Taste&flair Feb 2023

Feed your imagination

As the vernacular saying goes, Frar ifawwar il-bjar. And so it has. A er a prolonged spell of dryness and unseasonal warmth that saw early spring shoots arrive before their time, air temperatures have dropped. Just as we were running out of time for winter to start, heavy rains have arrived, clearing the air and filling the proverbial wells. When it’s cold and wet outdoors, there’s no be er place to be than in a warm kitchen, and nothing more comforting than coming home to the scent of good home cooking. For our first issue of 2023, Michael Diacono invited us into his family home and cooked up a medley of dishes with wonderful flavours, using one of Malta’s favourite ingredients. Claire Borg went down to her family’s field to harvest a basketful of seasonal produce which she turned into a feast of traditional Gozitan and family recipes. Our inhouse kitchen turned out an array of desserts that are fun to make and even more fun to share. Andrew Azzopardi looked further afield, exploring how the boundaries of wine quality have shi ed over recent years. In our design pages, read about how a firm of young architects rethought the architecture of a villa with open views that dates back to the “noughties” (unbelievably, that was 20 years ago). At the other end of the scale, take a look at an innovative design approach to compact living in Valle a. We wrap up this issue with a peek at a once-in-lifetime exhibition. We will be back in early April with another fabulous issue of Taste&Flair.

If you missed any issue of Taste&Flair and want a copy, we may be able to help so please do get in touch with us by email, Messenger, or on Instagram.

Publisher

The Daphne Caruana Galizia Foundation 56 Melita Street, Valletta VLT1122, Malta

Editorial Board

Paul Caruana Galizia

Andrew Caruana Galizia

Matthew Caruana Galizia

Executive Editor Corinne Vella

Editorial Assistants

Megan Mallia • Amy Mallia

Art Director Ramon Micallef +356 9949 1418 ram@box-design.net

Advertising Manager & Editorial Contributor

Sean Ellul +356 7921 0705 sellul@independent.com.mt

Advertising Assistant Christine Mifsud +356 21 345 888 ext 138 cmifsud@independent.com.mt

Production Manager André Camilleri

Production Assistant Conrad Bondin

Prepress & Printing Print It

All communication about Taste&Flair magazine should be directed to Corinne Vella at corinne.vella@gmail.com

No part of any issue of Taste&Flair may be reproduced without the wri en prior agreement of the publisher.

Distributed with The Malta Independent on Sunday*. The Malta Independent on Sunday is published by Standard Publications Ltd - Tel +356 21 345 888

*The surcharge on The Malta Independent on Sunday, or any charge for this magazine is retained by Standard Publications Ltd.

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View of Delft, Johannes Vermeer, 1660-61, Mauritshuis, The Hague. The painting of the artist’s home town is currently on display at the Rijksmuseum as part of the Vermeer retrospective that opened this week (see article on page 80).

Pomegranate Verrines

photo by Corinne Vella. See feature on page 46

GOLDEN KROCUS

KOZANIS KROCUS, NATURE'S MOST PRECIOUS ANTIOXIDANT

The Saffron Flower, else known as the Krocus Flower, growing in Kozani, North Greece is a unique flower with a beautiful story to tell. Farmed organically by locals who carry out the century old tradition to this day, Krocus blossoms only once a year, every October, for barely two weeks, creating a purple magic carpet as far as the eye can see. The flowers are harvested daily, right after the morning dew has evaporated, and saffron antioxidants are at their peak. After all the flowers have been collected, the fields look empty, but by dawn, the Krocus blooms once again, blanketing the fields in beautiful purple flowers. Petals are separated by hand from the saffron stigmas and stamens, immediately after being picked, followed by stigmas’ drying process, ensuring that the saffron is at its highest potency for the Golden Krocus elixir. A hundred and fifty thousand blooms handpicked by the villagers during the harvest, yield only one kilo of Krocus stigmas. And it’s those stigmas separated one-by-one by hand, that give us this precious and immensely powerful elixir.

Strengthen and protect the delicate eye area with this nourishing and powerful botanical booster. Beta-glucan polysaccharide moisturises deeply while working to support skin´s natural defense against external factors. Low molecular weight hyaluronic acid delivers a deep dose of hydration, plumping and lifting the eye area.

Restore a youthful glow with the KORRES Golden Krocus Ageless Saffron Elixir; a precious, antiageing elixir that works to repair, hydrate and rejuvenate your complexion.

Your most powerful golden youth-cream with plant collagen that melts into your skin reducing the appearance of all visible signs of aging skin with a time-released hydration complex for 48 hour continuous hydration.

GOLDEN KROCUS AGELESS SAFFRON EYE ELIXIR

GOLDEN KROCUS AGELESS SAFFRON FACE ELIXIR

GOLDEN KROCUS HYDRA FILLER PLUMPING CREAM

At home with Michael Diacono

Claire Borg’s pick of the crop from her family’s field

Andrew Azzopardi explores the shi ing geography of wine quality

a designer’s dream kitchen

CESAR has established itself as one of the leading Italian companies in the field of kitchen design and production. CESAR has its roots in the furniture manufacturing hub which is Veneto; precisely, in the town of Pramaggiore, in the workshop of Sante Cester. It came of age in 1968 and now boasts three flagship stores - in Milan, New York, and Paris - on top of 200 Italian sales outlets and 180 international dealers. After an extensive review of the Maltese furniture industry, CESAR chose to appoint the merging Joinwell & FXB companies as its sole dealership for the islands of Malta &Gozo.

CESAR’s artistic direction has been, in part, under the responsibility of Garcia Cumini Associati, a leading design studio, since 2014. During this time, CESAR’s mantra has been to create kitchens focused on wellness, beauty, and efficiency, in which the kitchen becomes the emotional centre of the home, reflecting the inner beauty and harmony of the individuals to whom it belongs.

CESAR’s wide range of modules, materials, and finishes creates a haven for bespoke solutions. Highperformance technical finishes, as well as natural materials, are available to both contemporary and traditional collections, eliminating the need for designers

Cesar Intarsio Rovere Mediterraneo.

Photo credits: Andrea Ferrari, Styling: Studiopepe.

Cesar N elle Grigio Carnico marble.

Photo credits: Andrea Ferrari, Styling: Studiopepe. Cesar Tangram Quarzo structured lacquer.

to have to make compromises as they seek to blend their quest for artistic beauty with their customers’ similar requirements as well as the need for day to day functionality and comfort. CESAR’s choice of the JoinwellFxb team was also attributable to CESAR’s commitment to a privileged relationship with its clients, not only guaranteeing all of its products for 5 years, but also guaranteeing a rapid and precise response to every demand subsequent to the sale. Furthermore, CESAR wants all of its customers to have the facility to enhance and build on their investment in a premium kitchen with the passage of time.

At the Joinwell showroom in Qormi, a er months of studying and discussing the local furniture sector, CESAR and JoinwellFxb have chosen to display CESAR’s UNIT, MAXIMA 2.2, TANGRAM, and THE 50’S kitchens. Innovation, clean lines, versatility, and functionality within contemporary and elegant styles are but just a few of the features one can see and touch before proceeding to customise them to one’s own space and functional requirements. CESAR’s local customers, and their own interior designers, then have JoinwellFxb’s vastly experienced design team, fully backed by CESAR’s design and technical teams, looking forward to helping them create their unique and dream kitchen. n

Cesar Unit Rosso Jaipur Fenix.

Photo credits: Andrea Ferrari, Styling: Studiopepe.

Cesar Maxima 2.2 Meringa technomat, fenix Bianco Kos.

Photo credits: Andrea Ferrari, Styling: Studiopepe.

Cesar Maxima 2.2 Meringa technomat, fenix Bianco Kos.

Photo credits: Andrea Ferrari, Styling: Studiopepe.

There’s nothing quite as soothing as coming home to welcoming warmth and a satisfying meal.

Food: Michael Diacono, chef patron, Giuseppi’s Bar and Bistro

Styling and photography: Brian Grech

Wine recommendation: Andrew Azzopardi, Vintage 82

For our first edition of 2023 I decided to focus on what is without doubt Malta’s number one ingredient –rabbit. It is delicious simply fried with loads of garlic, bay leaves, and wine, or gently stewed in a rich tomato sauce. These would be the most popular ways of preparing rabbit for most, but this lean, white meat is very versatile and lends itself to so many different ways of cooking.

Serves 3-4

PREPARATION AND COOKING: 90 minutes RECOMMENDED WINE: Fruitfroward Provence-style Rosé

YOU WILL NEED:

16 dried apricots, soaked in warm water for 20 mins, then drained

1 rabbit, jointed

1 large onion, peeled and sliced

6 garlic cloves, peeled and chopped

1 sweet red pepper, cleaned and sliced thickly

2 heaped teaspoons sumac

1 teaspoon cumin seeds

2 cinnamon sticks

1 chili, chopped

12 black olives

salt and pepper

300ml water

1. Preheat the oven to 185°C. Place all the ingredients into an oven-proof ceramic dish, just large enough to hold everything. Cover the dish with baking paper and then with foil.

2. Let the dish bake for 45 minutes then uncover it and let it continue cooking for another 20 minutes.

3. Serve this at once, accompanied by a steamed couscous.

There are such wonderful avours in this dish. It is rich, sweet, and tangy, and delightfully easy to make.

I would describe this as elegantly rustic. I always keep the carcass a er roasting a chicken and use it to make a delicious stock or broth.

Serves 6

PREPARATION AND COOKING: 150 minutes

RECOMMENDED WINE: A light bodied Beaujolias Cru or an unoaked Chardonnay/ Pinot Gris would work well.

YOU WILL NEED:

1 whole chicken carcass left over after roasting, broken down into pieces

4 chicken necks

1 onion, peeled and chopped

1 large carrot, scraped and chopped

a few leaves and stalks of karfus

salt

10 peppercorns

2l water

For the dumplings (you will have extra, they freeze very well for another time)

400g fresh breadcrumbs

2 rabbit livers, finely chopped

1 shallot, finely chopped

a handful parsley, finely chopped

1 teaspoon fresh thyme

salt and pepper

4 eggs

flour to coat

1. Place the chicken carcass into a stock pot and pack the rest of the ingredients around it. Add the water. Place the pot on the heat and bring it to the boil then reduce the heat drastically so that the water just simmers.

2. Leave the pot uncovered and let it simmer for 2 hours, topping up as necessary to keep all the ingredients covered in water. Strain the broth into a clean pot. Should you wish, you may then cook a sliced carrot in the broth for 10 minutes.

3. To make the dumplings, mix the ingredients together then, using damp hands, roll the mixture into small balls. Roll these in flour and keep them in the fridge till needed.

4. To serve, poach the dumplings in the gently boiling broth for 4-5 minutes.

YOU WILL NEED:

50g dried porcini

mushrooms soaked in enough warm water to cover them

300g guanciale, cubed (1cm)

2 onions, peeled and finely chopped

1 carrot, scraped and finely cubed

½ teaspoons cumin seeds

800g rabbit meat, chopped

150g rabbit liver, chopped

200g chicken hearts, chopped salt and pepper

200ml dry white wine

3 fresh bay leaves

2 tins tomato polpa

1 scant tablespoon sugar

150g grated Parmesan

3 eggs

600g shortcrust pastry

400g puff pastry butter or spray oil to grease

500g mezze penne (small)

2 eggs to seal and glaze

1. While the porcini mushrooms are soaking, add the chopped guanciale to a large sauce pan. Cook on high heat to render the fat and colour the meat well. It should brown well and start to smoke.

2. Add the chopped onion and carrot and stir fry for a few minutes to so en. Next, add the cumin. Cook it for 1 minute then add the rabbit, the liver, and the chicken hearts. Season well and cook on high heat to brown, stirring o en. Add some extra-virgin olive oil, should it be needed. Cook till the meat is coloured, then douse the mixture with the wine and let it evaporate.

3. Add the bay leaves and porcini mushrooms together with the soaking water which you should run through a fine sieve.

4. Stir the mixture and bring it to the boil before adding the polpa. Fill one of the cans with water and use it to rinse out the second can too before adding that to the sauce. Regulate the sauce’s acidity with some sugar. When the sauce starts to boil, reduce to heat, cover the pan and let it simmer gently for 2 hours.

5. Grease ten 6cm dariole moulds well with bu er or lots of spray oil.

6. Boil the pasta in salted water for half the recommended cooking time, then drain it. Transfer the cooked pasta to a large bowl and add enough sauce to coat it very well before adding the Parmesan and the 3 eggs. Stir well and check and adjust the seasoning.

7. Roll out the shortcrust pastry on a flour surface till it is about 4mm thick. Cut out large rounds and use to them to line the moulds, leaving a small overhang. Fill the moulds with the seasoned pasta. Brush the edge of the pastry overhang with egg.

8. Roll out the puff pastry too and cut out smaller rounds to cover the timbales. Press the edges of the pastry together and crimp them to seal them Brush the tops with beaten egg to glaze. Prick the surface twice with a fork to allow steam to escape during cooking.

9. To cook, bake the timbales in a preheated oven at 190°C for 25 minutes till risen and golden all over. Freeze any extra sauce in rigid plastic containers for future use.

Make these for that special Sunday lunch. Yes, they do take time to prepare, and yes, they might be a bit ddly too, but they are so worth the e ort. The sauce is typical old-style sumptuousness and is grand served on fettuccine too, so here I am giving ingredients for a much bigger amount than needed. The extra sauce can be frozen and used as needed.

Serves 10 (plus extra sauce f freezing)

PREPARATION AND COOKING: 180 minutes

RECOMMENDED WINE: A Tuscan Chianti or Montepulciano d’Ambruzzo

For me, there is something so satisfying about cooking risotto. The whole process is slow and, as it’s a pot-to-plate dish, it must be made at the last minute so normally if I have guests at home they are in the kitchen too, sipping wine while I stir away.

Serves 6 (as starter)

PREPARATION AND COOKING 60 minutes

RECOMMENDED WINE: “Classic Bordeaux, and in particular Right-bank Merlot based is a great pairing. Alternatively, a New World Pinot Noir would be a wonderful option.”

YOU WILL NEED:

150g unsalted butter

1 medium onion, finely diced

2 cloves garlic, finely chopped

1 carrot, peeled and finely diced

1 stick celery, finely diced

500g rabbit bellies, chopped

salt and pepper

2 fresh bay leaves

400g arborio rice

375ml dry white wine

1.5l hot rabbit or chicken stock

350g frozen porcini, defrosted

200g grated Parmesan

1. Melt about 70g of the bu er in a heavy based pot. Add the onion and garlic and stir fry on medium heat for a few minutes to so en.

2. Add the chopped carrot and celery. Cook for about 3-4 minutes, stirring very o en till the vegetables begin to brown slightly.

3. Add the chopped rabbit bellies and season with salt and pepper. Stir fry for a few minutes.

4. Add the bay leaves then the rice. Stir the mixture till the rice is coated and cook for 1 minute before dousing with the white wine. Evaporate the wine rapidly then start adding the hot stock gradually, stirring all the time till you use it up. The rice should be al dente.

5. Now, toss in the defrosted porcini. Add the grated cheese and stir it in, then add the rest of the bu er and stir till all melted. Cover the pot and let it rest for 1 minute before serving.

Whenever we had any le over ravioli at home, my wife Janine would fry them up in the evening for the kids as a special treat. These are great to serve with drinks before a meal as an unusual appetiser. As a starter or main course, these ravioli may be either fried or boiled in salted water. I served these fried with shavings of ricotta salata.

Serves 6

PREPARATION AND COOKING: 120 minutes, including resting time

RECOMMENDED WINE: Champagne or ‘traditional-method’ sparkling wine such as Cava or Cap Classique

FOR THE FILLING:

3 tablespoons extra-virgin olive oil

1 medium onion, peeled and finely chopped

2 cloves garlic, peeled and finely chopped

1 small carrot, scraped and very finely chopped

1 stalk celery, very finely chopped

400g minced rabbit meat

salt and pepper

200ml dry red wine

2 sprigs rosemary, finely chopped

1 teaspoon thyme

50g grated Parmesan

FOR THE PASTRY:

400g plain flour, sifted

4 eggs

1 tablespoon extra-virgin olive oil

½ teaspoon salt

YOU WILL ALSO NEED: beaten egg to seal the pastry vegetable oil for frying ricotta salata for serving

1. Heat the extra-virgin olive oil in a pan and stir fry the onion, garlic, carrot, and celery together till they start to brown, then remove them from the pan and set them aside.

2. Add some oil to the pan and add the rabbit mince. Season the meat and fry it to brown it, then put the vegetables back in the pan.

3. On a high heat, add the wine and let it evaporate while scraping at the bo om of the pan to loosen any stuck bits, which are full of flavour. Add the herbs. Remove the pan from the heat and let it cool before adding the cheese.

4. Prepare the pastry in the usual manner and let it rest for 1 hour before rolling it out very thinly on a floured surface (or use a pasta machine).

5. Cut out ravioli shapes and fill them with the prepared mixture. Brush the edges of the pastry with beaten egg and press them together to seal.

6. Place the ravioli onto a flat tray dusted with flour and let them rest in the fridge for 1 hour before deep frying them in hot clean vegetable oil. I served these with shavings of rico a salata.

So many people I know would not cook rabbit at home as they say frying it on a high heat makes too much of a mess. That is true. Roasting works wonders, though. Prepare the rabbit in the morning, leave to marinate throughout the day, then simply pop it into the oven in the evening.

Serves 3-4

COOKING: 60 minutes, plus 6 hours or to marinate

RECOMMENDED WINE: Northern Rhone-Style Syrah including Hermitage or Côte Rôtie

YOU WILL NEED:

1 rabbit, jointed

1 large leek cleaned and chopped

4 cloves garlic, peeled and chopped

5 sprigs fresh rosemary

3 tablespoons pure maple syrup

salt and pepper

450ml dry white wine

2 tablespoons extra-virgin olive oil

1. Place the rabbit into a large baking dish and add the chopped leek and garlic. Push the rosemary in between the pieces of meat. Drizzle the maple syrup over the meat and season it well. Pour the wine all over the mixture and finally pour in the extra-virgin olive oil.

2. Cover the dish with a piece of baking paper and then with a large piece of foil. Leave it in the fridge for at least 6 hours.

3. Remove the dish from the fridge and let it come to room temperature (about 30 mins). Meanwhile preheat oven to 185°C.

4. Bake the rabbit dish for 45 minutes before uncovering it, then continue to let it roast for a further 15 minutes until the meat browns. Serve at once.

FRESH FROM THE FIELD

February rain washed away the dryness of January and ushered in the season for hearty home cooking. Claire Borg harvested fresh produce, cooked it in a marathon a ernoon session, and photographed the end result.

Most of the produce in this feature came from our field in Gozo. For the first issue of Taste&Flair this year, I wanted to cook fresh, seasonal vegetables, bursting with colour and flavour. When I began cooking for the magazine, I worked closely with Daphne and even now, she is there every time I work, every time I style, every time I cook, every time I work for the magazine. She is in my heart. And when I shot the purple dish, the sun came out and lit up the room.

A perennial favourite, this warming soup can be made in advance and stored in the fridge until needed. The trick is to add the ‘kisksu’ pasta and cheeselets just a few minutes before serving. If you want a creamy soup, peel both skins o the broad beans. I like to use a mixture - half totally peeled and some with the second skin on.

YOU WILL NEED:

4 full cups of peeled broad beans

1 cup of fresh peas (or frozen, if fresh are not available)

1 large onion

2 large carrots

2 medium potatoes

100 grams of ‘kisksu’ pasta, peppercorn size

4 fresh sheep cheeslets (ġbejniet)

1 -2 heaped tablespoons tomato paste (kunserva)

2 l water

cooking oil

salt and pepper

1. Peel and finely chop the onion and carrots. Peel and finely dice the potatoes.

2. In a soup pot, cook the onion in a li le oil. Add the carrot and cook further. Add the tomato paste, heat through, and then add the rest of the vegetables.

3. Meanwhile, bring the water to the boil and add to pot right a er adding all the vegetables. Season with salt and pepper. Turn the heat down to a gentle simmer, cover the pot and let it simmer for about 40 minutes.

4. If you are not serving all the soup at once, ladle the amount you will need to serve into another pot and set the rest aside to cool. Add the pasta and cheeselets to the fresh pot, set it on the heat, and let it cook for another 13-15 minutes.

5. Store the le over soup without pasta in the fridge until needed. To serve, first warm up the basic soup, then add ‘kisksu’ pasta and cheeselets and let them cook for 13-15 minutes before serving piping hot.

Fresh-tasting and crunchy-textured, this salad is quick and easy to make and a wonderful accompaniment to grilled sh or white meat.

Serves 6 as a side

YOU WILL NEED:

½ a savoy or white cabbage

½ a red cabbage

20 white seedless grapes

10 dried figs

100g raw almonds

50g pumpkin seeds

a handful of dill

a handful of parsley

1 tablespoon lemon zest

juice of 1 lemon

1 tablespoon whole grain mustard

6 tablespoons olive oil salt

TO SERVE grated goat cheese

1. First, prepare the main ingredients. Wash and finely shred the cabbages and finely slice the figs and almonds.

2. To make the dressing, whisk together the mustard, lemon juice, and olive oil.

3. Wash the herbs and chop them finely. Mix all the ingredients together, drizzle in the dressing, and toss the salad. Season and serve at once with grated goat cheese on the side.

This will be enough f 4 to 5 people

YOU WILL NEED:

1 head of broccoli

250g Jerusalem artichokes

2 pieces of fresh garlic

1 onion

4 sticks of lemon grass

1.5 l water

olive oil

salt and pepper

fresh herbs of your choice (I used some marjoram and wild fennel) a small handful of fresh parsley

1. Peel and roughly chop the vegetables, including the lemon grass.

2. Warm a soup pot, drizzle the inside base with olive oil and tilt the pot to make sure it is well coated. Sauté the onion in the warm oil until it so ens.

3. Add the garlic and herbs (but not the parsley) to the pot and cook for a minute, then add the roughly diced vegetables.

4. Bring the water to the boil, pour it into the pot. Season with salt and pepper and stir. Turn the heat down to a gentle simmer and let it cook for 40 minutes.

5. Remove and discard the lemon grass and blend the remaining mixture. Wash and finely chop the parsley and add it to the pot. Adjust the seasoning to taste before serving.

A bowlful of warm, fresh, and earthy avours.

When it’s artichoke time, I always, clean and cook artichoke hearts and freeze them for use throughout the year. For this pasta dish you can also use frozen or tinned artichokes; however, I do suggest using precooked fresh ones. This recipe may also be enjoyed cold as a salad if made with a shorter pasta.

This recipe serves 2

YOU WILL NEED:

6 fresh artichokes

fresh garlic

olive oil

250g spaghetti

lemon zest

2 pieces fresh garlic

4 fillets of anchovies

olive oil

black pepper or chilli flakes

fresh parsley

FOR SERVING

Pecorino or Parmesan

1. Start by preparing the artichoke hearts. Remove the outer leaves and fluffy parts, trim down the leaves and stem, and then cook the hearts for 15 minutes in a covered pot with olive oil, chopped fresh garlic, and some water.

2. Finely chop the garlic and crumble the anchovy fillets. Warm some oil in a large pan and gently cook the garlic and anchovy until the garlic is done. Add the cooked artichoke hearts, lemon zest and black or chilli pepper.

3. Meanwhile, bring a large pot of water to the boil and add the spaghe i. Let it cook until it is underdone by 3 minutes. Drain it and add it to the pan with the artichokes. Add some of the pasta cooking water, stir the pasta and artichoke mix together, and let it cook al dente.

4. Sprinkle with parsley and serve with pecorino or Parmesan on the side.

At this time of year, a very common, simple Gozitan recipe with one of the moment’s most abundant crops is the Stu at tal-Pastard (cauli ower stew). The queen of this stew is my Aunty Yvonne. She nails it each and every time, and I would rather go to her home for lunch, than cook the stew myself. She insists that her secret is that she makes it just like her mum did. This recipe is hers. It is simple, takes little time, and the result is a hearty stew that tastes divine. The fresh ġbejniet (local sheep cheese), the poached eggs, and fresh crusty bread complete this special seasonal dish. This recipe serves 4.

YOU WILL NEED:

1 small cauliflower – Washed and divided into florets

2 cups of frozen peas

1 medium onion – peeled and sliced

2 pieces of fresh garlic – peeled and chopped

3 tablespoons tomato paste (kunserva)

1 cup of hot water

sea salt and pepper

cooking oil

4 fresh ġbejniet

4 eggs

a handful of parsley – finely chopped

1. Cook the onion in a li le oil until it becomes so . Add the garlic and cook it gently for about 5 minutes. Add the tomato paste, hot water, and peas. Cover the pot and let it cook on a low heat for about 20 minutes.

2. Wash the cauliflower and break it up into florets. Wash and finely chop the parsley. Add the ġbejniet and the cauliflower florets to the pot, then sprinkle in the parsley. Cover the pot and let it simmer until the cauliflower is cooked but not overdone.

3. Once it is ready, remove the cauliflower from the pot and place it on a warmed plate, and cover it to keep it warm.

4. The eggs need to cook in the juices from the stew. If it goes a bit dry once the cauliflower has been removed, add some hot water, then break in the eggs gently over the peas, cover the pan and let it cook till the eggs are ready.

5. Serve in deep plates accompanied with plenty of crusty bread to mop up the stew juices.

This goes well with goat cheese, grilled chicken or lamb, and also with salmon.

Serves 6 as a side

YOU WILL NEED:

6-8 kale leaves

1 can of chickpeas, rinsed and drained 300g of cooked black Venere rice arils of 1 pomegranate

a handful of dill

a handful of mint

1 tablespoon of tahini juice of 1 lemon

6 tablespoons olive oil

a sprinkle of ground cumin salt to taste

1. Drain the chickpeas and rinse them well. Wash and finely chop the dill and mint.

2. Make the dressing by whisking together the tahini, lemon juice, and olive oil. Set it aside.

3. Remove the stalks from the kale and chop the leaves very finely. Mix all the ingredients together and toss with the dressing. Season and serve.

YOU WILL NEED:

6 large potatoes

100g butter

100ml fresh cream

a sprinkle of nutmeg

salt and white pepper

6 tuscan kale leaves

6 rashers of steaky or collar bacon

a knob of butter

2 spring onions

some fresh rosemary

Serves 4 to 5 as a side

1. Remove the stems from the kale and finely chop the leaves. Finely chop the bacon and spring onions.

2. Cook the onions until they so en. Add the bacon and kale and cook them for a couple of minutes.

3. Boil, drain, and mash the potatoes, adding the cream, bu er, nutmeg, and seasoning.

4. Mix half the kale into the potatoes and serve the remaining half over the top with more bu er

Old World vs New World Wines

Historically, wines from Europe and the Mediterranean were considered superior to wines from the newer wine-making regions. Andrew Azzopardi explores the shi ing geography of quality wine.

All this wine jargon can get rather complicated. “Old World” wines refer to the original winemaking regions of Europe, the Middle East, and Northern Africa, while all of the other winemaking locations – such as America, New Zealand, Australia, Chile, Argentina, and certain Asian countries – are considered to be the “New World”. If one were to look at wines from Europe and compare these to wines from America, New Zealand, and Australia, we o en find there are certain characteristics that tell them apart. We could say that the European wines are more mineral, restrained, and with high acidity, whereas the New World wines are often more fruit-forward, juicy, and lower in acidity. These traits are nothing more than a result of the climate, where the New World is generally warmer and sunnier than the Old World.

I still remember Maltese wine aficionados back in the late 70s and early 80s agreeing on the superior quality of

French and Italian wines when compared to wines from Australia and California. It wasn’t even a discussion. They would state how those over-oaked Californian Cabernets Sauvignon and relatively brazen Shiraz from Australia were cheaper or inferior in quality.

It was considered common knowledge that New World wines were fuller, sweeter, and possibly more approachable for the novice wine-lover, but despite their charming and boisterous character, they were considered brash and unsophisticated at best, and downright cheap or crude at worst.

In fact, New World wines were considered so inferior that, in 1976, when the late Steven Spurrier wanted to organise a blind tasting between the very best of “Old World” Burgundy & Bordeaux and “New World” California, the snobs in the world of wine laughed at the very concept. Many thought it would be an embarrassing walk-over for the French, but Spurrier was so confident of the

Snubbing anything that’s New World is now a thing of the past.

improvements of Californian wines, he went ahead. Despite nine out of the eleven judges being French, the declared winners were the 1973 Californian Chardonnay Chateau Montelena in the white wine category, and the 1973 Napa Valley “Stags Leap” Cabernet Sauvignon was the outright winner in the red wine category.

As you can imagine, chaos ensued and some judges even demanded their ballot cards to be returned and proceeded to criticise the whole event. But the results were clear. The myth that Californian wines are lower in quality had forever been debunked. The result from this event, coined “the Judgement of Paris” not only gave California the boost it needed, it also gave confidence to the rest of the New World. Chilean, Argentinean, Australian, and “Kiwi” wine producers found a renewed belief in their wines and the world took notice.

It is no longer the case that we can pigeon-hole a country or region’s style of wine. A er the “Judgement of Paris”, winemakers across the Old World started believing in the terroir of the New World areas. Napa Valley winemaker Robert Mondavi and Baron Philippe de Rothschild, owner of the world famous Château Mouton Rothschild in Bordeaux, quickly joined forces in 1978 to create “Opus One” which soon became a legendary wine out of Napa Valley using typical Bordeaux grape varieties in their blend. Opus One was also be said to combine the beauty of the old world with the new world. The conspicuous differences between the two worlds were starting to fade. With travel becoming cheap and the “flying winemakers” emerged, seasoned oenologists and consultants travelled between continents spreading their knowledge and consulting on blends and styles, further reducing the disparity between the styles of Old World and New World. It was no longer only about typicity, but more about quality being the end game.

However, we must acknowledge that there still are fundamental differences between wines from the Old World and the New World. Irrelevant of quality, most Californian Cabernet Sauvignon is opulent and chock-a-block full of sweet sunshine, while Australian reds tend to have menthol nuances and New Zealand Sauvignon Blanc bursts with tropical flavours we love so much. But the old adage of Old World needing bo le age and New World being full-on juicy is absolutely not true any longer.

It is incredibly interesting to see how different wineries from the New World Australia can have such different styles yet are of equal top quality. For example, there’s no disputing that the three biggest guns in Australia are Penfolds “Grange”, Henschke’s “Hill of Grace”, and Torbreck’s “The Laird”. These wines are all complex and age-worthy Southern Australia Shiraz, yet are so different in style. All upward of €500 a bo le, “Hill of Grace” and “The Laird” o en compared to old world Syrah from Rhône’s Northern Valley, whereas “The Grange” has a more opulent New World style to it. Similarly, certain Shiraz from New Zealand even label their wines as Syrah, suggesting a style similar to Northern Rhône, whereas others prefer to use the more popular term Shiraz, implying a fuller, more fruit-forward style. But is it just the so-called New World wines that have changed? Absolutely not.

The forward, more approachable styles of Australia, California, and New Zealand have influenced regions such as Bordeaux and Rioja which have started producing wines that are ready to drink much earlier than before. I have even tasted some 2018 Bordeaux wines that are incredibly so , approachable, and balanced at such a young age. This was highly unlikely for these same Châteaux in the 80s and 90s but due to the influence of the New World, they have adapted. Château Clerc Milon is also proudly displaying its splash of Carmenère in the blend. While it is only a tiny fraction of the blend at around 1%, I’m pre y sure other wineries will follow suit. We’ve already heard that Bordeaux have recently introduced six new grape varieties that are expected to cope with climate change be er and I can only guess that Carmenère might start being more prominent in future blends.

While the differences between the Old World wines and New World wines are definitely less evident, we are seeing wines from both sides of the historical fence that have never been be er in quality. I have no doubt that, due to the awesome successes in the New World, the Old World have upped their game to remain at the forefront of quality winemaking. Snubbing anything that’s New World is now a thing of the past and I would hasten to say that many sommeliers find it easier to sell exotic, fruit-forward New World wines over the be er known, classical wines from the Old World. n

After the “Judgement of Paris”, winemakers across the Old World started believing in the terroir of the New World areas

Andrew Azzopardi is a wine specialist certified by the Wines and Spirit Education Trust.

Desserts

Unfussy desserts are a dream to make. Most of these recipes need little preparation, minimal to no cooking time, and taste heavenly.

Photography: Corinne Vella

Honeyed Apricots and Dates

This can be stored in a sealed jar until needed.

Serves 4

YOU WILL NEED

150g dried apricots

110g fresh dates

175g honey

500ml water

2 bay leaves juice and zest of 1 orange

2 green cardamom pods, lightly crushed

TO SERVE

Greek yogurt

1 teaspoon orange flower water chopped pistachio nuts pomegranate arils (optional)

1. Stir the honey in the water over a low heat until it dissolves. Add the juice, zest, cardamom, and bay leaves and boil the mixture to a syrup.

2. Add the apricots and let them simmer for 35 minutes. Top up the liquid with boiling water, if necessary.

3. Turn off the heat and let the apricots stand in the warm syrup for 20 minutes, then add the fresh dates and let the fruit soak in the syrup overnight.

4. Drain the syrup into a clean pan, reserving the fruit. Boil the syrup down till it thickens, then set it aside to cool. Store the fruit in the cooled syrup until serving time.

5. To serve, scoop some fruit into a small bowl and drizzle with a li le bit of the syrup. Add a dollop of Greek yogurt, lightly whipped with the orange flower water, and sprinkle with pistachios. Alternatively, serve the yogurt on the side.

Jewelled Chocolate

An easy-make on a rainy a ernoon, this can be a fun project for bored children. Simply choose topping ingredients suited to their age and keep a close eye on the molten chocolate.

Makes 1 bar.

YOU WILL NEED

200g dark chocolate

50g very dark chocolate

1 tablespoon crushed

maple honeycomb

1 tablespoon pistachio nuts

1 tablespoon pumpkin seeds

orange zest salt crystals (optional)

FOR THE MAPLE SYRUP HONEYCOMB

100g caster sugar

60 ml maple syrup

1 ½ teaspoons bicarbonate of soda

1. To make the honeycomb, start by lining a heatproof plate with non-stick paper.

2. Stir the sugar and maple syrup together in a small pan and set it on a medium heat.

3. Without stirring, turn up the heat and let the mixture boil for around 3.5 minutes.

4. Remove the pan from the heat. Quickly whisk in the bicarbonate of soda and let the mixture foam up. Pour it out onto the lined plate and put it aside to set.

5. Break up the dark chocolate into a heatproof bowl and place over a pan of boiling water till it melts. Check and stir it frequently to make sure it doesn’t caramelise and burn. You can also melt the chocolate in a microwave oven. Do this is short bursts to prevent it burning.

6. Pour the molten chocolate onto a sheet of non-stick paper and use a spatula to spread it out into a rectangular shape. Let it set slightly.

7. Sca er the pistachios and pumpkin seeds over the chocolate and lightly press in small chunks of honeycomb and salt crystals (if using)

8. Melt the very dark chocolate and use a teaspoon in a swirling motion to drizzle this over the topping, then sca er the orange zest and put the chocolate aside to set.

If you plan to serve this to anyone who’s allergic to gluten, check the ingredients list on the bicarbonate of soda and the baking powder to make sure that the starch content is gluten-free.

Serves 8

Gluten-free chocolate and clementine cake

YOU WILL NEED

3 seedless clementines, unwaxed

5 large eggs

210g ground almonds

240g caster sugar

50g cocoa powder, unsweetened ½ teaspoon bicarbonate of soda

1 generous teaspoon baking powder

1. Boil the clementines until they are very so (around 50 minutes) and let them cool. Roughly chop them, skin and all, and then blend them to a rough paste.

2. Preheat the oven to 180°C.

3. Add all the other ingredients to the clementine paste and use a mixer or blender to combine them into a ba er. Pour this into a cake tin lined with non-stick paper and bake for an hour.

4. Let the cake sit in the tin for 10 minutes, then turn it out onto a wire rack to cool down. Garnish with clementine zest.

Cardamom and Lemon Sponge

Makes two small cakes

YOU WILL NEED

80g unsalted butter

80g self-raising flour

50g golden caster sugar

2 eggs

35g honey

½ teaspoon baking powder

lemon zest

ground cardamom seeds

TO DECORATE

sifted icing sugar

1. Preheat the oven to 190°C and mix the flour and baking powder in a bowl.

2. Put the bu er in a bowl and melt it by giving it a short blast in a microwave oven. Let it cool down without se ing.

3. In a separate bowl, whisk the sugar, eggs, and honey together until the mixture runs off in ribbons when you li the whisk. The texture of the mixture should be moussey.

4. Fold in half the bu er and half the flour mixture. Then add the rest of the bu er and flour, along with the lemon zest and cardamom seeds, and fold the ingredients into the mixture.

5. Pour the ba er into two small round cake tins and bake in the preheated oven until the cake firms up and turns golden (around 15 minutes).

6. Let the cakes cool in their tins for around 10 minutes then turn them out onto a cooling rack.

7. Serve topped with fresh fruit or simply dredged with icing sugar.

Light and moreish, this is perfect for serving with freshly brewed co ee.

Pomegranate Verrines

YOU WILL NEED

cardamom lemon sponge

(see recipe on page 52)

apricot & honey syrup

(see recipe on page 48)

pomegranate arils

Greek yogurt

toasted pine nuts

amaretto

pomegranate molasses

pistachios

1. Tear the sponge into small chunks and cover the bo om of each serving glass. Drizzle with amare o. Top the sponge with toasted pinenuts

2. Add another layer of sponge chunks and drizzle it with pomegranate molasses. Sprinkle in the pomegranate arils.

3. Add another layer of sponge and drizzle it with apricot honey syrup. Top with more pomegranate arils and toasted pine nuts.

4. Store the desserts in the fridge until needed and then serve with lightly whipped Greek yogurt on the side.

This no-cook dessert can be assembled in minutes.

A noughties house gets a makeover, giving it a fresh new look

Architecture: A Collective

Structural engineering: MA Architects

Photography: Alex Attard

“This villa is from the early noughties,” the architect Steve Risio says as he looks through several photographs. “It sounds recent, but that was a couple of decades ago,” he adds with a smile. Originally, this was one large house, later divided into four – 2 pairs of semi-detached villas, one pair each for two sisters. The buildings sit near the crest of a hill overlooking an expanse of open countryside. In the distance, there are views of the sea, marginally blighted by the haphazard lines of coastal development. The villa Steve talks about serves as the owners’ family home. A racted by the be er views, they wanted to move in from the house next door, planning to let out their current home to tenants.

Their “new” home was in want of a makeover. Dark, closed spaces needed to be opened up; the terrace overlooking the garden area was bathed in sunlight but too exposed to the elements to be enjoyed fully. Some aspects of the design and layout didn’t really work to their full potential. “The house felt older than it is,” Steve says.

Removing a partition wall opened up the kitchen, dining, and living area. The indoor dining table and chairs from camilleriparismode and light fittings by Elektra complement the sleek design aesthetic.

What was formerly an L-shaped kitchen, living, and dining area has been remodelled to create one large open space where functional boundaries are defined by the furniture layout rather than by physical partitions. “We removed a partition wall to create the open space. A beam that replaced the load-bearing wall is concealed inside the soffit, along with the mechanical and electrical infrastructure that support the air conditioning and lighting. Down at floor level, the architects created a long, monumental kitchen island in a striking dark brown marble veined in turquoise.

Each functional area in the open plan space either overlooks the side garden or the dining terrace. The long indoor dining table is positioned perpendicular to the terrace door, enabling everyone seated at table to take in the view. The kitchen is positioned at the inner end of the space, but the open sight lines now mean one can look all the way outside while preparing a meal indoors.

The soft-tones of the neutral pallette continue seamlessly into the interior. The smoothness of the microcement flooring by Rado Flooring enhances the soothing effect.

In the living area, one half of the couple wanted a large TV, the other wanted a wood-burning fireplace. “That set the parameters for the central furniture piece. Restrained by the floor to ceiling height, we needed to ensure that the TV was located at a comfortable viewing height while accomodating the wood burning fireplace below,” Steve says. Both the TV and fireplace have been set into the same volume. The TV equipment is stored above behind wood partition and accessed through a magic eye. The L-shaped sofa had been reupholstered to work with the soft-toned, largely neutral pale e.

One of the problems with the existing house was that the dining terrace was unusable. In summer, it was too hot and there was no breeze. The owners wanted to be able to use the terrace all year round so installing an awning was out of the question. The architects studied the sunpath and came up with the idea of a louvred canopy that provides shade without heat gain while allowing the sun to infiltrate in winter, relying on MA Architects to help them realise the structural design.

The construction of a louvred canopy has transformed the dining terrace into a welcoming space even in the height of summer.

Microcement flooring by Rado Flooring enhances the effect of the shifting light and shadow patterns. The large aluminium sliding doors by Adore More can be drawn back, blurring the boundary between the indoor and outdoor living and dining areas.

“Architects are dreamers who tend to push the structural engineer to design the slimmest lightest structure possible,” Steve says. Three slim columns instead of one wide one have been installed on the side of the canopy to support the cantilevering elements whilst echoing the design of the canopy. In the morning light, the structure casts long shadows, creating a shifting display of sunlight and shade. Round the side of the house, A Collective extended the proportion of the windows, opening them up all the way down to the floor to create a rhythm and introduce light into the darker parts of the house. The external staircase was remodelled and its railing replaced. At the front, the garage door opening was widened to fit two cars and a new bespoke ribbed garage door installed to make it look less industrial and less blatantly like a garage door. To the right of the garage, the wall-to-wall glazed doors of the front room were replaced with three floor-to-ceiling perforations flanked by columns, and an expansive full height glass window. Overhead, the pre-existing “bas relief” band has been extended outwards, unifying the façade. The rendering is neutral and aesthetically very relaxing.

“Pure white can look stark and create too much glare,” Steve says.

To give the main entrance a sharper definition, the overhead plane was drawn down and the door replaced with one in a bespoke ribbed design that echoes the garage door. On the inside, the “hallway” didn’t really exist. The space led off into two corridors, with flooring in glossy beige ceramic tile, which have now been replaced with monolithic concrete flooring. Here, too, the architects replayed the idea of the transluscent screen, installing a door with a timber-frame. The materials used are natural: concrete, marble, wood. “We avoid using faux materials, such as ceramic that imitates wood” Steve says.

In the master bedroom, the floor plan was redefined. The walls of the walk-in wardrobe were demolished, their position shi ed, and an ensuite shower room was installed. The same soft-toned neutral palette has been applied throughout, making the place feel homogenous. n

Photo:KasiaGatkowska

COMPACT LIVING

Small spaces pose big challenges, particularly in a historic city. A sensitive and innovative design approach has created two small Valletta units that can function as standalone units or be combined into a single residence.

Architect: Elisa Grech

Photography: Alex Attard

When Elisa Grech was commissioned to reorganise and design two adjacent small units in Valle a she had to find smart solutions. The main entry level is partially below street level, which created problems with humidity, lack of cross-ventilation, and natural light. The two properties needed to function flexibly as standalone units or as one larger unit, offering guests a comfortable stay on a stepped street close to Valle a’s main beach, School of Art, Valle a Design Cluster, and main entertainment area. Their limited size and physical arrangement needed an inventive and innovative approach to create a fun, bright and vibrant space within a historical shell.

THE CONCEPT WAS TO PULL THE STREET INTO THE PROPERTY, BLURRING THE BOUNDARIES BETWEEN INTERNAL AND EXTERNAL SPACE.

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The location, social context, and surrounding topography informed the thematic approach to the design, serving as an inspiration for the design. The concept was to pull the street into the property, blurring the boundaries between internal and external space. This effect was created by constructing timber stairs designed to be comfortable and generously proportioned for si ing on, and that transform into functional furniture pieces within the space: a planter, sofa, kitchen, handrail, and storage area, and a mask for internal services such as ventilation ducts that run through the properties.

DESIGNING THE STRUCTURE INVOLVED HOURS OF RESEARCH AND PROTOTYPING.

Vanwood Furniture built the bespoke furniture and timber stairs, which were inspired by the location on one of Valletta’s stepped streets. The sculpture (top left, private collection) is by Andrew Diacono.

The boundaries between internal spaces are not partitioned but curated through colour to give the impression that one space serves all the functions needed by day and by night. The only doors within the space are on entering the two units, the ones that separate them, and the two that lead into the respective bathrooms.

Floor space has been sacrificed to improve the habitation and environment of the property. The timber beams and stone slabs that once separated the two floors have been replaced by a lightweight net suspended floor, inspired by the boats sailing the harbour just metres away. This created a double height space just inside the main entry, allowing the ground floor to “breathe”, improving ventilation throughout thanks to the stack effect, and drawing light into the lower level from the balcony and windows on the floor above.

“The Net” allows for an unusual experiential resting space and breathable perforated floor plate that allows enhanced ventilation in the property. Designing the structure involved hours of research and prototyping, with a steel frame being fabricated in Malta under the guidance of a supplier in France who fabricates custom-made nets for catamarans.

“The Net” was designed and created specifically for the space. The painting (private collection) is by Samuel Sultana.

Cross-ventilation was increased by installing an air ingress motor, which supplies the kitchen at the far end of the property, and extractors which aid the flow and circulation or air. The design detailing conceals these services within the continuous bespoke timber furniture which runs through both properties. The pipe which supplies the kitchen with fresh air is concealed behind the steel structure that supports the mezzanine and encased beneath the timber storage at bedroom level at first floor. Colour plays an important part in the overall design. Each unit is defined by its own colour accents – in the micro-cement toppings and sleeping alcoves – which are complementary rather than contrasting, easing the transition when the two independent units are used as one. The rest of the material pale e is simple but technically functional.

r Timber furniture, doors, and flooring add warmth and texture to the interior. The engineered hardwood floor in the green unit was supplied by Brands International.

f Colour accents define the functional spaces in both units. Sanitary fittings supplied by Satariano complete the look in the bathrooms in both the green and pink units.

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“We used special restoration dehumidifying plasters on the ground floor level so that the walls could be painted in white to brighten up the space,” Elisa Grech says. Maltese hardstone, traditional pa erned cement tiles and timber floors were installed throughout, and the use of “honest” materials like birch plywood, the conservation of the existing Maltese hardstone and Maltese tiles contributed to keeping the project within budget without compromising on design.

There was an element of future-proofing the project in the event that the market of one bedroom short-let flats becomes oversaturated, increasing the demand for larger properties. This was done through a sensitive design approach that caters for flexibility where the two small units may in the future be combined into one larger property, simply by unlocking a couple of doors.

Colour and lighting accents define the cosy sleeping nooks in both units. Lighting is by ITC, who supplied most of the light fittings throughout both units. The white and pink painting by Violet Kulewska was supplied by Lilly Agius Gallery.

The painting on the left is by Giulia Holland; the one on the right is by Austin Camilleri. Both paintings are in a private collection.

THE BOUNDARIES BETWEEN INTERNAL SPACES ARE NOT PARTITIONED BUT CURATED THROUGH COLOUR.

Johannes Vermeer (1632-1675) is best known for the stillness and introversion of indoor scenes, many apparently painted in the same domestic setting where bright light pours in through a window, illuminating a human gure caught in a contemplative moment. Such is the intimacy of his paintings that it seems almost as though the viewer is part of the scene and that, at any moment, the subject of the painting might look up and notice that someone is there.

The artist was born in Delft, where he lived and worked, largely unrecognised in his lifetime having converted to Catholicism when he married, aged 21, in a firmly Protestant country. Little is known about the man behind the paintings and, among the Dutch masters, he remains the most enigmatic. There are no letters or notes, no personal effects by which the artist himself may be understood, but when he died, at the age of 43, he left behind a relatively small but remarkable oeuvre that is now scattered among institutional and private collections around the world.

Fewer than 40 Vermeer paintings are known to exist, with only a handful held in collections in his home country. Highly prized by their owners and very fragile – most were painted in the years 1655 to 1670 – Vermeer’s masterpieces are rarely lent out. Now, in what is likely to be a once-in-a-lifetime event, 28 of the paintings have been assembled in the first ever Vermeer retrospective at the Rijksmuseum in Amsterdam. Simply titled “Vermeer”, the exhibition has already generated much excitement among artlovers, selling well over 100,000 advance tickets by the time it opened last Friday – an

unprecedented number in the museum’s history.

Initially sparked by the planned closure of The Frick Collection for refurbishment, the Rijksmuseum exhibition draws together Vermeer masterpieces from the Frick and other owners in seven countries. “Girl with a Pearl Earring” is at home in the Rijksmuseum; “The Milkmaid” came from Mauritshuis in The Hague. The Frick Collection’s three Vermeers have travelled to Amsterdam for the first time in a century. Other pieces have been borrowed from collections from Washington to Tokyo.

“Vermeer” opened on 10 February at the Rijksmuseum in Amsterdam and will run until 4 June.

“Girl reading a letter at an open window”, Johannes Vermeer, ca. 1657-1659, Gemäldegalerie Alte Meister, Dresden. The painting of Cupid in the background was hidden from view for more than 300 years. It was revealed by an X-ray in 1979 and finally exposed a few years ago when restorers discovered that it was not Vermeer himself who had painted it over as this was done several decades after the painting was completed. The major change to the composition of the painting had already been carried out when it was brought to Dresden from the collection of the Prince of Carignan in France in 1742. The rediscovery of the Cupid paintingwithin-the-painting adds another layer of meaning to the work. The figure of Cupid treads on the masks of pretence lying on the ground, possibly signifying that sincere love overcomes deception and hypocrisy.

For advertising, contact Sean Ellul on +356 7921 0705 sellul@independent.com.mt The next issue will be out in April 2023 with The Malta Independent on Sunday.

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