Panoram Italia Magazine Montreal June-July 2013

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THE ITALIAN-CANADIAN MAGAZINE MAILED TO HOMES IN THE GREATER MONTREAL AND OTTAWA AREAS

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JUNE / JULY 2013 • VOL.8 • NO.3

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TABLE OF CONTENTS

JUNE / JULY 2013 Volume 8 Number 3

EXECUTIVE EDITORIAL La stampa in lingua italiana in Canada . . . . . . . . . . . . . . . . . 12

EDITOR-IN-CHIEF Filippo Salvatore

McGill University Provost Tony Masi . . . . . . . . . . . . . . . . . 14

EDITORIAL

Intervista all’Ambasciatore Gian Lorenzo Cornado . . . . . . 16

DEPUTY EDITOR-IN-CHIEF Adam Zara MONTREAL WEB MANAGERS MANAGING EDITOR Gabriel Riel-Salvatore Gabriel Riel-Salvatore Claudio Ortu

LA CANTINA

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PUBLISHER AND EDITOR Tony Zara

La Cantina: An Italian-Canadian Staple . . . . . . . . . . . . . . . 18 Benvenuti nelle loro cantine . . . . . . . . . . . . . . . . . . . . . . . . 20 Cover: A piece of Italy in our homes . . . . . . . . . . . . . . . . . 24 The ABCs of Homemade Prosciutto . . . . . . . . . . . . . . . . . 26 Guide to Homemade Capicollo . . . . . . . . . . . . . . . . . . . . . 30 Homade Sausage and Soppressata . . . . . . . . . . . . . . . . . 34

LIVING ITALIAN STYLE . . . . . . . . . . . . . . . . . . . . 36 FASHION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 NAPOLI How Beautiful and Sweet is Pulcinella’s City . . . . . . . . . . . 40 Storica Napoli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Viva Napoli: Naples unparalleled charm . . . . . . . . . . . . . . 42 Naples au jour le jour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

TORONTO MANAGING EDITORS Rita Simonetta Viviana Laperchia

PROOFREADERS Claudio Ortu Marie-Joëlle Proulx

ART DEPARTMENT ART DIRECTION David Ferreira Gabriel Riel-Salvatore GRAPHIC DESIGN David Ferreira

PHOTOGRAPHY Vincenzo D’Alto Michel Ostaszewski Luigi Pasto MAKEUP Emmanuelle Blanchard

ADVERTISING VICE PRESIDENT – ADVERTISING SALES MARKETING & SALES TORONTO EXECUTIVE MONTREAL Earl Weiner Frank Crisafi

Savourer Naples en 10 étapes . . . . . . . . . . . . . . . . . . . . . 46

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Pizza Napoletana the one and only . . . . . . . . . . . . . . . . . . 48 The Origins of Pizza . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Making Neapolitan Pizza Classics at Home . . . . . . . . . . . 50 La bellezza calpestata di Napoli . . . . . . . . . . . . . . . . . . . . 52 A me me piace o’ rap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

CONTRIBUTORS Sabrina Marandola Luigi Pasto Giuseppe Mattoscio Sergio Mattoscio Francesco Caruso Carolina Caruso Alessia Sara Domanico Giuseppe Continiello Francesca Spizzirri Valérie Vézina Julie Aubé Giuseppe De Cesare Roberto Ciuffini Sonia Benedetto Pasquale Artuso Alain Raymond

Musica Napoletana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

EVENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 SPORTS Lamborghini: Ferruccio’s Revenge . . . . . . . . . . . . . . . . . . 60 Confederations Cup Brazil 2013 . . . . . . . . . . . . . . . . . . . . 62

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EDITORIAL

La stampa in lingua italiana in Canada tra passato, presente e futuro La sospensione il 4 maggio 2013 del Corriere Canadese, l’unico quotidiano in lingua italiana in Canada, nella zona metropolitana di Toronto, diretto da Paola Bernardini, fondato 59 anni fa da Daniel Iannuzzi, è innegabilmente una perdita per gli italofoni del Canada. Questa drastica decisione obbedisce ad una logica prettamente economica: la costante erosione del contributo ricevuto dal Dipartimento per l'editoria e le rigidità di applicazione della normativa esistente, ossia il mancato pagamento, alla Multimedia dei costi sostenuti per la produzione del giornale. La situazione è venuta a crearsi a causa delle problematiche e delle lungaggini legate al finanziamento ed alla erogazione dei contributi previsti alla stampa all’estero dalla legge sull’editoria del Governo italiano. uesta incresciosa situazione ci porta a fare alcune riflessioni sul ruolo che i mezzi d’informazione in lingua italiana al di fuori dei confini nazionali nell’età della rete telematica sono chiamati a svolgere nel presente ed in avvenire.

I media tradizionali in sola lingua italiana, sorti in vari paesi di emigrazione negli ultimi cinque/sei decenni stanno affrontando un periodo di crisi, poiché sono arrivati alla fine di un ciclo, quello dell’emigrazione di prima generazione che cerca nelle testate sorte all’interno delle varie comunità espatriate un punto di riferimento per capire e tenersi in contatto con l’ evoluzione sociale della Madrepatria. Sui circa sessanta milioni di oriundi italiani solo una percentuale decrescente parla ancora, all’inizio del terzo millennio, la lingua madre e solo poco più di quattro milioni sono ancora cittadini italiani. Questi dati danno la vera immagine dell’Italia nel mondo. La questione da capire è dunque questa: il ‘sistema Italia’ può continuare ad esistere nel mondo se si usano diverse lingue, oltre all’italiano, per esprimerlo? L’ideale sarebbe di poter usare solo l’italiano, ma nella realtà dei fatti l’italianità è concepita ed espressa sempre più frequentemente usando lingue altre.

Dalla fine dell’Ottocento alla seconda guerra mondiale i giornali pubblicati in vari paesi di emigrazione italiana sono stati il mezzo preferito usato dai cosiddetti ‘padroni’ per offrire servizi, diventare sostituti di uffici di collocamento, cambio di valuta, vendita di biglietti o di vari prodotti alimentari importati. È esistita anche una stampa dichiaratamente ideologica, voce di espatriati politici. Una dialettica politica, tra cavouriani, mazziniani o guelfi è esistita per esempio in paesi di vecchia e numerosa emigrazione come gli USA, il Brasile, o l’Argentina. Nei soli USA sono nate e scomparse oltre 2.000 piccole testate, da

Q

prima l’unità d’Italia fino alla fine del secondo millennio. In Canada le testate pubblicate dal primo Novecento sono state circa una cinquantina. Nel periodo fascista la stampa in lingua italiana si è trasformata in città come Montreal, Toronto o Vancouver in mezzo di propaganda facendo combaciare italianità e fascismo con rare eccezioni come Il Cittadino Canadese di Antonino Spada, la voce dell’antifascismo italocanadese (la versione attuale de Il Cittadino Canadese, proprietà di un ex senatore filo-berlusconiano, fa rimpiangere la gloria passata).

La versione cartacea di quotidiani e di settimanali, nel cinquantennio 1950-2000, indispensabili fino ad un decennio fa, prima cioè della rivoluzione telematica in corso, era una necessità e lo rimane per la vecchia generazione. Nel 2013 un numero crescente di lettori ha ricorso alla rete come fonte primaria e virtuale di informazione. Si tratta di un cambiamento epocale ed irreversibile in quanto la nascente nuova emigrazione italiana è costituita da giovani istruiti che hanno ricorso alla cosiddetta computer literacy, sanno cioè navigare nella rete digitale.

Dei quasi due milioni di italocanadesi (censimento 2011) ormai meno di 500,000 parlano ancora l’italiano. Questo semplice dato statistico va preso come punto di partenza e di arrivo per capire qual è il ruolo della stampa in una lingua non-ufficiale come l’italiano in un paese come il Canada. La realtà canadese può essere presa come un esempio significativo dell’evoluzione occorsa in seno alle comunità italiane nel mondo e la base per le modifiche urgenti da apportare alla legge sul finanziamento alla stampa italiana all’estero.

La stampa è un mezzo di informazione e di formazione, un contropotere in difesa della libertà. È la espressione scritta della cronaca, dei problemi, delle aspirazioni, delle sconfitte e delle vittorie singole e col-

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lettive di una comunità. È la traccia duratura che lascia di sè e che con il passar del tempo diventa la sua storia.

Tante piccole testate, in Canada e nel resto del mondo, non assolvono più a questo compito. Si limitano a tagliare e copiare notizie di agenzia. Sono diventate mere cinghie di trasmissione dei desiderata delle varie segreterie di partito. Venendo così meno al ruolo fondamentale della stampa: essere la voce degli ideali di libertà di pensiero e di responsabilità sociale ed etica. A cosa serve mantenere in vita testate di questo tipo anche se usano la lingua italiana? Perché escludere testate come Panoram Italia che da oltre un decennio sta portando alto il nome dell’Italia in Canada nella versione cartacea e in quella telematica usando oltre che l’italiano anche il francese e l’inglese? Tante sono le incongruenze presenti nella legge sull’editoria che non tiene conto dell’italianità nel mondo così come essa è veramente oggi. Invece delle tradizionali sovvenzioni basate sulla tiratura (nella stragrande maggioranza dei casi inflazionata), e il sistema farraginoso usato per determinare chi è eleggibile, il Governo di Roma potrebbe dare un contributo, dietro raccomandazione dei rappresentanti diplomatici, per mezzo di annunci pubblicitari per incentivare il Made in Italy o il turismo a testate che sono veramente tali.

Gli editori della stampa che hanno l’Italia come punto di riferimento dovranno puntare sulla pubblicazione in rete, escogitare metodi diversi di attrarre lettori nuovi e sponsor pubblicitari nei paesi in cui operano, riducendo in tal modo la dipendenza dall'erogazione del contributo del governo italiano. E offriamo PanoramItalia, la rivista italocanadese più importante, come modello. Il Corriere Canadese a Toronto, i settimanali Corriere Italiano e Insieme a Montreal o altre piccole testate a Ottawa o a Vancouver non ci sono riusciti e ne stanno subendo le conseguenze e pagando il prezzo. (La Redazione)

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OPINION EDITORIAL

The impact of disruptive information and communications technologies on universities

By Prof. Anthony C. Masi, Provost, McGill University esearch universities are under attack in virtually every jurisdiction in which they operate in advanced industrial democracies. The issues in this crisis are many, diverse, and often contradictory: funding models that are antiquated; cutbacks in government subsidies; tuition rates that are either too high or too low; expensive infrastructure that needs maintenance; costly equipment that cannot be easily replaced; students and employers interested only in practical skills training rather than in a broad, general, adaptable education; professors who must publish or perish on the road to tenure and who do not focus attention on their pedagogical approaches to teaching students; classes that are too big; too many classes that are too small; administrative apparatuses that are unjustifiably large and growing; Byzantine bureaucratic rules; and, disruptive uses of emerging technologies that have the potential to erode the foundations on which higher education has been built.

A treatise could be written, and many have been, on each and every one of these issues. Here, however, I want to concentrate on the last one, the emergence of highly disruptive technologies and their impact on university education. There are four aspects that deserve serious consideration in this regard.

First, the generation of students who are about to enroll in programs of study at research universities are what some commentators have labeled “digital natives” or “the born digital generation”. They are at ease with computers, touch screens, and smart phones in ways that make their parents, and certainly their grandparents, both proud and envious. Familiarity with these technologies affects the way digital natives think, study, and learn. So, how have universities prepared themselves for the arrival on their campuses of this born digital generation? Not well, I am afraid, is the answer. Our pedagogical approaches have still not adapted to this new style of learner and the new tools used to master materials. Professors are rarely given the opportunity to think about and improve their teaching, and they rarely teach with explicit learning objectives based on the experiences and expectations of the students in their classes. Universities have a lot of work to do on this front.

Second, the born digital generation has grown up in an environment in which vast stores of information are readily available on the Internet and the means of accessing these data are ubiquitous. The size and scope of browser-based searches across the World Wide Web is nothing short of mind-boggling. Unfortunately, this data is not of uniformly high quality. Rather, more often than not, it leaves much to be desired. How do digital natives know which information is valuable and correct and which is questionable on both counts? At universities, professors create much, if not most, of the truly useful information available on the Web. But finding it can be a daunting task. The profession of librarian is constantly being reinvented to address these matters as libraries themselves cease being repositories for paper and are transformed into active learning spaces. But changing old bad habits is very tough. Librarians and pedagogues must work together with professors to help students sort the data on the Internet and World Wide

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Web to allow them to transform it into useful information. Professors’ research and the very nature of research itself have to become part of the value-proposition for undergraduate students who attend research universities. Research and teaching must be seen as complementary and librarians have to be identified as key resource personnel.

Third, the traditional physical design of classrooms does not encourage deep engagement with the process of learning. Active participation is required in order for learning to be most effective. Indeed, active learning rarely takes place in the lecture hall or when the only speaker in a seminar is the professor. If the technology is appropriately deployed and the information readily available, then why don’t we just flip the procedures: record the lecture and make the relevant reading and exercise materials available to students BEFORE they come to class, and then use class time to focus on the specific learning objectives. In order to do this, we need planners, designers, and architects to consider learning styles and information needs of digital natives so that professors can adapt physical spaces to fully engage students as active learners. Once again, professors and administrators know what we need to do, but we are not doing it fast enough or deep enough.

Finally, given the technology, information, and pedagogy, one might ask why the community of active and engaged learners be created that extends far beyond the walls of the classroom or the gates of the university?

There have already been some exciting and challenging experiments with higher education materials, but until recently many have originated outside of the university.

The concept to which I am referring here is called a MOOC, a “massive open online course”. These are not just “canned” courses or recorded “talking heads”, but rather entirely new ways of packaging materials, conducting assessments, and ensuring quality, in order to teach incredibly large numbers of students, with success. The economies of scale are incredible – forget teaching a 1000 student introductory course, MOOCs

can reach hundreds of thousands of learners, potentially millions, with a single offering. The challenge is that many such enterprises which can, and do, offer quality products for interested and motivated learners are not directly affiliated with traditional institutions of higher learning, although they all use highly renowned professors from world-class universities to design, develop, and deliver MOOCs. Universities can learn a lot from these groups, and already are doing so. This includes creating not-for-profit consortia that plan to learn how to improve the residential campus experience for digital learners by experimenting with MOOCs. Taken together, these four trends, based on disruptive information technologies, represent a truly significant challenge for universities. Research universities can continue to be relevant to born-digital generations only if they take pedagogy seriously, enlist librarians to help students transform raw data into useful information and knowledge, convert traditional classrooms into active learning spaces, and deliver MOOCs in such a way as to make the experiences transferable to the oncampus face-to-face environment in which professors’ research feeds directly into the course.

If universities, especially public research universities, are to survive into the twenty-second century of the Common Era, they will have to be creative in responding to the political, economic, and personal criticisms levied at them and in adapting to new expectations of students who are “digital natives”, and they will have to respond to “startups” entering the higher education arena. If universities were traded on the futures market, I would only buy stock in those that are addressing all four of the issues I have outlined above. I am pushing the one at which I work to do just that.

Prof. Masi would like to acknowledge the financial support of the Max Bell Foundation.

A longer piece on this topic, from which the above op-ed is drawn, will appear in the Literary Review of Canada in Fall 2013.

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EXCLUSIVE INTERVIEW

Filippo Salvatore

Intervista al nuovo Ambasciatore italiano in Canada Gian Lorenzo Cornado S.E. Gian Lorenzo Cornado è stato Console Generale d'Italia a Montréal, dal 2000 al 2004 e ha lasciato un segno indelebile della sua presenza nella nostra comunità.

Panoram Italia l’ha incontrato all’inizio di maggio nella sede dell’ambasciata a Ottawa.

PI: Ho avuto modo di parlare con alcuni giovani laureati della nuova immigrazione che trovano che il periodo del permesso di lavoro in Canada di sei mesi sia troppo breve. Vorrebbero che la lunghezza fosse estesa ad un anno, per aiutarli a trovare un’occupazione, migliorare la conoscenza delle lingue e fare esami integrativi, se necessario. E’ fattibile?

GLC: Sei mesi non sono sufficienti per inserirsi in un Paese come il Canada e per avere un’esperienza di lavoro completa. Questo è il cosidetto programma VacanzaLavoro. Anche i Canadesi sono interessati a inviare i propri giovani in Italia per un periodo di un anno anziché di sei mesi. Ci sono delle questioni tecniche che bisogna risolvere sul piano bilaterale. Ci sono dei contatti in corso, li riavvieremo senz’altro e premeremo affinché si possa estendere ai ragazzi italiani lo stesso trattamento che viene offerto ai francesi, per esempio.

PI: Un’altra richiesta fatta da molti giovani immigrati italiani è di spingere le autorità canadesi affinché ci sia l’equipollenza dei titoli di studio. Come si potrebbe operare?

GLC: Il problema riguarda, in particolare, gli ordini professionali che difendono le proprie categorie, i propri iscritti e costituiscono una forma di tutela nei confronti degli studenti che hanno conseguito un titolo di studio, sopratutto in Québec. Però, credo che sia nostro compito, come Ambasciata, perorare la causa degli Italiani che vogliono utilizzare il loro titolo di studio in Canada e vederselo riconosciuto.

Bisogna negoziare un accordo con le autorità locali, canadesi e quebecchesi. Sarebbe interessante vedere quali altri paesi hanno magari già risolto questo problema e cercare di seguire il loro esempio. Sarebbe un enorme valore aggiunto per il Canada e per il Québec poter accogliere ricercatori e professionisti italiani, come avviene negli Stati Uniti.

PI: Quali sono i settori in cui l’Italia è maggiormente presente in Canada?

GLC: Ci sono delle grosse possibilità per un’azienda italiana per insediarsi in Canada e fare affari. Il Canada è un’isola felice. È l’unico Paese occidentale che è sfuggito alla recessione. Pensiamo all’industria dolciaria, alla Ferrero, che è presente in Ontario e che distribuisce i suoi prodotti non solo in Canada ma anche negli Stati Uniti. C’è anche il settore tecnologico, naturalmente. Nel settore petrolifero c’è una presenza della Saipem e dell’Eni in Alberta. Sono settori di punta ad altissimo potenziale dove esiste la possibilità di migliorare i rapporti e di promuovere gli investimenti, la partecipazione e la presenza di altre aziende italiane. Il 17 maggio a New York ho parlato agli imprenditori italiani negli Stati Uniti e li ho incoraggiati ad investire anche in Canada, ad aprire succursali e filiali. C’è l’errata valutazione che si può lavorare con i Canadesi dagli Stati Uniti. Bisogna lavorare con i Canadesi dal Canada. Il settore petrolifero in Alberta è in rapida crescita. Il Canada è il terzo paese produttore di petrolio al mondo.

PI: La stampa in lingua italiana in Canada è in crisi. Testate storiche stanno chiudendo, come il quotidiano di Toronto “Corriere Canadese”. Il contributo dato dal governo italiano è stato ridotto, poi ci sono stati anche dei casi in cui i finanziamenti dati ad alcune testate non corrispondevano alla realtà dei fatti perché hanno aumentato la tiratura. È possibile rilanciare la stampa in lingua italiana su basi diverse?

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L’ambasciatore Cornado e il prof. Salvatore

GLC: C’è stato un momento in cui stava per essere tagliato completamente il contributo alla stampa all’estero. Poi il Presidente del Consiglio e il Ministro degli Esteri sono ritornati su questa decisione proprio perché non si voleva privare la comunità italiana all’estero di uno strumento così importante. I mezzi l’anno scorso sono stati veramente pochi. Io mi auguro che quest’anno le condizioni generali finanziarie siano migliori.

Bisogna vedere quali sono le effettive disponibilità di fondi. La stampa italiana all’estero vive di contributi pubblici; è assolutamente necessario continuare ad aiutare i giornali italiani all’estero, segnatamente quelli in Canada. Per quanto riguarda le irregolarità, faremo molta attenzione da qui e dai vari Consolati perché ogni contributo sia predisposto secondo la legge con il massimo rigore.

PI: La legge vigente, prevede che vengano dati contributi alla stampa italiana all’estero solo se si usa la lingua italiana. Non le pare che ci debba essere un emendamento o un cambiamento della legge per includere le testate che usano, oltre che l’italiano, una lingua locale, ad esempio il tedesco o il francese in Europa, lo spagnolo o il portoghese in America Latina, o il francese e l’inglese qui in Canada?

GLC: Occorrerebbe discuterne a livello del Ministero degli Esteri, a livello di comunità italiana e a livello parlamentari italiani che portino le istanze per la modifica tramite emendamento al Parlamento italiano. La legge vigente purtroppo permette solo di finanziare giornali o testate in lingua italiana. Capisco la frustrazione che può provare un editore come quello di Panoram Italia, una rivista bellissima a larga diffusione, che quindi ha dei costi considerevoli, e che dà un grosso contributo all’informazione della comunità italiana perché è di altissima qualità.

Al momento, ripeto, la legge in vigore ci permette di finanziare soltanto la stampa in lingua italiana. Però tramite la sensibilizzazione alla Farnesina e tramite i parlamentari eletti all’Estero si potrebbe fare un ragionamento diverso.

PI: Una delle raccomandazioni dei 10 Saggi al presidente Napolitano, era l’eliminazione della Circoscrizione Estero. Lei, come vede la questione del voto all’estero?

GLC: E’ una questione sensibile. Lei sa che ci sono state numerose proposte da parte di formazioni politiche nella scorsa legislatura per emendare la legge sul voto e sul voto degli Italiani all’estero. Vi sono molte sensibilità politiche presenti, credo che sia preferibile affrontare questo argomento quando avremo maggiori elementi. Vedremo quale sarà l’atteggiamento delle forze politiche e quali proposte di modifica della legge Tremaglia verranno presentate in Parlamento.

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LA CANTINA

La Cantina An Italian-Canadian staple It’s the vault in every Italian-Canadian household. That small, dark place that holds the family’s most cherished possessions; the fruit of its hard work and manual labour. So if you’re ever invited into an Italian-Canadian family’s cantina, consider it an honour.

By Sabrina Marandola Photography by Michel Ostaszewski

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xperiencing a cantina makes everyone feel a little more Italian,” says David Szanto, a PhD Gastronomy student, who also teaches at Concordia University in Montreal, and l’Università delle scienze gastronomiche di Brà in Italy.

From cured meats, damigiane of wine, jars of pickled food and canned tomato sauce, the cantina displays an Italian family’s history, tradition, and above all, identity.

“In terms of identity, food is critical,” Szanto says. “For Italians in Italy, the place they live, the language they speak and the food they eat is deeply interconnected to identity.”

So when Italians immigrated to Canada in waves after the First and Second World Wars, leaving Italy meant leaving behind a part of who they were. “The ‘place’ was gone,” Szanto explains. “The cantina becomes a recreation of the old place. It’s a figurative representation of home, and it’s where they keep homemade food.” Add to that the fact that most Italians who immigrated did so to escape poverty and hunger. It becomes easy to understand why food – making, preserving and storing it – played such a significant role in defining the Italian way of life here in Canada.

“The cantina is a safety net against hunger. It represents a surplus,” Szanto says, adding that back in the old country, many didn’t always know where their next meal would come from, or if they’d have a bad harvest one year. “For new immigrants, life is chaotic, new and scary. They are looking for stability and food security. The cantina created a kind of security that new immigrants would want to have. It’s an emotional and psychological sense of security.” That’s why today, the cantina is a staple in the homes of many Italian immigrants across Canada.

“E

“

When Italians started to come to Canada, they immediately began growing, preserving and storing their own food as they worked toward living a better, richer life where they wouldn’t go hungry again.

“

“After the First World War, when Italians started moving to Toronto and Montreal, they were using empty plots of land outside of the city for gardens,” explains Master of Geography Cedric Capacchione. “It was a direct transition: they went from the Italian countryside, and imported those customs into the city.”

When the second, and bigger wave of immigrants came over after the Second World War, families often got together to buy a home, and eventually modified their basements to include a cantina. “As soon as they could afford to buy their own homes, Italians set up secondary kitchens in the basements, and built cantine,” Capacchione says.

And building their own cantina further cultivated the immigrants’ sense of identity. That’s because who you are is based on what you do, according to Szanto.

“Identity is performed: it’s what we do. Italians would build their own cantina, they would make the food in it, and eat that food. They were constructing and consuming, so the cantina serves as a double-identity reinforcer. There is the saying, ‘You are what you eat.’ But in fact, it goes beyond that. You are what you make.”

And while Italian immigrants were making their own food in their own cantine as a way to tap into who they were and where they came from, they were cutting down on expenses at the same time.

“They would buy a pig and cure the meat themselves. They were able to save significantly on the cost of living this way. They were supplementing their income with agriculture, and this is something that is almost uniquely specific to the Italian community,” Capacchione says, adding it’s the equivalent of an immigrant coming to Canada today, and being able to afford a home after working a minimum-wage job for just a few years. “Because they came from an agricultural background, they saw the household as an economy. The family was seen as a giant unit.”

“

quartz MOSAÏQUE SALLES DE BAINS ARMOIRES DE CUSINES PORCELAINE ATELIER DE GRANITE

Today, many older Italian-Canadians still maintain a cantina – their way of practicing “Slow Food” long before it was a marketing buzzword. “Slow Food is about having a firsthand connection to your food,” Szanto says, adding that every family has its own distinct recipes and methods for preserving homemade foods in their cantine.

“

But is the cantina still a place that reflects identity? Recipes have changed from the homeland, as immigrants have had to use local products they could find here in Canada to produce and preserve their food. And what about those who don’t have a cantina?

“The cantina is disappearing,” says Szanto, adding that new generations are Italian-Canadian – not “Italian.” “There are other places now where Italian-Canadian identities are being enacted.”

Regardless of whether or not the cantina will survive in the homes of young Italian-Canadians, Szanto says it will forever remain a link to our roots. “The cantina lets us feel connected to our history.”

r royalceramic.com oya l c era mi c .c om cuisineroyal.ca cuisineroyal.ca źźƢƢ y y Ȥ y·ÒƢ Ƣ ؤ̤· Ȥ y·ÒƢ Ƣ ؤ̤· bainroyal. ¼¶ƢźƢy Ì̼¤È ÌƢ Ƣ y¤· b ai n royal . ¼ ¶ Ƣ ź Ƣ y Ì Ì ¼ ¤ È Ì Ƣ Ƣ y ¤ · 8845 rue r u e Pascal Pasc a l Ga Gagnon gn o n Sy¤·Òƒ7 ¼·yÈ ƢźƢNØ ƢƢ'IJMƢIJuĵ S y ¤ · Ò ƒ 7 ¼ · y È Ƣ ź Ƣ N Ø ƢƢ 'IJ M Ƣ IJ u ĵ T TƢĶIJĵƁĴijĵƁıııijƢ Ƣ Ķ IJ ĵ Ɓ Ĵ ij ĵ Ɓı ı ı ij Ƣ

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

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LA CANTINA

Lorenzo Morello

Sabrina Marandola

Fotografie di Luigi Pasto

Benvenuti nelle loro cantine Luigi Pasto aveva una missione: riscoprire le sue radici e la sua identità italiana. Lo strumento per compiere la missione? La sua macchina fotografica. Dove trovare la porta che si apre sulla sua italianità? Nelle cantine degli immigrati italiani.

“Mi

ha sempre affascinato la questione legata all’identità e all’etnia.

Non ho mai sentito di averne una”, dice il professore di Psicologia. “Sono canadese? Sono italiano? Volevo scoprire me stesso e la cantina rappresentava la chiave per entrare in questo mondo. Ho voluto essere canadese per troppo tempo. Era ora di scoprire le mie radici”.

Dunque, con la sua passione per la fotografia, Pasto è andato al di là delle pareti scure e umide delle cantine degli immigrati italiani. Quello che ha catturato sono immagini uniche e nostalgiche che raccontano le storie delle tradizioni e delle passioni degli Italiani all’estero.

Pasto, 48 anni, è nato a Ururi, Campobasso. E’ venuto in Canada quando aveva solamente 2 anni. Anche se è cresciuto in Canada, Pasto dice che sono ancora vivi i ricordi di certe tradizioni italiane che gli ha insegnato suo padre. “Avevamo una cantina e facevamo il vino”.

Con quel ricordo sempre nel cuore, Pasto ha avuto l’idea di fotografare gli immigrati italiani nelle loro cantine. “Pensavo ai costumi e ai riti italiani e la cantina mi è sembrata un simbolo perfetto per la loro storia, e per la mia”.

Pasto ha scoperto un mondo pieno di fierezza, tradizione e passione.

“Quando entri nella cantina di qualcuno, percepisci quanto siano orgogliosi!”, dice Pasto. Accenna che, quando arrivava nelle loro case, la maggior parte delle persone che doveva fotografare erano vestite con l’abito. “Stavano mostrando la loro parte migliore. Sono fierissimi di tutto ciò che hanno”.

Pasto ha immortalato soltanto gli Italiani immigrati. Dopo un anno di lavoro su questo progetto, le sue foto sono state esposte alla Casa d’Italia a Montréal.

Ogni foto è in bianco e nero, per semplicità. La persona è ben illuminata e centrata nella foto.

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“Volevo assolutamente che fossero loro i soggetti centrali della foto”, dice Pasto.

“Li volevo fotografare in un luogo dove si sentono a loro agio: nelle cantine. Però le foto raccontano le storie delle persone”.

Teresa Perella ha accolto Pasto a braccia aperte. “Mi piaceva tantissimo la sua idea di fare delle foto nelle cantine”, dice Perella, 74 anni. “Ho voluto partecipare a questo progetto perché volevo mostrare alla nuova generazione quello che facciamo noi, con la speranza che continueranno loro queste nostre tradizioni”.

Nicola Ciaccia, 66 anni, concorda pienamente. Anche lui si è messo in posa nella sua cantina per la fotocamera di Pasto.

“La cantina è un luogo di trasmissione della cultura”, dice Ciaccia, partito da Jelsi, Campobasso, quando aveva 16 anni.

“Sono molto fiero di mostrarla”.

Ciaccia e Perella hanno sempre avuto una cantina, sin da quando erano bambini in Italia.

“Tutti avevamo una vigna e avevamo bisogno di spazio per fare il vino”, spiega Perella. “Si schiacciava l'uva con i piedi nella cantina, ci ballavamo sopra. Era divertente. Sono dei bei ricordi”.

Ciaccia ricorda che la sua cantina era uno spazio speciale.

MTL JUNE-JULY 17-32_Layout 1 13-05-23 1:37 PM Page 21

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LA CANTINA

“In Italia, era una cosa sacra.

Se non avevi un cantina, sceglievi un angolo della casa, scavavi e ne costruivi una. Se in una casa non c'è, si crea”, dice Ciaccia.

Immigrato in Canada nel 1963, Ciaccia ha ritrovato suo padre appena arrivato. Si trovava bene ma mancava una cosa. “All'inizio, nessuno aveva una cantina. Però un amico di mio padre ne aveva una e condivideva lo spazio con noi ed altri vicini di casa. Era una cantina comunale”.

La storia era simile per Perella. Lei è immigrata nel 1955 ed è andata ad abitare con sua sorella. Il cognato faceva il vino e quindi si è costruito una cantina.

“La cantina è indispensabile”, dice Perella, che oggi definisce la sua cantina come un ripostiglio. “Ci metto tante cose ma è molto utile per chi fa il vino”.

Ciaccia usa la sua per travasare il vino, ma anche come ripostiglio, dove conserva il suo sugo di pomodoro fatto in casa, la salsiccia, il formaggio e le scatole di fagioli.

Ma per Perella e Ciaccia, la cantina è molto più di una stanza sotterranea, buia e umida che mantiene freschi i prodotti alimentari.

Marco DiPietro

“Per me, il vino e la cantina sono l'italianità!”, dice Perella.

“La cantina è la cassaforte, dove ci metti tutti i tuoi tesori”. Ciaccia la vede come un legame con le sue radici italiane. “La cantina è la continuità con il passato.”

Questo pensiero lascia i due immigrati con delle preoccupazioni per quanto riguarda la trasmissione delle tradizioni italiane. “Oggi i giovani non fanno più il vino. Manca questa passione”, dice Perella. “Però se i giovani vedono che i loro genitori hanno una cantina e fanno il vino, forse, saranno spinti a farlo pure loro”.

Pasto non ha una cantina, ma ora ci sta pensando. Ha anche scoperto il ruolo importante che gioca per le famiglie italiane. “La cantina dimostra la centralità del cibo in una casa italiana. E’ il centro di controllo, il cuore della casa.

Tutto irradia da lì”, dice Pasto. “E’ una cosa che dimostra quanto hanno lavorato duro gli immigrati e l’orgoglio che hanno e che condividono con la famiglia”.

Teresa Perella

Per vedere altri lavori di Luigi Pasto: www.luigipasto.com Pasto dice che ancora non ha scoperto completamente la sua identità. Dunque, la missione continua. Il suo prossimo progetto? Fotografare immigrati italiani nei loro soggiorni. Se siete interessati a partecipare, potete contattare Pasto tramite il suo sito web Nicola Ciaccia 22

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COVER STORY

La Cantina: A piece of Italy in our homes…

Giuseppe Mattoscio never misses a chance to communicate the importance of maintaining his traditions and values when speaking to his children and grandchildren. Like many Italian immigrants, he was prompted to recreate a new Italy, far from the green hills he left behind moons ago, but still brimming with ancestral customs that are now slowly disappearing, even in the old country.

“My

life started the day I married my wife,” Giuseppe says. Like many, he too decided to start a family in Canada for the well-being of his children, and to offer them a promising future.

Giuseppe left Gessopalena, Abruzzo, when he was 18 years old. His brother Alfonso phoned him from Canada, asking him to come to Montreal ... and not a moment to soon. That same year, Mattoscio got a letter to serve in the military. It was 1956.

Giuseppe came to Canada by plane, the way only very few did at that time. He sat aboard the four-engine Sabena aircraft, and was the only Italian on the plane who spoke French, a language he had studied in school.

Once he arrived in Montreal, between all the highs and lows, tough times and new experiences, it didn't take long for Giuseppe to find his place. Dura&Miller offered him a job for life: 45 years of service and sacrifice.

Naturally, Giuseppe didn't go through this adventure alone. He shared it with Carmelina, his devoted wife and the loving mother of his children. There was only one thing missing: Italy. So, whenever possible, they would get on a plane to revisit the places they grew up in, and take in the smells of the abruzzese mountains.

With the frequent trips back home to visit family, Italy seemed less far away. But in reality, Giuseppe didn't need to travel those 6,000 kilometres. All he needed was to go downstairs into his cantina. Among his prosciutti, salami, capicolli, tomato sauces and damigiane of wine, Italy was there.

Ever since he’s kept a cantina, Giuseppe has had a piece of Italy with him; a gastronomical snapshot of flavours hailing from his native Gessopalena in his very own home.

Of his four children, only Sergio still preserves the secrets to that ageless know-how. The youngest of the family, he's friendly, warm ... and he's a chef. And it's not by chance. “Ever since Sergio was three years old, he was always around me whenever I made prosciutti and salami,” explains Giuseppe. “If his mother was making tomato sauce, he would get up on a chair and watch. He always had to observe, monitor and taste. Basically, at three years old Sergio was already a chef and didn't even know it.”

Sergio, now 32, definitely caught a bad case of “canteen fever.” For Sergio, the cantina is the place that holds many of his childhood memories. “I remember wanting to be in the cantina so badly. But I was too young ... I was always in the way,” recounts Sergio, as he thinks back to being five years old. “But when we made sausage, my dad would put me on the step-ladder, and my job was to turn the knob of the meat-grinder. I have a vivid memory of the first few tablespoons of ground meat that came out.

My dad would fry it in a pan, and make me taste it and it was so amazing!”

Ever since then, his eyes light up when he sees a cantina. “To me, a cantina is a feeling. It's a vibe. When I step into a cantina, I feel it. I feel the hard work and the passion,” he says.

“You see how people organize their cantina, and everybody has a different way of doing things. As a chef, 24

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I'm a neat-freak and I like everything in order. My dad's cantina is not perfect – the jars are not aligned. That's his way of doing it, and I love it.”

Sergio also sees it as a strong symbol of his roots, and he too worries it may soon be lost. “The cantina is an idea that was brought over from Italy. It's a tradition we need to pass on,” he says. “Our language was passed on, even though it’s slowly fading away, but a cantina really evokes our ancestral ways. Are we really going to let it go?

It's sad that we’ve gotten to the point where it will probably disappear. But I'm lucky because I grew up with it, I learned it, and I just love it.”

Today, father and son Mattoscio find themselves through these traditions. But it may not be long before the cantine are emptied out and cease to be called cantine altogether. Sergio listens patiently and attentively to his father's tricks and tips. He realizes that behind those few words lies the precious knowledge of three or even four generations of paesani.

Fascinated, as I observe Giuseppe and Sergio who are completely absorbed in their ancestral rituals, a verse from Cat Stevens' Father and Son comes to mind: “Same old story/ From the moment I could talk/ I was ordered to listen...” a hymn to dialogue between two generations.

You, children or grandchildren who have listened to your parents or grandparents as they explained how to prepare traditional foods from their region or village, claim your traditions, your culture, and your identity, and save your own piece of Italy before it's too late.

La Cantina: Un pezzo d'Italia a casa nostra...

Giuseppe Mattoscio non manca mai di comunicare l’importanza di conservare i valori e le tradizioni vive, quando parla con i figli e con i nipoti. Come tanti altri immigrati italiani, ha dovuto ricrearsi a modo suo un’Italia nuova, lontana dalle verdi colline lasciate tanto tempo fa, ma che conserva ancora quelle antiche tradizioni contadine che ormai stanno scomparendo anche nel Vecchio Continente.

Giuseppe Mattoscio

mia vita è iniziata il giorno in cui ho sposato mia moglie", dice Giuseppe.

Come tanti, anche lui ha deciso di fondare una famiglia in Canada per il bene dei propri figli.

Giuseppe Mattoscio parte a 18 anni da Gessopalena, in Abruzzo. E’ il fratello Alfonso che gli ha fatto l’atto di richiamo e gli ha permesso di venire a Montréal. Giusto in tempo per evitare la leva militare, era il 1956.

Come pochi, pochissimi, hanno fatto, Giuseppe è arrivato in Canada in aereo. Con un quadrimotore a elica della Sabena. Era l’unico tra gli Italiani a bordo a parlare francese che aveva studiato a scuola.

Arrivato a Montréal, tra alti e bassi, periodi duri ed esperienze nuove, Giuseppe si è fatto subito apprezzare presso la Dura&Miller dove ha lavorato la bellezza di 45 anni.

Naturalmente, come si dice “la vita è avventura” e Giuseppe l’ha condivisa con Carmelina, sua moglie e madre amorevole dei suoi figli. Una sola cosa gli mancava: l’Italia. Allora, appena possibile prendevano l’aereo per rivedere i luoghi nei quali erano nati e cresciuti e per risentire il profumo della montagna abruzzese.

E così, grazie ai vari viaggi di ritorno verso la famiglia, l'Italia sembrava meno lontana. In realtà Giuseppe non aveva bisogno di fare un viaggio di sei mila chilometri. Gli bastava scendere in cantina. L'Italia era lì. Tra i prosciutti, i salami, i capicolli, le salse di pomodoro e le damigiane di vino fatto in casa.

E' da quando ha avuto a disposizione una cantina che Giuseppe ha un pezzo d'Italia, una fotografia di sapori della sua Gessopalena, in casa.

Dei quattro figli solo Sergio, oggi, ha saputo conservare il segreto di saperi e sapori senza età. E’ il più piccolo della famiglia, un ragazzo solare e gentile. Non è per caso che è Chef. "Da quando aveva tre anni, mi stava sempre intorno quando facevo i prosciutti e i salami”, spiega Giuseppe. “Se la madre faceva la salsa di pomodoro, saliva sulla sedia e osservava. Era curioso di vedere, controllare e assaggiare. Insomma, a tre anni Sergio era già chef e non lo sapeva”.

Sergio Mattoscio, adesso tentaduenne, è decisamente un caso grave di “febbre da cantina”. Per Sergio

“La

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COVER STORY vie a commencé le jour où j’ai rencontré mon épouse”, révèle Giuseppe. Comme tant d’autres, sa femme et lui ont décidé de fonder une famille au Canada pour le bien de leurs enfants.

C’est à l’âge de 18 ans que Giuseppe Mattoscio quitte son village natal de Gessopalena, dans les Abruzzes. C’est son frère Alfonso qui avait fait la demande pour qu’il puisse venir le rejoindre à Montréal. Juste à temps pour éviter le service militaire obligatoire. C’était en 1956.

Comme très peu d’autres le faisaient alors, Giuseppe est arrivé au Canada par avion, à bord d’un quadrimoteur Sabena. Il était le seul, parmi les Italiens du vol, à parler le français qu’il avait étudié à l’école.

Arrivé à Montréal, composant avec les vicissitudes de la vie, ponctuée de moments difficiles et d’expériences nouvelles, il ne tarda pas à se tailler une place.

C’est à la Dura&Miller qu’il la trouva. Un poste permanent qui se traduisit par 45 ans de service et de sacrifices.

Bien entendu cette aventure, Giuseppe ne l’a pas vécue seul. Il l’a partagée avec Carmelina, sa femme et la mère dévouée de ses enfants. Toutefois, une chose leur manquait: l’Italie. Alors, dès qu’ils le pouvaient, ils prenaient l’avion pour retrouver les lieux de leur enfance et apprécier les parfums de leur montagne natale.

Grâce à ces fréquents voyages pour visiter la famille, l’Italie semblait moins lointaine. Or pour la retrouver, Giuseppe n’avait pas besoin de parcourir ces six mille kilomètres. Il lui suffisait de descendre au sous-sol dans la cantina (chambre froide) de sa maison, pour la retrouver. Elle était là, au sein des prosciutti, des saucissons, des capicolli, des sauces tomates et des dames-jeannes de vin.

Ainsi, depuis qu’il possède une cantina, Giuseppe conserve chez lui, telle une photographie gourmande de Gessopalena, un petit bout d’Italie.

De ses quatre enfants, seul Sergio conserve aujourd’hui le secret de ces savoir-faire gastronomiques immémoriaux. Le cadet de la famille est un garçon aimable et attachant et ce n’est pas par hasard qu’il soit devenu chef cuisinier. “Dès l’âge de trois ans, il était toujours autour de moi quand je préparais les prosciutti et les saucissons,” explique Giuseppe. “Quand sa mère faisait la sauce tomate, il montait sur une chaise pour l’observer. Il devait tout voir, tout contrôler et tout goûter. À trois ans, Sergio était déjà chef et il ne le savait pas encore.”

Sergio Mattascio, maintenant âgé de 32 ans, souffre décidément d’un cas lourd de “fièvre de cantina”. “Je

rappresenta il luogo a cui sono maggiormente legati i ricordi d’infanzia. “All’inizio ero un disastro. Ero sempre in mezzo ai piedi ma avevo cinque anni, era normale – dice Sergio – quando, però, facevamo la salsiccia mio padre mi metteva su un gradino e mi dava un compito: dovevo girare la manovella del tritacarne. Mi ricordo ancora oggi i primi cucchiai di carne che venivano fuori dalla macchina. Poi mio padre usava friggerli in una padella e me li faceva assaggiare. Che sapore!”.

Gli occhi di Sergio si illuminano ogni volta che vede una cantina. “Per me la cantina è una sensazione.

Quando vi entro percepisco il duro lavoro che c’è dietro e la passione che ci vuole nel prendersene cura”, spiega.

“Vedendo diverse cantine avrai notato che ognuno organizza la propria in maniera diversa. Quella di mio padre, ad esempio, non è perfetta. I barattoli non sono allineati per bene, ma io la amo, sebbene, da Chef, io abbia la mania dell'ordine”.

Sergio vede nella cantina un forte simbolo delle sue radici ed è preoccupato che presto potrebbero perdersi. “La cantina è un’idea che è stata portata qui dall’Italia e visto che fa parte della nostra tradizione dobbiamo tramandarla. Con la lingua è stato fatto, anche se la stiamo perdendo, ma la cantina è conoscenza ancestrale. Vogliamo davvero perdere questa ricchezza? E’ triste perché ad un certo punto queste tradizioni gastronomiche non verranno più tramandate. Ma io sono fortunato. Sono cresciuto con loro, le ho imparate e adesso, semplicemente, le amo”.

Oggi, padre e figlio Mattoscio si riconoscono in quelle tradizioni. Non passeranno molte generazioni, però, prima che le cantine si svuotino e prima che addirittura si smetta di chiamarle così. Eppure Sergio ascolta e con pazienza e attenzione non perde neanche un consiglio. Sa che dietro le poche parole del padre ci sono tante generazioni di contadini che gli hanno tramandato il loro prezioso sapere secolare.

Affascinato, nell'osservare Giuseppe e Sergio, presi dal loro rituale fuori dal tempo, mi vengono in mente alcuni versi: “Same old story/ From the moment I could talk/ I was ordered to listen...”. (E’ la stessa vecchia storia. Da quando ho imparato a parlare mi è stato imposto di ascoltare); è Father and Son di Cat Stevens, inno al dialogo tra due generazioni.

Voi che siete figli o nipoti e che avete ascoltato i vostri padri e i vostri nonni mentre vi spiegavano come si preparano gli alimenti tipici della loro regione o del loro paese, riappropriatevi delle vostre tradizioni, della vostra cultura, della vostra identità e salvaguardate il vostro pezzo d'Italia prima che sia troppo tardi.

Giuseppe Mattoscio ne manque jamais de témoigner l’importance de conserver ses valeurs et ses traditions bien vivantes lorsqu’il s’adresse à ses enfants et petits-enfants. Comme tant d’autres immigrants italiens, il a dû recréer à sa façon une Italie nouvelle, loin des vertes collines qu’il a quittées il y a belle lurette, mais toujours garante de ses coutumes ancestrales qui disparaissent peu à peu, même dans le vieux continent.

Photography by Michel Ostaszewski

La Cantina: Une parcelle d’Italie à la maison…

“Ma

ne pourrais pas vivre sans une cantina. C’est le lieu de mes souvenirs d’enfance les plus forts. Au début, j’étais toujours dans les jambes de mes parents; mais c’était normal, car je n’avais que cinq ans,” dit Sergio. “Quand mon père faisait la saucisse, il me mettait sur un petit tabouret et j’avais pour tâche de tourner la manivelle du hachoir à viande. Je me souviens encore très bien du premier hachis qui sortait de la machine. Mon père le faisait cuire dans la poêle pour m’y faire goûter. C’était si savoureux!”

Depuis, les yeux de Sergio s’illuminent chaque fois qu’il voit une cantina. “Pour moi la cantina est une sensation, une vibration. Quand j’entre dans une cantina, je perçois le long travail qu’elle renferme et la passion qu’il a fallu déployer pour s’en occuper”, explique-t-il.

“En visitant différentes cantina, tu t’aperçois que chacun l’organise à sa manière. Celle de mon père, par exemple, est loin d’être parfaite. Ses bocaux ne sont pas bien alignés… C’est sa façon de faire les choses et c’est ainsi que je l’aime, nonobstant le fait que je sois chef et maniaque d’ordre et de propreté.”

Sergio perçoit aussi la cantina comme un symbole de ses racines qui, malheureusement, pourrait bientôt disparaître. “ La cantina est une idée qui a été importée d’Italie et c’est une tradition que nous devons transmettre. Ça c’est fait avec la langue, même si nous sommes en train de la perdre, mais la cantina évoque un savoirfaire ancestral. Voulons-nous réellement perdre cette richesse? C’est triste, car tout ça risque de s’éteindre.

Mais, je suis chanceux, car j’ai grandi avec ces traditions. Elles font parties de qui je suis et j’adore ça!”

Aujourd’hui père et fils Mattoscio se retrouvent à travers ces traditions. Cependant, il ne faudra sans doute que quelques générations avant que les cantina ne se vident et qu’on cesse de les appeler ainsi tout court.

Sergio écoute attentivement et patiemment les conseils de son père. Il sait que ces quelques mots incarnent des générations de contadini (paysans) qui lui ont transmis leur précieux savoir.

Fasciné par la relation qu’entretiennent Giuseppe et Sergio, tous les deux absorbés par leur rituel ancestral, me viennent à l’esprit les paroles de la chanson Father and Son de Cat Steven: “Same old story/ From the moment I could talk/ I was ordered to listen...,” hymne au dialogue entre deux générations.

Vous, les fils et petits-fils, qui avez écouté vos parents et vos grands-parents alors qu’ils vous expliquaient comment préparer les produits alimentaires traditionnels de leur région et de leur village, réappropriez-vous vos traditions, votre culture et votre identité et sauvez votre petit bout d’Italie avant qu’il ne soit trop tard.

Sergio Mattoscio

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LA CANTINA

The ABCs of Homemade Prosciutto Recipe by Giuseppe and Sergio Mattoscio

Photography by Michel Ostaszewski

Prosciutto is a common staple in Italian households. Often associated with the renowned antipasto duo of prosciutto-melone, there are tons of ways to enjoy this seasoned delicacy, the best probably being alone or in a tasty panino. While most would tend to buy it sliced at their local butcher shop, others will venture into curing it themselves in their own cantina for a fraction of the cost. rices vary from $90 to $110 for an entire “prosciutto canadese” and from $130 to $150 for its Italian counterpart, while raw ham (hind leg or thigh) can be found at any butcher shop for approximately $3 per kilo (around $40 for a whole leg).

An entire prosciutto requires up to a year of aging, altough the thinner

P

Ingredients • • • • • • •

13 kg (approx.) freshly butchered ham 1/4 cup hot peppers 1 cup ground black pepper 1 cup paprika 2 cloves garlic 1 cup white wine 1 kg coarse salt

Tools • • • •

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“S” hook Butcher twine Boning knife Pan for salting

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boneless base (lower part) of the prosciutto should be ready to eat first after close to six months. Bear in mind that it is always better to start your prosciutto in November as the colder winter months will ensure optimal aging conditions. A cooler cantina will keep the meat from going bad at the initial stage of the curing process when it is still raw.

Directions on preparing the meat Make sure the ham is properly cut and that the leg bone has been cleared of extra skin and fat.

All the odds and ends that you recuperate in the process can be used to make a tasty stew or Bolognese. Even the fat can be fried up or baked onto a focaccia.

The main technique for deboning (exposing the bone) of the prosciutto is following the leg bone as closely as possible without damaging the meat around it. You will then reach a joint bone that will detach itself quite easily. You want the leg bone to be exposed in order to help the drying process and prevent the meat from rotting. *You can ask your butcher to debone it for you. Keep the bone as it will make a great broth.

Clean out the excess blood remaining in the ham by applying pressure on the skin with your fist from the bottom of the leg towards the thigh. Soak up extra blood with a rag. *You can also remove the bone completely and then press the prosciutto before hanging it.

Once the cleaning is complete, apply pressure onto the top of the ham to bend the joint.

This is a very important step as it will help the salt penetrate and cure the meat properly.

Finally, make a hole between the two vertical bones of the ankle. Allow your knife to penetrate between these two bones until it goes through to the other side. Then twist the blade in the hole to make sure it is wide enough. This is where you will be hanging the prosciutto from for the drying process.

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LA CANTINA

Salting and seasoning The amount of time that the prosciutto is usually salted is determined by the weight of the ham. Salt it for one day per kilo of its weight (approximately two weeks for 13 kg).

Place the meat on a large pan and cover it with coarse salt, making sure you cover every hole and crevice of the ham. After this time, wash the salt off with lukewarm water and then rub it with white wine.

Once ready, tie a rope through the ankle hole where you will be hanging the prosciutto from. Finely chop garlic and use it to fill the hanging hole and to rub around the joint bone. This is done as a preventative mesure to repell insects. Then rub with white wine and season with a mixture of the paprika, chillies and pepper all over the prosciutto leg before hanging it. *During the salting process, the meat will expel its fluids. You can use this liquid to remoisten the salt if it gets too dry.

Hanging and aging Your prosciutto is now ready to be hung.

Use a “S” hook to hang it from your cantina’s ceiling. Do not forget to write down the date so you can monitor it. Your prosciutto should be ready in approximately twelve months.

Tips for cutting and slicing the meat The best way to slice and serve prosciutto is by cutting it a chunk at a time, leaving the rest hanging. This will also make your boneless “prosciuttino” easier to slice with a sharp knife or on a slicer. *Tip: Before placing your prosciutto back on its hook, cover the exposed part of the meat with vegetable fat (Crisco). This will prevent the meat from drying and keep your prosciutto fresh until the next time you dig into it.

Panoramitalia.com View video of entire process online.

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What is a Cantina?

Simply put, a cantina is a cold place to store or age cured meats, canned goods, beer and pops, homemade wine, jarred tomato sauce, as well as vegetables and fruits (potatoes, onions, squashes, apples, etc.) for the winter months.

Very versatile, a cantina may come in all shapes and sizes. Any unheated space in your basement or space under a porch can easily be converted into a cantina. Think of it as a cool, ventilated food closet or a safety deposit box, where you store all your treasures.

It should only let in a minimal amount of natural light, be as cool as possible and have adequate shelving.

MTL JUNE-JULY 17-32_Layout 1 13-05-23 1:38 PM Page 29

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LA CANTINA

Guide to Homemade Capicollo Recipe by Giuseppe and Sergio Mattoscio

Photography by Michel Ostaszewski

There are few better joys in this life than snacking on well-cured capicollo with hard cheese, olives, fresh bread and a glass of wine. Especially if you’re the one doing the curing.

A

lso known as coppa, capicola, or capocollo, capicollo takes its name from the cut of meat that consists of the upper portion of the pig’s neck (collo) and shoulder.

The meat is salted and massaged before being stuffed into a natural beef casing. It is then seasoned with various spices and aged for approximately two months.

Here’s a guide to making this Italian classic in the comfort of your own cantina.

Salting Place the capicollo on a large pan and uniformly cover it with coarse salt. Salt it for one day per kilo of its weight (one to two days for 1.5 kg). After this time, wash off the salt with lukewarm water.

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Ingredients

Tools

• • • • •

• Butcher twine • Elasticised net (found at your local butcher shop) • PVC pipe 5 to 6 inches in diameter with one side rounded (sand down one edge so it doesn't rip the net) • “S” hook • Pan for salting • Plywood planks for pressing

1,5 kg pork shoulder 1/4 cup ground black pepper 1/4 cup “Montreal” spices 2 cups white wine Beef budello (beef casing) (One beef casing should be enough for two to three capicolli) • 500 g coarse salt

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LA CANTINA

Marinating and seasoning Pour two cups of white wine into a large bowl. Add in each dry ingredient separately, whisking each time to prevent clumping so the marinade will spread evenly on the meat. Once it reaches a smooth consistency dunk the meat into the bowl and allow it to marinate for about 30 seconds, turning once or twice to make sure the capicollo is uniformly covered.

Stuffing the beef casing To discard impurities rinse the beef casing twice by filling it with lukewarm water. Tie one end of the beef casing with butcher twine. Stretch the remaining opening and roll the casing, as if putting on a sock, in order to slowly slip the meat into it. Knock off the excess marinade from the meat before pushing the capicollo into the beef casing. Don’t try to fill it all at once as it won’t work. It’s better to proceed a bit at a time. Once the capicollo is inside the casing, grab the top end of the casing and give it a little yank to make sure that the meat moves all the way down.

Then tie the loose end of the beef casing with a double knot making sure there is as little air as possible left inside. Cut off the excess butcher twine and beef casing. You are now ready to fit the capicollo into the net. * You can find beef casings at every butcher shop.

You can also use synthetic casing especially made for cured meats, but it is usually much more expensive.

Both are very effective.

Fitting into the net While this may look easy, it is a crucial step. It is very important that the capicollo slides to the bottom of the net or the whole process will have to be repeated.

Make a double knot at one end of the net leaving a loop so that it can be hung.

Slide down the open end of the net onto the PVC pipe along the sanded edge to prevent the net from ripping. Once pulled properly, the grid of the net at the bottom of the PVC pipe should be tight like the net of a tennis racket. Put the PVC pipe on a table with the net facing down. Then drop the capicollo into the tube and shake the pipe in an up and down motion so the capicollo gets tightly tangled inside the net with no excess space, slowly letting the net slide off the tube. Once inside the net, slide the remaining part of the net off the tube and twist it as tightly as possible around the meat. Tie the open end leaving a loop for hanging.

Hanging and aging Hang the capicollo for one week. Then press it between two planks of plywood and use heavy weights on top (concrete blocks, bricks, etc) for another week. This will remove the remaining air contained in the meat and give the capicollo its flat, elongated shape. It is better to do this step with various capicolli to have a more even pressing surface.

Once this is complete, hang the capicollo for two to three months depending on the weight.

Make sure the capicolli are not touching to avoid molding.

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Building a Cantina If you are planning to build a cantina, we recommend checking out other cantine from people you know to get a sense of the size and type that would suit your needs. Some entrepreneurs include them as a potential feature in their new constructions. Usually built in the basement’s utility room, the cantina consists of an insulated basement room (except for walls facing outside) vented to the outside. The floor (no ceramic) and walls are poured concrete (and ceiling if the underside of the porch) and could include a window.

Humidity Humidity is key to a successful cantina.

The ideal humidity level should be about 65% to 95% (35% when curing meat).

Consider buying a hygrometer to measure the humidity. If you have a concrete floor, you may have to work to increase the humidity. Some ways of achieving this include keeping buckets or flat containers of water in the cellar, or by hanging wet blankets in the cantina.

If you have gravel flooring, you may want or need to pour water on the gravel cellar floor.

Ventilation Ventilation is also important to a successful cantina. Proper air circulation helps prevent mould growth, and also moves ethylene gas out of the cantina.

Ethylene gas is given off by fruit and vegetables as they ripen and can cause other vegetables to sprout. Always use a ventilator when aging cured meats in your cantina.

Temperature The optimal temperature for a cantina is 1 to 10 degrees Celsius. Building your cantina below ground – ideally below the frost line – will greatly help in keeping it cool.

Thermal mass, in the form of the structure, the concrete and the food itself, help the cantina retain the cold. During winter, keep a jar of water in your cantina to monitor the temperature. When the water freezes, it’s time to close the vent.

MTL JUNE-JULY 33-48_Layout 1 13-05-23 1:49 PM Page 33

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LA CANTINA Grinding the meat Once the cutting is complete, start mincing the meat. The fat should always be minced thinner than the lean meat.

You should, therefore, select the appropriate die plates or levels on your meat grinder. The fat should be at least half the size of the lean meat.

Place a bowl under the grinder’s hopper to collect the meat coming out of it as you push the meat into the grinder with the help of a sturdy wooden tool. Once minced, weigh your meat and mark it down to ensure correct seasoning before transferring it into a large container for mixing and seasoning. * Meat Grinder: While slower, domestic kitchen food processors will do the trick, but they usually don’t include a stuffing function. * An average hand-cranked grinder and sausage stuffer typically costs $50 to $60, while a good electric meat grinder including sausage stuffer attachments will cost you anywhere from $200 to $500. You may find them in most kitchen appliance stores.

Homemade Sausage and Soppressata Recipe by Francesco and Carolina Caruso

Photography by Michel Ostaszewski

No cantina is complete without a beautiful necklace of Italian sausage and soppressata dangling from the ceiling.

While you may need a more experienced pair of hands to stuff the casings correctly, making these Italian staples is a rather straightforward process. The size of the casing will determine whether you are making soppressata (3 ½ inch) or sausage (1 ½ inch). While the meat is exactly the same, the difference in thickness between the two will ensure a difference in taste at the end of the aging process.

Ingredients • 1 whole freshly butchered pork shoulder or thigh (11 kg) • 50 g black ground pepper • 50 g ground fennel seeds (can be ground with a coffee grinder) • Fine salt (10 g/pound (450 g) of meat) • Half a jar of salsa di peperone.

You may substitute with paprika or hot flakes (to taste).

• 1 or 2 packs of sausage casings (lamb casings) • 1 orange, cut in half (to help flavour & disinfect casings)

Cutting the meat Start by carefully removing the skin of the pork shoulder and all the unwanted hard lard, ligaments and nerves from the meat. Divide the lean meat and the fat into two different containers. Both sausages and soppressata should have a ratio of 10 to 25 percent fat for 75 to 90 percent lean meat. Keep all the white hard fat and discard all the fat that is too soggy. Once you reach the bone (also called sacred bone) scrape off as much usable meat as possible. Make extra sure that there are no bones left on the meat to avoid damaging the grinder. * You can ask your butcher to mince your meat, but doing it yourself will ensure your meat is free of any unwanted elements.

Mixing and seasoning In a large container, mix fatty and lean meats with a large wooden spoon and start adding the dry ingredients and the salsa di peperone. Count 10 g of fine salt for every pound (450 g) of meat. Once all the ingredients are roughly mixed together, continue mixing with your hands to make sure all the ingredients are spread evenly until your mixture reaches a thick texture.

Tools • Butcher twine for tightening the ends • Meat grinder (preferably electric) with sausage stuffer attachments if possible • Sausage stuffer (preferably electric) • “S” hook • Small bowl (for collecting the meat) • Large bowl (for mixing the meat) • Large wooden spoon • Good scale (to weigh the meat) • Wooden rack (to hang sausages) 34

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Panoramitalia.com View video of entire process online.

MTL JUNE-JULY 33-48_Layout 1 13-05-23 1:49 PM Page 35

Filling and stuffing Replace the die plate from your meat grinder with your stuffing tube (or use a separate sausage stuffer). Use a bigger tube for the soppressata and a smaller one for the sausage.

Once the tube is installed, lubricate it with a bit of olive oil and slip the whole casing onto the filling tube making sure you pull it all the way to the end of the cylinder. Tie the end of the casing with a double knot to secure it and slowly start pressing your meat into the tube.

Fill your casings up to 6 to 10 inches depending on how long you want your sausages. For the soppressata, use butcher twine to divide each soppressata link to the desired length.

For the sausage, fill your casing in a continuous fashion in one long coil until the casing is completely filled. During the filling, there is no need to separate your sausages.

Once ready, divide your long sausage coils in two and make a knot at the centre leaving a small loop for hanging. Then start making links to the desired length with butcher twine or by simply pinching off your coil dividing your links by spinning them between your fingers away from you several times. Continue this way, alternating, until you get to the end of the coil.

To prevent the casing from ripping or sliding off the tube, let the meat enter the casing without adding any pressure, gently holding the casing onto the tube with one hand, slowly letting the casing slide as it gets filled and twisting the sausage with the other hand as it takes shape. *If a casing breaks while you are filling your soppressata, you can always patch the broken area with a piece of extra casing that you will apply on the opening as a bandage. If the casing breaks while filling your sausage, simply tie the end of the casing and restart process with the remaining casing discarding the broken part as it is not really worth patching up afterwards. * This step requires two people: one person holding the casing, the other one pushing the meat into the grinder. * You need about 15-18 feet of casing for a 5-pound batch of links * Once done, make sure to clean and disinfect your machine properly, disassembling it completely.

Hanging and aging Once ready, hang your sausages on a rack in your cantina with an "S" hook making sure the sausages don't touch each other using a small piece of wood or plastic to separate them.

The soppressata must age three and a half months depending on how thick they are. Sausages should age for a minimum of three months.

In ideal conditions, a white coating should slowly develop on the casing. This is a normal reaction that does not affect the quality of the meat and the integrety of the taste.

If your sausages start turning green or black, discard them immediately as this means they have been contaminated by unwanted mould and are unedible.

Ideal aging conditions To properly age your cured meats and to prevent any appearance of mould, your cantina requires a careful balance between humidity and ventilation. You should always have a fan running to keep mould out of the cantina. The humidity level should always be around 35%.

The ideal period to dry and age cured meats at home is between November and March. It is not recommended to age any kind of meat during the warmer, humid summer months.

Once ready and vacuumed sealed, you can keep your meat for up to one year in the refrigerator.

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Maria Pace Nickname: Mare, Mary Occupation: Student at Concordia University & Customer Service Agent at Aldo Group Age: 23 Generation: Second Dad from: Caspoli, Caserta, Campania Mom from: Bernareggio, Monza e Brianza, Lombardy Speaks: English, French & Italian Raised in: Montreal Clothes: Zara shoes, Forever 21 pants, Lush Top, XOXO blazer and Swarovski earrings Boutique: Zara and Forever 21 Fashion idol: Olivia Palermo Goal in life: To become a human resources director in a fashionrelated corporation Pet peeve: People who keep their Christmas lights all year long!

Favourite dish: Vitello al limone e pasta aglio e olio Best panino in Montreal: Café Gentile Bar Favourite vino: Pinot Grigio Best nightclub in Montreal: Rouge Best way to feel Italian in Montreal: Attend the San Marziale festival on St-Viateur in the summer. It is a Calabrese filled night and it almost feels like you’re in

the little town of Isca because of all the paesani you run into!

Favorite Italian city: Rome because you can shop till you drop while enjoying the beautiful architecture and visiting amazing historical sites Best Italian song: La solitudine by Laura Pausini Best Italian district in Montreal: Little Italy What you like most about Panoram: I like that it keeps the Italian heritage alive in Montreal and that it connects the Italian community Most common name in your family: Giuseppe (9) Best memory growing up ItalianCanadian: Going to the JeanTalon market with my nonni every Friday to pick up fresh food

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

Photography by Vincenzo D’Alto

Makeup by Emmanuelle Blanchard

Charles Bernardi

Anita Del Corpo

Occupation: Étudiant en Gestion Internationale à McGill Âge: 22 ans Italien de: Troisième génération Nonni du côté paternel originaires de: Asolo, Treviso, Veneto Nonni du côté maternel originaires de: Cantons-de-l’Est, Québec Grandi à: Ville Saint-Laurent Intérêts: La cuisine, les voyages, la mode, l’art contemporain Vêtements : Manteau Zara, veste et jeans Uniqlo, foulard vintage, chemise Topman, cravate Frank & Oak, souliers Giacomorelli, lunettes Derek Cardigan, chaussettes Diesel, autres accessoires asos Designers favoris: Jil Sander, Martin Margiela Boutique: Je magasine surtout en ligne, c’est mon outil de procrastination préféré – ASOS, Etsy, my-wardrobe Restaurant préféré: Maison Samosa à Saint-Laurent Plat préféré: Tonnarelli cacio e pepe, risotto alla zucca Vin préféré: Valpolicella Expression italienne préférée: « Non bisogna fare le cose a metà » Dernier séjour en Italie: L’an passé, pour mes études

LIVING ITALIAN STYLE

Meilleur film italien: Il Postino Ce que tu apprécies le plus à propos de Panoram Italia: Comment le magazine promeut un sentiment d’appartenance à la communauté italienne de Montréal Meilleure façon de se sentir italien à Montréal: La Semaine Italienne Tu sais que tu es italien quand: Toute occasion est bonne pour servir un repas composé surtout de glucides Meilleure pizza à Montréal: Boulangerie Tillemont, dans Villeray Saveur de gelato préférée: Pistacchio e peperoncino Dessert italien préféré: Amaretti ou panettone avec zabaglione Meilleur souvenir d’enfance en tant qu’italien: Apprendre à demander des biscotti à mon nonno en italien

Occupation: Biochemistry Bachelors Graduate Age: 21 Generation: Third Dad from: Campobasso Mom from: Friuli Speaks: English, French & Italian Raised in: Montreal

Fashion idol: Jennifer Lawrence Passion: Staying fit and being healthy Goal in life: To live a long and happy life full of laughter and love no matter what I am doing Pet peeve: I cannot stand people who are all mouth and no action Best pizza in your city: La Vieille Cheminée in St. Leonard Best panino in your city: Pizza Etc. has really good sandwiches Favourite vino: My grandpa's wine (mom’s side) is always my favourite. His grappa is pretty strong too!

Best nightclub in your city: BSide Describe your ideal night out in your city: Nothing too fancy... I really like walking around downtown, going for a beer and relaxing with the boyfriend

You know you are Italian when or if: You're in your twenties and your grandparents still buy you those big chocolate eggs for Easter Best Italian song: Batti le manine.

My dad used to sing it to me all the time as a kid Sexiest Italian: Sophia Loren Best Italian district in your city: R.D.P. Best way to feel Italian in your city: Go to the Italian week every August and see everyone you know there How long have you been reading Panoram? Ever since it has been coming in the mail Best memory growing up ItalianCanadian: Nonno giving me a little sip of his vino ever since I could start walking PA N O R A M I TA L I A . C O M

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By Alessia Sara Domanico

FASHION

Accessories to Success Summer is finally here. Time to cast away those wrap-up tendencies and work with less – fabric that is…

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hile the humidity characterizing this season may call for a lighter wardrobe, the style options are by no means reduced. Now is the time when accessories arrive front and centre, adding personality where clothing can’t. This climate inclines us to go “California” with wardrobe choices, looking to photos of celebrities caught out on the streets of Venice Beach for a little inspiration. Take a cue from the street style of the bold and beautiful of the southwest and use vibrant colours, white linen shirts, khaki and denim as a palette for standout handbags, conversation piece jewellery, aviators, strappy sandals, and leather loafers – sans socks of course.

The ideal setting to show off your summer accessories is a beach getaway, which means you’ll need road trip essentials, a set of beachside fixtures and some trusty casual evening pieces. When it comes to accessories for the fairer sex, I have two words for you: Arm Candy. Hold that forearm at 90 degrees, pulse-facing upwards, and plant that hot new purse where it’ll attract maximum visibility! Get to know your new best friends: mini-clutches, pouches and iPad covers; mid-sized shoulder bags; larger boho bags and wide-brimmed straw beach bags. High-street names like Dior, Mulberry, Longchamp and Max & Co. propose their bags in the prettiest of hues such as pale mint, bubblegum, fuchsia, coral and lemon.

Heavy, slightly flashy hardware works all the way along the arm from the wrist right up to the shoulder with metal charm bracelets and bangles being standard for the girls. Take a cue from Dolce & Gabbana’s Sicilian-inspired ads where supermodel Bianca Balti piles on the gold and brass with old Italian coins reflecting the rays of the sun.

Arm candy continues to grow in popularity for men, especially when hitting the road for a change of scenery. More and more brands are proposing multiple takes on the “man bag” from satchels to backpacks, cross-bodies and weekenders. Pair some braided leather bracelets and metal cuffs with a plain black Tee and a pair of jeans for a carefree style reminiscent of David Duchovny’s Hank Moody in the Showtime series Californication.

Moving away from arm’s length, men have a wealth of details to work with from smart baseball caps to Panama hats; silk and linen ties in an array of colours and patterns, weaved leather and canvas belts for an island-bound flair and of course the many shoe styles that come with vacation wear: lace-ups, moccasins and breathable calfskin loafers from the likes of Ermenegildo Zegna and Fratelli Rossetti.

The ladies also have it easy in the shoe department with ballerina flats, loafers and sandals in every possible silhouette from flat to wedge and stiletto. Wrap a silk, patterned scarf around your head to complement a high ponytail or a messy bun and finish off with a pair of standout earrings, whether shiny studs or chunky, multi-tiered baubles embellished with colourful stones.

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Legend 1. Max&Co 2. Ermenegildo Zegna 3. Vivienne Westwood 4.

Ermenegildo Zegna 5. Paul Smith 6. Longchamp 7. Max&Co 8. Versace 9. Ermenegildo Zegna 10. Vivienne Westwood 11.

Max&Co 12. Dior 13 Massimo Dutti 14. Dolce & Gabbana 15.

Vivienne Westwood

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www.plazapmg.com

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Napoli Bay of Naples and Vesuvius

Giuseppe Continiello

Comm’ è ddoce e comm’ è bella ‘a città ‘e Pulecenella!

How beautiful and sweet is Pulcinella’s city!

Napoli ammalia con i suoi tesori architettonici e con il suo ottimo cibo. Non è una città omogenea.

Napoli è una metropoli con varie asperità.

Strade trafficate e caotiche incrociano lunghi viali alberati. Le facciate di alcuni palazzi fatiscenti nascondono sontuosi saloni arredati in stile barocco. Silenziosi santuari e chiese si alternano a chiassosi mercati dove risuonano le grida, veraci, allegre ed essenziali, in dialetto napoletano. Il napoletano, infatti, non si parla, si urla.

A Napoli, il lusso e l'eleganza si accompagnano alla povertà e al degrado. Napoli è tutto e il contrario di tutto. Napoli è mille colori, “Napule è mille culure”, canta Pino Daniele, uno dei massimi interpreti della nuova canzone napoletana.

How Naples charms with its architectural treasures and exceptional food. It isn’t a homogeneous city. Naples is a metropolis with its share of difficulties. Chaotic, congested streets intersect with vast tree-lined boulevards. The facades of old crumbling palaces hide sumptuous Baroque-style decorated halls. Quiet sanctuaries and churches neighbour hectic marketplaces where boisterous shouting resonates in Neapolitan dialect. Indeed, Neapolitan is shouted, not spoken. In Naples, luxury and elegance accompany poverty and decay. Naples is everything and the opposite. As famous Neapolitan singer Pino Daniele sings it: “Napule è mille culure” (Naples is one thousand colours).

suo golfo è uno dei più belli del Mediterraneo. È il motivo per cui Napoli si trova qui e i Napoletani adorano passeggiare sul loro Lungomare, unico al mondo. Dal molo Beverello, dal quale tanti, ieri, sono salpati sui bastimenti che partivano alla ricerca di un futuro migliore e moltissimi, oggi, si imbarcano sugli aliscafi e sui traghetti per godere della meraviglia di Capri, Ischia, Sorrento e della Costiera amalfitana, si ammira il Maschio Angioino, l'imponente castello sul mare.

Poco più in là, nel cuore di Napoli, Piazza del Plebiscito, una delle più belle e più grandi d'Italia, e il suo ampio colonnato, severamente chiuso dal Palazzo reale. Qui è passata la storia. Lungo la sua facciata vi è, infatti, una meravigliosa collezione di statue dei re che hanno governato Napoli e il suo grande territorio. È una parata di dinastie. Si va dai re normanni a Federico II di Svevia, da Alfonso d'Aragona a Vittorio Emanuele II, re d'Italia. Nel centro della piazza si trovano due grandi statue in bronzo di sovrani a cavallo: Carlo di Borbone e suo figlio, Ferdinando. Grazie a loro, Napoli e il suo vasto regno conobbero il massimo splendore.

Nella celebre piazza si affaccia il Gran caffè Gambrinus. Arredato in stile Liberty, conserva al suo interno stucchi, statue e quadri di fine Ottocento. Fra le delizie che si possono ordinare vi sono il tradizionale caffè napoletano, le sfogliatelle, i babà e la pastiera.

Il cuore “popolano” della città è collegato con i quartieri “alti” del Vomero, di Chiaia e di Posillipo dalle funicolari, che racchiudono in sé l'essenza stessa di Napoli.

Che spettacolo il belvedere da cartolina! A Napoli gli occhi sono, infatti, continuamente sgranati.

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ts bay is one of the most striking in all of the Mediterranean. It’s the reason for Naples’ location and why Neapolitans love taking long strolls down their unique Lungomare. From the Beverollo dock overlooking Maschio Angioino castle, many once stepped on to ships to set out for a better future, and throngs of people now cast off on ferries to take in the splendours of Capri, Ischia, Sorrento and the Amalfi Coast.

A little more inland, in the heart of Naples, lays Piazza del Plebiscito, one of the most beautiful and vast squares of Italy, with its towering columns overlooking the Royal Palace. History happened here. All along its facade sits a marvelous collection of statues of kings that governed Naples and its vast territory. A true parade of dynasties from the Normand kings to Federico II di Svevia, and Alfonso d'Aragona to Vittorio Emanuele II, king of Italy. At the centre of the square stand two imposing bronze statues of kings on horseback: Carlo di Borbone and his son, Ferdinando. Thanks to them, the kingdom of Naples once reached the heights of glory.

In this same square sits the famous Caffe Gambrinus, decorated in the late 19th century “Liberty” style, complete with stuccos, statues and paintings from the era. Traditional caffè napoletano, delicious sfogliatelle, babà cakes and pastiera pastries are some of the typical delicacies patrons can indulge in.

The funiculars linking the working-class heart of the city to the more highstrung areas of Vomero, Chiaia and Posillipo represent in themselves the essence and duality of Naples. Once at the top, the view of Mount Vesuvius and the bay is breathtaking.

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Storica Napoli Piazza del Plebiscito

Giuseppe Continiello

Se c’è una città che ha avuto una storia intensa e tumultuosa, questa è Napoli. Crocevia di popoli e di culture, ognuna di esse ha profondamente influito sulla città. Nel VI secolo a. C., essa fu fondata dai Greci. Quella greca è una matrice che si ritrova in numerosi termini del dialetto partenopeo. Basti pensare al nome stesso, Napoli, dal greco Neàpolis, città nuova e alla celebre maschera napoletana della commedia dell’arte, Pulcinella o “Pullecenella”, personificazione comica dell’abbandono popolaresco a tutti gli istinti, le cui origini, antichissime, risalirebbero alle Fabulae Atellanae del IV secolo a. C. el 326 a. C., i Romani conclusero con Napoli un'alleanza e Puteoli (Pozzuoli) accrebbe la sua importanza come porto di Roma. Tutto il golfo fu meta ambitissima per i patrizi romani, attratti dal clima mite, dalla piacevolezza del paesaggio e dalla dislocazione della città, ad anfiteatro sul mare. Ancora oggi sono presenti le tracce della Napoli romana, della quale riconosciamo i tre Decumani (nome col quale i Romani designavano la linea est-ovest, tracciata dall’augure, dalla quale deriva l’orientamento e la suddivisione della città), coincidenti con via San Biagio dei Librai, via dei Tribunali e via dell’Anticaglia.

Con gli Svevi e l'imperatore Federico II (XIII secolo d. C.) la città conobbe una grande prosperità anche letteraria per il grande impulso alla cultura dato dalla corte, che volle realizzare l'incontro fra tre civiltà: la latina, la greca e l'araba. Basti pensare all'istituzione dello Studio, l'Università, che dal 1224 le conferisce prestigio.

Seguì, poi, il dominio angioino (1266-1441), durante il quale, dopo i Vespri Siciliani, la rivolta scoppiata a Palermo nel 1282 all'ora del vespro (l’ora tarda del giorno verso il tramonto) del lunedì di Pasqua contro il malgoverno di Carlo I d'Angiò, Napoli divenne, anche di diritto, la capitale del Regno.

Nel 1441, in seguito alle congiure di palazzo tra i pretendenti al trono angioini, la città passò sotto l’erede designato, Alfonso d’Aragona, e a lui e ai suoi successori rimase fedele. Nel 1503, caduta in mano spagnola, Madrid ne fece il capoluogo di una provincia sotto il governo di un viceré.

Dal 1707 al 1724, Napoli fu sotto dominazione asburgica fino a quando, con Carlo di Borbone, non tornò a essere la capitale di un regno autonomo. Carlo e il suo successore, Ferdinando IV, fecero di Napoli la più popolosa città italiana, la seconda in Europa, dopo Parigi.

Sotto i Borbone, la città divenne la capitale di un grande regno, il più grande della Penisola, che si estendeva per circa metà dell'Italia attuale: il Regno delle Due Sicilie. La Rivoluzione francese diffuse nuove idee e tra queste, la rottura di quella collaborazione tra ceto colto e monarchia che aveva permesso l'attuazione di una politica riformista. I moti rivoluzionari portarono alla fuga la corte borbonica.

Il 24 gennaio del 1799, fu proclamata la Repubblica partenopea, vissuta fino al 13 giugno di quello stesso anno, la cui bellissima Costituzione rappresenta il fulcro del progetto di fare di Napoli una città-stato senza re. L'ostilità del popolo, sobillato dagli agenti della monarchia e del clero, e l'azione delle bande armate al servizio dei Borbone portarono alla riconquista del Regno da parte di Napoleone, che lo affidò al fratello Giuseppe Bonaparte (1806-1808) e poi a Gioacchino Murat (1808-1815), mentre la Sicilia restava ai Borbone.

Nel 1815, con la fine dell'Impero napoleonico, Ferdinando IV, rientrato in città, accentrò il potere. La Sicilia vide scomparire la propria autonomia e il regno assunse il titolo ufficiale di Regno delle Due Sicilie. Dalla seconda metà degli anni Cinquanta dell'Ottocento, i Borbone, giudicati reazionari, videro crollare il loro potere, anche a motivo della costruzione dell'unità d'Italia, fino alla conquista di Napoli da parte di Giuseppe Garibaldi, il 7 settembre del 1860, e al plebiscito del 21 ottobre dello stesso anno, con il quale fu sancita l'annessione del Regno delle Due Sicilie al Regno di Sardegna, tappa che portò alla costituzione del Regno d'Italia, nel marzo del 1861.

NEW LOCATION Centre de Décoration St-Léonard 7101, Jarry Est, Anjou

514-255-1644 Tony Catania Owner

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6873, Plaza St-Hubert, Montréal, Québec 514.276.1360 www.italmoda.ca PA N O R A M I TA L I A . C O M

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NAPOLI

Chiesa dei Girolamini

By Francesca Spizzirri

Viva Napoli From the moment you step foot on to the chaotic streets of Naples, you realize it is a study in contrasts. One moment you’re walking down a rundown street with flailing laundry and the next you’re strolling past Baroque architectural splendours. But some would argue – rightfully so – that this authenticity is what gives this southern Italian city its unparalleled charm.

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aples is an ancient port city located between Mount Vesuvius and the steaming Phlegraean Fields. Its history is a vivid montage rooted in Greek and Roman legend with rich artistic and cultural traditions evident in the many castles, churches, museums, piazzas, archaeological remains, and UNESCO world heritage sites. Most notably the San Carlo opera house, the National Archaeological Museum of Naples, the Castel dell’Ovo, Castel Nuovo, Piazza del Mercato, Santa Chiara Church and the Duomo.

In Naples, life is lived on its colourful streets. It is not uncommon to see beautiful, feisty women shouting Neapolitan slurs with spirited gestures, old men playing cards, or Vespas and cars weaving in and out of traffic in a frenetic road dance. Here, people live so passionately and intensely that one of the greatest pleasures is to sit back and watch as this ‘live theatre’ unfolds.

Neapolitans have an enthusiasm for life like no others. Maybe it’s because they live their lives in the shadow of an active volcano with death looming in close proximity. Whatever the reason, this gusto is evident in the architecture, the way people dress and in the delicious Neapolitan cuisine.

Many of Italy’s world-famous dishes like pizza and spaghetti were born in this region, so it’s no surprise that Naples offers some of the finest and freshest food in all of Italy. Mouth-watering pizza is made with fresh mozzarella di bufala and fresh seafood is prepared to perfection. Naples is also home to Italy’s best coffee. Espresso bars are everywhere and patrons can be found enjoying coffee at all hours.

Visitors might be surprised to discover that Naples is a shopping gem. Centuries of artisan traditions continue to be passed down from generation to generation.

Renowned for having the finest sartorie custom tailors in the world, the best hand sown suits, dress shirts and ties are skillfully made here.

Naples has been working hard to shed its notorious reputation for pickpockets, littered streets and organized crime and it has been succeeding. This fascinating city is many things – some good and some bad – but if given the chance, Naples will draw 42

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you in and stir your emotions with its colourful characters, classical ruins and passion for life’s pleasures.

Surroundings Naples is Italy’s gateway to Pompeii, approx. 25 kilometers from the city center, where the active Mount Vesuvius looms. In 1997, UNESCO designated Pompeii a World Heritage Site. Take ferry’s to visit the neighboring islands of Capri, Ischia and Procida.

The Amalfi Coast is breathtaking with its famous cliffside villages of Sorrento, Positano, Amalfi and Ravello.

Where to stay Overlooking the picturesque Castel dell’Ovo and the Bay of Naples, Hotel Excelsior is an elegant property that honours Italy’s old-world craftsmanship and design with focus on modern luxury. Enjoy fresh Mediterranean cuisine on their rooftop restaurant that combines spectacular indoor and veranda views of Naples. www.excelsior.it Located between the harbour and the old town, the Romeo Hotel brings innovative design elements to a city that evokes old world Italian romance. The highlight of this stunning property is the rooftop restaurant that serves regional dishes with breathtaking views of Vesuvius and Capri. www.romeohotel.it Where to eat No visit to Naples is complete without eating pizza at the legendary L’Antica Pizzeria da Michele that many have described as the “Sacred Temple of Pizza.” This small, rather nondescript pizzeria has been making the best marinara and margherita pizza since 1870. www.damichele.net If you’re a seafood lover reserve a table at Ristorante da Dora. It may look like a run-of-the-mill trattoria, but this modest restaurant offers some of the freshest fish in town and is always packed with local fish lovers. www.dadora.it

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Galleria Umberto I

Getting to Naples Capodichino airport is located eight kilometers northeast of downtown Naples.

There are daily flights into Naples from most Italian and European cities. You can also take the train into Naples. If you’re renting a vehicle, you can drive from Rome to Naples in approximately 2.5 hours on highway A90/E80, but beware: driving in Naples requires a lot of courage.

FUN FACTS • Naples was founded by the Greeks in 7th century BC • The city was named Neapolis which means the "New City" • It is said that the Apostles St. Peter and St. Paul preached here • Naples became part of the Italian unification in 1860 • It is the third most populated city in Italy • Naples has the world’s worst traffic outside of Cairo PA N O R A M I TA L I A . C O M

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NAPOLI Naples, promenade de bord de mer

Naples au jour le jour Par Valérie Vézina

Un spectacle pour les sens Trente heures à Naples, c’est trop court, comme un café napolitain. Le liquide tombe amer dans la gorge. Si fort en bouche que j’en laisse des gouttes dans la tasse. (J’avoue cela gênée, comme si je n’avais rien compris... ou comme un macho pleurnichant devant un film mièvre.)

image qui me vient spontanément de cette ville, c’est celle d’un bar haut de plafond et baigné de soleil, ouvert côté rue et côté place de l’église, avec un bar massif lambrissé de bois sombre. C’est là que j’ai goûté pour la première fois à ce café goûteux, sirupeux, différent de ce qui ce fait ailleurs au pays.

Le barista explique qu’à Naples, la plupart des bars utilisent une machine à café à pompe manuelle et non une machine automatique. Pour cet expert basané, le café du nord du pays, c'est comme de l'eau!

Naples c'est aussi la pizza, inscrite au registre européen des aliments traditionnels. Traduction? Une pizzeria ne peut afficher sa pizza comme napolitaine sans utiliser des ingrédients spécifiques et suivre une méthode de préparation authentique. Elle coule entre les doigts. Elle goûte la vraie tomate murie au soleil.

Rien de faux: c'est ce que j'ai perçu à Naples. Un lieu où les apparences semblaient réelles. Comme s'il n'y avait rien d’artificiel chez les gens du cru. “Je sentais que j'étais dans un lieu vrai: dans un des lieux vrais du monde” a écrit Carlo Levi, l'auteur du Christ s'est arrêté à Eboli.

Le ventre du pizzaiolo pend sous son t-shirt, et il n’y a personne pour trouver cela vulgaire.

Un ballon surgit dans une rue du centro storico. Pas d’invectives du conducteur au petit garçon qui court le rattraper. On ralentit, on contourne. On ne klaxonne pas. La vie continue...

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Naples à la vie à la mort J'ai lu quelque part qu'à Naples, on ne vivait pas avec la peur, mais avec la mort, donc qu’il faisait bon vivre. La conséquence de deux millénaires et plus de conquêtes, de maladies, de petites et grandes misères. Alors on joue au ballon, on mange de la bonne pizza, on fait l’amour, on est son propre patron – un Napolitain que je connais est très jaloux de son indépendance et il serait loin d’être le seul – et on meurt. Et basta.

Parlant de mourir, c’est à Naples que j’ai vu le plus d’édicules funéraires de ma vie.

Des mausolées érigés sur la façade d’un immeuble, au fond d’une ruelle, même fleuris de décorations kitsch sur le mur intérieur d’un resto de quartier à la mémoire de vedettes du sport déchues comme Maradona.

Dans une pizzeria, j’ai vu un petit groupe de gens entrer et se servir dans le frigo de la place, avec la bénédiction de la serveuse. Elle leur a souri. Ils sont allés boire leur bière dehors en attendant que des tables se libèrent en-dedans.

L’intérieur et l’extérieur, le Vésuve et la lave, la mer et le sel; la vie coule sans contrainte malgré la menace d'éruptions et de tremblements de terre, là-dessus cette citation délicieuse de Jean-Noël Schifano, auteur de Naples (Éditions Autrement, coll.

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L'Europe des villes rêvées,1987): “Naples unit d'une façon obscène son présent et son passé, présent et passé copulent sans trêve; Naples vit son présent dans son passé, comme un adulte qui n'aurait pas momifié le môme qu'il a été et ferait la nique au monde collet monté.”

Dans ce livret j’ai appris que la camorra était la faute des Espagnols. Ils l'auraient “importée” au début du XVIe siècle en Campanie.

Une perle sur la Méditerranée Trente heures à Naples, ce n’est pas suffisant. Mais c’est assez pour en avaler toute la beauté... comme un espresso bien serré! Parce qu’elle est belle, peu importe ce qu’on vous en dira.

Sale et dangereuse selon certains – à preuve ces amoncellements de poubelles dans les rues... Chaotique et sans intérêt pour d'autres... Une perle sur la Méditerranée pour Enzo, ce Napolitain d'origine avec qui je me suis liée d’amitié à Lucca.

Verdict? Coup de coeur presque instantané, qui s'est confirmé au fil des marches avec mon compagnon à travers le centre historique, la colline de Vomero, le quartier de Chiaia et sa vieille rue du XVIIIe siècle grimpant comme un serpent jusqu’au théâtre San Carlo et la merveille architecturale plus récente de la Galleria Umberto I. Sans oublier mon coup de foudre pour le Museo Archeologico Nazionale. Dans ce musée se trouvent des trésors nationaux, certains si hauts qu’il faut lever la tête pour les admirer en entier. D’autres sculptures sont à une échelle plus humaine. Elles laissent néanmoins une forte impression, celle de remonter dans le temps des récits bibliques d’un certain cours de religion du secondaire. À quel autre endroit pourraiton voir de près une copie de la tête de Julius Caesar datant de 110, d'après un original de 50 av. J-C? Impressionnant.

D’ailleurs, saviez-vous que les documents officiels napolitains étaient rédigés en grec à l'époque de l'Empire romain?

Moins étendue que Rome et surtout beaucoup moins touristique, Naples se découvre finalement dans ses rues animées. Il y a trois châteaux au coeur de la ville, d'innombrables églises de toutes périodes, des restes romains entre deux cordes à linge, un peu de baroque et de renaissance par-ci, par là. En prime, la baie de Naples d'un côté et le Vésuve de l'autre complètent le paysage.

Virgile a chanté ses louages dans son oeuvre écrite. Si vous êtes plus versé dans la dégustation de vins que dans la littérature, le Lacryma Christi, ou les larmes du Christ, pourraient laisser à vous comme à moi un souvenir émouvant. L’auteur d’un vieux livre français sur Naples et le Vésuve (que j’ai déniché dans une foire d’antiquités) décrit bien ce “nectar exquis” : “La splendeur du ciel et la prodigalité du sol s’unissent pour offrir aux mortels [...] la douce et sereine joie de vivre.” Aussi simple que ça.

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Avis A vis de nomination Les associés de Raymond Chabot Grant Thornton ont le plaisir d’annoncer la nomination de M. Emilio B. Imbriglio à titre de président et chef de la direction.

Jusqu’à sa nomination, M. Imbriglio a agi en tant que U HVSRQVDEOH GX JURXSH &RQVHLOV ÀQDQFLHUV HW RFFXSDLW OD fonction de président du conseil de direction.

Reconnu auprès des décideurs d’affaires et de ses pairs pour son leadership, ses qualités de rassembleur et sa grande connaissance des enjeux qui façonnent notre société, M. Imbriglio est un acteur incontournable et des plus respectés.

Emilio B. Imbriglio Président et chef de la direction

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

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NAPOLI

Savourer Naples Par Julie Aubé

10 étapes à mettre à votre itinéraire gourmand

Vivante, colorée et animée, Naples est une métropole fascinante que l’on apprivoise à son rythme au fil des balades à travers ses quartiers. En découvrant la ville, il y a bon nombre de spécialités régionales et de gourmandises typiques à mettre à l’itinéraire. En voici dix exemples pour vous mettre en appétit!

1. Sfogliatelle Parmi les cornetti et les ciambelle, on trouve à Naples les traditionnelles sfogliatelle. Il s’agit de petits chaussons de pâte feuilletée (riccia) ou de pâte brisée (frolla), farcis de ricotta sucrée et de petits morceaux d’agrumes confits. Les sfogliatelle, parfumés à la cannelle plus ou moins intensément selon les endroits, sont à leur meilleur légèrement réchauffées. Un régal!

2. Mercato Pignasecca Très central, le marché Pignasecca se déploie sur la piazza du même nom et aux alentours. On y trouve des kiosques extérieurs de fruits, de légumes, de poissons et de fruits de mer à même la rue, auxquels s’ajoute une foule de boutiques alimentaires permanentes qui jalonnent les rues attenantes à la piazza. On trouve entre autres des boulangeries, des triperies, des boucheries et des fromageriescharcuteries. Un passage par le Mercato Pignasecca est l’occasion de s’inspirer pour un pique-nique ou de faire le plain de provisions pour cuisiner à la napolitaine.

3. Mozzarella di bufala La mozzarella di bufala campana DOP est un fromage à pâte fraîche et filée fait exclusivement de lait de bufflone, provenant de la zone d’origine, et fabriqué conformément à un cahier de charge bien précis. Résultat : un fromage au goût frais et inimitable, à la texture à la fois moelleuse et légèrement élastique. La mozzarella di bufala campana DOP est facile à trouver à Naples, entre autres dans différentes boutiques du marché Pignasecca, où elles n’attendent que vous en baignant doucement dans leur chaudière de saumure. Exquise en salade, en tranches épaisses dans un sandwich ou sur les pizzas, on peut aussi la savourer tout simplement telle quelle pour en appré-cier toute sa subtilité.

4. Pizza napoletana Arriver à Naples, c’est entrer dans le royaume de la pizza!

Qui ne connaît pas la réputation sans frontière de la très fameuse pizza napoletana, mémorable avec sa pâte mince et souple tel une crêpe fine, ses saveurs authentiques et son parfum de cuisson au feu de bois? Les deux pizzas les plus classiques sont la marinara (tomates, origan, ail, huile d’olive) et la margherita (tomates, mozzarella, basilic).

Certaines pizzerias sont de véritables institutions à mettre à votre itinéraire gourmand. Parmi celles-ci, mentionnons da Michele, Sorbillo et Di Matteo. Il faut généralement s’armer d’un peu de patience pour entrer dans ces pizzerias. Ne vous découragez pas si la file semble longue; les pizzas sont servies rapidement et dévorées tout aussi vite par les Napolitains et autres gourmands du monde 46

Sfogliatella

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entier! Outre ces trois fameuses pizzerias, il y en a bien sûr mille autres à travers la ville, dont plus de 70 faisant partie de l’Associazione Verace Pizza Napoletana.

5. Pizza fritta Toujours sur le thème de la pizza, une autre spécialité napolitaine à essayer est la pizza fritta. Une pâte à pizza garnie de lardons, de sauce tomate, de fromage et d’herbes, puis pliée à la manière d’un calzone et frite quelques instants. Résultat : une pâte croustillante goûtant presque le beignet et une garniture chaude, savoureuse, fondante, voire dégoulinante. Serviettes de table absolument requises pour déguster ce snack napolitain gourmand à souhait!

6. Caffè alla nocciola Aussi appelé caffè nocciolato, il s’agit d’un espresso mélangé avec une crème de noisette et un peu de sucre. Un café gourmand typique de Campanie qui est pratiquement un petit dessert en soi!

7. Limoncello De l’autre côté de la baie de Naples se trouve la ville de Sorrento ainsi que la magnifique région de la côte amalfitaine, où le citron et le limoncello sont rois. Le limoncello est servi un peu partout dans les bars et restaurants de Naples. Idéal en fin de repas, avec ou après le café, pour terminer la soirée sur une incomparable note de fraîcheur citronnée!

8. Babà Originaires de Pologne, les babà ont voyagé par la France avant d’arriver à Naples, où ils ont été adoptés et «napolitanisés». Ils peuvent être au rhum ou au limoncello. Les formats individuels sont souvent servis tels quels, ou parfois farcis à la crème fouettée ou encore à la crème de citron. Outre les formats individuels, on trouve également des babà de grand format sous forme d’un gâteau, ou encore des minis-format, qu’on trouve aussi en pots dans la crème de limoncello.

9. Aglianico L’Aglianico est un cépage du sud de l’Italie, cultivé entre autres en Campanie et utilisé dans plusieurs vins rouges de la région, tel que les appellations Aglianico del Taburno, Vesuvio et Taurasi (ce dernier étant d’ailleurs réputé comme étant parmi les meilleurs rouges de Campanie, avis aux amateurs de vins relativement tanniques et corsés). Côté vins blancs, essayez le Greco di Tufo et le blanc Fiano di Avellino.

10. Frittatina Un petit creux au cours d’une balade dans le dédale des rues napolitaines? Sortez quelques centimes et essayez une frittatina napoletana, une croquette de macaroni crémeux qu’on trouve dans les pizzerie, les cafeterie ou différents comptoirs alimentaires à même la rue. Voilà qui comble l’appétit pour poursuivre la balade!

En somme, il ne me reste qu’à vous proposer une revisite du célèbre «Voir Naples et mourir», que je reformule ainsi: “Goûter Naples et vouloir y revenir!”. Bonne visite et bon appétit !

Carnet d’adresses • Pour un restaurant animé qui ne désemplit pas: La Nenella (quartier espagnol), vico Lungo Teatro Nuovo, 103.

• Pour une trattoria napolitaine à prix abordable: La Campagnola (au cœur de Spaccanapoli), via dei Tribunali, 47.

• Pour des institutions de la pizza napolitaine: Da Michele, Sorbillo, Di Matteo.

Pour plus d’information sur l’Associazione Verace Pizza Napoletana: www.pizzanapoletana.org • Pour la pizza fritta: Da Antonio (quartier espagnol), via Giuseppe Simonelli, 58.

• Pasticceria Giovanni Scaturchio (Piazza San Domenico Maggiore, 19) Une institution entre autres pour goûter les sfogliatelle et les babà. Pas les moins cher, mais ils valent le coup.

• Les chocolateries Gay-Odin (quelques adresses disponibles sur leur site web).

• Piazza Bellini. Petite placette bordée sur tous ces côtés par plusieurs bars et terrasses. Agréable pour l’apéro ou un verre de fin de soirée.

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NAPOLI

Pizza

Napoletana

By Gabriel Riel-Salvatore

The one and only Some eat it with a fork and knife, some like it folded (al libretto), some like it fluffy, some like it thin, but one thing remains true for all: everyone loves pizza. With its flat, dough-based surface, typically topped with cheese and tomato sauce, pizza is an awesomely simple dish that managed to conquer most parts of the world a little over two centuries since its creation in the city of Naples.

eapolitans will tell you without hesitation that the world’s best pizza is still found in Totò’s hometown. “The primary reason is the use of local ingredients, which have no equal anywhere else,” explains Eduardo Ammendola from Pizzeria Di Matteo, located on via Tribunale in Naples’ historic quarter since 1936.

“One of the secrets to a good pizza is working with good products. It might cost a bit more, but it makes a big difference at the end of the day. The fior di latte and tomatoes must always be as fresh as possible. You even have to taste them to make extra sure. Moreover, all of our pizzas, like our bufalina topped with fresh cherry tomatoes and mozzarella di bufala campana, for example, are made with products hailing from the Campania region,” says Ammendola.

To say Neapolitans take their pizza very seriously is an understatement. The great propagation of pizza around the world made with varying ingredients forced Neapolitan pizzaioli (pizza makers) to regroup in 1984 under the association known as Associazione Verace Pizza Napoletana (VPN), to defend the authenticity of this typical Neapolitan tradition. Since 2004, the pizza napoletana even bears an official quality seal called Specialità tradizionale garantita (STG) (Traditional Speciality Guaranteed) which carefully codifies how to make an authentic pizza napoletana. On top of using strictly local ingredients, everything must be scrupulously done by hand, except for the mixing of the dough.

N

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Although it may seem simple at first, it takes years of training to become a master pizzaiolo at Di Matteo’s just like at any other pizzeria officially registered under the Associazione Verace Pizza Napoletana. “A good pizzaiolo must never run. He must learn how to make and work the dough using four simple ingredients: flour, water, salt and yeast. If it is hot outside, you put less yeast. When it’s colder you add a bit more (…). The dough should always be light and smooth when stretched and shaped by the pizzaiolo. And it is important to never burn your pizza. To get it perfect, you must have a winning combination between the pizzaiolo and the fornaio’s (baker) work,” explains Ammendola.

According to the specifications of the Associazione Verace Pizza Napoletana, the disk’s edges should form a crust called cornicione of up to 1 to 2 cm, while the center of the dough should reach a height of about 3 mm. The baking must absolutely be done in a wood oven at a temperature of 485 °C for approximately 90 seconds. “This quick passage under high heat should leave the pizza humid and soft, never burnt or overcooked,” says Ammendola.

Purists only consider two types of pizzas as tradizionale: the margherita and the marinara, although many more varieties using other ingredients do exist. The former uses tomato sauce (of the San Marzano variety), mozzarella Specialità tradizionale garantita (STG), diced mozzarella di bufala campana DOP or fior di latte, basil and olive oil. The latter only uses tomato sauce, garlic, oregano and olive oil.

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The Origins of Pizza

By Giuseppe De Cesare

The first pizzerias appeared in Naples during the 18th century and were initially destined for the working class.

Pizzerias were an exclusive Neapolitan phenomenon until the end of the 19th century, before they started spreading across North America and other parts of the world with the onset of Italian immigration around the globe.

W

hile the word “pizza” literally means pie, various explanations have been put forward about the origins of the term. By some accounts, it derives from the Roman term “picea”, a type of bread, which later was called “piza” and then “pizza”. Other versions imply that “pizza” comes from “pitta”, a type of flat bread that the Byzantines introduced in Italy. Some scholars argue that the word “pizza” derives from the Greek word “plax”, meaning a flat or flattened surface.

The Etruscans and the Greeks developed prototypes of pizza, as did the Romans. They made a version of flatbread that resembled pizza (e.g. focaccia).

However, it was in Naples that the modern pizza was created – circular pizza is synonymous with pizza napoletana – and where tomatoes were introduced as a topping.

Despite the famous love affair between Italians and pomodori, tomatoes were once considered a poisonous fruit. They were first introduced from the New World in the 15th century and were of poor quality and taste. It took over 200 years before Italians adopted them in their daily diet. It was only by the end of the 18th century that a big and sweet tomato (San Marzano) was finally developed in the area of Naples and used as a pizza topping.

By the end of the 19th century, pizza also became popular among aristocrats.

One of its most influential fans was Queen Margherita of Savoy. Legend has it that when the Queen visited Naples in 1889, tired of traditional French cuisine, Neapolitan pizzaiolo Raffaele Esposito was asked to prepare three different kinds of pizzas for her. She chose the pizza topped with tomato, basil and mozzarella as her favourite and soon after, this particular pizza became known as “Pizza Margherita.”

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

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NAPOLI

1.

Making Neapolitan Pizza Classics at Home Instructions Set oven to 475 °C. Once dough* is ready, divide into four pieces. Using the palms of your hands, begin stretching each piece separately into round pizzas, about 12 inches in diameter, on a hard surface sprinkled with flour.

While tradition dictates that only the margherita and marinara can be designated as true Pizza Napoletana, many more varieties are now part of the Neapolitan pizzaiolo’s roster. Here’s how to make four of them at home:

By Gabriel Riel-Salvatore

Photography by Michel Ostaszewski

The pizza should be as thin as possible with a bit more dough all around to shape the crust. If the dough gets too sticky, sprinkle with a bit more flour. Gently brush dough with olive oil and start layering ingredients. It is always preferable to blend the tomato sauce so it will spread more easily and evenly on your pizza.

Once you have topped the pizza, slide the pizza stone (or a baking tray with aluminum foil) on the upper third rack of your oven and bake for about 10 minutes. Once the pizza is cooked, gently brush the crust with olive oil and broil on high heat for two minutes or until crust is golden.

Carefully monitor oven to prevent crust from burning. Rotate the stone to broil your pizza evenly. *Visit www.panoramitalia.com/en/food-wine/recipes/ for our pizza dough and tomato sauce recipe.

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2.

NAPOLI 1. Margherita Ingredients: Tomato sauce (San Marzano variety) • ½ cup grated mozzarella • 1 mozzarella di bufala campana DOP or fior di latte, diced or sliced • 2 tsps extra virgin olive oil • 6 basil leaves • Pinch of salt.

2. Bufalina Ingredients: Tomato sauce • 12 candied cherry tomatoes • 1 mozzarella di bufala campana DOP diced • 2 tsps extra virgin olive oil • 6 basil leaves Instructions for candied tomatoes: Put tomatoes on a pan covered with aluminum foil, brush them with olive oil and sprinkle with dry spices (to taste) and a pinch of salt. Bake at 475 °C at the bottom level of the oven for about 5 to 8 minutes until their skin slowly starts pealing of, carefully monitoring them to prevent from burning.

3. Capricciosa or Quattro Stagioni

3.

Ingredients: Tomato sauce • ½ cup grated mozzarella • 50 g grated grana or parmigiano cheese • 150-200 g marinated artichoke hearts cut in quarters • 150-200 g ham (generally in thin slices) • 150-200 g black olives pitted and sliced • 2 tsps extra virgin olive oil • 6 basil leaves. *The Quattro Stagioni uses the same ingredients as the Capricciosa with each one divided into its own quarter.

4. Diavola Ingredients: Tomato sauce • ½ cup grated mozzarella • 25 g grated cheese (grana or parmigiano) • 100-150 g hot salami, ventricina or soppressata calabrese, sliced • 2 tsps extra virgin olive oil.

4.

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Roberto Ciuffini

La bellezza calpestata di Napoli Un polo scientifico tecnologico all'avanguardia distrutto da un incendio appiccato dalla camorra. Strade che sprofondano, inghiottite dalle viscere della terra. Povertà, spazzatura, crimine. In città è sempre emergenza. Ma possiamo davvero affermare che tutto questo non riguarda anche l'Italia?

E’

difficile resistere alla tentazione che porta ad attribuire a questi episodi un valore simbolico. E’ come se la furia distruttrice del fuoco che ha incenerito la Città della Scienza e la voragine che ha inghiottito il pavimento della chiesa di San Carlo alle Mortelle, uno dei capolavori del barocco napoletano, volessero ricordarci non solo tutti i problemi irrisolti di Napoli, ma anche la sua incapacità di farsi capofila di un Mezzogiorno moderno, votato all’innovazione e alla valorizzazione delle sue risorse.

Già, perché Napoli è sempre stata, nel bene e nel male, l’epitome del Mezzogiorno, il luogo in cui tanto i pregi quanto i difetti di quest’ultimo raggiungono il parossismo.

Secondo uno studio effettuato dal quotidiano “Il Sole 24 Ore” (il più autorevole giornale economico italiano, n.d.R.) sulla qualità della vita nelle province e nelle città italiane, nel 2012 Napoli è stata la penultima città d'Italia. Il capoluogo campano è andato meglio solo di Taranto (arrivata ultima a causa della vicenda delle acciaierie ILVA). Per la cronaca, la classifica vede in testa Bolzano, seguita da Siena, Trento, Rimini e Trieste. Tutte città del Centro e del Nord Italia.

Governare Napoli è sempre stato molto difficile.

Ma la situazione attuale ha forse raggiunto un punto di non ritorno.

Il Comune è in pieno dissesto finanziario: non ha un euro in cassa ed è seppellito sotto una montagna di debiti che superano il miliardo e mezzo di euro, con un disavanzo che si aggira intorno a 850 milioni.

In città si vive un’emergenza continua. Gli indicatori di questa crisi sono tanti e spietati: black out elet-

La Speranza che risolleva l'Amore ferito, Zilda

NAPOLI

Governare Napoli è sempre stato molto difficile. Ma la situazione attuale ha forse raggiunto un punto di non ritorno. trici che possono durare anche giorni interi, povertà, sporcizia, abusivismo edilizio, degrado, scioperi a catena, quartieri come Scampia e Secondigliano diventati le capitali italiane dello spaccio di droga controllate dalla camorra.

E poi c'è l'aumento della povertà. A gennaio, il mese dei saldi, nei negozi si è registrato un crollo di presenze del 40%. La quotidiana fila alle mense Caritas ultra affollate conferma che in aumento appaiono gli impiegati, i maestri di scuola e i piccoli commercianti che hanno chiuso bottega con le loro famiglie.

I problemi di Napoli non nascono oggi. L'attuale situazione è frutto sia di fattori contingenti sia di ritardi atavici. Quello che va dall'Unità ai nostri giorni è il periodo storico che ha determinato in modo esiziale la situazione odierna di Napoli (come di gran parte del Mezzogiorno) con il suo bagaglio di problemi irrisolti.

Al momento dell'Unità, il Sud non era poi in grave svantaggio rispetto al Nord. L'Italia meridionale era costellata di manifatture, soprattutto centri di lavorazione del cotone, del vetro e delle ceramiche; e poi ancora di concerie, fornaci, piccole industrie di carta, tintorie. Napoli, in particolare, era sede di un’ importante

industria siderurgica. Nel 1818 da Napoli partì diretto a Marsiglia il primo battello a vapore che attraversò il Mediterraneo. E sempre da Napoli, nel 1839, partì la prima linea ferroviaria d'Italia, la Napoli-Portici.

Cosa accadde, dunque, dopo l’Unità, per ridurre Napoli, e con essa tutto il Meridione, a “problema”?

Innanzitutto, l'abolizione pressoché improvvisa delle tariffe protezionistiche (una misura, allora, in voga in molti Paesi europei) espose le industrie alla spietata concorrenza esterna. L'amministrazione statale fu, poi, per diverso tempo estranea alla realtà ed ai problemi dell'ex Regno di Napoli. Inoltre, l'unificazione italiana fu sostanzialmente un fatto militare ed istituzionale, con scarsa partecipazione del popolo meridionale. La pressione fiscale dei piemontesi fu di gran lunga più forte di quella borbonica. Rimase irrisolto l'antico bisogno di terra delle plebi rurali. Il servizio militare obbligatorio, allora della durata di cinque anni, privò di braccia le famiglie contadine.

Ma è soprattutto nel secondo dopoguerra che questi problemi si acuirono in modo irreversibile, connotando tutti i fenomeni negativi che caratterizzano la storia recente di Napoli. Tanto per cominciare, a trarre beneficio dal boom economico post bellico furono soprattutto le industrie metalmeccaniche, elettrotecniche e tessili del Nord-Ovest. Nel 1950, per tentare di correggere l'evidente dualismo tra lo sviluppo del Nord e quello del Sud, venne istituita la famigerata Cassa per il Mezzogiorno, ma, a poco a poco, la qualità degli interventi si spostò da settori produttivi a forme di puro assistenzialismo, generando una crescita esponenziale del clientelismo e una carenza di pianificazione razionale in tutti i campi.

Anche la longevità e la forte vitalità del fenomeno della criminalità organizzata sono dovute all'insipienza dei governi nazionali che hanno lasciato per decenni la macchina della giustizia in condizioni disastrose, dimostrando così una colpevole, se non dolosa, miopia verso quel che stava accadendo.

A questo punto si pone un interrogativo. Si può circoscrivere questa realtà entro i confini di una sola città? Possiamo davvero affermare che tutto questo non riguarda l'Italia?

Napoli è davvero qualcosa “a parte”, di diverso e distinto dal resto della società italiana? O non è, piuttosto, la lente d’ingrandimento delle sue bellezze e delle sue tragedie?

Forse ha ragione Roberto Saviano quando scrive: «A chi ci vive, la studia, Napoli offre un enorme privilegio: poter assistere a un grande laboratorio dove tutto ciò che accade altrove e tutto ciò che accadrà altrove è già accaduto».

«Napoli si dissangua da sola della sua bellezza» ha scritto Erri De Luca, nato e cresciuto a Monte di Dio, una delle zone più antiche della città. Ma forse non tutto è perduto. «Esistono fiori di campo» ha detto De Luca «che, distrattamente calpestati, tornano a rimettersi in piedi, perché spinti dalle radici da una forza di bellezza.

Quella di Napoli riaffiora altrettanto ostinata... Napoli si regge su un'energia di bellezza inesaurita».

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NAPOLI

A me me piace o' rap Roberto Ciuffini

Napoli sotto l’influenza della musica Hip Hop I ragazzi napoletani stanno con l'hip hop. Nell'attuale crisi della rappresentanza politica, il rap diventa un grido per acquistare visibilità.

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egli Stati Uniti, il sorpasso arrivò prima dello scoccare del nuovo millennio, quando, subito dopo la fine degli anni Novanta, il rap divenne il genere di riferimento del mercato Usa. In Italia, questo passaggio di testimone fra hip hop e pop sta avvenendo ora, con i rapper che, tra dischi venduti, visualizzazioni su You tube e download, si sono ormai trasformati negli artisti di riferimento della generazione dei ragazzi al di sotto dei 25 anni.

Milioni di giovani ascoltano i dischi, mandano sold out i concerti e fanno arrivare a cifre da capogiro i brani di personaggi come Fabri Fibra, Emis Killa, Club Dogo, Mondo Marcio, Marracash, Clementino, Nesli e molti altri.

Una parte importante di questo fermento è localizzata a Napoli. Clementino, Co' Sang, La Famiglia, Gransta MSV, Lucariello, O' Zulù/99 Posse, 13 Bastardi, Speaker Cenzou, Rametto sono i nomi più importanti della scena rap partenopea.

L'epicentro del movimento napoletano fu il centro sociale Officina 99.

Nell'immaginario storico dell'hip hop italiano, Napoli coincide con le vicende di questo centro sociale tutt'ora esistente: un capannone abbandonato e periferico degno della migliore estetica di archeologia industriale, soprattutto luogo dell'agire politico, ma anche spazio da cui è partita la nuova ondata del suono partenopeo.

I capofila furono un gruppo di dj e rapper che prese il nome (un evidente omaggio all’Officina) di 99 Posse. Guidati dal leader Luca “O' Zulù” Persico, i 99 Posse divennero ben presto il punto di riferimento per i giovanissimi napoletani che cominciavano ad avvicinarsi al rap e alla cultura hip hop. Tutt'ora in attività, la band ha festeggiato il ventennale dell'uscita del primo album, Curre curre guaglio'. La traccia che dà il titolo al disco venne inserita da Gabriele Salvatores nella colonna sonora del film Sud. Secondo Persico, la ricca scena napoletana, pur essendo culturalmente affine al resto del panorama italiano, si è sempre differenziata rispetto ad altre realtà: “L'hip hop a Napoli – spiega Persico – è sempre stato punk, voglia di rivalsa, di farsi avanti”.

Il rap partenopeo, molto più di quello di altre città, continua ad essere la musica del sottoproletariato, del sottosuolo sociale, un genere in cui si esprimono e si rispecchiano

Clementino

le ansie e le aspirazioni dei giovani non ancora stabilmente inseriti nel circuito sociale e di quelli che hanno cessato di sperare.

"Il rap è un elemento di futuro e di ribellione – dice Clementino, nome d'arte di Clemente Maccaro, uno dei rapper napoletani della nuova generazione - un mezzo di protesta contro la situazione politica attuale, il razzismo, la corruzione. L'unico linguaggio musicale in grado di colpire dritto al cuore”.

“A Napoli – ha scritto Roberto Saviano – per anni il racconto di quello che accadeva è stato fatto dai rapper come i Co’ Sang, i Fuossera, i Kosanost e gli ‘A 67 con il loro album A camorra song’io”. I Co’ Sang, di Marianella, quartiere a un passo da Secondigliano, sono delle voci in grado di narrare il proprio tempo, cantando la vita e la morte dei territori dell’area nord di Napoli divenuti celebri sulla stampa nazionale per la guerra di camorra. “Co’ Sang”, slang napoletano che potrebbe essere tradotto “Con il sangue” e il sangue è una loro traccia estetica, vitale, pulsante; cantare con il sangue, cantare del sangue vivo che avrebbe voluto ancora scorrere e che spesso si trova a chiazzare l’asfalto. C’è tutto nei loro testi. Sono letteratura, senza alcun dubbio. Veri e propri racconti, versi o come loro li definiscono: “poesia cruda”. Ci sono le piazze di spaccio, l’epica dei rioni, “la rabbia per l’impossibilità di avere una stramaledetta vita serena in grado di essere spesa e vissuta umanamente”.

A differenza di quel che è accaduto nelle altre città che formano la geografia del rap italiano, l'hip hop, nonostante la sua matrice afro americana, si è subito ben integrato e amalgamato con il dialetto locale, proseguendo una tradizione che va avanti dalla seconda guerra mondiale.

Già allora, infatti, a Napoli, a causa dell'occupazione americana, generi musicali importati dagli Stati Uniti iniziarono a combinarsi con i testi dialettali della vitalissima tradizione della classica canzone locale. L'uso del dialetto ha poi acquisito nel tempo nuovi valori e significati. Usare il dialetto, oggi, vuol dire soprattutto solidarizzare con gli svantaggiati, con coloro che non sono abbastanza acculturati per parlare italiano. La scelta del dialetto implica una protesta politica.

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Musica Napoletana

NAPOLI

By Sonia Benedetto

Maria Nazionale

Enrico Caruso

Sal Da Vinci

Album: Libera (2013) Label: Midas Promotions Srl Genre: Pop

Album: O Sole Mio (2013) Label: Sector Records Genre: Classical/Opera

Album: È Così Che Gira Il Mondo (2012)

Libera is internationally acclaimed vocalist Maria Nazionale’s 10th studio album. This latest release features seven new original songs including “È Colpa Mia” and “Quando Non Parlo” which she performed at this year’s 63rd edition of the Sanremo Music Festival.

Nazionale is well-known for her remarkable vocal ability to flawlessly perform traditional Neapolitan popular melodies. On this project she also shares her passion through neomelodic sounds with songtitles “Pe’ Ridere e Pazzia,” “Me Chiammo Maria” and “A Vita È Come O’ Mare.” Throughout her career, she often lent her talent as an actress in many theatre productions such as “Lacreme Napulitane” with none other than Nino D’Angelo.

Label: SI Productions Srl Genre: Pop

È Così Che Gira Il Mondo is Sal Da Vinci’s brand new pop album featuring 15 songs that speak about the infinite facets of love. From falling in love to abandonment and rebirth, Da Vinci does not hold back one bit as he shares his feelings and points of view about this running universal theme. Not to be missed is “Fin Dove C’è Vita,” “Cose/Cosias” featuring Ana Carolina, “Senza Un Motivo” showcasing one of Italy’s biggest female stars of all time, Ornella Vanoni, and “Foss’O Dio,” his homage to Neapolitan music. This album was released two years after his previous record titled “Il Mercante delle Stelle” and three years after he won third place at the Sanremo Music Festival with the hit single “Non Riesco a Farti Innamorare.”

Undoubtedly one of the greatest operatic tenors to have ever lived, Enrico Caruso (1873-1921) made his stage debut in 1895 in the opera L’Amico Francesco by Domenico Morelli at the Teatro Nuovo in his native Naples. After his professional career took off, he was chosen to perform leading roles in some of the world’s premier opera houses such as La Scala in Milan and The Metropolitan Opera in New York. O Sole Mio features 100 remastered original recordings from Caruso’s classical and Neapolitan repertoire including “O Soave Fanciulla” (La Bohème), “Addio Alla Madre” (Cavalleria Rusticana), “Venti Scudi!” (L’Elisir D’Amore), “Addio a Napoli,” “Tu, Cà Nun Chiagne,” “Guardann’a Luna” and “Fenesta Che Lucive.”

Renato Carosone

Marc Hervieux

Massimo Ranieri

Album: All the Hits: Renato Carosone, Gold Collection (2010) Label: Music All Records Genre: Jazz/Swing

Album: A Napoli (2011) Label: ATMA Classique Genre: Classical

Album: Napoli...Viaggio in Italia (2009) Label: Rama 2000 Genre: Pop

Well known as one of the greatest Neapolitan singerssongwriters, Renato Carosone is the unforgettable voice behind the hit “Tu Vuò Fà l’Americano” (1956). The song tells the story of an Italian who imitates the American contemporary lifestyle of the time, drinking whisky and soda and dancing to rock and roll. The single was also performed by Sophia Loren in the movie It Started in Naples in 1960. All the Hits: Renato Carosone, Gold Collection features a traditional Italian songbook including “Malafemmena”, “O Sarracino,” “La Donna Riccia,” “Io Mammeta e Tu,” and “Torero” (which was translated into 12 languages) and “Maruzzalla” which was inspired by Carosone’s wife Lita.

It would be impossible to speak of Neapolitan music without singling out Massimo Ranieri, one of the biggest talents to have emerged directly from ‘O Paese d’ ‘o Sole. The singer was raised in a neighborhood of Pallonetto di Santa Lucia (Naples), where he began singing professionally at the age of 10. In 1966, he made his television debut on the variety show Scala Reale singing “L’amore è una cosa meravigliosa.”

Napoli…Viaggio in Italia is a dual CD collection offering a unique opportunity to enjoy some of Ranieri’s greatest live performances such as “Marechiare,” “Tu Si Na Cosa Grande,” “Te Voglio Bene Assaje” and “Reginella,” just to name a few.

Marc Hervieux is a graduate of the Conservatoire de Musique de Montréal, l’Atelier Lyrique de l’Opéra de Montréal and from the Advanced Role Preparation Studio of the Florida Grand Opera in Miami. He has released five albums since 2009 that were all certified gold a few months after their release. A Napoli, features 15 Neapolitan classics including the beautiful “Munasterio ‘e Santa Chiara,” “Parlami d’amore Mariu” which was originally composed in the 1930s for Vittorio DeSica, “O Surdato nnamurato” (the Soldier in Love), “Santa Lucia Luntana,” and “O Marinariello.” This record won Hervieux a Felix for Album of the year at the 2012 edition of l’ADISQ. He worked alongside 12 musicians including pianist and musical director Louise-Andrée Baril, violinist François Pilon and guitarist Daniel Bolshoy.

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TEN THINGS TO KNOW BEFORE GOING BANKRUPT

ADVICE

By Jean-Philippe Gervais, a consulting attorney with the firm of Me Pasquale Artuso & Associates.

these uncertain economic times, resort to the provisions of the Bankruptcy and Insolvency Act has become to a large extent trivialized, whereas in years past it still carried a stigma that discouraged many from even contemplating such a solution. However, this change in attitude towards bankruptcy has also generated some misunderstandings about its consequences and the obstacles one must go through in order to actually be discharged from one’s debts.

Among many others, here are thus ten basic things that everyone should know about bankruptcy, before availing oneself of the provisions of the law:

In

1. A bankruptcy must be filed with a licensed bankruptcy trustee. A trustee in bankruptcy must obtain a license issued by the Superintendent of Bankruptcy. As such, a trustee is subjet to an Ethics Code, its fees are generally regulated either by the law or by the Court, and in the event that someone received unsatisfactory information or service, there exist recourses available under the law.

2. Upon filing a bankruptcy, you are under a legal obligation to divulge all of your assets as a well as all of your liabilities and transactions executed in the years previous to the bankruptcy.

Failure to provide truthful information at this stage can result in criminal prosecution or civil proceedings; 3. As a consequence of the foregoing, be forewarned that any declaration by a financial consultant (or a trustee) that you don’t need to divulge everything, or guaranteeing that you will be able to keep an undisclosed asset, are suspect at best. If an undisclosed asset is later discovered, or if legal proceedings are taken against an asset which you expected to retain, then such

statements or promises will not constitute a valid defence; 4. Under the Bankruptcy and Insolvency Act, false declarations, fraudulent transactions and other similar acts are punishable not only by financial penalties, but also by criminal prosecution, in addition to seeing civil proceedings taken to recover hidden assets; 5. Generally speaking, any transaction done with a related person within the year preceding the bankruptcy is suspect, unless it was done for fair market value. Transactions done within a five-year period can also be attacked to the extent that the consideration given in exchange for the asset transferred was less than fair market value, and if you had an intention to defraud your creditors. In addition, pure gifts are always vulnerable, although again this generally requires proof that you were insolvent at the time of the transaction, or had a fraudulent intent; 6. Filing a bankruptcy does not automatically erase all of your debts. The simple filing of a bankruptcy prevents your creditors from suing you or seizing your assets. However, obtaining a discharge from your debts is the second stage of the bankruptcy process, which occurs at least nine months later, and potentially some time longer. Any creditor can object to your discharge. A creditor can wait until the last minute and oppose your discharge. If this occurs, you will be called upon to appear before the Court and provide explanations as to the reasons of your bankruptcy. The trustee is an officer of the Court, and must remain neutral throughout this process, so that an attorney might be required;

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7. Upon bankruptcy occurring, all of your assets come under the control of the trustee, who will sell them and collect the money to pay your creditors. Common exceptions are unseizable assets, such as personal items, clothing, regular furniture and household appliances, as well as funds held in a pension plan or an RRSP (in this case if the funds were contributed more than 12 months before the bankruptcy); 8. Throughout the bankruptcy process, the trustee represents not only yourself, but also your creditors. As such, the trustee can be called upon to take legal proceedings against you or third parties, if transactions occurred which are considered fraudulent under the law.

9. Your income remains your own during the bankruptcy but you will be called upon to make monthly payments to the trustee. These payments are calculated by referring to your income, your spouse’s income, as well as your monthly expenses. If those expenses are unreasonable, you can be called upon to restrict your lifestyle; 10. If you owe substantial tax debts, of whatever origin, discuss the matter with your trustee, because you might not be entitled to an automatic discharge, and there is a strong likelihood that the tax authorities will oppose your discharge.

To the extent that you are still within the applicable delays, you should absolutely file beforehand an opposition to any tax assessment that you have received, so that you can at least plead later on that the tax debt is not admitted. Be forewarned that the Courts have become quite severe against bankruptcies resulting from non-payment of one’s taxes.

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Elena Milioto Avvocatessa Julie Therrien Avvocatessa Steven Campese Avvocato

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EVENTS Nella sala ricevimenti del “Centro Santa Famiglia”, l’Associazione Calabresi nel Mondo, presieduta da Saverio Mirarchi, ha festeggiato il 30º anniversario di fondazione. Erano presenti il console Antonio Poletti, l’on. Rita De Santis, il presidente del Com.It.Es. di Montréal Giovanna Giordano, Giovanni Chieffallo, uno dei fondatori dell’Associazione, e il regista Leo Samà. Questa occasione ha riunito tanti giovani e meno giovani, amici e simpatizzanti: in totale 225. Nata nel 1983, l’Associazione rappresenta da trent’anni un luogo di ritrovo e sopratutto uno strumento per la diffusione delle tradizioni della regione Calabria. Negli anni sono state organizzate numerose attività socio-culturali: banchetti, gite, spettacoli e mostre dell’artigianato. E’ stato fondato anche il gruppo folkloristico e teatrale Calabresi nel Mondo, e diverse sono state le pubblicazioni, tra cui la rivista “L’Altra Calabria”.

Durante i festeggiamenti per il trentennale sono stati assegnati dei certificati di riconoscimento da parte di esponenti politici canadesi sia a livello provinciale che federale.

Associazione Calabresi Nel Mondo: 30 Anni Compiuti

Il presidente dell’Associazione, Saverio Mirarchi, in compagnia dei membri del Consiglio di Amministrazione attuale e alcuni del passato.

Gruppo Folkloristico Calabrese diretto da Laura, Francesco e Nina Marra

Superfantastico: 18ª Edizione

Foto: Anthony Pacella

Courtesy of Studio 61 Photo and Video

Strike Out Cancer Bowl-A-Thon

Foto Gruppo dei finalisti

Presso il Teatro Maisonneuve, a Place des Arts, ha avuto luogo la diciottesima edizione di “Superfantastico”, la tradizionale competizione canora dei giovani talenti italo-canadesi. Il numeroso pubblico era composto da familiari, amici e amanti del bel canto. I giovani concorrenti in gara erano divisi in due gruppi: i “Piccoli”, a partire dai sei anni, e i “Grandi”. La serata è stata presentata dagli animatori radiofonici Silvana Di Flavio e Nick DeVincenzo, ideatori e organizzatori di questa manifestazione. A comporre la giuria: Larry Mancini (ISBA Music); Farley Flex (Canadian Idol); Maurizio Fabrizio, noto autore, compositore e paroliere di numerosi testi italiani (tra cui Eros Ramazzotti, Mina e Ornella Vanoni); e Claudio Ferrante, presidente e fondatore dell’etichetta Artist First. Leona Ocean Zaccaro, che ha cantato “Briciole”, si è aggiudicata il premio del pubblico grazie ai voti raccolti sul sito internet del concorso.

Nel gruppo dei “Piccoli” ha vinto Julia Calabrese, con la canzone “Finché la barca va”. Superfantastico 2013 dei “Grandi” l’ha vinto Adamo Simeone, che con la canzone “Cambiare” si è anche aggiudicato il viaggio-premio in Italia che lo porterà a partecipare al Reggio Pop Music Festival 2013, con una canzone scritta da Maurizio Fabrizio e distribuita da Claudio Ferrante. Tra le numerose esibizioni non è mancata quella della cantante Hànet, vincitrice del Reggio Pop Music Festival 2012. Hanno partecipato anche i bambini della Superfantastica Accademia: Gianluca Cianciullo, Juliano Colapelle, Celia Coirazza, Alexia Tiam Farhadi, Fabrizio Manucci e Anna Rosina Moscato. Gli altri partecipanti di questa edizione di Superfantastico sono stati: Chloe Colantonio, Emily Colombo, Emma Telaro, Mathias Principe, Mia Durante, Oriana Lugo Berardo, Rosamaria La Posta, Samantha Calabrese, Samantha Teti, Selena Victoria Lemme, Stefania Reino e Vanessa Ortiz.

The 3rd Annual StrikeOut Cancer Bowl-a-Thon had a productive day at the bowling alley on Sunday, April 28, raising $8,000 for the Community Cancer Care Program at Saint-Mary’s Hospital Centre. This year, more than 230 participants attended Centre de Quilles 440 to support this cause, including Montreal Alouettes cheerleaders and guest speakers Cynda Heward and Diana D’Angelo. The event was founded by Anthony Pacella in memory of his mother Mary Melillo Pacella who lost her battle to lung cancer. In addition to raising money to fight lung cancer (in the three years since its founding it has raised approximately $43,000), the organization also helps individuals affected by this illness and provides support to their families. Anthony Pacella is already hard at work organizing a gala for the fall.

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EVENTS

MUSICA È: anti-bullying awareness concert

Photo Courtesy: Robert French

On March 29, the Concordia Italian Association (CIA) held a benefit concert in collaboration with the Leonardo da Vinci Centre at the Mirella e Lino Saputo Theatre for project LOVE (Leave Out Violence). The goal behind this musical production organized by Alessandra Tropeano (CIA VP of Culture) and Alexandro Loffredi (CIA President) was to raise awareness and promote anti-bullying through touching testimonials and performances by local singers. Musica È featured girl group Dolceamare, David Marino, David Rades, Brigitte Pace, Era 9, VU Musica, Laurier Macdonald High School’s RAMS Cheerleaders, Jrexx, Reno Valay and Cedrix (LOVE rappers). The evening was hosted by DJ Stevie V and dedicated to Olivier Tsai (the director of the Project LOVE) who sadly passed away only two days prior to the show. Young speakers shared stories about being rescued from the troubles they faced through LOVE and how it made them the teenagers they are today. The 350 in attendance, made up of friends, family and fans, were very generous, supportive and of course, highly entertained. The grand finale saw the artists wave the peace sign as they raised their voices all together to sing Cyndi Lauper’s classic ‘True Colors.’ All proceeds were donated to LOVE.

Rebirth of Sons of Italy Music Band

Sarkozy in Montreal

On April 25, French Ex-President Nicolas Sarkozy spoke in front of 1000 guests at the Board of Trade of Metropolitan Montreal conference. The talk, presented by RBC Royal Bank at Le Palais des Congrès, centered on the state of the global economy, the outlook for Europe, the new balances that define international governance, as well as the friendships between France and Quebec, and between France and Canada. Here he is posing with RBC Regional Vice-President Tony Loffreda C.P.A.

The rebirth of the Sons of Italy music band started with a picture.

The current president of the Sons of Italy, Giuseppe Fratino, asked famous Quebec trumpeter Ron Di Lauro, to contribute photos of historic Italian music groups for a photo exhibition at Casa d’Italia in 2011.

In those photos was a picture of Di Lauro’s grandfather, a musician with the original Sons if Italy band, which performed in Montreal in the 1930s until the group disbanded at the start of the Second World War. Memories of his grandfather and of the history of the Sons of Italy band sparked Di Lauro’s desire to bring the band back.

“I turned to Joe Fratino, and I said that I wanted to revive the Sons of Italy band. And Joe looked at me with a big smile and he said that would be a great idea,” Di Lauro said.

The new band played its first concert May 3rd at Casa d’Italia to a packed house.

Di Lauro, who is also a music teacher at McGill and university of Montreal, found 37 musicians - some were his students, others were professional musicians - to entertain the crowd of over 200 people. “It was a success, a packed house,” Fratino said.

The band played over 10 musical famous pieces such as Giuseppe Verdi’s la Forza del destino as well as Henry Mancini’s The Pink Panther.

Now, Fratino and Di Lauro want to ensure that May 3rd’s event was just the beginning.

They want to recruit more musicians for the next Sons of Italy concert, likely in November, and the night will include special invited singers to accompany the band.

Anyone interested in playing in the Sons of Italy band can contact the Sons of Italy office at ofimusique@yahoo.ca (Giuseppe Valiante)

2227 Bélanger est • Montréal • Québec H2G 1C5 T.514.374.5653 • www.gastronomiaroberto.com PA N O R A M I TA L I A . C O M

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Zumba Party for Parkinson’s

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On April 19, over 370 participants came out to Collège Laval for a huge Zumba Party in support of the Parkinson Quebec Society. It was with great strength and courage that Eileen Cortina, President of the organizing committee and Quebec Health Division Sales Director for Bell Canada, took centre stage to voice her Parkinson’s diagnosis publicly for the very first time. Together with daughter Sabrina Curiale, Executive Search Consultant for Metivier Consulting Group, Cortina raised a grand total of $11 952.20 combining online donations as well all the profits generated from the event itself towards towards the Parkinson Quebec Society. Hit with the life changing news of having Parkinson’s disease three years ago at only 50 years of age, she admitted that accepting the condition and making important changes in her priorities to better deal with the symptoms was the easy part. Actually telling people she had Parkinson’s was the real challenge. Most Parkinson’s patients do not talk about their disease. Often, unfounded feelings of shame and guilt overcome patients, leading them to remain very discrete about their condition, and in some cases, be pushed towards involuntary isolation. “Not enough people speak about Parkinson’s or support the cause and yet it is the second most common neurodegenerative disorder after Alzheimer’s,” said Curiale about the cause.

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On April 21, friends Stefania Dugre and Daria Iannetta held a fundraiser to benefit the Canadian Liver Foundation at Kazumi Sushi Lounge on Sherbrooke E and Langelier.

Guests enjoyed sushi courtesy of Kazumi, cake from Les Delices Lafrenaies, and a special appearance from nonother than Nonna Maria. The night was a great success, with a total of $3,282 raised.

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On April 18, Desmeules Fiat Laval hosted Montreal’s Lovers of Italian Design Gala, a networking event celebrating Italian food, wine, cars, clothes and culture. The evening was highlighted by the North American launch of the Fiat Abarth 500 Cavallino - European Racing Edition. Desmeules Fiat Laval also marked the occasion by announcing the sale of 510 new Fiat 500’s since the car’s entry into the Canadian market one and a half years ago, making Desmeules the number one Fiat dealership in the country.

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A Special Tribute To SingerSongwriter Vincenzo Thoma Photo Courtesy: Sebastien Iannuzzi

This year’s annual benefit concert for the Peter Brojde Lung Cancer Centre of the Jewish General Hospital in Montreal turned out to be a huge success, raising $160,000.

The gala held on Thursday, April 11 at Place des Arts featured recording artists Vincenzo Thoma, Marie-Élaine Thibert, Jean Sébastien Lavoie, Marie-Pier Perreault, George Perris, Tocadéo, Kim Richardson, Frédérick Baron, Francesca Gagnon, Dominica Merola and Giorgia Fumanti, and was hosted by Geneviève Borne. The Peter Brojde Lung Cancer Centre offers therapies based in both Western medical practice as well as traditional Chinese medicine.

With the passing of his father-in-law Michele Perone, singer-songwriter Vincenzo Thoma made this cause his very own, since it was the first edition of this annual benefit concert for the Pulmonary Oncology Centre. During the concert, there was a surprise guest appearance by country music singer Paul Daraiche whose album went platinum here in Québec, (selling to date 110, 000 copies) who came to Place des Arts to award Vincenzo Thoma with a platinum album. Thoma wrote the Italian words of Daraiche’s hit single "A Mia Madre." Recently, Thoma was the opening act for classical singer Giorgia Fumanti with whom he also sang a duet. On June 28 and 29 he will be performing at the Hague International Singer-Songwriter Festival in Holland. He is also preparing a new French album.

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www.laura-jo@qc.aibn.com PA N O R A M I TA L I A . C O M

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SPORTS

Lamborghini Miura

Photos and text by Alain Raymond

The 350GT was the response to Enzo Ferrari’s “challenge” and the start of the Lamborghini legend.

Lamborghini: Ferruccio’s Revenge “I build sports cars. I suggest you go back to your tractors.” Coming from Enzo Ferrari, this provocative response prompted Ferruccio Lamborghini to seek revenge by creating his own true grand touring sports car.

his legendary exchange is said to have taken place between the owner of Lamborghini Trattori located in Sant’Agata Bolognese and Maranello’s own Commendatore. On that fateful day, Ferruccio Lamborghini was complaining about the difficulty he had shifting the gearbox of his Ferrari 250 GT. Enzo did not tolerate criticism, and proud Ferruccio did not take lightly to Enzo’s offensive response and promised himself to teach the Commendatore a lesson he would not soon forget.

Thus started the Lamborghini saga with the unveiling, 50 years ago this year, of the prototype of the Lamborghini 350 GT at the Turin Motorshow, a car designed by the talented Giotto Bizzarini, creator of Ferrari’s 1.5 litre V12 engine.

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Dressed in stunning orange, the P400 hit the stage at the 1966 Geneva Motor Show to international acclaim, prompting movie stars and other ‘beautiful people’ to run for their cheque books. The car was nicknamed Miura in honour of Don Eduardo Miura, the famous fighting bull stock breeder. Since then, most Lamborghinis carry the name of a fighting bull – a testimony to Ferruccio’s fascination with the wild animal. As for the bull on the company logo, it refers to the Taurus, Ferruccio’s astrological sign.

Weighing only 980 kilos, the 432 cm long and 104 cm high Miura is ‘propelled’ by a 350 hp V12 allowing the diminutive yet stunning car to race from 0 to 100 km/h in 6.3 seconds and reach a top speed of 275 km/h. Some 47 years later, these figures are still awe-inspiring.

Proud as a raging bull The Lamborghini 350 GT prototype was hailed by the public, not so much for its controversial shape, but for the magnificence of its 360 horsepower V12 engine.

Noting this ambivalent response, Lamborghini went back to the drawing board and asked Carrozzeria Touring of Milan to create the production version of the car. The revised design, with its low, sleek profile, featuring the raging bull emblem on its hood, Lamborghini was unveiled Miura at the 1964 Geneva Motor Show. The public’s response was quite satisfying. As would be expected, Enzo Ferrari was not amused, noting along the way that this new Italian Gran Turismo car was equipped with an independent rear suspension whereas Maranello’s best were still carrying the antiquated rigid rear axle.

In 1966, the new Italian GT featured an enlarged 4-litre V12. All 247 units of the sleek and beautifully finished Lamborghini 400 GT were quickly sold. Ferruccio’s gamble was starting to pay off.

A visit to Automobili Lamborghini The Lamborghini factory is located in Sant’Agata Bolognese, in that tiny triangle between Bologna and Modena, fittingly called “Terra di Motori.” A museum was opened in 2001 to celebrate the new millennium and a new breed of supercars. The Lamborghini Murciélago was shown at the Museum first, against a backdrop of other precious Lamborghini treasures from the past, a collection which is nowadays admired by enthusiasts coming from all over the world.

Islero, Espada, Jarama, Countach, Urraco, Jalpa, Diablo, Murciélago and Gallardo are among the models shown in the two-floor museum, also featuring Lamborghini’s effort in racing, notably Formula 1.

The man who fathered the ‘raging bull’ is no more, but his dream and his gamble still live on.

Magnificent Miura Although it started with the 350 and 400 GT, the Lamborghini success story really took off with the divine Miura, considered by many as the first true supercar of the modern era.

Designed by young engineer Giampaolo Dallara, the Miura was code named P400 (P for posterior, and 400 for its 4-litre V12 located sideway in the rear, just behind the cockpit).

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

Lamborghini Museum Via Modena, 12 I-40019 Sant’Agata Bolognese (BO) Monday to Friday (exc. Holidays) 10.00 am - 12.30 pm and 1.30 pm - 5.00 pm www.lamborghini.com

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SPORTS

By Adam Zara

FIFA CONFEDERATIONS CUP BRAZIL 2013 FIFA’s Confederations Cup has never been considered one of football’s great competitions, but if Italy’s dismal 2009 showing in South Africa is anything to go by, it does sometimes foreshadow performance in the following year’s World Cup.

he tournament acts as a practice run of sorts for the host nation of the forthcoming World Cup. It’s held every four years, one year prior to the World Cup, and uses half the stadia intended for the following year’s event.

It’s contested by the winners of each of the six FIFA confederations championships: the Euro Cup, the CONCACAF Cup, the African Nations Cup, the Copa America, the AFC Asian Cup, and the OFC Nations Cup. To bring the number of competing teams up to eight, the Confederations Cup also includes the previous FIFA World Cup winner and the host country. Since Spain currently holds both European and World Cup crowns, the runner-up of Euro 2012 (Italy) was next in

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line to fill the remaining European spot.

Brazil’s 2013 Confederations Cup runs from June 15 to 30. The group stage is highlighted by Spain vs Uruguay on June 16 and a classic Italy vs Brazil match-up on June 22. The semi-final and final matches of the two-week long journey could potentially produce some awesome tilts between Italy and Spain, Brazil and Spain and a second meeting between Italy and Brazil, this time in the final match.

Again, the significance of the matches at hand can be debated, but no footy fan will be heard bemoaning the onset of some much needed international action during the dormant summer months.

GROUP A Brazil MATCH

DATE

Japan TIME

Italy

GROUP B Mexico

Spain

TEAMS

CITY

MATCH

DATE

TIME

Tahiti TEAMS

Nigeria CITY

1

June 15 15:00

Brazil vs Japan

Brasilia

3

June 16 18:00 Spain vs Uruguay

2

June 16 15:00

Mexico vs Italy

Rio De Janeiro

4

June 17 15:00

Tahiti vs Nigeria

Belo Horizonte

5

June 19 15:00 Brazil vs Mexico

Fortaleza

7

June 20 15:00

Spain vs Tahiti

Rio De Janeiro

6

June 19 18:00

Italy vs Japan

Recife

8

June 20 18:00 Nigeria vs Uruguay

9

June 22 15:00

Italy vs Brazil

Salvador

10 June 22 15:00 Japan vs Mexico Belo Horizonte

13 June 26 15:00 *All kick-off times are EST

Winner A vs Runner-up B

Salvador Fortaleza

12 June 23 15:00 Uruguay vs Tahiti

Recife

SEMI-FINALS 14 June 27 15:00

Belo Horizonte

THIRD PLACE 15 June 30 12:00

Loser 13 vs Loser 14

FINAL Match 16 June 30 18:00 Winner Match 13 vs Winner Match 14 Rio De Janeiro

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

Recife

11 June 23 15:00 Nigeria vs Spain

SEMI-FINALS

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Uruguay

Salvador

Winner B vs Runner-up A

Fortaleza

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