrero altered the product into a paste that came in a jar so that it could be spread. This became known as “supercrema gianduja”. Later it became known as “pasta gianduja”- “pasta” which means paste and “gianduja” which is the name of a famous carnival figure who represents the archetypal Piedmontese character (found in the first advertisement for the product). Gianduja is also one of the masks of the Italian Commedia dell’Arte: the mask depicts an honest peasant of Piedmontese country land who has a certain inclination for wine, gastronomy and beautiful girls. In 1964, this version was renamed “Nutella,” with the origin of the word being “nut” and the “ella” giving it a soft yet sweet ending. Personally, learning about its history has only strengthened the bond I share with the dolce that has been with me through thick and thin. But I have begun to realize that each person enjoys and appreciates their Nutella in different ways. I have taken the time to compile a list of the types of Nutella lovers. I am not abashed to say that at one time or another I have fallen into each category. But, I know I am not alone. So let us begin. First there is the Spooner which allows (in terms of efficiency) the excavation of the most volume of Nutella; the Naturalist, he who does not want anything but his fingers to come between him and his Nutella; the Dipper, who uses pretzel sticks, breadsticks, and even fruit to dip away at the Nutella; the Spreader, a classicist whose weapon of choice -the knife- is used in a religious fashion to cover all corners of a piece of loaf bread; the Sandwicher (paninaiolo), who, by using a warm baguette, prefers to lovingly surround Nutella with carbohydrates before surrendering to temptation; the Chef, this person has a high degree of selfimposed control and prefers not to eat Nutella in its natural form, but cooked or baked into other dishes (not because they don’t like the taste of Nutella on its own, but because they like it too much and are afraid of themselves); and lastly the Stacker, who stacks as much Nutella as possible onto the surface level available- in essence the accompaniment is merely an afterthought and it is Nutella which takes the lead role. So, go ahead and indulge. Nutella is more than just a “chocolaty hazelnut spread”, it is a way of life. Whether between two slices of bread, on top of a queue-de-castor or simply by itself, Nutella is truly a gift sent by the gods. v

Food & Travel

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To tchin or not to tchin: The do’s and don’ts of wining and dining By Loretta Di Vita

Amid the persistent clanking of plates and buoyant chatter, the preposterous statement rose above the restaurant din and hung in the air like a heavy blimp about to deflate to the ground: “Waiter, Waiter... my wine is warm; may I have some ice?” hen it comes to wining and dining, stories of etiquette gaffes abound. Ask any restaurant server or wine steward about customers’ off-behavior and they’ll have plenty of stories to recount. While many faux pas relate to handling cutlery and difficult food, some of the most notorious blunders have to do with the ordering and drinking of vino at the table. Not everyone has the ability or inclination to become a wine connoisseur, but all sophisticated diners would benefit by upping their wine etiquette knowledge. As with other activities that occur at the table, the drinking of wine comes with its own designated set of rules. Many diners panic when that dreaded folder with the silky tassel dangling from its spine arrives at the table -the wine list- and they’re expected to make a selection. No one wants to disappoint a guest, or worse, a business client (gasp) and choose a wine that doesn’t meet their discerning standards. This is where the server or, in more chi-chi restaurants, the reliable sommelier [wine steward] comes to your rescue. Faking your way around the wine list is a risky proposition that may leave you red-faced with embarrassment when a curious dining companion - intrigued by your apparent wine savvy- starts to ask, um, more challenging questions. Tip to remember: When in doubt, ask for assistance and embrace expert advice. Everyone has heard that specific wines are better paired with specific foods. But some rules are meant to be broken, and the familiar preconceptions that red wine should only be drunk with red meat dishes, and white wine only consumed with chicken or fish, can be interpreted according to palate. Ask your guests if they have any special preferences. Their choice may not be the best, but as any gracious host knows: If the guest is content, that’s all that really matters. Speaking of jovial guests, we’ve all seen the composed diner who, after imbibing an extra glass or two of Pinot Grigio, morphs into the center of unwanted attention. Surely we all agree that making a scene is disruptive to other diners and to restaurant staff. It’s important to know our limits and pace ourselves accordingly, but as hosts, we have the additional responsibility of making sure that our guests’ every want and whim is satisfied. So what do you do with the kind invitee who has had enough to drink but wants more? One foolproof strategy is to simply stall a refill or the ordering of another bottle

of wine. If you wait long enough, you may conveniently find yourself in the comfort zone of the dessert course where you can tactfully slip your guest a strong, sobering cup of coffee. Some people run into precarious territory when they succumb to the affectations of full-blown wine tasting rituals at the dining table. No one expects a diner to swirl their glass in repeated air circles and swish their wine from one side of their mouth to the other and back again. Save the theatrics. A simple sniff upon sipping the wine from the glass and a gentle rubbing of the cork to check moisture should be enough to assess a wine’s character and integrity. When the wine is clearly not up to par -say, if overly acidic or murky- simply ask for the bottle to be replaced. It’s your prerogative as a paying customer (just remember that diplomacy will ensure better service than table-top fist banging and loud complaints). Since a few millennia, revellers of diverse cultural backgrounds have asked themselves the common question: “To clink or not to clink?” In ancient Greece, where one of the preferred methods for knocking off an unwanted guest was to slip a little something toxic into their glass, wary guests soon got wise and started to take the precautionary habit of boldly clinking glasses with their host, to ensure that any nasty substance in their glass might spill

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over into the malicious host’s glass. Today, in less threatening social situations, this etiquette decision -like many other ones- depends on context and the familiarity- level you hold with the people with whom you are dining. Most bon ton doctrines and advocates of best form will say: “Never clink”. I say: “Sometimes clink”. Take your cues from your host, guest of honour, boss or the most prominent person at the table. If they feel the urge to raise their glass and demonstrate their joy in the moment by making contact with your glass, then by all means clink away. If they merely lift their glass and bring it straight to their lips, then follow suit. Many a glass of wine has been spilled in the heat of revelry at the table. If you pour some on yourself, ask to be excused from the table and tidy up in the privacy of the restroom. If you spill any on someone else, apologize, ask the server for a clean napkin to blot up the mess, and offer to pick up the dry-cleaning tab. As noble as your intentions to help might be, limit the damage: Resist the impulse to dab the napkin all over the victim’s power suit. Hand them a clean napkin and let them do the mopping up. When everything is under control, resume festivities by raising your glass and making a toast to Bacchus, the god of wine. Salute! v

Food & Travel

www.panoramitalia.com Recipes: Franca Mazza

ricette - recettes - recepies

Action de Grâce!

Photos: Farhi Yavus

Mezzelune à la citrouille / Mezzelune con ripieno di zucca Taillez les pâtes en rondelles de 5 pouces. Dans une poêle, faites cuire l’oignon et la citrouille dans l’huile d’olive à feu moyen jusqu’à ce qu’ils soient tendres. Salez et poivrez au goût. Dans un grand bol, mélangez la ricotta, 100 g de parmesan, les feuilles de sauge et le contenu de la poêle. Versez une cuillère à table de ce mélange sur chaque rondelle de pâtes et refermez-les en demi-lunes pour sceller la farce à l’intérieur. Réfrigérez. Faites bouillir de l’eau salée dans une grande casserole et plongez-y les pâtes jusqu’à ce qu’elles flottent à la surface. Égouttez et laissez de côté. Faites fondre le beurre à feu doux dans une poêle à frire et ajoutez ce qu’il reste de parmesan. Jetez-y ensuite les pâtes, puis salez et poivrez au goût. • 500 g (18 oz) de pâtes fraîches, en feuilles • 300 g (10,5 oz) de citrouille, en dés • 1/2 tasse (125 ml) d’oignon blanc, en petits dés • 1/4 tasse (60 ml) d’huile d’olive extra vierge • 500 g (18 oz) de fromage ricotta

• 300 g (10,5 oz) de fromage parmesan, râpé • 4 feuilles de sauge fraîche, tranchées fin • 6 cuillères à table (90 ml) de beurre • Gros sel de mer, au goût • Poivre, au goût

La mezzaluna est une pâte farcie en forme de demi-lune. Comme elle requiert peu de temps de cuisson, on cuit habituellement la farce séparément. Il faut toujours tenir compte de la farce lorsqu’on choisit une sauce; évitez les sauces relevées si la farce est elle-même relevée. Mezzelune con ripieno di zucca

Foie frit au thym Fegato di vitello all’aglio e timo Dans une poêle à frire, faites sauter l’ail dans l’huile d’olive à feu moyen-élevé pendant 1 ou 2 minutes, jusqu’à ce que l’arôme se dégage. Ajoutez le foie de veau et salez et goût. Ajoutez ensuite le thym et faites cuire 5 minutes. • 1,5 kg (3,3 lb) de foie de veau, lavé et coupé gros • 6 gousses d’ail, écrasées • 3 cuillères à table (45 ml) d’huile d’olive extra vierge • Gros sel de mer, au goût • 1 poignée de thym frais, haché

Réputé pour ses qualités nutritives, le foie provient généralement du veau, du poulet, de l’agneau ou de l’oie. Comme le foie accumule des substances non-désirées avec le temps, il est préférable d’utiliser celui d’un animal jeune. v

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vino - vin - wine

Les vins du Piémont Visite du terroir des Langhe par Gabriel Riel-Salvatore

ers la fin octobre, l’arrière pays vinicole piémontais livre un spectacle visuel époustouflant. Les milliers d’hectares de vignes de la région se transforment alors en une symphonie de couleurs digne des toiles des grands peintres impressionnistes du 19e siècle. Le panorama exhibe des rangées de plans arborant des tons de jaune, d’orange et de rouge qui épousent les courbes escarpées des collines de la région. Ces alignements caractéristiques, qu’on appelle localement rittochino ou girapoggio selon qu’ils dévalent la pente ou la sillonnent en escalier, constituent la signature traditionnelle des Langhe, dans la province de Cuneo. C’est dans ce secteur historique que l’on retrouve les meilleurs terroirs du Piémont. Blotties au pied des Alpes à environ une heure au sud de Turin, les Langhe bénéficient d’un microclimat idéal pour la culture de la vigne. Coupées en deux par le fleuve Tanaro, le nord forme la zone de Roero surtout reconnue pour ses vins blancs à base d’arneis, tandis que le sud, la Langa, englobe les fameuses appellations de Barolo et de Barbaresco à base de Nebbiolo qui produisent parmi les meilleurs vins rouges d’Italie. Sur le marché international, les vins de la région des Langhe se distinguent par leur forte personnalité. Le Nebbiolo est sans conteste le cépage qui produit les vins les plus intéressants de la région. C’est sur les pentes des villages de Barolo et de Barbaresco que ce cépage, appelé localement Spanna, Chiavennasca, ou Picotener, s’exprime avec le plus d’éloquence. Les termes sorì ou bricco, qui accompagnent souvent le nom des vins de Barolo et de Barbaresco correspondent à un cru appartenant à une ou plusieurs maisons vinicoles. Brunate, Cerequio, et Cannubi ; Asili, Martinenga, et Sori Tildin comptent parmi les grands vignobles du Barolo et du Barbaresco.

Visiter les Langhe Les Langhe regorgent d’activités pour les amateurs d’histoire, de plein air et de gastronomie. Il est possible de visiter la région en quelques jours, mais je vous conseille de vous y attarder au moins une semaine afin de savourer pleinement les splendeurs de l’endroit.

Alba et les environs Située à mi-chemin entre Barolo et Barbaresco, la ville d’Alba, jolie bourgade au caractère huppé et sophistiqué, accueille chaque année au mois d’avril l’événement Vinum

qui regroupe près de 200 producteurs de vin de la région pour une grande dégustation à ciel ouvert. Je vous recommande aussi d’y venir à l’automne durant l’incontournable Fiera del Tartufo (foire de la truffe), la plus courue au monde. Il vous sera alors possible de vous procurer la fameuse truffe blanche d’Alba. Fraîche, elle dégage un parfum sans pareil. Attention, à 1000 Euro le kilo le fameux tubercule vaut son pesant d’or ! Les amateurs de shopping apprécieront aussi les boutiques de luxe de la via Maestra qui mènent à la Piazza Risorgimento communément appelée Piazza del Duomo où se dresse l’admirable Cathédrale romane de San Lorenzo. Cette place publique abrite deux restaurants : la trattoria La Piola et le Piazza Duomo, appartenant tous les deux à la famille Ceretto, aussi célèbre pour ses vins. Les deux restaurants ont pour philosophie de mettre en valeur l’incroyable héritage gastronomique et culinaire des collines des Langhe et du Roero. Le premier selon une approche plus traditionnelle et accessible dans une formule wine bar. Le second dans un cadre plus expérimental et recherché : terrain de jeu du chef Enrico Crippa, le restaurant Piazza Duomo propose un menu qui décompose et recompose savamment les ingrédients locaux en une suprême alchimie culinaire mariant saveurs et couleurs dans une harmonie rafraîchissante et réconfortante à la hauteur des deux étoiles Michelin attribuées à l’établissement. Alba compte plusieurs types d’hébergements et a l’avantage de se parcourir facilement à pied. Pour ceux qui préfèrent toutefois l’ambiance champêtre à la ville, je vous conseille de vous dénicher une chambre dans un des villages des environs. Généralement juchés au sommet d’une colline, ils offrent pour la plupart une vue impressionnante sur la région qui compense largement le temps de déplacement supplémentaire nécessaire pour y monter et en descendre. Je vous recommande particulièrement un séjour à l’auberge Case della Saracca à Monforte d’Alba. Située dans le centre historique du village, cet établissement est composé de trois anciennes demeures médiévales complètement restaurées et aménagées avec soin suivant un design réussi mariant habilement une architecture moderne aux matériaux rustiques des bâtisses. Le complexe compte six chambres à coucher en plus d’accueillir un bar à vin et un restaurant, tous les deux fréquentés et approvisionnés par les meilleurs producteurs de vins de la région.

Sur la route des vins Un séjour dans la Langa est évidemment synonyme de découverte de bons vins. Plusieurs producteurs offrent des visites guidées de leur propriété accompagnées de dégustations. Il existe aussi des itinéraires suivant les « routes des vins » de la région, disponibles sur le site officiel du regroupement Strade del Barolo e grandi vini di Langa . Il est préférable de réserver à l’avance et de prévoir un budget pour vos visites et pour l’achat de bouteilles.

Barolo: au sud d’Alba Onze villages composent la zone du Barolo qui tire son nom du bourg homonyme. Ceux de La Morra, Serralunga d’Alba et Monforte sont parmi les plus connus. Perché à flanc de falaise, le château de Barolo domine le village du même nom. Propriété de la famille des marquis Falletti du 13 e au 19e siècle, il abrite maintenant l’œnothèque régionale où il est possible de déguster et de se procurer des vins de la région. Le village compte aussi le musée des tire-bouchons qui présente 500 exemplaires du 17e siècle à nos jours, ainsi que plusieurs restaurants et échoppes à souvenirs. Visite suggérée: Ceretto À un jet de pierre d’Alba, la propriété de Monforte Berardina de la maison Ceretto offre une expérience unique avec son wine bar de style californien, perché dans le vide tel un tremplin accroché à l’impressionnant siège social de la maison, logé dans un ancien entrepôt médiéval. Conçu par l’architecte Giuseppe Blengini, cette plateforme surnommée le « raisin » possède un toit rétractable, comme celui d’une décapotable, et offre une vue imprenable sur le vignoble des environs. Le fameux « cube » de leur propriété de Bricco Rocche, en plein cœur du Barolo près de Castiglione Falletto, vaut aussi le détour. Inspiré du concept de la pyramide du Louvre, il a été imaginé par l’architecte David Tremlett. Cette architecture audacieuse est à l’image de la famille Ceretto qui allie excentricité et tradition dans sa philosophie d’affaire. Une signature unique qu’Alessandro, le fils de Marcello Ceretto et winemaker de la maison, cherche aussi à faire ressortir dans ses vins avec le recours à une matière première exceptionnelle et à une technologie dernier cri. La maison compte plusieurs crus dans le Barolo ainsi que dans le Barbaresco. Leur Barolo Bricco Rocche Prapò et Bricco Rocche Brunate se distinguent des autres Barolo par

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www.panoramitalia.com leur côté plus souple et raffiné lié à leur terroir unique. Producteurs à surveiller : Prunotto (Barolo Brunate), La Spinetta (Barolo Campè), Michele Chiarlo (Barolo Cannubi, Cerequio, Brunate), Aldo Conterno (Barolo Granbussia)

Barbaresco : au nord d’Alba Les flancs escarpés des villages de Barbaresco, Neive et Treiso forment le territoire du Barbaresco. On y produit du bon vin depuis l’Empire Romain, ce qui justifie qu’on s’y attarde. Reconnaissable p a r s a t o u r, l a p e t i t e b o u r g a d e d e Barbaresco possède sa propre œnothèque régionale, quelques restaurants ainsi que la Cantina Sociale dei Produttori del Barbaresco. Visite suggérée: Gaja Si les vins de Barbaresco jouissent maintenant d’une réputation égale à celle de leurs homologues du Barolo, c’est en grande partie grâce à un homme, Angelo Gaja. Grand visionnaire et homme d’affaire redoutable, il a su émuler le modèle de classification français des grands crus classés du Bordelais hissant ses vins au sommet de la pyramide de prestige de l’appellation Barbaresco. Tout comme il est communément accepté qu’un Château Latour se détaille à un prix beaucoup plus important qu’un simple Bordeaux, outre leur goût, ce qui distingue les vins d’Angelo Gaja de ceux des autres producteurs est leur prix exorbitant. Bruno Giacosa de Neive est un des rares producteurs dont les vins jouissent d’un prestige semblable aux meilleurs crus de chez Gaja. Si Angelo Gaja s’est fait connaître à l’étranger grâce à ses Barbaresco exceptionnels, il n’a toutefois pas hésité à déclasser ses meilleurs crus comme le Sori San Lorenzo ou le Sori Tildin pour s’adonner à des assemblages nouveaux, mariant le Nebbiolo aux grands cépages internationaux tel le cabernet sauvignon ou le merlot, contournant ainsi les limitations imposées par les appellations contrôlées (docg) régionales. Un rendez-vous est absolument nécessaire pour franchir la porte d’acier qui mène au domaine situé en plein cœur de Barbaresco. Si vous parvenez à pénétrer dans l’entre du dragon, des chais somptueux et une salle de dégustation exceptionnelle vous y attendent. Producteurs à surveiller : Bruno Giacosa (Barbaresco Asili et Rabajà), Pio Cesare (Barbaresco il Bricco), Marchesi du Gresy (Barbaresco Martinenga) Autres visites suggérées: Marchesi Alfieri Si le Nebbiolo est roi dans le Piémont, c’est toutefois la Barbera qui domine la région. Capable du meilleur comme du pire, ce cépage implanté au Piémont vers la fin du 18 e, est plus facile à cultiver et plus à l’aise sur les terrains plats des pleines situées autour des villes d’Asti et d’Alba. Je vous recommande fortement une visite chez les Marchesi Alfieri qui excellent justement dans la production de Barbera haut de gamme. Leurs celliers historiques dans les caves du Châteaux Alfieri à San Martino Alfieri sont admirables et leur winemaker Mario Olivero est, pour sa part, aussi intriguant et affable que ses vins. Le domaine possède aussi des villas et des chambres à louer. En revenant vers Alba je vous suggère finalement de vous arrêter dans le petit village de Prioca pour apprécier la cuisine de la famille Cordero au restaurant Il Centro. Leurs plats exquis tels que la Pancetta di maialino caramellata con purea ou les Pesche al forno ripiene con cacao e amaretti accompagné d’une sélection de quelques 600 étiquettes sauront à coup sûr vous faire apprécier encore davantage les splendeurs du Piémont. Producteurs à surveiller : Prunotto (Barbera d’Asti Costamiole), Vietti (Barbera d’Alba Scarrone), Olim Bauda (Barbera d’Asti Superiore Nizza) v

Carnet de sites web Restaurants et hébergements : www.piazzaduomoalba.it www.ristoranteilcentro.com www.saracca.com Office du tourisme : www.langheroero.it www.turismoinlanga.it www.stradadelbarolo.it

Foires et musées : www.fieradeltartufo.org www.baroloworld.it Producteurs : www.ceretto.com www.brunogiacosa.it www.la-spinetta.com www.gajawines.com www.prunotto.it www.marchesialfieri.it

Guide des vins italiens

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2010 Annuel des vins Italiens

Guide

Par Gabriel Riel-Salvatore

111 vins dégustés provenant de 12 régions d’Italie

Légende

Type de vin

Appellation controlée / zone de provenance

DOCG: Vino a Denominazione di Origine Controllata e Garantita DOC: Vino a Denominazione di Origine Controllata

Service

Notation

Vin rouge

Prêt à boire

Vin blanc

Prêt à boire ou à conserver jusqu’à l’année indiquée

Vin mousseux

IGT: Vino a Indicazione Geografica Tipica

Vin rouge

À conserver jusqu’à l’année indiquée

★ Commun (75-79) ★★ Bon (80-84) ★★★ Très bon (85-89) ★★★★ Excellent (90-94) ★★★★★ Sublime (95-100) Coup de coeur

N.B.: Les prix indiqués sont sujets à changements en fonction de la politique des prix de la SAQ.

Visit www.panoramitalia.com to download English version: 2010 Italian Wine Guide.

Majolica 2008

Majolica Cerasuolo 2009

Riparosso 2008

Podere Castorani Abruzzo Montepulciano d’Abruzzo doc 12,25 $ (SAQ # 10754252) ★★★ (84/100)

Podere Castorani Abruzzo Montepulciano d’Abruzzo doc 12,75 $ (SAQ # 11015769) ★★★ (85/100)

Illuminati Abruzzo Montepulciano d’Abruzzo doc 12,95 $ (SAQ # 10669787) ★★ (82/100)

Beau nez axé sur la la compote de cerise, accompagné d’arômes fumés et légèrement boisés. Souple et agréable en bouche, évoluant sur le cacao.

Joli vin rosé aux notes invitantes de kiwi et de melon d’eau. Gras et fruité en bouche, il évolue surtout sur le melon.

Un nez un peu vineux, rappelant la cerise et la réglisse. Une bouche assez fruitée, accompagnée d’une belle acidité.

Casanova 2007

Cuvée dell’Abate 2008

Coste delle Plaie 2006

Pan 2005

Barone Cornacchia Abruzzo Montepulciano d’Abruzzo doc 13,15 $ (SAQ # 11072878) ★★ (83/100)

Zaccagnini Abruzzo Montepulciano d’Abruzzo doc 16,15 $ (SAQ # 908954) ★★★ (85/100)

Podere Castorani Abruzzo Montepulciano d’Abruzzo doc 19,50 $ (SAQ # 10788911) ★★ (83/100)

Bosco Nestore Abruzzo Montepulciano d’Abruzzo doc 20,15 $ (SAQ # 907436) ★★★ (86/100)

Vin rustique au bouquet de charcuterie et de cuir évoluant sur une trame fruitée et fumée. Belle rondeur en bouche.

Nez présentant un mariage agréable de fruits rouges, de goudron et de réglisse. La bouche est semblable au nez, passablement équilibrée, avec une finale légèrement réglissée.

Bouquet très rustique aux notes de cuir, de tabac et de goudron. Une bouche un peu mince, mais somme toute charmante.

Joli nez légèrement mentholé, au fruité rappelant la prune et la fraise. Une bouche sapide et enveloppante aux tannins assez charnus. Beau Montepulciano.

2014 Podere Castorani 2004

2015 Jarno rosso 2005

2012 Duca San Felice 2007

Podere Castorani Abruzzo Montepulciano d’Abruzzo doc 29,60 $ (SAQ # 10383113) ★★★ (88/100)

Podere Castorani Abruzzo Colline Pescaresi igt 71,25 $ (SAQ # 10463025) ★★★★ (91/100)

Librandi Calabria - Cirò doc 19,00 $ (SAQ # 742726) ★★★ (88/100)

Nez intrigant de dattes et de figues avec une touche balsamique qui rappelle certains ripasso. Frais et rond en bouche, avec passablement de corps. Beau vin de facture assez moderne.

Bouquet sucré et complexe de goudron, de cuir et de réglisse, sur fond de petits fruits noirs. Vin puissant et capiteux, il est doté d’une longue finale réglissée.

Vin à la robe étonnamment pâle, élaboré à base du cépage Cirò. Bouquet particulier de pêche et d’orange sanguine. Très souple en bouche avec une belle correspondance arômatique évoluant sur l’orange sanguine.

Guide des vins italiens

www.panoramitalia.com 2013 Gravello 2007

Campo di Mezzo 2008

Librandi Calabria Val di Neto igt (Cab Sauv., Gaglioppo) 29,00 $ (Vini Passion Imp Priv.) ★★★ (88/100)

Tre Monti Emilia-Romagna Sangiovese di Romagna Superiore doc 17,80 $ (SAQ # 11034353) ★★★ (86/100)

Nez profond au fruité bien affirmé de pêche, de prune et de mûre. Sapide et gras, il repose sur des tannins très fins et offre une agréable finale de prune.

Vi n a s s e z f r u i t é , u n p e u alcooleux, évoluant sur la cerise, le cassis et la rhubarbe. Bouche sapide et agréable, au fruité accrocheur.

Vini di Velletri Riserva 2004 Velletri Lazio Velletri doc 15,60 $ (SAQ # 175141) ★★ (84/100) Vin fruité et fumé, légèrement vineux, doté de notes balsamiques. Souple et fruité, un brin raccoleur, avec une finale d’épices douces.

2012 Thea Riserva 2006 Tre Monti Emilia-Romagna Sangiovese di Romagna Superiore doc 33,25 $ (SAQ # 11028383) ★★★ (87/100) Vin aux arômes fruités et légèrement fumés, il évoque la myrtille, les baies rouges et la violette. Bouche avenante moyennement corsée.

Ferentano 2009 Falesco Lazio Lazio igt 20,50 $ (SAQ # 10782085) ★★★ (85/100) Nez de levain et de sucre d’orge sur fond d’agrumes. Glycériné, il rappelle en bouche le raisin de Corinthe.

« Si le vin finit sa course dans la poésie du verre, il la commence dans la prose de son terroir » Edward Steinberg

Bellavista Brut Bellavista Lombardia Franciacorta docg 35,25 $ (SAQ # 340505) ★★★ (88/100) Bouquet charmant évoluant sur la mie de pain et l’amande verte, sur fond d’agrume, surtout la lime. Belle mousse, bouche harmonieuse, vive et rafraichissante, avec une finale tout en agrume.

Nivole 2009

Le Orme 2008

Michele Chiarlo Piemonte Moscato d’Asti doc 10,50 $ (SAQ # 979062) ★★ (84/100)

Michele Chiarlo Piemonte Barbera d’Asti Superiore doc 14,45 $ (SAQ # 356105) ★★ (83/100)

Joli nez aux arômes sucrés de litchi et de gingembre. Doux et crémeux en bouche, il présente une belle finale moelleuse et sucrée.

Vin exprimant un fruit encore un peu vert, surtout axé sur la framboise. Une bouche somme t o u t e p l a i s a n t e, v i v e e t pimpante.

Vespa 2007

Barbera d’Asti 2005

Michele Chiarlo Piemonte Monferrato doc 15,95 $ (SAQ # 11184976) ★★★ (85/100)

Villa Fiorita Piemonte Barbera d’Asti Superiore doc 17,35 $ (SAQ # 10394007) ★★★ (86/100)

Bouquet agréable de prune et de framboise avec une touche épicée. Une bouche invitante et rafraîchissante, plutôt rectiligne.

Jolie nez de ganache et de framboise. Bouche ronde et fruitée dotée d’une belle correspondance arômatique.

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2012 Dolcetto d’Alba 2009

2012 La Tota 2008

2012 Nebbiolo d’Alba 2006

2014 Bricco del Drago 2004

Prunotto Piemonte Dolcetto d’Alba doc 18.95 $ (SAQ # 10386728) ★★★ (88/100)

Marchesi Alfieri Piemonte Barbera d’Asti Superiore doc 22,35 $ (SAQ # 978692) ★★★★ (90/100)

Poderi Colla Piemonte Nebbiolo d’Alba doc 23,55 $ (SAQ # 10860346) ★★★ (87/100)

Poderi Colla Piemonte Langhe doc 25.35 $ (SAQ # 927590) ★★★ (87/100)

Bouquet invitant de pâte d’amande et de fraise. Bouche fort agréable, suave et sapide.

Nez aux notes cacaotées sur un fruit mûr et invitant, surtout la framboise. La bouche riche et sapide évolue sur des arômes complexes de torréfaction.

Bouquet végétal aux arômes d’amande verte, de kirsch et de mie de pain. Bouche puissante à l’acidité vibrante et aux tannins charnus typiques du nebbiolo.

Nez aux arômes de levain, de cerise et de figue séchée. Bouche passablement fruitée évoquant surtout sur la figue, accompagnée de tannins assez ronds.

2014 Le Rocche Barolo 2004

2014 Monsordo 2007

Aurelio Settimo Piemonte Barolo docg 52,50 $ (SAQ # 10386664) ★★★★ (90/100)

Ceretto Piemonte Langhe doc 31,50 $ (SAQ # 10856769) ★★★★ (91/100)

La Gironda Piemonte Barbera d’Asti Nizza Superiore doc 35,50 $ (SAQ # 10872988) ★★★ (89/100)

Nez fin et floral rappelant surtout la cerise sur fond de pétale de rose. La bouche est harmonieuse avec des arômes boisés assez enveloppants.

Bouquet riche et sucré aux notes de fruits noirs, de réglisse et de mélasse. Bouche onctueuse, sapide et capiteuse.

Vin aux parfums veloutés de framboise et de vanille. Rond et fruité en bouche, il évolue agréablement sur des notes de vanille grillée.

2015 Barbaresco Bric Turot 2004

2013 Barolo Bussia “Dardi Le Rose” 2003

2017 Barolo Bussia 2005

Prunotto Piemonte Barbaresco docg 57,25 $ (SAQ # 905869) ★★★★ (93/100)

Poderi Colla Piemonte Barolo docg 61,75 $ (SAQ # 10816775) ★★★ (89/100)

Cortese 2008 Bruno Broglia Piemonte Gavi docg 31,75 $ (SAQ # 11292512) ★★★ (86/100) Bouquet agréable de chausson aux pommes. Bouche invitante évoluant sur la pomme Cortland et la cerise de terre.

2015 Barolo 2005 Prunotto Piemonte Barolo docg 49,00 $ (SAQ # 718601) ★★ (88/100) Bouquet floral de rose séchée, de griotte et de charcuterie fumée. Vin chaud et sapide aux tannins plutôt arrondis.

Beau nez fruité et complexe aux arômes de framboise, de réglisse et de violette, suivis de notes fumées. Une bouche pleine et vibrante, évoluant sur un fruit mûr et complexe.

2017 Barolo Prapò 2005 Ceretto Piemonte Barolo docg 86,75 $ (SAQ # 11294702) ★★★★★ (97/100) Bouquet éminemment complexe aux arômes mentholés, suivis de notes de framboise, de ganache, de noix du Brésil et de violette. Grand vin de méditation d’une finesse admirable évoluant sur des notes poivrées et mentholées.

Primitivo 2007

Lapaccio Primitivo 2008

Luigi Leonardo Puglia Salento igt 12,85 $ (SAQ # 643544) ★★ (84/100)

Pasqua Puglia Salento igt 13.85 $ (SAQ # 610204) ★★ (83/100)

Bouquet évoquant la compote de fraise avec un brin d’épice. Une bouche ronde et sapide qui mène vers une finale légèrement poivrée.

Vin aux arômes de jujubes à la cannelle. Passablement épicé en bouche, il offre toutefois un fruit assez agréable.

Vin aux notes de kirsch et de bois de santal. Bouche charnue et capiteuse qui mène vers une finale assez épicée.

Le Nicchie 2004

Prunotto Piemonte Barolo docg 71,75 $ (SAQ # 326991) ★★★★ (94-95/100) Parfums fins et racés aux notes florales évoluant sur la rose, la framboise et le bois de santal. Un grand vin complexe, sapide et poivré.

Primitivo I Monilli 2009

Sangiovese 2009

Racemi Puglia Tarantino igt 9,65 $ (SAQ # 577684) ★★ (84/100)

Pasqua Puglia Puglia igt 10,25$ (SAQ # 545772) ★ (79/100)

Nez charmant de fruits cuits, suivis de notes légèrement f u m é e s. B o u c h e r o n d e e t accessible aux saveurs de raisins secs.

Nez un peu vert qui évoque la cerise et le jujube à la cannelle. Rond et discret, finale de noyau de cerise.

Negroamaro del Salento 2007 Tenuta del sole Puglia - Salento igt 14,90 $ (SAQ # 11253960) ★★★ (85/100) Vin solaire, comme son nom l’indique, au joli bouquet de compote de fruit, surtout de fraise, et qui évoque un léger parfum boisé. Bouche ronde et fluide reposant sur des tannins assez soyeux.

Primitivo Tatu 2007 Luigi Leonardo Puglia Tarantino igt 15,00 $ (SAQ # 10675992) ★★★ (85/100) Bouquet fruité et épicé rappelant les petits fruits noirs, le poivre vert et la réglisse. Goûteux et fruité en bouche, il évolue sur une finale agréablement poivrée.

Guide des vins italiens

www.panoramitalia.com 2015 Donna Lisa Riserva 2005

Regaleali Bianco 2009

Leone de Castris Puglia Salice Salentino doc 41,00 $ (SAQ # 11297727) ★★★ (88/100)

Tasca d’Almerita Sicilia Sicilia igt 14,45 $ (SAQ # 715086) ★★★ (85/100)

Vin aux arômes de réglisse, de cuir et de tabac avec des effluves de compote de prune. Rond et agréable en bouche, il rappelle la prune et la pomme rouge.

Nez voluptueux aux arômes de poire et de melon miel. Bouche vive et sapide, légèrement mentholée.

Anthilia 2009

La Segreta Rossa 2009

La Segreta Bianca 2009

Donnafugata Sicilia Sicilia igt 16.45 $ (SAQ # 10542137) ★★ (84/100)

Planeta Sicilia Sicilia igt 16,55 $ (SAQ # 898296) ★★★ (85/100)

Planeta Sicilia Sicilia igt 16,55 $ (SAQ # 741264) ★★ (83/100)

Joli nez de camomille et de fleur d’oranger. Bouche fruitée et savoureuse dotée d’une finale rafraîchissante.

Vin aux arômes agréables d’orange sanguine et de fraise. Belle rondeur en bouche, aux saveurs fruitées et charmantes.

Bouquet évoquant l’ananas bien mûr. Bouche un peu verte, mais somme toute charmante.

Cabernet Sauvignon 2005 Fazio Sicilia Sicilia igt 18,50 $ (SAQ # 741561) ★★ (84/100) Nez un peu vert, tirant sur le sirop de cassis et le bonbon à la tire. Souple et agréable en bouche avec ses saveurs de fruits noirs.

2012 Lamuri Nero d’Avola 2006 Tasca d’Almerita Sicilia Sicilia igt 20,85 $ (SAQ # 11029159) ★★★ (89/100) Bouquet invitant et éthéré rappelant les fruits noirs, les épices douces et le menthol. Fin et sapide en bouche, il offre une finale rafraîchissante, légèrement épicée.

Conte di Lucca

Vigna di Gabri 2008 Donnafugata Sicilia Contessa Entellina doc 21,55 $ (SAQ # 11098269) ★★★ (85/100) Nez complexe de prune jaune, de sucre d’orge et de levain. La bouche, riche et avenante au bouquet, évoque surtout la prune jaune.

Albizzia Chardonnay 2009

Chianti 2009 Botter Toscana Chianti docg 14,15 $ (SAQ # 10845779) ★★ (83/100)

Frescobaldi Toscana Toscana igt 14,85 $ (SAQ # 541235) ★★ (83/100)

Nez aux arômes de petits fruits rouges, plus particulièrement la cerise. Une bouche chaude et légèrement poivrée.

Nez fruité évoquant la pomme Granny Smith et le tilleul. Un vin frais et agréable, sans grande profondeur.

Regaleali Nero d’Avola 2007 Tasca d’Almerita Sicilia Sicilia igt 15,90 $ (SAQ # 482604) ★★ (84/100) Bouquet sucré de fruits confits et de girofle. Bouche gouleyante et fruitée qui manque toutefois un peu d’acidité.

2012 Sedàra 2008 Donnafugata Sicilia Sicilia igt 17,90 $ (SAQ # 10276457) ★★★ (86/100) Nez un peu rustique offrant des notes empyreumatiques comme le cuir et le goudron, avec des parfums de petits fruits noirs et de charcuterie. Vin chaud et sapide qui présente une bonne consistance en bouche.

2016 Tancredi 2006 Donnafugata Sicilia Contessa Entellina doc 31,75 $ (SAQ # 10542129) ★★★★ (90/100) Bouquet profond et harmonieux de fruits noirs, de vanille et de notes toastées. Riche et sapide, ce vin au fruité agréable repose sur des tannins costauds, mais biens contenus.

Santa Cristina 2008 Antinori Toscana Toscana igt 14,95 $ (SAQ # 76521) ★★ (84/100) Bouquet de fruits rouges doté de notes un peu fumées, suivies d’effluves floraux de violette. Bouche suave et ronde, moyennement corsée.

Guide des vins italiens

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Pater Sangiovese 2008

Dogajolo 2009

Pomino Bianco 2009

Frescobaldi Toscana Toscana igt 15,20 $ (SAQ # 409896) ★★ (84/100)

Carpineto Toscana Toscana igt 16,15 $ (SAQ # 978874) ★★ (83/100)

Frescobaldi Toscana Pomino doc 18.65 $ (SAQ # 65086) ★★ (84/100)

Nez un peu vineux qui évoque la violette et la réglisse rouge, accompagnées de notes légèrements fumées. Un vin charmant, sapide et fruité.

Bouquet un peu vert aux arômes de fraise et de rhubarbe, suivis de notes bals a m i q u e s. B o u c h e p l u t ô t fruitée, soutenue par des tannins assez costauds.

Nez aux arômes parfumés de camomille et de jasmin sur fond d’agrumes. Bouche fraîche et vibrante.

2012 Morellino di Scansano 2008 Frescobaldi Toscana Morellino di Scansano docg 19,65 $ (SAQ # 11224456) ★★★ (88/100) Bouquet sucré et floral qui rappelle la rose et la pivoine, suivies de notes de caramel. Un vin souple, sapide et fruité.

2012 Villa Antinori 2006 Antinori Toscana Toscana igt 23,95 $ (SAQ # 10251348) ★★★ (87/100) Vin au bouquet d’abord fruité qui révèle ensuite des arômes toastés et épicés, sur fond de poivron rouge. Bonne consistance en bouche. Un vin charnu doté d’une finale poivronnée.

2014 Il Chiuso 2006 Castello di Ama Toscana Toscana igt 29,00 $ (Vini Passion Imp. Privée) ★★★ (88-89/100) Nez agréable et délicat rappelant la prune et la marmelade de raisin. Un vin souple, harmonieux et éthéré.

2014 Valdisanti tenuta san Giovanni 2006 Tolaini Toscana Toscana igt 34,50 $ (SAQ # 11307403) ★★★ (88/100) Nez fin et racé évoluant sur la prune et la mûre, puis sur des notes fumées et légèrement boisées. Bouche invitante, ample et harmonieuse.

Rosato 2009 Castello di Ama Toscana Toscana igt 19,95 $ (SAQ # 11110619) ★★★ (86/100) Joli rosé aux notes rafraîchissantes de nectarine et de mandarine. Bouche pimpante et agréable.

2012 Fattoria La Braccesca 2006 Antinori Toscana Vino Nobile di Montepulciano docg 24,20 $ (SAQ # 11324895) ★★★ (87/100) Bouquet axé sur la fraise et le p é t a l e d e r o s e, s u i v i s d e douces notes fumées. Bouche assez envelopppante évoluant sur la compote de fraise.

2012 Chianti Classico Carpineto 2008 Carpineto Toscana Chianti Classico docg 19,05 $ (SAQ # 478891) ★★ (84/100) Nez assez floral de violette et de fruits rouges. Bouche assez agréable et moyennement corsée.

2012 Nipozzano Riserva 2006

2014 Peppoli 2007

Frescobaldi Chianti Rufina docg 22,50$ (SAQ # 107276) ★★★ (87/100)

Antinori Toscana Chianti Classico docg 23,60 $ (SAQ # 10270928) ★★★ (88/100)

Nez épicé de violette et de fruits rouges accompagnés d’arômes de crème brulée. Fruité et sapide, assez souple et harmonieux.

2014 Villa Donoratico 2007 Tenuta Argentiera Toscana Bolgheri doc 27,35 $ (SAQ # 10845074) ★★★ (88/100) Nez aux arômes concentrés de petits fruits noirs, il évoque le sirop de cassis, le cuir et le caramel. Un vin aux tannins fins et soyeux, passablement fruité.

Bouquet riche, épicé et passablement fruité, qui présente des notes de fumée et de charcuterie. Vin assez corpulent au fruité agréable qui repose sur une charpente tannique assez droite.

2014 Insoglio del Cinghiale 2008 Campo di Sasso Bibbona Toscana Toscana igt 28,95 $ (SAQ # 10483405) ★★★ (89/100) Nez invitant de pommegrenade et de bleuet avec des notes de pain au raisin grillé. Bouche suave et harmonieuse qui offre une finale légèrement réglissée.

2015 Chianti Classico Riserva 2005

2012 Rosso di Montalcino 2007

2012 Al poggio Chardonnay 2009

Marchese Antinori Toscana Chianti Classico docg 29,15 $ (SAQ # 278671) ★★★ (89-90/100)

Giacomo Neri Toscana Rosso di Montalcino doc 29,80 $ (SAQ # 10335226) ★★★ (88/100)

Castello di Ama Toscana Toscana igt 34,50 $ (SAQ # 10542401) ★★★ (87/100)

Joli nez assez éthéré aux parfums de fraise des champs et de rose. Bouche fruitée et sapide, soutenue par des tannins plutôt robustes.

Nez aux arômes complexes de poire et de pomme jaune. Bouche avenante et agréable, évoluant sur la poire.

2017 Lucente 2007

2014 Syrah Bramasole 2006

Luce della Vite Toscana Toscana igt 34,75 $ (SAQ # 860627) ★★★ (89/100)

La Braccesca Toscana Cortona doc 37,50 $ (SAQ # 10379771) ★★★ (89-90/100)

2014 Chianti Classico Riserva 2006

Bouquet aux arômes de petits fruits noirs rappelant la mûre et le sureau, suivis de légers parfums fumés, de camphre et de tabac. Bouche sapide et onctueuse, de bonne allonge.

Vin concentré aux arômes fruités et épicés de poivre long et d’eucalyptus. Sucré et poivré en bouche, il évolue vers une finale fort rafraîchissante.

Bouquet fumé, profond et puissant, aux arômes de goudron et de réglisse, suivis de notes florales évoquant la violette. Bouche étonnamment rafraîchissante et équilibrée.

Savognola Paolina Toscana Chianti Classico docg 40,00 $ (Vinamore Imp. Privée) ★★★★ (90/100) Beau nez de sangiovese, bien équilibré, au fruité invitant et aux notes boisées et cacaotées assez féminines. Un Chianti bien structuré, soyeux et sapide.

Guide des vins italiens

www.panoramitalia.com 2016 Chianti Classico 2006

2014 Riguardo 2004

Castello di Ama Toscana Chianti Classico docg 40,25 $ (SAQ # 1315403) ★★★ (88/100)

Luce della Vite Toscana Brunello di Montalcino docg 41,50 $ (SAQ # 875203) ★★★★ (91/100)

Vin racé au bouquet très propre de fruits rouges et de violette. Une bouche ample et savoureuse accompagnée de tannins assez charnus.

Nez harmonieux de fruits rouges aux notes florales rappelant la rose, sur fond d’épices douces. Bouche vive et invitante au fruité agréable et persistant.

2014 Val di Suga 2004

2014 Brunello di Montalcino 2004 Fattoria dei Barbi Toscana Brunello di Montalcino docg 44,25 $ (SAQ # 742478) ★★★ (87/100)

2015 Promis 2007 Ca’Marcanda / Gaja Toscana Toscana igt 45,75 $ (SAQ # 746941) ★★★★ (90-91/100)

Bouquet au fruit un peu vert évoluant sur des notes de charcuterie fumée. Bouche à l’acidité assez vibrante sur des tannins encore bien dodus.

Nez élégant, légèrement sucré, mariant les petits fruits noirs et la fraise sur un léger fond d’anis. Un vin sphérique et équilibré, savoureux et charmant.

2014 Vigna del Fiore 2004

2014 Vigna Spuntali 2004

2016 Guado al Tasso 2006

Tenimenti Angelini Toscana Brunello di Montalcino docg 47,00 $ (SAQ # 897017) ★★★ (87/100)

Fattoria dei Barbi Toscana Brunello di Montalcino docg 70,25 $ (SAQ # 1021730) ★★★ (87/100)

Tenimenti Angelini Toscana Brunello di Montalcino 79,00 $ (SAQ # 10816767) ★★★ (89/100)

Joli bouquet au fruit pas tout à fait mûr, tirant un peu sur la rafle. Vif et sucré, il évoque le cacao et le noyau de prune.

Bouquet de ganache à la fraise offrant des parfums fumés plus ou moins complexes. Une bouche vibrante, moyennement fruitée, accompagnée de tannins puissants. Un peu cher.

Nez un peu végétal évoluant sur la fraise et la violette, avec des notes légérement épicées. Vin au fruité un peu mince et à l’acidité agréable qui révèle une belle finale épicée.

Marchese Antinori Toscana Bolgheri Superiore doc 86,00 $ (SAQ # 977256) ★★★★ (93-94/100) Bouquet riche et complexe de chocolat noir, de café et de cerise. Soyeux et harmonieux en bouche, il présente une finale fine et délicate.

2013 Brunello di Montalcino Riserva 2003

2017 Ornellaia 2007

Orvieto 2009

Tenuta dell’Ornellaia Toscana Bolgheri Superiore doc 169,00 $ (SAQ # 11239771) ★★★★★ (96/100)

Melini Umbria Orvieto Classico doc 11,90 $ (SAQ # 24844) ★★ (84/100)

Grand vin aux arômes complexes de cacao, de mûre et de violette. Bouche harmonieuse, au fruité délicieux, évoluant sur une finale agréablement poivrée.

Notes citronnées et légèrement mentholées (peppermint) évoluant sur le miel d’acacia. Bouche vibrante et nerveuse aux saveurs de citron et de limette.

Fattoria dei Barbi Toscana Brunello di Montalcino docg 98,50 $ (SAQ # 10215793) ★★★★ (90/100) Nez passablement fruité aux arômes de fruits rouges et d’épices douces. Bouche ronde et enveloppante aux tannins puissants.

2012 Vitiano 2008

2012 Moma Rouge 2008

Moma Blanc 2009

Campogrande 2009

Umberto Cesari Umbria Rubicone igt 13,15 $ (SAQ # 11072851) ★★ (82/100)

Antinori Umbria Orvieto Classico doc 13,75 $ (SAQ # 18838) ★★ (84/100)

Falesco Umbria Umbria igt 15,45 $ (SAQ # 466029) ★★★ (86/100)

Umberto Cesari Umbria Rubicone igt 15,50 $ (SAQ # 10544781) ★★★ (85/100)

Nez aux arômes d’agrumes axé sur le pamplemousse et le kiwi. Fruité en bouche, surtout marqué par un goût de kiwi, il manque toutefois un peu d’acidité.

Bouquet fruité qui évoque la banane et l’ananas. Savoureux et vibrant en bouche, il s’exprime surtout par ses saveurs d’ananas.

Beau nez assez doux aux parfums de fruits noirs et de marmelade de raisin. Bouche sapide et bien équilibrée qui offre une finale de bonne allonge.

Nez aux agréables notes de réglisse rouge et de petits fruits noirs, sur fond de vanille. Une bouche ronde, savoureuse et invitante.

Guide des vins italiens Chardonnay Bramito del Cervo 2009 Castello della Sala Umbria Umbria igt 21,85 $ (SAQ # 10781971) ★★★ (86/100) Bouquet charmant aux parfums de poire, de mangue et de banane. Bouche avenante, au fruité marqué surtout par la mangue.

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2016 Cervaro della Sala 2008

Santi Nello Pinot Nero 2008

Castello della Sala Umbria Umbria igt 53,00 $ (SAQ # 191049) ★★★★ (91/100)

Botter Veneto Veronese igt 9,95 $ (SAQ # 11254313) ★★ (83/100)

Nez aux arômes complexes de cire d’abeille, de sucre d’orge, de pêche et de mandarine. Frais et éthéré en bouche, il présente une finale harmonieuse et rafraîchissante.

Nez fruité et épicé évoquant les petits fruits rouges, surtout la cerise. Bouche avenante, au fruité doté d’une finale légèrement poivrée.

Possessioni Bianco 2009

Valpolicella 2009

Masi / Serego Alighieri Veneto Bianco del Veneto igt 14,50 $ (SAQ # 409862) ★★ (84/100)

Tommasi Veneto Valpolicella Classico doc 14,80 $ (SAQ # 560797) ★★★ (85/100)

Bouquet fruité de prune jaune et d’agrumes. Bouche vive et pimpante évoluant sur la limette.

Nez de fraise et de rhubarbe sur fond de cuir et d’épices douces. Bouche rafraîchissante, passablement fruitée, vibrante et invitante.

Bouquet un peu végétal aux notes de pêche et de melon miel. Bouche rafraîchissante au fruité un peu vert.

Modellissimo 2006

Pinot Grigio Le Rosse 2009

Valpolicella Classico 2008

Tommasi Veneto Delle Venezie igt 16,00 $ (SAQ # 10230555) ★★★ (86/100)

Allegrini Veneto Valpolicella Classico doc 16,90 $ (SAQ # 560094) ★★ (84/100)

Bouquet riche et mielleux au fruit bien mûr, surtout marqué par l’abricot. Bouche suave et onctueuse, dotée d’une belle acidité, évoluant sur l’abricot.

Joli nez, frais et fruité, marqué par les petits fruits rouges. Vin rouge d’apéro, très accessible.

2012 Merlot Le Prunée 2008

2014 Campofiorin 2007

Tommasi Veneto Delle Venezie igt 17,05 $ (SAQ # 10544757) ★★★ (86/100)

Masi Veneto Rosso del Veronese igt 19,75 $ (SAQ # 155051) ★★★ (88/100)

Bouquet aux notes de charcuterie et de petits fruits noirs, sur des arômes de cuir. Un vin agréable, suave et sapide, moyennement corsé.

Bouquet fruité, riche et concentré, évoluant sur le chocolat, la fraise et la figue. Ample et goûteux, au fruité charmant et persistant.

Masi Veneto Delle Venezie igt 15,95 $ (SAQ # 11254604) ★★ (84/100) Nez agréable de fruits confits, un brin poivré. Un vin souple et gouleyant, sans grande complexité, mais somme toute assez réussi.

Pinot Grigio Verduzzo Masianco 2009 Masi Veneto Veneto igt 16,95 $ (SAQ # 10439404) ★★★ (86/100) Nez agréablement fruité de poire et de nectarine avec un soupçon de miel. Bouche savoureuse, fruitée et rafraîchissante, axée surtout sur la nectarine.

Pinot Grigio Danzante 2009

Conte di Lucca Il Passo 2008

Veneto Venezie igt 14,95 $ (SAQ # 10705151) ★★ (82/100)

Botter Veneto Veronese igt 15,95 $ (SAQ # 11254583) ★★ (83/100) Nez un peu discret sur les fruits rouges. Un vin charmant, moyennement corsé, sans grande personnalité.

Possessioni Rosso 2008 Masi / Serego Alighieri Veneto Rosso del Veronese igt 16,95 $ (SAQ # 10202095) ★★ (84/100) Bouquet agréable aux arômes de petits fruits et de réglisse rouge. Un vin axé sur le fruit et muni d’une belle rondeur en bouche.

Sagramosso Ripasso Valpolicella 2008 Pasqua Veneto Valpolicella Superiore Classico doc 21,55 $ (SAQ # 602342) ★★ (84/100) Vin aux arômes de framboise et de cacao. Une bouche ronde et gouleyante, moyennement corsée.

Guide des vins italiens

www.panoramitalia.com 2012 Ripasso Valpolicella Classico Superiore 2008

2014 Palazzo della Torre 2007

Tommasi Veneto Valpolicella Classico doc 24,60 $ (SAQ # 862110) ★★★ (88/100)

Allegrini Veneto Veronese igt 24,85 $ (SAQ # 907477) ★★★ (89-90/100)

Nez concentré avec des notes suaves et sucrées de ganache et de figue séchée. Un vin sapide et fruité, riche et équilibré.

Bouquet riche et complexe marqué par des notes de figue séchée, de cuir et de raisin sec. Une bouche ample et goûteuse, au fruité bien compoté, de bonne allonge.

2014 La Grola 2006

2012 Chardonnay 2008

Allegrini Veneto Veronese igt 29.80 $ (SAQ # 858753) ★★★★ (91/100)

Jermann Friuli-Venezia Giulia Venezia Giulia igt 30.25 $ (SAQ # 10835853) ★★★ (89/100)

Nez concentré aux arômes de café et de figue séchée, suivis de notes balsamiques. Souple et épicé en bouche, il présente une finale vibrante et persistante.

Bouquet riche et onctueux, suave et floral, axé sur l’orange confite, le lys et le raisin de Corinthe. Un vin gras et glycériné, au fruité intense et persistant, le tout accompagné d’une belle acidité.

2014 Red Angel 2007

2014 Blau Blau 2007

Jermann Friuli-Venezia Giulia Venezia Giulia igt 25,60 $ (SAQ # 11035786) ★★★ (88/100)

Jermann Friuli-Venezia Giulia Delle Venezie igt 28,25 $ (SAQ # 11035823) ★★★ (88/100)

Nez aux parfums veloutés et délicats, assez féminins, de fruits frais et de vanille. Un vin suave et fruité, vibrant et charmeur.

Bouquet invitant, riche et fruité, évoluant sur des notes d’épices douces et de vanille. Un vin ample et nerveux aux tannins appuyés, mais somme toute très frais.

2016 Costasera Amarone 2006

2015 Amarone Campo dei Gigli 2005

Masi Veneto Amarone della Valpolicella doc 39,75 $ (SAQ # 317057) ★★★ (89-90/100)

Sant’Antonio Veneto Amarone della Valpolicella doc 78,75 $ (SAQ # 11301511) ★★★★ (92/100)

Nez aux arômes de fruits séchés, marqués par la figue et la datte, suivis de parfums chocolatés et vanillés. Un vin ample, suave et sapide en bouche, doté d’une finale à l’acidité rafraîchissante.

Visit www.panoramitalia.com to download English version: 2010 Italian Wine Guide.

Bouquet aux arômes de torréfaction, de caramel, de fruit secs, de vanille et de bois de santal. Vin ample, suave et fruité, évoluant sur la figue, la vanille et le poivre.

Life Style

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VIVERE ALL’ITALIANA - Vivre à l’italienne - Living Italian Style

Pietro Di Toto

Sophia Trozzo

Name: Pietro Di Toto Occupation: Student Age: 22 Generation: Third Dad from: Jelsi, Campobasso Mom from: Termoli, Campobasso Speaks: English, Italian, French Raised in: Montreal

Nickname: Esmeralda, Phia, Soph Occupation: Journalism Student Age: 20 Generation: Third Dad from: Calabria Mom from: Bari Speaks: English, French Raised in: Montreal

Passion: To Cook Clothes: From Signor Terry Favourite designer: Giorgio Armani Boutique: Signor Terry Restaurant: Chez Magnani Favourite dish: Pasta Absolute must in the pantry: ‘S’ Cookies Type of drink: San Benedetto Peach Ice Tea Favourite Italian saying or quote: Auguri! Last time you went to Italy: 2001 Dream car: Fiat 500 Lusso

Passion: Words, Travel Clothes (at the shoot): H&M Dress. The shoes are my mother’s. Favourite designer: Chanel Boutique: Caicai 1952 (Cours Mont-Royal) Restaurant: Galiano’s Favourite dish: Lobster!!! Absolute must in the pantry: Coffee, Cheeses Type of wine/drink: White Wine Favourite Italian saying or quote: “Art is never finished, only abandoned.” - Leonardo Da Vinci Last time you went to Italy: March 2007 Place you must go back to at least one more time in your life: Venice

Favourite singer: Luciano Pavarotti Best Italian movie: Johnny Stecchino Italian soccer team: Juventus F.C. What you like most about our magazine: Learning about the Montreal Italian community 514 or 450: 514 Best way to feel Italian in Montreal: Having Sunday lunch with your family Mare o montagna: Montagna Thing about you that would surprise most people: I do not like rice Best coffee in Montreal: Restaurant Chez Magnani

Crescent or St-Laurent: St-Laurent Most common name in your family. How many? Giuseppe, Too Many Pet peeve: People who overreact Dream: To speak Barese Sexiest Italian: Silvio Berlusconi You know you are Italian when or if: At least one piece of furniture in your house is protected by plastic Best pizza in Montreal: My Nonna’s Favourite thing to do in Montreal: Watching a live hockey game

You know you were raised Italian when: You skipped school to help with preparing the jars of pomodorI Favourite colour: Blue Spaghetti o penne: Penne Favourite Italian song: La Zita Italian artist or actor you would like to meet: Roberto Benigni Favourite Italian city: Jelsi, Campobasso Best memory growing up as an Italian: Being at Nonna’s house all summer Favourite flavour of gelato: Nocciola Favourite thing about being Italian: Knowing how to speak Italian

What you like most about our magazine: The images & that it’s written in three different languages. 514 or 450: 450 Best way to feel Italian in Montreal: Go to an Italian wedding. Enough said. Mare o montagna: Montagna Thing about you that would surprise most people: I love to be alone just as much as I love to be with others. Crescent or St-Laurent: Both, depending on my mood. Most common name in your family. How many?: Mary (~10) Pet peeve: People who walk too slow (especially while texting)

Dream: To travel the world & publish my writing Sexiest Italian: Sophia Loren You know you are Italian when or if: You are always using your hands when expressing yourself (I do this all the time). Best nightclub in Montreal: Cafe Campus Best pizza in Montreal: Le Four/Weinstein and Gavinos Your fashion idol: Mix of different elements, but I do love anything reminiscent of the 30’s/40’s. Spaghetti o penne: Spaghetti Favourite Italian song: Raf- “L’infinito”

Si vous souhaitez être considéré pour paraître dans la section Vivre à l’italienne, joignez-vous à notre page Facebook et envoyez-nous un message nous expliquant pourquoi vous seriez un bon candidat.

You know you were raised Italian when: You can appreciate the value of great food, and the pleasure of sharing a meal with your family and loved ones. Italian artist or actor you would like to meet: I wish I could have met Leonardo Da Vinci Best memory growing up as an Italian: Throwing huge parties to celebrate the holidays with my family. Favourite flavour of gelato: cioccolato Favourite thing about being Italian: Being part of a culture that so eloquently strives to balance hard work with pleasure.

Life Style

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VIVERE ALL’ITALIANA - Vivre à l’italienne - Living Italian Style

Photos: Vincenzo D’Alto / Make-up: Emmanuelle Blanchard

Angela Delli Quadri

Pietro Capuano Nickname: Ang, Angie, DQ Occupation: Telecommunications representative Age: 29 Generation: Second Dad from: Agnone, Campobasso Mom from: Ardore, Calabria Speaks: English, Italian, French Raised in: Ville Lasalle

Nickname: Peter Occupation: Process Coordinator for Canadian Pacific Railway Age: 28 Generation: Second Dad from: Foiano di Val Fortore, Benevento Mom from: Rosa, Cosenza Speaks: English, French, Italian Raised in: Montreal-North

Passion: Travelling, meeting locals and seeing the world through their eyes Clothes: Lady Dutch Make up: Mac Favourite designer: Lady Dutch Favourite dish: Gnocchi della nonna Absolute must in the pantry: Olive oil Drink: Vino rosso Favourite Italian saying or quote: Dolce far niente (the sweetness of doing nothing) Last time you went to Italy: July 2010 Place you must go back to at least one more time in your life: Mondello, Sicily 514 or 450: 514- Montreal rocks!

Passion: Halloween Clothes (at the shoot): Shirt (Bertigo), jeans (Jack-Jones), belt (Buffalo), shoes (Clarks), Favourite designer: Don’t have one; I will wear whatever looks good Boutique: Signor Terry Restaurant: La Belle Italienne Favourite dish: Mom’s lasagna Absolute must in the pantry: Panettone Type of wine/drink: Bombay Seven Last time you went to Italy: Summer 1996

Dream car: Ducati bike Best Italian movie: Notte prima degli esami Italian soccer team: AS Roma What you like most about our magazine: It allows the Italian community to stay connected. In our everyday busy routine, it gives us a little reminder of who we are and where our roots came from. Best way to feel Italian in Montreal: Surround yourself with products or services from Italy. My favourites: Italian cosmopolitan and RAI Mare o montagna: 100% Mare Most common name in your family. How many? Giovanni (Johnny) - at least 5

Thing about you that would surprise most people: I have a chewed gum collection that started 10 years ago! Best coffee in Montreal: The search continues… Pet peeve: Procrastination Dream: Dream accomplished: lived and worked in Rome Sexiest Italian: Too many to choose from… You know you are Italian when or if: Your cantina is filled with homemade tomato sauce, sausages, prosciutto and vino. Best pizza in Montreal: Prato on Saint-Laurent Favourite Italian song: Sapore di mareGino Paoli

Favourite thing to do in Montreal: Watch Sunday morning soccer while having an espresso You know you were raised Italian when: You speak at a higher volume than everyone else Favourite colour: Silver Spaghetti o penne: Spaghetti Favourite Italian city: Roma Best memory growing up as an Italian: Family gatherings, passion for food, culture and the Italian language Favourite flavour of gelato: Nutella Favourite thing about being Italian: Knowing that you grew up a little different than the person sitting next to you.

Place you must go back to at least one more time in your life: Italy Dream car: 66' Lincoln Continental Favourite band: U2 Best Italian movie: Marcellino Pane e Vino!!! What you like most about our magazine: The front cover, it is always creative. 514 or 450: 514 Best way to feel Italian in Montreal: Enjoying lunch or supper in Little Italy Mare o montagna: Montagna Thing about you that would surprise most people: Love decorating for Halloween

Best coffee in Montreal: Café Lina Crescent or St-Laurent: St-Laurent Most common name in your family. How many? Pietro (3) Pet peeve: Being late Dream: Winning the Loto-max Sexiest Italian: Luciano Bragaglia Best nightclub in Montreal: GoGo's Best pizza in Montreal: Café Solaris Favourite thing to do in Montreal: Biking You know you were raised Italian when: You have an extra fridge in the garage and a freezer in the cantina.

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You know you are Italian when or if: You clean your plate with a piece of bread Favourite colour: Depends on the season Spaghetti o penne: Penne Italian artist or actor you would like to meet: Al Pacino Favourite Italian city: Florence Best memory growing up as an Italian: Rushing to Bonanza with my mom Saturday morning for the specials Favourite flavour of gelato: Vanilla Favourite thing about being Italian: Italian weddings

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moda - mode - Fashion

By Joanne Latimer

As Mad Men captures our imaginations with curvy actresses and office mayhem, we are blessed with a fashion flashback. It’s okay to have hips and flaunt your hourglass figure. Four words come to mind: Va-va-va-voom. Thankfully, the chain smoking and sexism from that era didn’t survive, but fashions from Mad Men are storming the runways this fall and winter. Nipped waists, classic heels, pencil skirts and fitted suits remind us of the 1950s, with its sense of propriety and put-together glamour. Think Grace Kelly meets Katharine Hepburn. Tailored jackets and structured dresses from the 50s and early 60s are perfect for today’s female executives, as is the retro lingerie with little black buttons and piping. Warning: waifs need not apply.

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moda - mode - Fashion Information: Retail prices may vary Soïa & Kyo: gray coat $300 www.soiakyo.com Bodybag by Jude: Dress $198 www.bodybagbyjude.com Swatch: watch $65 - www.swatch.com Concubine (girl with bag): bag $58 www.concubine.ca Change: bra $38 and thong $14 www.change.com Bibhu Mohapatra - www.bibhu.com

Banana Republic: dress is $185; snake clutch $110; pump $120 Geneviève Langlois for Télio www.telio.com John Fluevog: black heel $255; pink heels $255 Bloch: saddle shoe with heel $220 www.blochworld.com Cynthia Rowley Bridesmaids Collection: Pink dress $225.00 www.dressy.com and www.whitetoronto.com Change

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Mah? The Language of Italian Gestures By Amanda Fulginiti

The fact of the matter is, Italians do as much speaking with their hands as they do with their mouths. I remember being about seven years old when - after being caught just before dinner with my hands in the Nutella jar - my Nonna, without saying a word, bit into the side of her hand. I did not have to think twice about its translation. Whether it is scolding you for ruining supper or a desperate appeal to God, hand gestures are truly a language of their own. They are, as a fellow Italian has pointed out to me, our own personal sign language and I may even venture to say it has become its own dialect. Dante may have created in his Comedia a unified language he called “Italian”, but no written word can capture the emotional intensity and significance as dramatically as the sway of the hand (just watch an Italian match at La Coppa Mondiale and you’ll know what I mean). They represent anything from commas, exclamation points, question marks- you name it, and the hands have it. Jokes aside, let’s be honest what would the Italian language be without its rich, colourful, and over the top hand gestures? It is most certainly not a stereotype I am willing to give up because it most visibly sets us apart from other cultures and as funny as they may sometimes be, they convey our cultures unique passion for life. I mean face it, as a culture credited to be the inventor of Opera it is no wonder that melodrama would filter into the everyday. But, believe it or not there even exists a dictionary of hand gestures produced in Naples in 1832 and later republished in 1963 by designer Bruno Munari (surprisingly available on Amazon). By simply reading the introduction of the book you soon discover that there is a historic value alongside the humorous one. In 1832, the Neapolitan Andrea de Jorio, the first ethnographer of body language, published 380 pages of text and 19 pages of hand-drawn illustrations intended to

catalogue the Neapolitans’ use of hand gestures believed to have come from the Ancient Romans. By studying Roman texts and vases, he hoped to show a direct lineage between the Romans and the Neapolitans. With my finger below my eye I say: “Che furbo.” So here is a compilation of only 6 hand gestures we Italians encounter on a day to day basis: 1) In some cultures swiping the hand from under the chin can be offensive, but for Italians it simply means “non mi frega” (“I don’t care”). There is even a word to express this uncaring attitude in Italy: menefreghismo. Anyone who has seen a parking lot in Italy will understand this couldn’t-care-less way of being... 2) One of my favourite gestures is palms facing in with thumbs touching the tips of the fingers to symbolize someone’s incredulous disbelief at the stupidity or their irritation of not understanding what someone is saying. In Italian this would translate to: “Che vuoi?” or “Che cavolo dici?” and in English “What do you want?” or “What the heck are you saying?” A gesture I often use when I try to understand my Calabrese side of the family. 3) A pretty self explanatory gesture is the pointing of the index finger to one’s temple to mean “Sei pazzo!?!” 4) Pointing index fingers side by side in a downward manner would roughly translate to “Sono d’accordo” (‘I agree’). In other words, it is a gesture to indicate when two people understand each other. Oddly enough it is not commonly used. 5) Pretending to twist the corners of one’s moustache means “bellisima” and is probably the most caricatured of all the Italian gestures - ladies will agree this is the most missed gesture when returning to Montreal from Italy. 6) Topping the chart is the gesture accompanied by the most interesting made-up word: “mah”. Translation: “mah!?!” By simply rubbing your chin you are saying a mouthful. It is used wherever Italians see fit because it sums it all up and you can say it anytime you want... for almost any occasion. While there exists many other gestures (including some which are let us say too direct), hand gestures are truly your ticket into the Italian way of being because after all it’s all in the hands. v

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Driving into Oblivion By Salvatore Migliara

The sun burned forcefully as faces of the 417 raced passed m e. I s a n k i n t o s e n t i m e n t s oddly discovered during the Grand Prix weekend. I took a 1971 Fiat Spyder 124 to St. Laurent and Dante Street. t was strange, the effect of it all. Hearing that define clank of a metal door gunshot blasted me into a cinematic utopia. The world molted into a powder blue. The crescent moon hung over the depths of some European mountain top. Where the ancient pebbles hummed beneath rolling tires and the ocean glimmer gave gentle light to the car. A red lipped vixen faded in the distance. I smirked, realizing this experience was an obscure feather waltzing in air of the majestically abstract, that impeccable swirl of colour flowing thought and the muse that cracks it all into illumination. The match stick phenomenon. CHOM radio played “Stuck in the Middle With you.” It fell in nicely. Finding myself on Jean-Talon street I understood that this Fiat was of beautiful complication. I didn’t give it anymore thought flying past a board that read “Ottawa/Gatineau,” speeding towards a hunger for crucial memories that felt had to be made. The car was lent by a cousin who did touch-ups after buying it from his brother who made restorations. I believed tweaking it was some deep rooted desire for attachment. I took solace seeing it as an heirloom only deserving men could revel in. I was satisfied with that.

Some radio station rang “Mama Let Him Play”. I sang loudly with the rushing wind and raging engine. There was a brilliantly awkward unison in it, one that held strings on wooden crosses, jerking imagination into a wonderful canvas. There was a moment when stuck at a light, the trees stood as great behemoths watching over the world. Their leaves hung high, whispering some fantastic philosophy. The red streetlight held a humble passion, sending me into a daze as the Fiat rumbled. The radio echoed “Another Brick in the Wall” and I saw myself in a cool purple desert where buildings swung vibrant neon signs. Their reflections seen in the car’s red coat, making the chrome glisten and the entire Fiat lit-up with powerful vivacity. I was shifting into fourth, ripping through strange shadows carrying unrecognizable faces. The cherry of my cigarette dimly enlightened the interior. There were two moons skulking: red and subtle tangerine. The shadows flashed into colourful shape. Cactuses. Quiet pink, yet alive. They gave the Fiat a supernatural presence. I felt like a sun engulfing traveler, discovering alien illusions the world dare not dream. The stars poured above while I shifted over the sand skirts, listening to the dust clouds taking identity. As reality crashed itself I realized this was something I longed for, offbeat Zen derived from some driving manifesto. On the way back I abruptly stopped the Fiat to ignite a cigarette. I didn’t care about trouble. It was my last moment to open a hidden realm profound in the identity of myself. Holding on to my hat, I peeled the tires on the pavement of an ostensibly needed journey. Shifting while the sun’s rays glared in a rhythm, the clouds were full formed with their edges crisp. They had character now, which would amplify the 71’ Spyder. So I drove like a madman with a recipe for divine tonic. And in a long awaited flash, the stream of time was swallowed by a curious stillness. I sank into incomplete absolution. My mind drowned in thoughts while feeling hushed. Thinking without thinking. Imagining without imagining. Searching for epiphanies. The sort I could collect in strings of tiny secret meanings and shove into pockets. It was foolish of me to think so. But driving that 71’ emblem of proud Italian accomplishment with the wind bursting, the clouds boastful and the sun kissing my lips, the world felt tranquil, almost perfect. The radio played “Could Have Been a Lady”. Soul pounding questions seemed answered without single understanding. I was simple elegant nostalgia. I was European design weaving upon North American landscape. I wasn’t driving a car. I was manipulating a zeitgeist. And it all felt right as I passed the green board that read “Montreal 76”. v

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musica - musique - music

Just the Swing: The Centennial of Music Legend Louis Prima (1910-1978) By Anthony Di Giorgio, special collaboration (Adapted by Amanda Fulginiti)

Before there was Swing, before there was a New Orleans jazz scene, before there was the Las Vegas as we know it today, there was Prima, Louis Prima. Singer, songwriter, trumpeter, sometime film actor, conductor, innovator, consummate showman and “The King of the Swingers”, Louis Prima was and still is a music legend. orn December 7, 1910 in New Orleans’ French Quarter in an area largely populated by Italians, Prima grew up inspired by his heritage. Surprisingly, New Orleans became North America’s first Italian settlement - more people of Italian, particularly Sicilian, descent lived within the city’s border than in any other city in the United States. His family had emigrated from Sicily to New Orleans in the 1870s and he was born to second-generation Italian-Americans Anthony Prima and Angelina Caravella who, oddly enough, lived in an area dubbed “Little Palermo”. Eventually, when Prima was a successful performer he never shied away from letting his audience know that he was Italian and this sentiment came to the fore in a series of fun, nonsensical tunes such as “Felicia No Capicia”, “Please No Squeeza Da Banana”, and most notably “Zooma Zooma” (his version of “C’è La Luna Mezzo Mare”). As he was growing up, Prima longed to play jazz and what better place to be inspired than a city filled with live, uninhibited music. Louis started playing at a very early age; first the violin (which he loathed and only picked it up by his mothers force), and later trumpet. By his twelfth birthday, he and his brother were leading their own jazz combo. He began to make a name for himself only after he moved to New York in 1934 where he went on to perform regularly at one of the most important jazz clubs of the era, “The Famous Door.” The true testament to his success was in 1937, when he composed “Sing, Sing, Sing” which, in the version later recorded by the Benny Goodman Orchestra, came to be the enduring anthem of the Swing Era. The 40s found Louis fronting a big band of his own, “The Gleeby

Rhythm Orchestra”. This was Prima’s true calling and where he found his niche in the music world. From then on his sound was characterized by tight swinging arrangements alongside his unique humour and, of course, his Italian sensibility. On the other hand, his vocalizing has been defined by the Penguin Encyclopaedia of Popular Music as “a nonsensical mixture of jive-speak, Neapolitan slang and just plain bad English”. To his fans none of this mattered and by the time he recorded the hit “Angelina” in 1944 he had more and more Americans buzzing about Italian slang, cuisine and romance. In 1948, Prima teamed up with a teenager from Virginia, later to become his wife, Keely Smith. The cliché “opposites attract” was never truer than in the case of Louis and Keely. Their onstage chemistry was immediate. Her deadpan humour mixed with his crazy antics gave them the ticket to true stardom. He would owe his mother, however, for giving him his first lesson in performance. “Always smile,” she told her children. “People want to see that you’re having a good time.” And boy did he ever have a good time since Prima had a true gift for lighting up the stage. By the 50s, Big Bands were fast moving towards extinction. So, Prima rolled the dice and landed a booking in Vegas. Here, he hooked up with a new smaller combo, led by fellow New Orleans native Italian-American saxophonist Sam Butera. This new group (dubbed “The Witnesses” by Sam in a late-night-onstage ad-lib), became the perfect foundation on which Louis and Keely could

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musica - musique - music build their act, which combined the passionate Crescent City Jazz of his early years with the fun and clowning around attitude that later became his trademark. Their act quickly became the most talked about musical attraction in Las Vegas and would help launch the city into a broader-entertainment capital. The explosion in Silver City led to many TV and film appearances, including eight bookings on the Ed Sullivan Show, where he regularly brought down the house, casting his spell on the minds of America’s impressionable youth. During these years, Prima went on to record some of his most memorable hits like “Jump, Jive and Wail”, “Buona Sera”, “Oh Marie”, and most notably “Just a Gigolo/I Ain’t Got Nobody”. He even won a Grammy with Keely for their rendition of “Old Black Magic” in 1958. In 1961, Prima’s personal and professional relationship with Keely ended and in ’63 Louis took a fifth wife-Gia Maione (pronounced, as Prima would say, “MY OWN!”) - who also became his newest singing partner. In 1967, Disney decided to cast Louis in the animated feature, The Jungle Book as King Louie the Orangutan singing the hit “Wanna Be Like You”. The film went on to win an Oscar and Prima received a gold album for the sound track recording. His demise would come in late 1975 when he underwent brain surgery to remove a tumour, lapsed into a coma, and passed away three years later at the age of 67. Buried in his home town of New Orleans, his gravestone appropriately reads: “When the end comes I know, I was just a gigolo as life goes on without me.” Continuing to live on in song, he was inducted into the Big Band and Jazz Hall of Fame in 1993, his hits were featured in smash box movies such as “The Mask”, “Mickey Blues Eyes”, “Big Night” and “Swingers” and even in a GAP commercial. The 90s proved to be a new era in swing and Prima’s fun, catchy and novel arrangements stood as archetypes for what is now recognized as our generations own Swing Revival. All this makes clear that his music transcends many genres and, as already made clear, continues to be played even today. He left behind a son, Louis Prima Jr., who is continuing in his father’s musical footsteps and presently bringing his famous father’s music back to life by putting together a show in the vein of his father with a killer swinging band (also called The Witnesses), featuring vocalist Sarah Spiegel, that is winning rave reviews for recent appearances at the New Orleans Jazz Festival, the Hard Rock and the Palms in Las Vegas, the Cicada Club in Los Angeles, the Atlantic City Hilton, and more. On behalf of his father, Prima Jr. accepted the honour of a star on the Hollywood Walk of Fame on July 25, 2010. And as fans are once again acquainted with his music it will undeniably become evident that this gigolo can sing, sing, sing.

Who Knew? Sicilians in New Orleans The majority of Italian immigrants in New Orleans are from Sicily and they started to arrive in large numbers in the 1880s to escape a homeland that had fallen into a corrupt, dangerous, and unlawful state. Once there, not only did they add to the musical flavour of the city, but they also helped put more than 50 percent of the city’s high-rise buildings and added to its already diverse cuisine -for example the muffuletta, a hearty sandwich of salami and provolone topped with a distinctive olive salad which is now a staple on most Crescent City menus. Overall the city seemed like a perfect fit for the newly arriving immigrants for it already had a Mediterranean feel with its emphasis on gambling, feasts, and music. Even the weather barely separated the two places. The Italians settled in an industrious, crowded section of the French Quarter which was to be known as “Little Palermo”. They arrived in a city where previous Italian immigrants had already established a decent-sized community, dating back to early French colonial occupation. It was in this area that Italians developed, owned and managed countless corner grocery stores, were employed in hundreds of menial labour slots, and took over a number of inner-city Catholic churches and schools. Their rise to positions of status in New Orleans, however, was steady and slow and was met with a measurable amount of hatred from those who represented the city’s ruling elite. When Prima’s parents first met one another in the 1870s, the city was in the midst of a nasty anti-Italian campaign due to the increasing number of immigrants who were seen as threats to Americans for job opportunities. The New York Times called the New Orleans Sicilians “sneaky and cowardly... the descendents of bandits and assassins who transported to this country the lawless passions and cut-throat practices, and oath bound societies.” What further angered the elite was the unwillingness of many Italians to suppress Black Louisianans. For example, Italians were willing to work in the state’s sugarcane fields-a task typically relegated to Blacks. Overall, they associated freely with them and thus went against the accepted social order. In Prima’s case, as a kid he constantly popped his head into Black churches to soak in the dramatic performances inside - a kind of informal training that would pay off when Prima played with great success at the Apollo Theatre in New York and other typically recognized Black venues of the time. A foundational element of Black music known as call and response is arguably the basis for Prima’s whole shtick. Who knew? v

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cinema - cinéma - cinema

Sergio Leone’s Wild West By Amanda Fulginiti / Gabriel Riel-Salvatore

The scene begins with a panoramic long shot of what is supposed to be a sun-baked valley in the American West; nothing happens; all you can hear is the desolate sound of the wind as it plays with the sand... Kapeew! The silence is finally broken by an ear-shattering gunshot. However, this is anything but your typical Western film because that supposed American valley is actually a place in Almería, Spain. And this unravelling of an American myth is told by, not an American filmmaker, but Italian director Sergio Leone - who in many ways is also the least typical of Italian film directors. eone is most often regarded as a curiosity; usually considered the resuscitator of a “dead” genre (the Western) and the father of a ridiculed sub-genre (the Spaghetti Western: a term coined by American film journalists who applied culinary labels to ‘inauthentic’ or ‘alien’ Westerns). With no equivalent in Italian culture to the American frontier, Leone internalized the visual language of American Westerns while separating them from their own roots. American Westerns are origin stories, myths about the founding of culture and the establishment of law. Leone, born of a childhood lived under the heel of fascism, fabricates a West with an air of mistrust for any kind of authority. Officials are corrupt and weak-willed; government is absent. All this resulted into an image of the West unlike anything seen by American viewers which in some ways is the point. His films are essentially about what America means to those who have never seen America except through its cinema. Towards the end of his life Leone commented; “I can’t see America any other way than with a European’s eyes, obviously; it fascinates me and terrifies me at the same time.” Thus, Leone’s films are more about living with the image of America, but never about being American. Leone’s first step was to unpack the mythology of the West. Especially in the “Dollars Trilogy”, Leone stripped conventional Hollywood Western mythology to its most base and alluring elements. He dug into a savage vision of the West. As Christopher Frayling noted in his ground-breaking study of the Spaghetti Western phenomenon, “Leone’s films contain no universal moral messages (as many Hollywood Westerns have claimed to), and his

heroes are not intended to set an example for today.” Instead, Leone’s camera celebrates violent individualism at the same time appearing ambivalent about morality. In other words, there is no great justice-keeping American hero. Many filmmakers in the 60’s and 70’s wanted to make Westerns, but production costs in the United States were too high for low-budget productions. Italy and Spain were cheap substitutes that resembled many of the deserts of Nevada, Utah, and New Mexico. As an added benefit, local peasants could be easily recruited to play Mexican extras. Thanks to Leone, Almería, Spain became a Mini-Hollywood and played nearly as important a role as the actors. The nearby Tabernas Desert (the only true desert in Europe) was a magnet to film producers. Genuine cowboy country -gray, dusty, barren hills- that made your mouth dry just to look at them. Unlike many Spaghetti Westerns which sought to make their Spanish locations look as much like the American-Mexican border region as possible, Leone’s expansive wide-screen vistas highlight the landscape’s slightly alien feel. A surreal, garish landscape of the mind where half remembered names and faces crowd. Thus, it is perhaps no coincidence that the Spanish locations of his Westerns are the same arid dreamscapes Salvador Dali employed in many of his nightmarish images of the 1930s. To set the tone of his nightmarish world Leone hired Ennio Morricone, whose music contributed to his atypical Western. Discarding the symphonic and the noble strings and brass, Morricone brought in the folkloric and the grotesque: whistling, choral shouting, dissonant harmonica,

lonesome trumpet, the Jew harp, ocarina, chimes and most importantly the gnarly electric guitar. Many scenes contain little to no dialogue, giving the music ample opportunity to be heard above all other sounds. When other sounds do occur, such as animal sounds, gunshots, cannon fire, and bugle calls, they are often incorporated into the music and not situated against it. As Leone himself put it: “If it is true that I have created a new-style Western, with picaresque people placed in epic situations, then it is the music of Ennio which has made them talk.” Born and raised in Rome, Leone adored Hollywood movies as a child. After working on several films, including Vittorio De Sica’s Bicycle Thieves (1947), Leone quit school to pursue a movie career full time. He then worked as an assistant director throughout the 1950s at Cinecittà, where he worked on such Hollywood spectacles as Ben-Hur (1959) and Sodom and Gomorrah (1961). Leone got hias first shot at solo directing when he took over The Last Days of Pompeii (1959) from ailing mentor Mario Bonnard, and earned his first “directed by” credit with another peplum, The Colossus of Rhodes (1960). Leone found his next project after seeing Akira Kurosawa’s samurai film Yojimbo (1961) in 1963. He adapted Yojimbo as a low-budget Western to be shot in Spain. Low on the list of possible Americans to play Leone’s man with no name was a TV actor, Clint Eastwood, cast more out of financial necessity than desire. Even his composer, one-time schoolmate Ennio Morricone, had to make do with limited orchestra access because of budget costs. The result, re-titled A Fistful of Dollars (1964), turned out to be wildly popular. Filled

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with widescreen close-ups which transformed faces into craggy “landscapes” (and what would become Leone’s trademark), Fistful re-imagined, as mentioned earlier, Western myths and consequently launched Eastwood’s lucrative Hollywood career. Its European run was so successful that Leone was pushed to make a sequel titled: For a Few Dollars More (1965). As violent as its predecessor and ending with Eastwood tallying up his monetary gains, For a Few Dollars More broke box-office records in Italy, paving the way for the even more expansive sequel The Good, the Bad and the Ugly (1966) which in turn sealed Leone’s status as the premiere Italian Western director. Next up were Leone’s operatic masterworks Once Upon a Time in the West and the tragic-comic Duck you, Sucker. It wasn’t until 1984 that his next effort was released about Prohibition-era Jewish gangsters in New York, Once Upon a Time in America, starring Robert De Niro. Sadly, it turned out to be the maestro’s swan song. Sergio Leone died in 1989, leaving a legacy of influence in his wake. It is amazing that so few book-length analyses of Leone exist given the proliferation of material on near-contemporaries as Federico Fellini and Michelangelo Antonioni. Leone was the master of the Italian box-office when both Fellini and Antonioni were in their prime. Some may even argue that Leone’s films are as cherished amongst cinephiles as the films of either of these two canonised film-makers. And while he helmed a mere seven films, Leone’s enormous influence is apparent from the late ‘60s onward, from Sam Peckinpah, John Woo, Quentin Tarantino, and of course Clint Eastwood, who dedicated his Unforgiven (1992) “To Sergio and Don.” Much of his work is often quoted or parodied in popular culture. Notable examples have been included in films, for example Back to the Future Part III and more recently Kill Bill . Let us not forget the notorious whistle which signals any Mexican standoff - past, present and future. Thus, whether for good or for bad, what remains clear is that Leone left behind a beautiful array of films for future generations to enjoy. v

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cinema - cinéma - cinema

Guardarsi allo specchio Cinema e immigrazione in Italia Giovanni Princigalli

Il famoso storico del cinema, Gianni Rondolino, affermava: “Il cinema è lo specchio della società”. Questa riflessione possiamo applicarla, ad esempio, al rapporto tra cinema ed emigrazione in Italia. asti pensare a film quali: Il cammino della speranza (1950) di Pietro Germi che narrava del duro viaggio di una famiglia di contadini dalla Sicilia alla Francia; Rocco e i suoi fratelli (1960) di Luchino Visconti, che raccontava dell’arrivo a Milano di una famiglia di lucani, e a Pane e cioccolata di Franco Busati (1974), con un Nino Manfredi in forma smagliante nei panni di un italiano emigrato in Svizzera. Ecco, come dagli anni 50 agli anni 70, grandi cineasti e sceneggiatori (ricordiamo Susi Cecchi D’Amico co-autrice di Rocco e i suoi fratelli, e scomparsa proprio quest’anno) si sono interessati, quasi in tempo reale, a storie personali e al tempo stesso sociali e collettive per raccontare il fenomeno dell’emigrazione dal Sud Italia, oltre che del difficile adattamento nel Nord del Paese ed in Europa. I film appena citati sono tre grandi classici del cinema sul tema “quando ad emigrare eravamo noi”. Ed oggi che ad emigrare sono invece gli altri? Non è un caso che a partire dagli anni 90, nella nuova generazione di registi e sceneggiatori italiani troviamo un forte interesse per chi emigra dall’Est Europa o dall’Africa cercando fortuna in Italia. Tra tutti citiamo Gianni Amelio con l’ormai noto Lamerica (1994). Il titolo è volutamente ma solo apparentemente “sbagliato”, visto che il film racconta del duro viaggio e poi dello sbarco di numerosi albanesi sulle coste pugliesi, e non in America appunto. Ma ciò che Amelio vuole dirci è che oggi l’America siamo noi, ossia il miraggio, la meta, l’illusione di una società ricca dove c’è posto e lavoro per tutti. Se una sulle navi ed i treni di ieri partivano i vari Sacco e Vanzetti, Rodolfo Valentino o i nonni di Robert De Niro e Martin Scorsese, oggi altre donne e uomini dai nomi arabi, slavi, rumeni, africani giungono in Italia tra mille peripezie e pericoli con le stesse speranze e bisogni, per trovare non solo un posto di lavoro (spesso al nero e mal pagato) ma anche delusione, emarginazione e razzismo. Basta pensare a quello che è successo nel 2009 in Calabria, dove dei braccianti di origine africana, sono stati prima sfruttati per lavorare duramente

nelle campagne ed alloggiati in campi che assomigliano ai campi profughi in Ruanda o Sudan, per poi essere cacciati a colpi di spranghe e bastoni. La TV britannica iniziò un servizio su quei tragici fatti nel modo che segue “Non ci troviamo nel bel mezzo di un campo rifugiati in Africa ma in un paese, l’Italia, tra i più industrializzati d’Europa”. Lo Stato italiano riconosce il diritto di cittadinanza ai nipoti e pronipoti di Lamerica di Gianni Amelio emigrati italiani, ad esempio in Argentina o Canada, anche se non parlano italiano, e che non pagano le tasse in Italia, dove magari si saranno recati poche volte, se non addirittura mai. Questo stesso Stato non concede la cittadinanza a quei figli di emigrati slavi o africani nati o cresciuti in Italia. Penso ad esempio ad Ajna, oggi 33enne, giunta in Italia all’età di 10 anni in fuga dalla guerra di Bosnia. Orbene, forse, l’anno prossimo, la smetterà di essere trattata come una extracomunitaria e di far la fila ogni anno alla questura per ottenere l’ennesimo permesso di soggiorno. Perché Ajna è in verità italiana a tutti gli effetti, essendo cresciuta qui. Di bosniaco ha solo il nome ed una certa conoscenza della lingua slava, ma la sua vera lingua madre, è l’italiano, la sua vera patria è l’Italia. Non solo Gianni Amelio, ma anche altri brillanti firme del cinema italiano si sono occupate di stranieri in Italia, cito tra tutti: Carlo Mazzacurati con Vesna va veloce (1996) e Silvio Soldini con Un’anima divisa in due (1992). Entrambi i film narrano di due ragazze giunte in Italia dall’Est Europa e del loro tentativo di legarsi non solo all’Italia ma anche ad un uomo italiano che nutre un profondo rispetto per le loro origini. Nel film di Mazzacurati l‘uomo è interpretato da Antonio Albanese e in quello di Soldini da Fabrizio Bentivoglio (tra i nostri più brillanti attori). Infine vale davvero la pena citare Elvjs e Merilijn per la regia di Armando Manni, uscito nel 1998. Le prime scene del film si svolgono in Romania, ed in effetti il titolo è una trasformazione in lingua rumena dei nomi delle stars hollywoodiane Elvis Presley e Marilyn Monroe. Elvjs e Merilijn è la storia di Nicolaj e Ilena che vincono a Bucarest il primo premio del concorso “Sosia 95”, dove appunto vestono i panni rispettivamente di Presley e della Monroe. Ma nella vita reale Nicolay è meccanico ed Ilena fa la spazzina. Il premio vinto consiste in un tourné di spettacoli a Riccione. Ma ecco che cominciano subito le prime difficoltà burocratiche sia con il governo rumeno che con l’Italia. Ad aspettarli non sarà il mondo magico di Elvis e Marilyn ma un viaggio ed un arrivo all’insegna della clandestinità e della difficile integrazione. Il film vinse vari premi tra cui il Globo D’oro per la migliore opera prima ed il premio del pubblico giovane al festival del cinema mediterraneo di Montpellier Ecco un altro titolo da aggiungere alla videoteca di chi volesse saperne di più di cinema italiano e dei nuovi fenomeni d’emigrazione in Italia. v

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Arts and Culture

Teatro -Théâtre - Theatre

Playwright Vittorio Rossi, Centaur Theatre and Montreal’s Casa d’Italia revisit a dark page of Italian/Canadian history By Lidia Russo / English translation Adam Zara

With Paradise by the River by Vittorio Rossi, Montreal’s Centaur Theatre extends its hand to the C a s a d ’ I t a l i a t o c o m m e m o r a t e t h e 7 0 th a n n i v e r s a r y o f t h e i n t e r n m e n t o f h u n d r e d s o f Italian/Canadians at Camp Petawawa during World War II. A remarkable exhibition on the interned members of Montreal’s Italian community is set up in the foyer of the Centaur Theatre as well as in the Casa d’Italia from October 5 th to the 31 st 2010. The newly renovated “Casa” is reopening its doors as an important historical and cultural center and an archive of the community’s collective memory. rawing on the events of Camp Petawawa, Paradise by the River presents the epic and moving story of Romano, an Italian immigrant unjustly arrested in his Ville Emard home. It was in that same Ville Emard district that Vittorio Rossi, a Montreal native originally from the Italian province of Isernia, spent his childhood. His creative literary language is English but he also speaks a colloquial Italian and expresses himself in the Isernian dialect with his family. Having graduated in Dramatic Arts (B.F.A.) at Concordia University, Rossi, barely into his twenties, received an award for ‘best theatrical opera’ from the Quebec Drama Festival for two one-act plays: Little Blood Brother and Backstreets. From that moment on, his artistic path would be distinguished by other prestigious acknowledgements. As an actor, Rossi has interpreted the role of Dino Marrone in the television series Urban Angels, as well as that of Tom Celano in the TV drama Omerta. On the big screen he appeared in Day One, Malarek, Canvass, Le Sphinx, and The Timekeeper. Former “playwright in residence” at Concordia University and the Centaur Theatre, Rossi possesses an extraordinary capacity to understand time and space and to accurately recreate Montreal’s social reality.

What does it mean for an artist and Italian-Canadian to be at the center of this commemoration? It’s such an important moment for me. ‘Paradise’ has been a huge undertaking and probably the most significant work I’ve ever written. It’s a drama that concerns an entire generation of Italians. My father was the soul that drove this creation into being. What happened at Camp Petawawa represents the darkest moment of our Italian Canadian heritage. Twelve years ago, I was driven to write a story that would make sure that the treatment we received by the Canadian Government during the last World War would not go unnoticed.

You have spoken of your father as a source of inspiration… In fact much of my inspiration to create comes from my parents. My father, even without much schooling, had this uncanny ability as a storyteller. He suffered a lot through life; fighting in Africa, injured, prisoner in England. The memory and pain of losing my mother is also a driving force. At forty nine years old the thought of her makes me rediscover every day the vulnerability and fragility of the child.

What is the significance of the title “Paradise” and “River”? Italians that left their country in the past, forced by hard economic conditions, were searching for a “paradise”, a new world to restart their lives. The “river” not only represents Montreal’s location, on the St. Lawrence River, but also where Petawawa internment camp was situated, between the Ottawa and Petawawa Rivers. So we have “paradise” by the “river”: a vision of paradise next to the image of hell.

How did the initial idea for this play arise, and why did the Centaur Theatre see it fit to kick off its 2010-2011 season with its revival? Fifteen years ago, I was asked to write a movie screenplay about the events at Petawawa. After two years of research, the project never took off so I decided to adapt the text for the stage. Thanks to producer Ciro Cucciniello’s help, I was at least able to present it as a play twelve years ago. Its revival this year is also due to Ciro, who encouraged me to dust off the old script. He had recently informed me about Bill C-302, a proposed law forwarded by Saint Leonard M.P. Massimo Pacetti, in which it was asked that the Canadian Government apologize to the Italian community for its shameful treatment of our people during the War. The timing seemed ideal for another representation of our story and the Centaur Theatre accepted our proposal with great enthusiasm.

What made you decide to act in the new version? Are there any other actors of Italian origin? Who’s directing it? Joel Miller is the same director that had worked on the original version. Other Italian Canadian actors include Guido Cocomello, Tara Nicodemo and Tony Calabretta. As for myself I decided to act primarily because it isn’t a new production and also because my acting spark had reignited last Fall when I took part in ‘In Piazza San Domenico’ at the Centaur.

Joel Miller directed most of your plays. What are the reasons? Joel is brilliant. He makes me see things I sometimes can’t on my own. He incites me to go deeper. We’re just on the same wavelength. There is dialogue, collaboration and respect. Not all directors have respect for the author. Joel is a man of great culture. He’s the ex-director of the English section of the National Theatre School. Originally from California, he speaks perfect French and understands the Italian mentality.

What is your main concern when telling a story? It was Edward Albee that said that the purpose of art is not to pacify but to disturb. I reach my objective when the spectator is taken to a place in which he would have never imagined himself being.

Any advice for an emerging author? Study and read... Shakespeare, Moliere, the Greeks, the Romans. Never wait for anybody to come and look for you. Create, invent, propose, and produce even when it takes much personal sacrifice. Determined commitment is a must.

“Paradise by the River” from October 5 to October 31 at the Centaur Theatre. v

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letteratura - littérature - literature

Italian-Canadian Writers: On the Move By Connie Guzzo McParland

For the third consecutive year, Italian Canadian writers from Toronto and Montreal took to the streets of Little Italy during Settimana Italiana. From August 13th to the 15th, under a tent on St. Laurent Street, and under the gazebo at St. Zotique Park, poets read poetry to the passing crowd, sold books, and entertained passers-by with bongo beat music. This year participation also included the Montreal launch of a Guernica Editions book, The Young Maria Callas, and with a soprano singing aria from the Diva’s own repertoire. n Saturday afternoon, while writers waited under the gazebo at St. Zotique Park for a microphone to be set up, racing car enthusiasts, only a few yards away, revved up their cars’ engines in anticipation of a Ferrari rally. Organizers feared that the noise from the car racing crowd might overpower the softer voices of the poets, but they had not accounted for the presence of Toronto poets, Gianna Patriarca and Frank Giorno, whose strong voices can drown the roar of any engine. When the crystalline voice of soprano, Michele Hekimi, rang out with Puccini’s “Un Bel di Vedremo,” the contest was over. Like a piper’s call, her passionate rendition of three other arias and an encore, filled the park with an attentive audience and carried everyone away above the strident ambient noises of the street festival. Italian-Canadian writers have been on the move since the Spring. In May, a contingent of over twenty writers, academics and publishers traveled to Atri, Abruzzi, to attend the 13th biennial conference of the Association of Italian Canadian Writers - the theme of the conference, “Writing our Way Home.” For many, the conference provided the opportunity to return to their native home or that of their parents. However, many different interpretations of the concept of home, from the nostalgic, to the metaphorical, to the philosophical were explored throughout the four days. The Keynote address aptly titled, “Translating Home”, given by Oriana Palusci, from the University of Napoli L’Orientale, also focused on the complexities of the theme and the dilemma posed to Italian-Canadian writers in translating the meaning of home. As can be expected from a group of writers who write mainly in English and French, and would like to be read in Italy, translation took center stage in many of the discussions. Guernica publishers, Michael Mirolla and Connie McParland, presented a panel, “Translating the Diaspora and Publishing across Borders,” with Italian publisher Norberto Lombardi and translator, Laura Ferri, from the University of Siena. Their discussion attempted to give writers some concrete and realistic information on the problems of being translated and published in Italy. On the following day, Gabriella Iacobucci, who has translated Nino Ricci and Mary Di Michele, spoke of her association Molise D’Autore, which diffuses the works of Molisani writers outside of Italy. Another project, Biblioteche Aperte, funded by the Canadian Embassy and the Molise region, brings Canadian literature to small centers in Molise. Guernica Editions, the largest publisher of Italian Canadian literature in the world, which has recently changed ownership, is still committed to continuing its long tradition of translation, always dear to founder Antonio D’Alfonso. It is considering a partnership with an Italian publisher to co-edit and translate Italian Canadian works into Italian and distribute their books in Italy, while Guernica will translate into English their Italian publications to be diffused in Canada. One of the distinguishing factors of this conference was the presence of many academics from Italian universities who participated, not as observers, but as actively involved scholars in the study and teaching of Canadian and Italian Canadian literature in Italy. The presence of Peter Egyed, counselor in the Public Affairs department of the Canadian Embassy in Rome, confirmed the strong commitment made by the Canadian government to promote Canadian literature abroad. Licia Canton, Filippo Salvatore, Domenic Cusmano, Alberto Mario De Logu, Frank Giorno, Connie McParland, Michael Mirolla, and Linda Morra are some of the

participants to the Atri conference. They found their way to Little Italy in Montreal for the Settimana Italiana. They were joined by Ralph Alfonso, A n t h o n y D ’ A d d e s e, M a r i a I e r f i n o, Domenic Iannuzzi, Ilona Martonfi and Albino Matano from Montreal and Bruna di Giuseppe Gianna Patriarca, Sonia Di Placido, Andrew Smith and Colin Wright from Toronto. Linda Morra, Associate Professor of English at Bishop’s University, Domenic Iannuzzi, author of City of Sin , Ralph Alfonso, beat poet/musician/photographer/designer, and Sonia Di Placido, Fine Arts graduate student in Creative Writing at the University of British Columbia, are some of the new academics, writers and performers who typify a new generation of voices in the Italian Canadian writing scene. Ralph Alfonso, asked if his Italian identity is prevalent in his work, responded that it is: “The Italian Canadian identity informs my work because it is a very specific experience... the Italian default for lyrical and emotional nuance is pervasive, enabling me to approach French and English themes with a third perspective.” Ralph, who has produced 4 CDs and 2 books, and operates Bongo Beat Records has performed in Italy, France, Canada, the UK and the US. In the future, he’d like to explore “cross cultural ideas... trying to connect some of those dots somehow.” For her young age, Sonia Di Placido has a vast experience in the publishing and performing arts, having performed as an actor, theater director, drama coach, dramaturge and playwright in the UK and Italy. She considers veteran Italo Canadian writers like Gianna Patriarca, Mary Melfi, Antonio D’Alfonso, Pier Giorgio di Cicco, as her literary fathers and mothers. “These writers,” she explains, “provide a far more insightful and raw experience of the migration; the struggle to build a voice in the context of the Italo-literary history/identity. Yet at the same time I’m part of the evolving voice- the newer voice that can incorporate those before me and what is being developed in the new.” Linda Morra believes that Italian Canadian literature will necessarily move in new directions with a new generation of writers. Domenic Iannuzzi states that “the writing will evolve because all themes are infused with our life experiences... author’s stories will continue to reflect the period they are living in.” Asked how they felt to be included in a street festival which features bocce tournaments, fashion shows, and car rallies, all agreed, that, in spite of the challenge of fighting for attention, the Settimana can be a terrific venue to diffuse their works. Attorney Margherita Morsella, coordinator of the literary component of the street festival, states that the goal of organizing these events is “to give a voice to the writers and to promote them and their works,” and stresses that “writers and intellectuals are an important component of a community... the success of a community should not only be measured by economic success.” Maria Ierfino who manned the book table echoed Morsella’s sentiments and that of other participants: “More support from the Italian Canadian Foundation of Montreal and the Congresso would be appreciated. Funding and more community sponsorship are requirements.” Italian Canadian writing is being studied in Italian universities, yet many of these writers are relatively unknown in their own communities. Even within the program of the Settimana, the literary events don’t seem to be given the same weight as the other activities. On Saturday afternoon, while the writers had to beg and wait for a microphone, a large stage with state of the art sound equipment lay idle until the evening’s fashion show. In Sonia Di Placido’s words, the literary component still “has an underground quality about it.” These young second and third generation writers are talented, enthusiastic and well educated in their craft and still hold on to their Italian identity. A word of advise to the community: nurture and value these writers... catch them while you can or they’ll move on. v SERVICE DE DÉCORATION À DOMICILE ET EN MAGASIN

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letteratura - littérature - literature

Anna Maria Zampieri Pan: una vita per il giornalismo da Vicenza a Vancouver Anna Foschi Ciampolini, corrispondente di Vancouver

Quando la famiglia Pan Zampieri da Vicenza si stabilì a Vancouver nel 1980 causò un certo scalpore nella locale comunità Italiana. Non erano emigranti tradizionali, anche se parlavano impeccabilmente il veneto, e non erano venuti “per fare moneta” ma per cercare un avvenire migliore per i loro tre figli, lasciandosi alle spalle una esistenza confortevole sorretta da una carriera di giornalismo professionista per Anna e da un piccolo impero imprenditoriale per suo marito Mario Pan. olta, volitiva, impegnata fino dalla gioventù in tematiche sociali e culturali la cui passion le venne instillata dal padre fervente antifascista, già sindaco di Vicenza e poi senatore, Zampieri Pan trovò a Vancouver un naturale sbocco al proprio talento nella direzione del settimanale comunitario italiano “L’Eco d’ Italia” allora gestito dalla Congregazione Scalabriniana. Il giornale, fino allora dignitosamente barcamenantesi fra notiziole locali e articoli ripresi da quotidiani italiani, divenne presto un fervido centro di dibattiti e analisi della realtà comunitaria, arricchito dalla grafica innovatrice e sofisticata opera di Davide e Ida Maria Pan. Non mancarono né le polemiche né le critiche come sempre accade quando si propongono innovazioni, ma furono anni formativi e creativi per la comunità italiana. Conobbi Anna durante uno dei tanti avvenimenti settimanali al Centro Culturale Italiano di Vancouver, durante i primi mesi dal mio arrivo, nel 1983. Mi invitò subito a continuare la mia collaborazione volontaria con il giornale, ampliandola e dandomi ogni libertà di scelta per i temi da trattare o le interviste da imbastire. Abitavamo allora tutte e due sul North Shore e,

in tempi antecedenti all’invasione (benedetta!) dei computers e della posta elettronica, ricorrevamo a mezzi rudimentali per fare arrivare in tempo i pezzi in stampa : ricordo che preparavo gli articoli battendoli a macchina su una boccheggiante Olivetti Lettera 22, poi la mattina prima di andare al lavoro, col nastro adesivo appiccicavo gli articoli sulla porta di casa per Anna che sarebbe passata a ritirarli prima di recarsi al giornale. Nel 1990, dopo otto anni di intenso lavoro giornalistico, Anna decise di lasciare la direzione de “L’Eco “per dedicarsi alla ricerca storica e contemporanea sui migranti italiani della British Columbia e anche di altri paesi dove i nostri lavoratori avevano portato la loro esperienza e la loro iniziativa. In pochi anni, ha pubblicato tre volume che tracciano la storia e la cronistoria della comunità italiana della Columbia Britannica: “Missioni di ieri e frontiere di oggi” (2007), ”Personaggi e Persone” (2008), “Presenze italiane in British Columbia” (2009). Inoltre sono usciti a sua firma innumerevoli articoli e interviste sul “Messaggero di Sant’Antonio”a cui collabora regolarmente e su altre pubblicazioni in Italia e Centro-Sud America. Nel 2010 la sua lunga e operosa carriera di giornalista e scrittrice le ha valso l’ambito riconoscimento della nomina a cavaliere dell’Ordine della Stella della Solidarietà Italiana. La professione non è però stata né rimane la sola e assoluta passione di Zampieri Pan, che ha sempre dedicato moltissimo tempo ed energia alla propria famiglia. Ormai molte volte nonna e matriarca di una piccola tribù di nipotini tutti maschietti, ha incoraggiato i suoi figli a seguire la loro vocazione artistica: Davide Pan è oggi uno scultore e pittore affermato che esplora temi d’avanguardia e usa materiali inconsueti per le sue sculture Ida Maria, dopo avere operato nel settore cinematografico, conduce da qualche anno un suo studio di grafica e progettazione artistica (Ideale Concepts). E la minore, Marta, pittrice perseverante, ha da tempo iniziato una fortunata professione di chef e imprenditrice nel mondo dell’alta cucina. La dinastia artistica continua, e forse questa è sempre stata la vera speranza della nostra giornalista. v

Arts and Culture

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musica - musique - music

Chris Giannini Reaching for the Top... By By Laura Laura Casella Casella

“I’ve enjoyed singing my whole life,” says Chris Giannini. “But I didn’t take it seriously until about the age of 19. ”The Laval native remembers being two years old and singing on a small stage his dad had built for him. He grew up with a love for music, especially Italian music, mostly thanks to his Calabrese father. “

y dad is a big fan of Italian music, so because of that I really fell in love with the melodies of Italian songs,” explains 23-year-old Giannini. Self-taught in guitar, piano, and the ukulele, Giannini bought his first guitar at 19 off a friend for $120. From then on he started writing his own music. It was thanks to a karaoke bar in Rivière-des-Prairies called Vocals that Giannini began singing in public more. “People would come up to me and tell me I had a good voice,” he explains. “I always loved to sing, but I never thought I was good enough to actually do something about it.” Little did Giannini know, his singing future was about to extend way beyond a karaoke stage. It was during a battle of the bands in 2008 that Montreal producer-engineer Gautier Marinof of famed Montreal recording studios Piccolo discovered this young musician. “I was playing with my band at the time,” recalls Giannini, “we didn’t win, but at the end of the show Gautier approached me, told me he liked my voice and that we should do something together.” The next day Chris Giannini and his band found themselves in a studio with Marinof recording a track. Marinof immediately saw Giannini’s potential as a solo artist and told him to send him some ideas. Giannini, whose band split up soon after, jumped at the incredible opportunity. One day while playing around with his guitar, an idea for a song came to life. “I just ended up getting the melody, the chorus, and the verses to this song. I tried sending the song to Gautier by email but for some reason it wasn’t working. So I called him up and sang the entire song on his voicemail!”

That bold move earned Giannini an instant call back and soon after a record deal with Productions 1890. The song he sang on a voice message would ironically go on to become his first single and title of his debut album, “If It’s Me”. The album, described as having a Brit pop sound was released in Canada in March 2010. Giannini, who says he was involved in every step of the process, wrote all 10 tracks off the catchy CD. “The album tells the story of the last 3 to 5 years of my life,” he says, excitedly. “Experiences I’ve had with my ex-girlfriend, my family... but they are all songs that can relate to your own lives.” Listening to the beautifully crafted collection of songs, you would never think that a 23-year-old is behind them. His voice is unique, mature, and every lyric tells a story capturing the true essence of Giannini’s soul. “Every song is original in its own way,” Giannini says. “I think that’s what makes me stand out as an artist.” People are noticing. The album has received very positive reviews and the first track “If It’s Me” is making its mark on several Canadian stations. Right now, Giannini says the focus is getting more radio airplay around the country. It’s no easy task in such a competitive market but Giannini says that’s part of the business. “It can get frustrating at times,” Giannini admits. “You can be super happy one day then down the next. But you need to accept the highs and lows and be patient.” Lucky for him, Giannini has a family that supports his musical endeavors and keeps him grounded. “I see this as a career, not a ticket to fame,” he states. “I hope to have a family one day and continue to sing and share my music. The most important thing for me is to have people listening and singing along to my songs. That would be a real accomplishment for me.” With his perseverance and undisputable talent, Giannini is getting closer and closer to that goal each day. He is still that same little boy singing on his father’s stage; just now that stage is about to get much bigger. To learn about upcoming shows and other news visit his official web site www.chrisgiannini.com v

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Palmitano sets out on his own

Frank (Gianfranco) Palmitano Jr., president of Inter-Quebec Windows and Doors grew up working in his father’s business, which he and a partner eventually took over. This year he set on his own. rank Palmitano Jr., president of Inter-Quebec Doors and Windows, walks through a Montreal East grocery store with a big smile on his face. A cell phone is tucked between his left shoulder and neck, under his right arm are some papers. As he picks up some lunch and scours the tomatoes for that night’s supper, three or four people (mostly Italians) nod and wave and the cashiers joke with him. “I love this part of town,” says Palmitano. “After so many years of living here and running a business in this area there are so many familiar faces. Everywhere you go people are friendly.” The door and window installation and manufacturing business has changed drastically since Palmitano’s father (Franco Palmitano Sr.) first started to drive him around to meet clients more than three decades ago. “I was only 14 and did not know too much back then,” said Palmitano with a smile. “So my father told me that when we went to customers, I should shut up, listen and learn. While many years have passed, I still do that. When you are in business, customer satisfaction has to be your main concern.”

A drive to service customers better Palmitano eventually took over his father’s company (Atlanta Aluminum) along with a partner. But after running it for close to a decade, last year he sold his stake, and founded Inter-Quebec Windows and Doors. Today he runs the company along with his wife Norma Valente-Palmitano, (who handles paperwork, schedules services and installations and oversees follow up work) and salesman Joe Morella. In addition, Inter-Quebec also has two trucks, manned by installation teams on the road. Palmitano cites his desire to better service clients for his decision to set up shop on his own. “The industry has been changing extremely rapidly as supply chains become more efficient,” Palmitano explains. “I wanted to pass the benefits of those changes on to customers.” Shortly after he opened Inter-Quebec Doors and Windows, Palmitano partnered up with Bonneville Portes et Fenetres, which manufactures a full line of window and door products that Inter-Quebec distributes and installs. Palmitano also supplies his customers with balconies, railings, garage doors and staircases.

“By partnering with an automated manufacturer, we are able to provide significant discounts,” explains Palmitano. “Clients save as much as 20%, compared to when they deal with traditional manufacturers. In addition Bonneville Doors and Windows also supplies better quality, a wider range of finishes and a superior warranty.”

Major industry tends According to Palmitano, clients are increasingly demanding hybrid windows, made of an aluminum exterior and PVC interior. “These are the most energy efficient models on the market,” explains Palmitano. “They meet the Energy Star standard, a government-backed designation that helps businesses and individuals identify products that protect the environment through superior energy efficiency. This designation was extremely important during the recent tax credit initiatives, which were available only for certified products.” As a result of Palmitano’s long history in the industry, Inter-Quebec has not surprisingly already managed to attract a broad range of clients. “Residential homes, one window, five hundred windows, smaller jobs, little block apartments,” we do it all, says Palmitano with a smile. “The important thing to me is that we can deliver the client a good job, superior prices and excellent after sales support.” That said, despite his early successes at Inter-Quebec Doors and Windows, Palmitano isn’t resting on his laurels. The company needs more office space, and Palmitano wants to also improve its showroom capacity. “We have been using the Bonneville showroom in Bois de Fillion,” he explains. “And while I adore working with them, we also would like to set up a showroom of our own soon too.” Looking a little further down the line, Palmitano has two sons of his own, Franco, who is 18, and Joey who is 15, who may one day want to join Inter-Quebec Doors and Windows. If they do, during their first years, they’ll probably get the same advice from Palmitano that he got from his father decades ago: “I’ll tell them to shut up, listen to their client and learn,” he chuckles. Peter Diekmeyer (peter@peterdiekmeyer.com) is a Montreal-based freelance business writer. v

Business

Affitto di immobili in Italia By Me Pasquale Artuso

PA S Q U A L E A RT U S O & ASSOCIÉS

Pasquale Artuso Avvocato di Fiducia Consolato Generale d’Italia Caroline Francoeur Avvocatessa Valérie Carrier Avvocatessa

T.: 514.259.7090

I proprietari di immobili nella provicia del Quebec sono ben al corrente che la locazione è regolamentata dalla “Loi sur la Régie du Logement”. Ma cosa succede in Italia? uante volte è avvenuto che persone emigrate all’estero e proprietarie in Italia di immobili li abbiano affittati direttamente o tramite persone “amiche” e/o “parenti”, con la conseguenQ za che, ritornando in Patria dopo molti anni, si sono imbattute in situazioni grottesche riguardo le loro proprietà come, ad esempio, scoprire che la “persona di fiducia” alla quale era stato affidato l’incarico di riscuotere l’affitto ne è divenuta proprietaria per usocapione oppure che l’inquilino non ne vuole più sapere di lasciare libero l’immobile occupato da tanti anni. Che fare? Sarà opportuno compiere un breve riepilogo della normativa italiana sull’argomento. La disciplina legislativa sulle locazioni di immobili urbani è contenuta negli articoli 1571 e seguenti del Codice Civile it., nonché nelle leggi speciali: A) L. 27 Luglio 1978 n. 392, con le successive integrazioni (L.431/1989, etc); B) L. 9 Dicembre 1998 n. 431; C) L. 30 Dicembre 2004 n. 311 (art. 1 C. 346). Le tipologie d’immobili regolate dalle leggi summenzionate sono: 1) abitazioni; 2) immobili industriali; 3) immobili commerciali; 4) immobili artigianali; 5) immobili turistici; 6) immobili adibiti a lavoro autonomo (es. uffici); 7) alberghi. La durata normale di un contratto ad equo canone per uso abitativo (fissato per legge secondo certi parametri) è di quattro anni, mentre quello a canone libero, cioè determinato dalle parti senza vincoli di legge, è di otto anni; poi vi sono le locazioni (affitti) a canone concordato che durano cinque anni, il cui importo è determinato a livello comunale dalle associazioni degli inquilini e dei proprietari; ancora esistono i contratti cosiddetti transitori che hanno una durata minima di un mese e massima di diciotto mesi e prevedono l’obbligo che proprietario o inquilino documentino la necessità di locare l’immobile per un breve periodo; altresì, vigono i “contratti a studenti” della durata minima di sei mesi e massima di diciotto mesi e si possono redigere solo nei Comuni sedi di Università, o di corsi universitari distaccati e di specializzazione.

Elena Milioto Avvocatessa Julie Therrien Avvocatessa Steven Campese Avvocato

F.: 514.256.6907

Pierre Fugère Avvocato - diritto criminale e penale Joseph W. Allen Avvocato dal 1976 diritto dell’immigrazione

artmars@securenet.net

Complexe Le Baron, 6020, rue Jean-Talon Est, bureau 630 Montréal (Québec) Canada H1S 3B1

Da ultimo, a corollario di quanto enunciato precedentemente, esistono i cosiddetti contratti di “affitto weekend” per case al mare, montagna o ai laghi disciplinati esclusivamente dal Cod. Civ. ital. e durano dal Venerdì al Lunedì successivo, l’importo è liberamente concordato dalle parti. Per i contratti ad uso abitativo non sono previste indennità per finita locazione a favore dell’inquilino salvo la prassi, non prevista dalla legge, di una specie di “buonauscita” pagata dal proprietario per velocizzare le procedure di rilascio “non spontaneo” dell’immobile da parte dell’inquilino, stante la lentezza dei tribunali italiani ad emanare i pertinenti provvedimenti a favore del proprietario. Diversamente, per quanto riguardo, i contratti di immobili differenti dalle abitazioni (industriali,commerciali,artiginali,turistici,lavoro autonomo) la durata minima non può essere inferiore a sei anni, mentre per quelli adibiti ad attività alberghiera il limite minimo è di nove anni; per queste ultime tipologie di contratti è prevista dalla legge un’indennità per la perdita dell’avviamento che corrisponde a diciotto mensilità dell’ultimo canone corrisposto, salvo per le attività alberghiere che è pari a ventuno mensilità. Ancora, la legge dispone, qualora un inquilino non voglia rilasciare l’immobile spontaneamente, una procedura esecutiva ai sensi degli artt. 657 e seguenti Codice Procedura Civile italiano, denominato procedimento per convalida di sfratto; tale attività legale è diretta ad ottenere dal giudice l’emanazione di un provvedimento (ordinanza) che convalidi la licenza ovvero lo sfratto per scadenza del termine o per mancato pagamento del canone pattuito, dichiarando, altresì, la risoluzione (fine) del contratto. Riassumendo, quale consiglio dare? Prima di affittare in Italia un immobile di vostra proprietà consultate un avvocato, giacchè questa rubrica legale contiene dell’informazione giuridica generale e non sostituisce i pareri di un professionista specializzato che terrà conto della particolarità del vostro caso. Lo Studio legale Pasquale Artuso & soci si avvale della collaborazione di corrispondenti in tutte le regioni d’Italia, coordinati dallo Studio Fallerini v

Business

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Selling a Business By Peter Pomponio

When planning for the sale of a b u s i n e s s, e n t r e p r e n e u r s m u s t c o n s i d e r va r i o u s t a x a n d n o n - t a x considerations. Share Sale versus Asset Sale For example, the sale of an incorporated business can be accomplished either through selling the shares of the corporation or selling the corporation’s assets. Vendors generally prefer to sell shares, from a tax minimization perspective. Purchasers generally prefer to buy assets, as this can facilitate greater tax-deductible depreciation in the future from having greater cost basis in the purchased assets, including goodwill. Buying assets will also result in purchasers only inheriting commercial liabilities that are specifically assumed and limits potential exposure to other unrecorded liabilities, such as lawsuits from prior actions of the corporation, which could arise under a share purchase. Asset sales may result in sales tax, GST/QST and duties on transfers of immovables being payable by the purchaser. If a corporation sells its assets, corporate income taxes may result. This could be followed by personal income taxes when remaining corporate funds are paid to the shareholder. Vendors should estimate the immediate and long-term tax consequences of undertaking a share sale versus an asset sale when preparing for a sale transaction negotiation.

Share Sale Considerations Many sale transactions are structured around the vendor’s ability to claim the $750,000 lifetime Capital Gains Exemption. This exemption can apply to sales of “qualified small business corporation” shares and, if applicable, can reduce or eliminate tax on the sale. In order for shares to qualify for the exemption they must meet certain technical criteria established in the tax rules. Generally, shares in private corporations that carry on “active business” may qualify whereas shares in passive investment corporations will not. Certain personal tax considerations can also impact a vendor’s ability to claim the exemption. The rules are complex and professional advice is recommended.

It may be possible for vendors of unincorporated businesses to incorporate before being sold, in order to facilitate claiming the capital gains exemption on the sale of shares. Advance planning may also create incorporated structures to allow: • other family members to become shareholders, participate in the growth in value of the corporation and use their exemptions if shares are sold; and • the ongoing tax-efficient removal of passive assists from the corporation to facilitate future exemption claims. A capital gains rollover may allow a deferral of some or all of the capital gain on the sale of small business corporation shares when the proceeds are shortly thereafter invested in new shares of another small business corporation.

Asset Sale Considerations When an asset sale is contemplated, the allocation of the purchase price is a key issue. Purchasers will generally prefer to allocate price to inventory and depreciable property, which allow a faster tax write-off than allocations to non-depreciable items (land) or certain other assets such as buildings or goodwill. However, vendors generally have the opposite emphasis for the allocation, in order to minimize taxes resulting from the sale.

Other Considerations As a general rule, tax is payable when a business is sold, regardless of when the purchase price is actually paid. However, if sales proceeds are to be received over more than one taxation year, a “capital gains reserve” may be available to the vendor which spreads out the time frame for when capital gains are brought into income. The reserve can provide a maximum deferral period of five years. When vendors agree to defer the receipt of the full purchase price, they should consider whether unpaid amounts are properly secured, if interest should be charged and the credit-worthiness of the purchaser. A purchaser may require a “non-competition” clause or other form of “restrictive covenant” to preclude the vendor from competing for a period of time after the sale. The tax treatment of such covenants is subject to complex proposed retroactive legislation. Where a sale is subject to an “earnout clause”, the amount the vendor will ultimately receive is also determined with reference to the future performance of the business. The tax implications to the vendor will vary depending on what is sold and the terms of the earnout. Professional advisors should assist entrepreneurs with the commercial, legal and tax implications of selling their business. The information in this article is provided solely for informational and educational purposes and is not intended to provide individual financial, investment, tax, estate, legal or accounting advice. Professional advice should be obtained prior to acting on the basis of this information.

Peter Pomponio is a Vice-President of Assante Capital Management Ltd (Member CIPF). He is the owner of the Ville St-Laurent Branch and practices as a Senior Fully Licensed Representative and Financial Planner from the Ville St-Laurent Office. He can be reached at (514)832-5100, or by email at ppomponio@assante.com. v

Si vous possédez un actif net de 500 000 $ et plus, vous avez besoin d’une gestion financière exceptionnelle. C’est ce que vous offre Peter Pomponio. Sous sa direction, une équipe d’experts en planification financière sera à votre service : avocat, fiscaliste, conseiller en assurance et plus encore. Peter Pomponio a su s’entourer de gestionnaires responsables et transparents qui sauront valoriser vos avoirs pour les générations à venir. Faites appel à une équipe d’experts et à son leader pour la gestion de votre patrimoine. Debout de gauche à droite : DANIEL CONTI, CFA, Conseiller en placements, Financière Unie FAY ZAVOS, Adjointe exécutive de Peter Pomponio THIRI JENNE, BFA, B.Sc., Administratrice du service, Financière Unie MARTIN CLOUTIER, Avocat, M. Fisc., TEP VPR, Planification du patrimoine, Financière Unie

BRENT STEELE, BAA, CA, CFP Comptable, VPR, Planification du patrimoine, Financière Unie Assis : SONIA CONTI, B.A., Directrice, relations avec les conseillers PETER POMPONIO, CFP, RFP, C.Adm. PL.Fin. Planificateur financier, Représentant sénior en plein exercice, Vice-président

Payé en partie par Financière Unie (FU)

Business

www.panoramitalia.com

Le secret du bonheur est-il dans la propriété d’entreprise? En matière de «villes les plus heureuses» pour des propriétaires de petites entreprises au Canada, Montréal se classe au deuxième rang derrière Calgary et au sixième rang en Amérique du Nord, selon un sondage mené par la Banque TD. e sondage, à partir duquel la banque a créé «l’indice TD du bonheur des petites entreprises», portait sur les attitudes et les comportements de propriétaires de petites entreprises provenant d’une douzaine de centres urbains en C Amérique du Nord. À Montréal, 102 propriétaires d’entreprises ont été consultés, en mai et juin derniers. « Les propriétaires de petites entreprises nous disent que le fait d’être propriétaire comporte de nombreux avantages, en dépit des défis quotidiens associés à la gestion de l’entreprise», déclare Gaston Trépanier, directeur principal, Services bancaires aux entreprises, région du Québec, TD Canada Trust. Le sondage révèle entre autres que 72% des propriétaires montréalais se disent « très heureux », et huit sur 10 se déclarent « plus heureux » de posséder et de gérer leur propre entreprise. Ils affirment que le fait d’être propriétaire leur procure un sentiment de fierté et d’accomplissement à 96 %. M. Trépanier, explique que la satisfaction personnelle constitue l’un des principaux avantages d’être propriétaire de sa propre entreprise. « Les propriétaires ressentent une impression de contrôle et un sentiment de liberté qu’ils n’ont généralement pas lorsqu’ils travaillent pour une autre personne. » Ainsi, 22 % des propriétaires montréalais de petites entreprises déclarent que le principal avantage de leur situation est d’avoir le contrôle et de prendre leurs propres décisions, contre 16 % à l’échelle nationale. Toutefois, posséder une entreprise peut s’avérer contraignant et 86 % des propriétaires interrogés déclarent qu’il est difficile de ne pas penser au travail en tout temps. Les Montréalais affirment également à 33 % que les plus importants défis associés à la propriété d’une entreprise sont la responsabilité et le risque. Les autres défis importants sont notamment les congés peu nombreux (20 %), la gestion de trésorerie (19 %) et les longues heures de travail. C’est à Montréal que les propriétaires d’entreprise travaillent la moyenne d’heures la moins élevée par semaine, soit 44 heures contre 48 heures en Amérique du Nord. De même, 39 % des propriétaires à Montréal déclarent travailler moins de 35 heures par semaine, contre 26 % à l’échelle nationale. Par contre, les propriétaires de petites entreprises de Montréal travaillent tout de même tard, dont 11 % de 50 à 59 heures par semaine et 40 %, plus de 60 heures par semaine.

Phil Mezzanotte au (514) 259-4608 poste 300 et Linda Petosa au (514) 593-6060 poste 247

Les « villes les plus heureuses » pour les propriétaires de petites entreprises Au Canada : 1. Calgary (30 %) 2. Montréal (29 %) 3. Ottawa (27 %)

En Amérique du Nord : 1. Los Angeles (36 %) 2. Boston (31 %) 3. Calgary, Chicago, Miami (30 %) 6. Montréal (29 %) v

Dominic Vitulano au 514-289-1580 poste 300

• AUTOS NEUVES • USAGÉES CERTIFIÉES • VENTE

• LOCATION • SERVICE • PIÈCES

FINANCEMENT OU LOCATION A PARTIR DE JUSQU ' AU 31 M AI

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1.9%

HEURES D’OUVERTURE: VENTES: LUNDI AU VENDREDI : 8H00 À 21H00 SERVICES: LUNDI AU JEUDI : 7H30 À 17H30 - VENDREDI 7H30 À 15H00 PIÈCES: LUNDI AU JEUDI : 8H00 À 17H00 - VENDREDI 8H00 À 14H30

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Where are you working from today? by Luciano Salvatore

Wireless technology is allowing executives to work away from the office for much longer periods than had been possible prior to its advent. Additionally, organizations are fostering cultures which support flexible work hours in order to garner higher productivity from their workforce. he above, however, does not change the manner in which vacant work spaces and their related costs are managed. Facilities Managers are constantly being challenged to make better use of existing resources. They are required to free up space in order to rationalize the office environment so as to accommodate growth without taking on any new office space. À raison d’être of Facilities Management is to maximize worker productivity, an issue which may translate somewhat differently between organisations. For some it may mean providing services that minimise time away from the office, like in-house fitness centres and inviting lunch facilities, while for others it may be providing efficient and diverse workspaces, informal meeting spaces and home offices. A mobile workforce results in vacant office space which allows the organisation to grow without adding to current facilities; an opportunity known as ‘hoteling’. It is defined as “workspace that is reserved on a first-call basis and not dedicated to any specific worker beyond a specified amount of time.” It is a great vehicle used to increase employee productivity and satisfaction while producing real estate space savings. With respect to the implications of technology and a mobile workforce described above, should your office environment experience a 25% or greater vacancy at any one time, it may perhaps make sense for your organisation to create a pool of workspaces that can be shared. In addition to the technological revolution, the structure of our typical workday has also significantly evolved. That is, it has shifted from mostly individual-oriented tasks to a more collaborative, team-based approach. This trend in itself has also reduced the need for dedicated work stations and increased the demand for collaborative space. Consequently, compelling organisations to manage meeting and conference rooms much more effectively than ever before, and obliging Facilities Managers to offer a work environment that supports the requirements of these teams, and desk-sharing fits this model perfectly.

GLISH AIS - EN FRANÇ N E E IC SERV

- ITALIANO

- ESPAÑOL

Lorenzo Lagatta

F.R.I.

Courtier immobilier agréé

RE/MAX ALLIANCE INC.

AGENCE IMMOBILLIÈRE

C. 514.825.6860 T. 514.329.0000 info@infocasa.ca

www.infocasa.ca

Business

Therein rests the challenge in identifying the spaces which are most underused and the likeliest candidates to become ‘hotelers’. To this point, measuring actual utilisation vs. space utilization of all workspaces can reveal opportunities for saving space. “Actual utilisation” is the percentage of time each worker actually uses their assigned workspace. This is different from space allocation. An office can be 100% occupied, but utilised significantly less some of the time. By measuring the actual utilisation of every workspace, Facilities Managers can make informed decisions on which workspaces can become shared workspaces. Today’s technologically savvy workforce has the ability to multi-task, and they no longer just appreciate the balance of work and family life, in fact, they demand it! They want flexible hours, flexible locations, and flexible assignments. And they do not anticipate being employed by the same organisation for their entire career either. To attract and retain the best and brightest individuals, organizations should be looking to offer flexible hours in a collaborative environment and give people tools that enhance their mobility and appeal to their flexibility. They need to offer them workspace where they want it, when they want it. Traditionally, we expect employees to begin their day at 9:00 a.m. and conduct their work in a dedicated workspace. Then, ironically, these same employees are supplied tools to make them mobile, such as laptops, Blackberries, and lightning-speed networks. These two polarities must be reconciled and instead of providing an employee with a dedicated workspace, organizations should set up their facilities in accordance with the way people work. That is, by encouraging mobility, workplace choice, and sharing of office resources. The benefits of desk-sharing go beyond merely the cost savings. Namely, the organization benefits from increased employee productivity and a boost in employee morale. Employees benefit from reduced commuting time, the flexibility to select the most productive location for their work each day, an improved relationship between time spent working and time available for family and other quality of life activities. Moreover, society benefits from reduced traffic congestion and improved services. So where did you say you’re working from today? v

News & Events

rom August 6 th to 15 th , Montreal’s Italian Week transformed the city into a piazza of colours, culture, and entertainment. From Rivière-des-Prairies to NotreDame de Grâce, Lasalle to St-Leonard, the festival celebrated the essence of being Italian. The final weekend in Little Italy set the stage for what is being called the best edition of Montreal’s Italian Week! Organized by the National Congress of DE M ON TR É AL Italian-Canadians (Québec region), the event has grown tremendously over the past years. Sharing the “dolce vita” with over 500,000 visitors, local personalities were among the masses, including CBC’s Frank Cavallaro, Bitchin’ Kitchen host Nadia G, and YouTube sensation, Nonna Maria. Even Habs star, Maxim Lapierre, came out to indulge in the Italian lifestyle. This year’s featured region was Sardinia, a mystical island whose natural beauty is reflected through its sandy beaches and inspiring landscape. Featuring Sardinian artists like “Canto a tenore” group, Tenores di Bitti, jazz musician, Enzo Favata, and fashion designer, Mario by Alexandro Loffredi Cocco, the Association des Sardes du Québec definitely represented the many facets their region has to offer. There were many firsts at this year’s festival: Bottega Pizzeria took the crown for Little Italy’s “Most Bitchin’ Pizza,” “The Young Callas” book launch, and on-site graffiti paintings by Milan artists Marco KayOne Mantovani and Luca Flycat Massironi. New eco-friendly initiatives were also introduced. The increasingly popular Ferrari Dream Drive had over forty Ferrari cars, gracing St-Laurent Boulevard in a stunning parade to benefit the Montreal Children’s Hospital. Crowding the street with red, yellow, black, and a spot of baby blue, the Ferrari’s trotted into Little Italy to make children’s wishes come true. The next generation of Fiat cars and an Indy 500 pit stop competition with Alex Tagliani topped the demonstrations of specialty cars in Little Italy. The Loto-Québec stage hosted an array of acts, including a performance by Montreal’s own, Marco Calliari. Making his debut at the festival in 2003, Calliari returned for an encore this year, delivering an energetic show that had thousands of people dancing. With his name in lights (literally), Calliari’s concert ended with a flash mob dance to a remix of “We No Speak Americano,” choreographed by hiphop professional, Doina Cocco. The Moda Sotto le Stelle fashion show exemplified Italian fashion at its best, combining the edge and style of Lady Dutch, Mimi & Coco, and Leonardo Bennotti, with the class and sophistication of Signor Terry, Boutique Alba, and Lauro&Co. Sardinian designer, Mario Cocco, guaranteed an extravagant ending, as GL Touch Coiffure made the models radiant with masquerade inspired hair and make-up. Accessories by Adriana Handbags added the finishing touches to an excellent show. The opera, “The Barber of Seville,” was the grand finale to a memorable weekend. For the first time, spectators flooded Notre-Dame de la Défense Church to see the performance. Italian artists, Alessandro Luciano and Marco Camastra, impressed the audience with their vocal talent and skill. Local soprano, Raphaëlle Paquette, shined in every scene, while the hand-painted walls by Guido Nincheri and detailed architecture served as the ideal setting. A landmark Italian church met the quintessential Italian opera to mark the conclusion of the 17th edition. The festival was a great success! The staff was determined, volunteers were enthusiastic, and sponsors truly committed to the Italian community. Despite rain on the last day, organizers ensured there would still be an unforgettable settimana di luci e colori! The committee set a high standard for 2010; we can only imagine what next year will bring...

www.panoramitalia.com

Una Settimana di Luci e Colori

For more pictures of Montreal’s Italian week, visit Panoram Italia’s Facebook fan page! v

Photos: Gabriel Riel-Salvatore

PETITE ITALIE

DU 6 AU 15 AOÛT 2010

www.semaineitaliennedemontreal.com

968 D epuis 1

News & Events

A Night in White The Guzzo Family Puts on a Show for Cancer Research By Chiara Folini aria and Vincenzo Guzzo are the visionaries behind Notte in Bianco, a benefit where guests dress all in white to fund cancer research through the Guzzo Environment-Cancer Research Chair of the Université de Montréal. Since its inception in 2008, the fabulous entertainment-filled evening has been very successful, raising over $350,000 in proceeds. Many months of commitment go into an event of this magnitude. “It becomes a year-round affair that I love planning,” proudly asserts Maria. Being very hands-on allows the Guzzo’s to ensure that every aspect of the event is executed perfectly. Both Maria and Vincenzo host the evening for 425 guests under a tent at their family home in Terrebonne. Dress code: White. Following cocktails at 5 p.m., this year’s dinner offered a tantalizing selection of food catered by Java U. For entertainment, the legendary Ginette Reno, Italian vocalist Niko Congiu, and other French-Canadian artists lent their time to this great cause, while a very special headlining performance by Canadian prodigy Nikki Yanofsky capped off the night in dazzling fashion. The evening could not have come to fruition without the support of this year’s major sponsor: Standard Life Assurance Company of Canada. President and Chief Executive Officer of Standard Life, Joseph Iannicelli and his wife Mary were named honorary presidents of this year’s event, given their passion to the cause and devotion to the organisation. This concept all began when Maria and Vincenzo met Dr. Jack Siemiatycki a few years ago and were captivated with his research. Dr. Siemiatycki focuses on the impact of the environment on the risk of developing cancer, and studies the correlation and relationship it has to any type of cancer. Dr. Siemiatycki, a professor at the Department of Social and Preventive Medicine and a world-renowned epidemiologist, was appointed Holder of the Guzzo Environment-Cancer Research Chair of the Université de Montréal. This Research Chair, established in 2007, was a partnership founded on expertise, experience, passion and generosity to find new approaches for preventing, diagnosing and treating cancer. Cancer prevention is an area of research generally lacking in development and considered underfunded. Understanding the impact environmental agents play brings us one step closer to a cure. “Both of my parents struggled and won their battle against cancer,” says Vincenzo, motivated to reach out and make a difference in the broader cancer-care community. Guzzo’s family name is proudly associated with Dr. Jack Siemiatycki and his research team. For Maria, it also strikes a maternal chord, “as a mother, it comforts me to know this research can benefit future generations - our children.” As members of the Guzzo family, the leading independent cinema owners in Quebec, Maria and Vincenzo are an exemplary team of husband and wife who prove that giving goes beyond writing a cheque, and that donating time, passion and devotion is equally important. Bringing people together is a way to achieve change, Maria and Vincenzo impart this wisdom that is inherited from a family rich in generosity. Maria confirmed that they plan to organize Notte in Bianco again next year; in fact, the Guzzo family are committed to support this cause for many years ahead. All proceeds raised will directly and exclusively benefit cancer research in the field of environment cancer. For more information on the event: please visit www.notteinbianco.com . v

Auto Bugatti F1 Evening at Moomba Supperclub, June 9th 2010 by Joey Franco uto Bugatti was pleased to present their first annual Grand Prix evening in collaboration with Moomba Supperclub in Centroplois Laval. Nearly 60 Ferraris were present in the parking lot of the venue. President Joe Visconti is pleased with the return of the Montreal Grand Prix and believes this event sets the pace for the summer in Montreal. In 1990, Joe Visconti founded his very own collision repair facility. Four years later, Auto Bugatti expanded their body shop into a shop collision center specializing in high end vehicles such as Porsche, Audi, BMW, and Ferrari. This first edition of their pre Grand Prix event is just the latest of the many achievements that Visconti and his team can be proud of. Visconti, along with Auto Bugatti Controler Frank La Palerma wish to continue this event for many years to come. During the course of the evening, Joe Visconti and Frank La Palerma presented a customized racing helmet to Moomba owner Jack Gaspo. The whole staff at Auto Bugatti would like to thank all those who attended and made the evening a great success. Special thanks also goes out to the whole staff at Moomba for their exquisite food and excellent hospitality. v

Congratulations to these Graduates Erratum: Dear readers, parents and graduates, please let Panoram Italia express its sincere regrets for missing some of the Graduates 2009-2010 in the last August issue 2010. Since we do realize how much this means to all new graduates, and since we do want to make it right, our policy is to publish any picture that we missed. Best regards, Tony Zara, Publisher

Gabriella Cristiano Collège St-Jean-Vianney Diplôme d'étude Secondaire

Claudia Musto Concordia University Bachelor of Fine Arts Major Studio Art 2010

Stefania Mancini Romina Mancini Vincent Massey Collegiate Concordia University High School Diploma Bachelor of Arts 2010 Major Human Relations 2009

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Ottawa News & Events

La Vendemmia: Ottawa’s own celebration of Italian wine and food n Italian tradition, harvest time is when farmers gather together to celebrate the earth’s bounty, catch up with their neighbours, and offer their produce. It is a time of celebrating the end of the intense work involved in planting, growing, and harvesting. Wine - an integral part of any gathering- has its own celebratory harvest tradition. Fresh off the vine grapes are poured into huge vats and crushed in the first stage of this centuries old art form. Since 1997, La Vendemmia has been Ottawa’s celebration of Italian wine and food. Held in the heart of Little Italy, Preston Street, La Vendemmia is a series of Italian wine and food seminars, dinners, cooking demos, wine tastings and a charity grape stomp. This year, the events took place during September 20-26, 2010. Highlights included: Chef cooking demonstrations, wine tastings, featured dinners at Preston Street restaurants, the Taste of Little Italy Wine and Food Show and even a charity grape stomp in support of Ottawa Regional Cancer Foundation. Visit www.prestonstreet.com/lavendemmia to see future events v

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Sports

Sports and Studies Under One Roof By Sabrina Marandola

Sports fanatics were in for a real treat this past summer. The Formula One came back to town, the FIFA World Cup kicked off, and prestigious soccer clubs Fiorentina and AC Milan played a game against the Montreal Impact at the Olympic Stadium! ports lovers everywhere marked their calendars. But while many of us watch sporting events from our living room couch or - if we’re lucky - get to watch from the bleachers, some young Montrealers look on with the dream they will one day play there themselves.

To find these determined young athletes, just stop by Lester B. Pearson High School in Montreal North. “I could see myself playing soccer everyday,” says Daniel Crescenzo, 15, who plays AAA soccer for St. Leonard. “The 2014 Winter Olympics is my goal,” says 15-year-old student Julia Sagaria, who practices figure skating five days a week. “It’s serious. Figure skating is what I want to do.” Sagaria is well on her way. She’s competed in the nationals the last three years in a row, and last summer, she won first place in the international competition held in Chicago. There are about 100 students like Sagaria and Crescenzo at Lester B. Pearson High School - students who are determined young athletes training hard to make great accomplishments in their sport. But how is it that so many future Olympians or professional athletes are all classmates at the same school? Well, it’s nothing in the water. It’s the high school’s prestigious Sport-Études program that’s attracting all that young talent to Montreal North. “It’s a great program for kids who take their sport seriously,” says Casey Gagné, the coordinator of the school’s Sport-Études program. “They can gain opportunities in both academics and sports if they work hard in both.” The Sport-Études program is tailored specifically for student-athletes. The school day is divided in two: classes until noon, and then the young athletes are off to the gym, pool, arena or the track to practice their sport. For Alexandria D’Onofrio, her afternoons are spent on the

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www.panoramitalia.com ice. The Secondary 4 student, who’s been skating since she was 3, plays hockey four days a week. “It’s a good program because you get to have your education time, and your sports time. You get to practice your sport more than others,” she says. Fellow-student Raphael Sciola agrees. “It’s an excellent program if you’re good at sports and academics,” says the 13-year-old black belt, who’s been kickboxing since he was five. “You don’t have to rush after-school to go to your sport. You already have it in school.” So does 14-year-old Kristin Teoli. She’s hoping the Sport-Études program will open up more doors for her when she’s ready for post-secondary studies. “Sport-Études will give me better opportunities to go to good schools,” she says, hoping she will be offered university scholarships. Gagné thinks that’s a good plan. “You may not be the next golden child, but with this program, talented athletes have solid academics as a back-up,” he says. “If they train everyday, and do well in school, they will have strong academics, and sports will give them an opportunity to win scholarships at schools.” Administrators at Lester B. Pearson are choosy about who gets into their Sport-Études program. Students must pass an entrance exam, and must be recognized by their coach or sports federation as an “elite” athlete. Once in the program, students need to maintain an overall average of 75 per cent, and cannot get a grade lower than 70 per cent in any one subject. “This program is not for everyone,” Gagné says. “It’s for academically-strong children, who are serious about their sport.” Students in the program strongly agree. “This is not like having a gym class everyday, and if that’s what people think it is, they’ll get a surprise,” says Sciola. “You have to manage your time,” says D’Onofrio. “If you’re not focused, you won’t succeed.” Besides getting access to train at sports facilities every day of the week, students in the program have access to a tutor to help them catch up on school work, a sports psychologist, and nutrition and sports medicine sessions. They also get the chance to train with professional athletes. Jason Di Tullio is one of them. The retired soccer player signed pro before his 18th birthday. He played for the Montreal Impact, was on the U-20 Canadian national team, and played in the FIFA World Youth Championship. Di Tullio now coaches soccer to Sport-Études students at Lester B. Pearson. “The more you touch the ball, the better you become,” he says. “With this program, the kids can train five days a week. There is the potential to be recognized by provincial programs or win scholarships.” Di Tullio says the program is only getting better. Next year, students will get to practice on the field at CEGEP Marie-Victorin, where the facilities are bigger and better. He says he hopes students appreciate the program. “There was no Sport-Études when I was in school. I really try to make the kids recognize how fortunate they are to do both.” Students like Olympic-hopeful Sagaria say it’s hard work, but they feel lucky. “If you’re serious about your sport - you love it and you want to go far - and education is also important to you... then this is the best of both worlds.” v

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Sports

La force d’y croir e Entrevue avec Alexandre Tagliani par Piero Facchin

Il est assez remarquable de s’asseoir avec quelqu’un qui a toujours cru en soi et en son « destin ». Avec une telle détermination et un talent inné pour la course automobile, il n’est pas étonnant qu’Alexandre Tagliani ait réussi à faire carrière comme pilote de Formule Indy. Durant la Semaine Italienne de Montréal, Alexandre Tagliani a pris quelques minutes de son temps pour nous parler de sa passion -la course automobile- et pour nous transmettre sa volonté de se surpasser et de ne jamais abandonner. PI : Pourquoi participes-tu à la Semaine Italienn e ? AT : Ce n’est pas la première fois que je suis associé à un évènement dans la Petite Italie. Quand j’ai commencé ma carrière, on avait participé à un évènement avec mon équipe de Formule Atlantique. D’ailleurs, j’aimerais que la communauté italienne s’implique davantage dans ce genre d’activité. Oui, il y a le soccer, mais il y a aussi beaucoup de passionnés de course automobile (Ferrari, etc.). Cette année, en collaboration avec la compagnie Honda, on a créé un concept autour d’une compétition d’arrêt aux puits. L’idée était d’inviter le public à m’affronter dans un arrêt aux puits et d’attirer ainsi l’attention des medias. Nos commanditaires ont généreusement donné des prix de participation et de plus, Honda avec la « Make a Wish Foundation », a ramassé des fonds pour une bonne cause. Donc, ça a permis aux spectateurs d’avoir une appréciation nouvelle des mécanos en plus de donner une visibilité accrue à la semaine italienne. Je dois par contre vous avouer qu’il y a encore beaucoup de travail à faire pour mieux organiser cet événement et lui donner la visibilité qu’il mérite.

PI : À quel âge as-tu su que tu voulais faire de la course automobile ? AT : J’ai su très rapidement (vers 12, 13, 14 ans) que je voulais faire de la course. Mes parents, sans que je leur dise, l’ont aussi compris très vite. J’ai toujours mis beaucoup d’énergie dans la préparation de mon kart au garage de mon père. Plutôt que d’aller jouer dehors avec mes amis après l’école et de flâner, ma mère me déposait au garage de mon père. J’avais toujours les mains dans la mécanique que ce soit pour laver des pièces d’autos ou pour préparer mon kart.

Et de toute façon c’était la philosophie de ma famille ; on n’était pas riche. Or, étant donné que la course automobile était beaucoup plus dispendieuse que jouer au hockey, par exemple, mes parents ont su croire en moi et on a su faire les sacrifices nécessaires pour que je réussisse. Je suis très reconnaissant aujourd’hui pour ce que mes parents ont fait pour moi. Dans le monde de la course automobile tu ne peux pas te fier seulement à ton talent et à ta personne. C’est extrêmement difficile de percer et c’est très facile d’abandonner, surtout quand on se rend compte que tu passes 20 pourcent du temps dans le cockpit de la voiture et 80 pourcent en dehors dans la préparation. Il y a eu des gens qui m’ont beaucoup aidé dans mes débuts tel Vincent Chiara et beaucoup d’autres qui ont cru en moi et m’ont présenté des gens importants. Aujourd’hui je suis très heureux. À travers les années, je me suis toujours dépassé et je suis demeuré extrêmement persévérant pour atteindre mes buts, autant dans ma vie professionnelle que dans ma vie privée. Il est important de s’entourer de gens qui ont une pensée positive et qui regardent dans la même direction ; vers le dépassement de soi. Vous savez, tout le monde a des problèmes, mais il faut savoir comment surmonter les obstacles pour mieux apprécier ce que la vie nous offre. v

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