panoram italia magazine toronto june-july 2013

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PA N O R A M I TA L I A . C O M8

TABLE OF CONTENTS JUNE / JULY 2013 Volume 3 Number 3

26 Duncan Street, Toronto, Ontario, Canada M5V 2B9

Tel.: 1.800.775.9428 I Fax: 416.438.3188or by e-mail at: [email protected]

Legal deposit - Bibliothèque nationale du Québec / National Library of Canada - ISSN: 1916-6389

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Sabrina Marandola Sarah Mastroianni Giuseppe Mattoscio Sergio Mattoscio Francesco Caruso Carolina Caruso

Alessia Sara Domanico Francesca Spizzirri Fabio Forlano Stephanie Grella Vanessa Santilli Liz Allemang Salvatore Difalco

Danila Di Croce Alessio Galletti Alain Raymond Letizia Tesi Romina Monaco Laura Nesci Daniela Di Stefano Andrea Lepore Querido

EDITORIAL

EXECUTIVE

ART DEPARTMENT

ADVERTISING

CONTRIBUTORS

ART DIRECTION David Ferreira

GRAPHIC DESIGNDavid Ferreira

PHOTOGRAPHYGregory Varano

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PUBLISHER AND EDITORTony Zara

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PROOFREADERSClaudio Ortu

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EDITORIALLa stampa in lingua italiana in Canada . . . . . . . . . . . . . . . . . 10McGill University Provost Tony Masi . . . . . . . . . . . . . . . . . 11Intervista all’Ambasciatore Gian Lorenzo Cornado . . . . . . 12LA CANTINALa Cantina: An Italian-Canadian Staple . . . . . . . . . . . . . . . 14La Cantina: The Italian Way . . . . . . . . . . . . . . . . . . . . . . . . 16The ABCs of Homemade Prosciutto . . . . . . . . . . . . . . . . . 20Guide to Homemade Capicollo . . . . . . . . . . . . . . . . . . . . . 24Homemade Sausage and Soppressata . . . . . . . . . . . . . . . 28LIFE & PEOPLEMary Mauti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30FUTURE LEADERCristina Tenaglia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31FOOD & WINEAlla ricerca del sapore perduto . . . . . . . . . . . . . . . . . . . . . 32The University of Gelato . . . . . . . . . . . . . . . . . . . . . . . . . . 34Fired up for Pizza in Toronto . . . . . . . . . . . . . . . . . . . . . . . 35Making Neapolitan Pizza Classics at Home . . . . . . . . . . . 36Grape Expectations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38LIVING ITALIAN STYLE . . . . . . . . . . . . . . . . . . . . 40FASHION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42ITALIAN HERITAGE MONTHViva Vitalità . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44TRAVELItalian Drop Zones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Un’estate al mare di Sicilia . . . . . . . . . . . . . . . . . . . . . . . . 49ARTS & CULTURELittle Italy on the Silver Screen . . . . . . . . . . . . . . . . . . . . . 50Una scuola di cinema in Calabria . . . . . . . . . . . . . . . . . . . 50Patricia Fogliato’s Mad Ship . . . . . . . . . . . . . . . . . . . . . . . 51Pino Daniele . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Between Takes with Antonio Cupo . . . . . . . . . . . . . . . . . . . 53Western University Italian Program . . . . . . . . . . . . . . . . . . 54St. Clare Church Celebrates 100 Years . . . . . . . . . . . . . . . 55EVENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56SPORTSLamborghini: Ferrucio’s Revenge . . . . . . . . . . . . . . . . . . . 60Confederations Cup Schedule . . . . . . . . . . . . . . . . . . . . . . 62


PA N O R A M I TA L I A . C O M 9

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The crack in the sidewalk or the unevenness inthe sidewalk has to be significant enough foryou to seek relief from the City or its insurer. Avery small crack or an uneven sidewalk barelyvisible to the naked eye will not result in anyrelief for you. Municipalities are traditionallytough adversaries. You have to prove every-thing to them to be successful in seeking compensation. As your lawyers we will guideyou towards proving that the City was negli-gent and that you deserve compensation foryour pain and suffering and losses.

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Questa incresciosa situazione ci porta a farealcune riflessioni sul ruolo che i mezzid’informazione in lingua italiana al difuori dei confini nazionali nell’età della

rete telematica sono chiamati a svolgere nel presente edin avvenire.

I media tradizionali in sola lingua italiana, sortiin vari paesi di emigrazione negli ultimi cinque/seidecenni stanno affrontando un periodo di crisi, poichésono arrivati alla fine di un ciclo, quello dell’emi-grazione di prima generazione che cerca nelle testatesorte all’interno delle varie comunità espatriate unpunto di riferimento per capire e tenersi in contattocon l’ evoluzione sociale della Madrepatria. Sui circasessanta milioni di oriundi italiani solo una per-centuale decrescente parla ancora, all’inizio del terzomillennio, la lingua madre e solo poco più di quattromilioni sono ancora cittadini italiani. Questi datidanno la vera immagine dell’Italia nel mondo. La ques-tione da capire è dunque questa: il ‘sistema Italia’ puòcontinuare ad esistere nel mondo se si usano diverselingue, oltre all’italiano, per esprimerlo? L’idealesarebbe di poter usare solo l’italiano, ma nella realtà deifatti l’italianità è concepita ed espressa sempre più fre-quentemente usando lingue altre.

Dalla fine dell’Ottocento alla seconda guerramondiale i giornali pubblicati in vari paesi di emi-grazione italiana sono stati il mezzo preferito usato daicosiddetti ‘padroni’ per offrire servizi, diventare sostituti di uffici di collocamento, cambio di valuta,vendita di biglietti o di vari prodotti alimentari impor-tati. È esistita anche una stampa dichiaratamente ideologica, voce di espatriati politici. Una dialettica poli-tica, tra cavouriani, mazziniani o guelfi è esistita peresempio in paesi di vecchia e numerosa emigrazionecome gli USA, il Brasile, o l’Argentina. Nei soli USAsono nate e scomparse oltre 2.000 piccole testate, da

prima l’unità d’Italia fino alla fine del secondo millen-nio. In Canada le testate pubblicate dal primoNovecento sono state circa una cinquantina. Nel periodofascista la stampa in lingua italiana si è trasformata incittà come Montreal, Toronto o Vancouver in mezzo dipropaganda facendo combaciare italianità e fascismocon rare eccezioni come Il Cittadino Canadese diAntonino Spada, la voce dell’antifascismo italo-canadese (la versione attuale de Il Cittadino Canadese,proprietà di un ex senatore filo-berlusconiano, farimpiangere la gloria passata).

La versione cartacea di quotidiani e di setti-manali, nel cinquantennio 1950-2000, indispensabilifino ad un decennio fa, prima cioè della rivoluzionetelematica in corso, era una necessità e lo rimane per lavecchia generazione. Nel 2013 un numero crescente dilettori ha ricorso alla rete come fonte primaria e vir-tuale di informazione. Si tratta di un cambiamentoepocale ed irreversibile in quanto la nascente nuovaemigrazione italiana è costituita da giovani istruiti chehanno ricorso alla cosiddetta computer literacy, sannocioè navigare nella rete digitale.

Dei quasi due milioni di italocanadesi (censimen-to 2011) ormai meno di 500,000 parlano ancora l’ita-liano. Questo semplice dato statistico va preso comepunto di partenza e di arrivo per capire qual è il ruolodella stampa in una lingua non-ufficiale come l’italianoin un paese come il Canada. La realtà canadese puòessere presa come un esempio significativo del-l’evoluzione occorsa in seno alle comunità italiane nelmondo e la base per le modifiche urgenti da apportarealla legge sul finanziamento alla stampa italiana all’e-stero.

La stampa è un mezzo di informazione e di for-mazione, un contropotere in difesa della libertà. È laespressione scritta della cronaca, dei problemi, delleaspirazioni, delle sconfitte e delle vittorie singole e col-

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

Tante piccole testate, in Canada e nel resto delmondo, non assolvono più a questo compito. Si limi-tano a tagliare e copiare notizie di agenzia. Sono diven-tate mere cinghie di trasmissione dei desiderata dellevarie segreterie di partito. Venendo così meno al ruolofondamentale della stampa: essere la voce degli idealidi libertà di pensiero e di responsabilità sociale edetica. A cosa serve mantenere in vita testate di questotipo anche se usano la lingua italiana? Perché escluderetestate come Panoram Italia che da oltre un decenniosta portando alto il nome dell’Italia in Canada nellaversione cartacea e in quella telematica usando oltreche l’italiano anche il francese e l’inglese? Tante sonole incongruenze presenti nella legge sull’editoria chenon tiene conto dell’italianità nel mondo così comeessa è veramente oggi. Invece delle tradizionali sovven-zioni basate sulla tiratura (nella stragrande maggioranzadei casi inflazionata), e il sistema farraginoso usato perdeterminare chi è eleggibile, il Governo di Romapotrebbe dare un contributo, dietro raccomandazionedei rappresentanti diplomatici, per mezzo di annuncipubblicitari per incentivare il Made in Italy o il turismoa testate che sono veramente tali.

Gli editori della stampa che hanno l’Italia comepunto di riferimento dovranno puntare sulla pubbli-cazione in rete, escogitare metodi diversi di attrarre lettori nuovi e sponsor pubblicitari nei paesi in cuioperano, riducendo in tal modo la dipendenza dall'erogazione del contributo del governo italiano. Eoffriamo PanoramItalia, la rivista italocanadese piùimportante, come modello. Il Corriere Canadese aToronto, i settimanali Corriere Italiano e Insieme aMontreal o altre piccole testate a Ottawa o a Vancouvernon ci sono riusciti e ne stanno subendo le conseguenze epagando il prezzo. (La Redazione)

La sospensione il 4 maggio 2013 del Corriere Canadese, l’unico quotidiano in lingua italiana in Canada, nella zona metropolitana di Toronto, diretto da PaolaBernardini, fondato 59 anni fa da Daniel Iannuzzi, è innegabilmente una perditaper gli italofoni del Canada. Questa drastica decisione obbedisce ad una logicaprettamente economica: la costante erosione del contributo ricevuto dalDipartimento per l'editoria e le rigidità di applicazione della normativa esistente,ossia il mancato pagamento, alla Multimedia dei costi sostenuti per la produzionedel giornale. La situazione è venuta a crearsi a causa delle problematiche e dellelungaggini legate al finanziamento ed alla erogazione dei contributi previsti allastampa all’estero dalla legge sull’editoria del Governo italiano.

La stampa in lingua italiana in Canadatra passato, presente e futuro


Research universities are under attack in vir-tually every jurisdiction in which they oper-ate in advanced industrial democracies. Theissues in this crisis are many, diverse, and

often contradictory: funding models that are antiquat-ed; cutbacks in government subsidies; tuition rates thatare either too high or too low; expensive infrastructurethat needs maintenance; costly equipment that cannotbe easily replaced; students and employers interestedonly in practical skills training rather than in a broad,general, adaptable education; professors who must pub-lish or perish on the road to tenure and who do notfocus attention on their pedagogical approaches toteaching students; classes that are too big; too manyclasses that are too small; administrative apparatusesthat are unjustifiably large and growing; Byzantinebureaucratic rules; and, disruptive uses of emergingtechnologies that have the potential to erode the foun-dations 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, Iwant to concentrate on the last one, the emergence ofhighly disruptive technologies and their impact on uni-versity education. There are four aspects that deserveserious consideration in this regard.

First, the generation of students who are about toenroll in programs of study at research universities arewhat some commentators have labeled “digital natives”or “the born digital generation”. They are at ease withcomputers, touch screens, and smart phones in waysthat make their parents, and certainly their grandpar-ents, both proud and envious. Familiarity with thesetechnologies affects the way digital natives think, study,and learn. So, how have universities prepared them-selves for the arrival on their campuses of this born dig-ital generation? Not well, I am afraid, is the answer. Ourpedagogical approaches have still not adapted to thisnew style of learner and the new tools used to mastermaterials. Professors are rarely given the opportunity tothink about and improve their teaching, and they rarelyteach with explicit learning objectives based on theexperiences and expectations of the students in theirclasses. Universities have a lot of work to do on thisfront.

Second, the born digital generation has grown upin an environment in which vast stores of informationare readily available on the Internet and the means ofaccessing these data are ubiquitous. The size and scopeof browser-based searches across the World Wide Webis nothing short of mind-boggling. Unfortunately, thisdata is not of uniformly high quality. Rather, more oftenthan not, it leaves much to be desired. How do digitalnatives know which information is valuable and correctand which is questionable on both counts? At universi-ties, professors create much, if not most, of the trulyuseful information available on the Web. But finding itcan be a daunting task. The profession of librarian isconstantly being reinvented to address these matters aslibraries themselves cease being repositories for paperand are transformed into active learning spaces. Butchanging old bad habits is very tough. Librarians andpedagogues must work together with professors to helpstudents sort the data on the Internet and World WideWeb to allow them to transform it into useful informa-tion. Professors’ research and the very nature of

research itself have to become part of the value-propo-sition for undergraduate students who attend researchuniversities. Research and teaching must be seen ascomplementary and librarians have to be identified askey resource personnel.

Third, the traditional physical design of class-rooms does not encourage deep engagement with theprocess of learning. Active participation is required inorder for learning to be most effective. Indeed, activelearning rarely takes place in the lecture hall or whenthe only speaker in a seminar is the professor. If thetechnology is appropriately deployed and the informa-tion readily available, then why don’t we just flip theprocedures: record the lecture and make the relevantreading and exercise materials available to studentsBEFORE they come to class, and then use class time tofocus on the specific learning objectives. In order to dothis, we need planners, designers, and architects to con-sider learning styles and information needs of digitalnatives so that professors can adapt physical spaces tofully engage students as active learners. Once again,professors and administrators know what we need todo, but we are not doing it fast enough or deep enough.

Finally, given the technology, information, andpedagogy, one might ask why the community of activeand engaged learners be created that extends far beyondthe walls of the classroom or the gates of the university?There have already been some exciting and challengingexperiments with higher education materials, but untilrecently many have originated outside of the university.The concept to which I am referring here is called aMOOC, a “massive open online course”. These are notjust “canned” courses or recorded “talking heads”, butrather entirely new ways of packaging materials, con-ducting assessments, and ensuring quality, in order toteach incredibly large numbers of students, with suc-cess. The economies of scale are incredible – forgetteaching a 1000 student introductory course, MOOCscan reach hundreds of thousands of learners, potential-ly millions, with a single offering. The challenge is that

many such enterprises which can, and do, offer qualityproducts for interested and motivated learners are notdirectly affiliated with traditional institutions of higherlearning, although they all use highly renowned profes-sors from world-class universities to design, develop,and deliver MOOCs. Universities can learn a lot fromthese groups, and already are doing so. This includescreating not-for-profit consortia that plan to learn howto improve the residential campus experience for digitallearners by experimenting with MOOCs.

Taken together, these four trends, based on dis-ruptive information technologies, represent a truly sig-nificant challenge for universities. Research universitiescan continue to be relevant to born-digital generationsonly if they take pedagogy seriously, enlist librarians tohelp students transform raw data into useful informa-tion and knowledge, convert traditional classrooms intoactive learning spaces, and deliver MOOCs in such away as to make the experiences transferable to the on-campus face-to-face environment in which professors’research feeds directly into the course.

If universities, especially public research universi-ties, are to survive into the twenty-second century ofthe Common Era, they will have to be creative inresponding to the political, economic, and personalcriticisms levied at them and in adapting to new expec-tations of students who are “digital natives”, and theywill have to respond to “startups” entering the highereducation arena. If universities were traded on thefutures market, I would only buy stock in those that areaddressing all four of the issues I have outlined above. Iam pushing the one at which I work to do just that.

By Prof. Anthony C. Masi, Provost, McGill University

Prof. Masi would like to acknowledge thefinancial support of the Max Bell Foundation.A longer piece on this topic, from which theabove op-ed is drawn, will appear in theLiterary Review of Canada in Fall 2013.

The impact of disruptive information and communications

technologies on universities




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Banks vs. Credit UnionsIt’s true that credit unions and banks provide a similar range of financial services, from daily banking to retirement planning, but delve deeper and it becomes clear that credit unions are decidedly different.

Credit unions are democratic cooperatives

The first credit unions were established because big banks made it difficult for average citizens to borrow or invest.

Whereas banks are focused on the value of their shares, their shareholders are not necessarily their customers. Credit nions are co-operatives where customers become owners. At IC Savings, each customer receives one share and becomes an equal shareholder with an equal vote.

Better services and benefits

Credit unions offer the same full range of services as banks–from RRSPs, mutual funds and other investment options to expert financial planning. Another major benefit of credit unions is their “ding-free” ATM network, which allows members to take out cash from any credit union ATM without paying additional surcharges.

Credit unions are friendly

Outstanding customer service is one of the hallmarks of credit unions. Whether you’re opening a new account or seeking the services of an investment specialist, knowledgeable staff members are on hand to help. Credit unions routinely rank higher than banks in customer service and satisfaction surveys.

Community comes first

Much of the decision-making with Credit nions rests at the local level. Banks, on the

other hand, tend to be managed by a central office, with their view on national and even international markets. Credit nions care for their communities because they are creatures of communities whether from an affinity bond or a geographic region. They express this care by contributing to the social and economic well being in ways ranging from sharing profits with their members, to making donations on the their behalf, or simply providing financial services in support of their local communities.

IC Savings has its roots in the Italian Community but has become an integral part of all the neighbourhoods that it serves; welcoming all Canadians that are looking for a “Better Banking Experience”.

S.E. Gian Lorenzo Cornado è statoConsole Generale d'Italia a Montréal,dal 2000 al 2004 e ha lasciato unsegno indelebile della sua presenzanella nostra comunità. Panoram Italial’ha incontrato all’inizio di maggionella sede dell’ambasciata a Ottawa.PI: Ho avuto modo di parlare con alcuni giovani laure-ati della nuova immigrazione che trovano che il perio-do del permesso di lavoro in Canada di sei mesi siatroppo breve. Vorrebbero che la lunghezza fosse estesaad un anno, per aiutarli a trovare un’occupazione,migliorare la conoscenza delle lingue e fare esami inte-grativi, se necessario. E’ fattibile?GLC: Sei mesi non sono sufficienti per inserirsi in unPaese come il Canada e per avere un’esperienza di lavorocompleta. Questo è il cosidetto programma Vacanza-Lavoro. Anche i Canadesi sono interessati a inviare i propri giovani in Italia per un periodo di un anno anzichédi sei mesi. Ci sono delle questioni tecniche che bisognarisolvere sul piano bilaterale. Ci sono dei contatti in corso,li riavvieremo senz’altro e premeremo affinché si possaestendere ai ragazzi italiani lo stesso trattamento cheviene offerto ai francesi, per esempio.

PI: Un’altra richiesta fatta da molti giovani immigratiitaliani 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 propriiscritti e costituiscono una forma di tutela nei confrontidegli studenti che hanno conseguito un titolo di studio,sopratutto in Québec. Però, credo che sia nostro compito,come Ambasciata, perorare la causa degli Italiani chevogliono utilizzare il loro titolo di studio in Canada e vederselo riconosciuto. Bisogna negoziare un accordocon le autorità locali, canadesi e quebecchesi. Sarebbeinteressante vedere quali altri paesi hanno magari giàrisolto questo problema e cercare di seguire il loro esem-pio. Sarebbe un enorme valore aggiunto per il Canada eper il Québec poter accogliere ricercatori e professionistiitaliani, come avviene negli Stati Uniti.

PI: Quali sono i settori in cui l’Italia è maggiormentepresente in Canada?GLC: Ci sono delle grosse possibilità per un’azienda ital-iana per insediarsi in Canada e fare affari. Il Canada èun’isola felice. È l’unico Paese occidentale che è sfuggitoalla recessione. Pensiamo all’industria dolciaria, allaFerrero, che è presente in Ontario e che distribuisce i suoiprodotti non solo in Canada ma anche negli Stati Uniti.C’è anche il settore tecnologico, naturalmente. Nel settorepetrolifero c’è una presenza della Saipem e dell’Eni inAlberta. Sono settori di punta ad altissimo potenzialedove esiste la possibilità di migliorare i rapporti e di promuovere gli investimenti, la partecipazione e la pre-senza di altre aziende italiane. Il 17 maggio a New York hoparlato agli imprenditori italiani negli Stati Uniti e li hoincoraggiati 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 lavorarecon i Canadesi dal Canada. Il settore petrolifero inAlberta 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 dalgoverno italiano è stato ridotto, poi ci sono stati anchedei casi in cui i finanziamenti dati ad alcune testate noncorrispondevano alla realtà dei fatti perché hannoaumentato la tiratura. È possibile rilanciare la stampain lingua italiana su basi diverse?GLC:C’è stato un momento in cui stava per essere tagliatocompletamente il contributo alla stampa all’estero. Poi ilPresidente del Consiglio e il Ministro degli Esteri sonoritornati su questa decisione proprio perché non si volevaprivare la comunità italiana all’estero di uno strumentocosì importante. I mezzi l’anno scorso sono stati vera-mente pochi. Io mi auguro che quest’anno le condizionigenerali finanziarie siano migliori. Bisogna vedere qualisono le effettive disponibilità di fondi. La stampa italianaall’estero vive di contributi pubblici; è assolutamente nec-essario continuare ad aiutare i giornali italiani all’estero,segnatamente quelli in Canada. Per quanto riguarda leirregolarità, faremo molta attenzione da qui e dai variConsolati perché ogni contributo sia predisposto secondola legge con il massimo rigore.

PI: La legge vigente, prevede che vengano dati contributi alla stampa italiana all’estero solo se si usa lalingua italiana. Non le pare che ci debba essere unemendamento o un cambiamento della legge perincludere le testate che usano, oltre che l’italiano, unalingua locale, ad esempio il tedesco o il francese inEuropa, lo spagnolo o il portoghese in America Latina,o il francese e l’inglese qui in Canada?GLC: Occorrerebbe discuterne a livello del Ministerodegli Esteri, a livello di comunità italiana e a livello par-lamentari italiani che portino le istanze per la modificatramite emendamento al Parlamento italiano. La leggevigente purtroppo permette solo di finanziare giornali otestate in lingua italiana. Capisco la frustrazione chepuò provare un editore come quello di Panoram Italia,una rivista bellissima a larga diffusione, che quindi hadei costi considerevoli, e che dà un grosso contributoall’informazione della comunità italiana perché è dialtissima qualità.

Al momento, ripeto, la legge in vigore ci permettedi finanziare soltanto la stampa in lingua italiana. Peròtramite la sensibilizzazione alla Farnesina e tramite i parlamentari eletti all’Estero si potrebbe fare un ragio-namento diverso.

PI: Una delle raccomandazioni dei 10 Saggi al presidente Napolitano, era l’eliminazione dellaCircoscrizione Estero. Lei, come vede la questione del voto all’estero? GLC: E’ una questione sensibile. Lei sa che ci sono statenumerose proposte da parte di formazioni politiche nellascorsa legislatura per emendare la legge sul voto e sul votodegli Italiani all’estero. Vi sono molte sensibilità politichepresenti, credo che sia preferibile affrontare questo argo-mento quando avremo maggiori elementi. Vedremoquale sarà l’atteggiamento delle forze politiche e quali proposte di modifica della legge Tremaglia verranno presentate in Parlamento.


LA CANTINA


An Italian-Canadian staple

It’s the vault in every Italian-Canadian house-hold. That small, dark place that holds thefamily’s most cherished possessions; thefruit of its hard work and manual labour. Soif you’re ever invited into an Italian-Canadianfamily’s cantina, consider it an honour.

La Cantina

By Sabrina Marandola Photography by Michel Ostaszewski



“Experiencing 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 tomatosauce, 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 theylive, 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 WorldWars, 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 rep-resentation of home, and it’s where they keep homemade food.” Add to that the fact thatmost Italians who immigrated did so to escape poverty and hunger. It becomes easy tounderstand why food – making, preserving and storing it – played such a significant rolein 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 mealwould come from, or if they’d have a bad harvest one year. “For new immigrants, life ischaotic, new and scary. They are looking for stability and food security. The cantina cre-ated a kind of security that new immigrants would want to have. It’s an emotional andpsychological sense of security.” That’s why today, the cantina is a staple in the homes ofmany Italian immigrants across Canada.

“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 ofGeography Cedric Capacchione. “It was a direct transition: they went from the Italiancountryside, and imported those customs into the city.”

When the second, and bigger wave of immigrants came over after the SecondWorld War, families often got together to buy a home, and eventually modified theirbasements 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 iden-tity. 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, theywould 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 whatyou 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 asa way to tap into who they were and where they came from, they were cutting down onexpenses at the same time.

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

But is the cantina still a place that reflects identity? Recipes have changed from thehomeland, as immigrants have had to use local products they could find here in Canadato 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-Canadianidentities are being enacted.”

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

When Italians started to come to Canada, theyimmediately began growing, preserving andstoring their own food as they worked towardliving a better, richer life where they wouldn’t

go hungry again.

Today, many older Italian-Canadians still maintaina cantina – their way of practicing “Slow Food” longbefore it was a marketing buzzword. “Slow Food isabout having a firsthand connection to your food,”Szanto says, adding that every family has its owndistinct recipes and methods for preserving home-

made foods in their cantine.

“

“

“

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LA CANTINA

The Italian wayThough Italian immigrants weren’t able to bring much in their trunks andsuitcases on the voyage to Canada, nestled among their belongings weremany of the same things: hopes, dreams, skills, memories and traditions toserve them as they built a new life in Canada. Among the many traditionsthat survived the move is that of the family cantina, still alive and welltoday in many Italian households across the GTA.

La Cantina By Sarah Mastroianni Photography by Gregory Varano and Giulio Muratori

J ust as the dinner table is an integral part of Italian culture, so is the cantina, whichhouses and protects the delicacies that are then proudly offered upon the tablefor friends and family to enjoy. “For me, the cantina is very convenient,” MariaGrazia Riverso says. “Anything we have to keep cold, we keep it in there – sauce,

wine, salami, and sometimes crushed grapes.” While the cantina is convenient, it doesn’t have to be modern, according to Riverso,

who lives in Vaughan. “You could put tiles in, but it can’t be finished like the house. It’sbetter to leave it a bit rustic,” she advises. In the country where many immigrants encoun-tered various modern conveniences for the first time, the rustic cantina still merits a men-tion among household conveniences even today.

At the Oakville home of Maria and Pasquale Pelusi, who also make and store theirown wine, oil, vinegar and sauce, the cantina plays an important role in their family’s dailylife. “When I have a house, I have a cantina,” Maria says. “Even our daughter has one.”

For Woodbridge resident Joe Coppola, the cantina is more than a convenient storagespace; it’s a place to showcase the work that goes into making the food staples that are thebackbone of Italian culture. “We make our own pasta, our own peaches, pears and straw-berries. It’s nice, but it’s hard work,” Coppola explains, adding that he and his wife also pro-duce roasted peppers and eggplants as well as three different types of sauce.

Despite the hard work, Coppola assures that all his efforts are worth it: “There’s noth-ing better than what you do for yourself. It’s better than what you purchase. I know thehard work that went into it.”

If it wasn’t evident before, Coppola makes sure there’s no mistaking how he feelsabout his cantina. “My cantina is the proudest thing I have here,” he explains. And it shows.

But it’s not only pride in his work that makes his cantina important to him – it’s a

deep appreciation of the wholesome food and wine he produces and stores there. WhenCoppola eats food from his cantina, he says, “I know exactly what I’m eating or what I’mdrinking. It’s beautiful to keep up the tradition because it’s an all natural thing.”

Rosario De Simone, who lives in Innisfil, feels the same way. Talking about the var-ious foods and wine he produces for his cantina each year, De Simone is sure to add,

“I keep everything original. I don’t putany additives, nothing.”

In today’s day and age, where “organic” is an expensive buzzword and organicfoods are not the norm, the cantina’s stocked shelves serve as a reminder of the sim-plicity and goodness of the Italian food-making tradition.

Similarly to Riverso, Coppola, and the Pelusis, De Simone uses his cantina as astorage spot for the many things he produces at home: olives and sausage, to name afew, and of course, wine. “Where else would you keep it?” he laughs, referring to thedamigiane of homemade wine he produces each year. He’s not a fan of the store boughtstuff, but rather “the good stuff,” which can be found in his cantina. “Everybody likesthe good stuff. It’s work though. If you want to keep the tradition alive, you have tokeep working,” he says.

In addition to the wholesome stockpile of food the cantina provides, De Simoneviews his cantina as a link to his past. “I came from the old country,” he explains.

Rosario De Simone



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LA CANTINA

“I tried to keep the traditions that were there. It’s how I wasbrought up. If you really want to keep your roots, then that’s howyou do it.”

Pasquale and Maria Pelusi, both of whom fondly recall hav-ing a cantina in their respective family homes, are of the samemind. They maintain the importance of the tradition within theirfamily. “We grew up like that,” the couple states. Maria adds, “Forme, it’s important to keep the tradition.”

In the hearts and minds of many Italians of a certain age,the cantina means more than just carrying on a tradition – it’s aplace steeped in memories.

“I was always with my dadand his wine. I had to be there[in the cantina] helping him,”recalls Coppola. “As you grow older, you say, ‘It’s beautiful

that we brought with us all that we learned from our parents,’ ” hesays and adds that he hopes the new generations will continue tokeep a cantina in years to come – a sentiment echoed by Riverso,De Simone and the Pelusis. “If we don’t do it,” explains MariaPelusi about keeping up the tradition of the cantina, “our kidswon’t do it, then our grandkids won’t even remember what it is.”

The culture of the cantina has remained so deeply woveninto the fabric of life for Italians even after immigrating toCanada, that both Coppola and De Simone wouldn’t consider

purchasing a house that didn’t have one. “No cantina, no deal for the house,” De Simonerecalls saying when he was looking for his most recent home.

According to Coppola, his house-hunting criteria were much the same. “That was pri-ority number one!” he laughs. “I made sure it had a cantina. I wouldn’t do without it.”

But Pasquale and Maria Pelusi warn that not all cantinas are created equal. It’s some-thing they learned the hard way when they moved into their current home expecting thecantina to work the same as the one they’d enjoyed in their previous house. “In the newhouse, the cantina’s not the same. I don’t know why,” explains Maria, who was very disap-pointed when the salami they cured didn’t turn out the way she had expected.

In order to combat this possible problem, De Simone uses a dehumidifier in his cantinaand keeps a vigilant eye on the amount of moisture in the air. He explains that the level ofhumidity has to be just so in order for his meats to cure properly – a little bit of science woveninto the art of keeping a cantina.

In De Simone’s opinion, all the talk of tradition, hard work and wholesome food boilsdown to one simple sentiment. Why keep a cantina?

“If you want to do things the Italian way,” he says, “you must have a cantina.”

The passion with which Riverso, Coppola, De Simone and the Pelusis speak abouttheir cantinas only reinforces the idea that even in Canada, the tradition of the householdcantina has remained central to eating well, living well, and being Italian. Viva la cantina!

“In the new house, the cantina’s not the same.

I don’t know why.”

Joe Coppola

Maria Grazia Riverso

Pasquale Pelusi



LA CANTINA

The ABCs of Homemade Prosciutto

Recipe by Giuseppe and Sergio Mattoscio Photography by Michel Ostaszewski

Prices vary from $90 to $110 for an entire “prosciutto canadese” andfrom $130 to $150 for its Italian counterpart, while raw ham (hind leg or thigh) can be found at any butcher shop for approxi-mately $3 per kilo (around $40 for a whole leg).

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

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

Directions on preparing the meatMake 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 orBolognese. 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 legbone as closely as possible without damaging the meat around it. You will then reach a joint bonethat will detach itself quite easily. You want the leg bone to be exposed in order to help the dry-ing 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 withyour 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 bladein the hole to make sure it is wide enough. This is where you will be hanging the prosciutto fromfor the drying process.

Prosciutto is a common staple in Italian households. Often associated with therenowned antipasto duo of prosciutto-melone, there are tons of ways to enjoythis seasoned delicacy, the best probably being alone or in a tasty panino. Whilemost would tend to buy it sliced at their local butcher shop, others will ventureinto curing it themselves in their own cantina for a fraction of the cost.

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

• “S” hook• Butcher twine• Boning knife • Pan for salting


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LA CANTINA

Salting and seasoningThe amount of time that the prosciutto isusually salted is determined by the weight ofthe ham. Salt it for one day per kilo of itsweight (approximately two weeks for 13 kg).Place the meat on a large pan and cover itwith coarse salt, making sure you coverevery hole and crevice of the ham. After thistime, wash the salt off with lukewarm waterand then rub it with white wine.

Once ready, tie a rope through theankle hole where you will be hanging theprosciutto from. Finely chop garlic and useit to fill the hanging hole and to rub aroundthe joint bone. This is done as a preventativemesure to repell insects. Then rub withwhite wine and season with a mixture of thepaprika, chillies and pepper all over the pro-sciutto leg before hanging it.*During the salting process, the meat willexpel its fluids. You can use this liquid toremoisten the salt if it gets too dry.

Hanging and agingYour prosciutto is now ready to be hung.Use a “S” hook to hang it from your cantina’sceiling. Do not forget to write down the date so you can monitor it. Your prosciuttoshould be ready in approximately twelvemonths.

Tips for cutting and slicingthe meat The best way to slice and serve prosciutto isby cutting it a chunk at a time, leaving therest hanging. This will also make your bone-less “prosciuttino” easier to slice with asharp knife or on a slicer. *Tip: Before placing your prosciutto back on itshook, cover the exposed part of the meat withvegetable fat (Crisco). This will prevent themeat from drying and keep your prosciuttofresh until the next time you dig into it.

Simply put, a cantina is a coldplace to store or age cured meats,

canned goods, beer and pops,homemade wine, jarred tomatosauce, 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. Anyunheated space in your basementor space under a porch can easilybe 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 minimalamount of natural light, be as

cool as possible and have adequate shelving.

View video of entire process online.

What is a Cantina?

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

LA CANTINA

Guide to Homemade Capicollo

A lso known as coppa, capicola, orcapocollo, capicollo takes its namefrom the cut of meat that consists ofthe upper portion of the pig’s neck

(collo) and shoulder. The meat is salted and massaged before beingstuffed into a natural beef casing. It is then sea-soned with various spices and aged for approxi-mately two months. Here’s a guide to making this Italian classic in thecomfort of your own cantina.

Ingredients

• 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

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

SaltingPlace the capicollo on a large pan and uniformlycover it with coarse salt. Salt it for one day per kiloof its weight (one to two days for 1.5 kg). After thistime, wash off the salt with lukewarm water.

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Recipe by Giuseppe and Sergio Mattoscio Photography by Michel Ostaszewski




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LA CANTINA

Marinating and seasoningPour two cups of white wine into a large bowl. Addin each dry ingredient separately, whisking eachtime to prevent clumping so the marinade willspread evenly on the meat. Once it reaches asmooth consistency dunk the meat into the bowland allow it to marinate for about 30 seconds, turn-ing once or twice to make sure the capicollo is uni-formly covered.

If you are planning to build a cantina, werecommend checking out other cantinefrom people you know to get a sense ofthe size and type that would suit your

needs. Some entrepreneurs include themas a potential feature in their new

constructions. Usually built in the base-ment’s utility room, the cantina consistsof an insulated basement room (exceptfor walls facing outside) vented to the

outside. The floor (no ceramic) and wallsare poured concrete (and ceiling if the

underside of the porch) and couldinclude a window.

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 meas-ure the humidity. If you have a concretefloor, you may have to work to increasethe humidity. Some ways of achieving

this include keeping buckets or flat containers of water in the cellar, or byhanging wet blankets in the cantina.

If you have gravel flooring, you may wantor need to pour water on the gravel

cellar floor.

Ventilation is also important to a successful cantina. Proper air circulationhelps prevent mould growth, and alsomoves ethylene gas out of the cantina.Ethylene gas is given off by fruit and

vegetables as they ripen and can causeother vegetables to sprout. Always use a

ventilator when aging cured meats inyour cantina.

Building a Cantina

Stuffing the beef casingTo discard impurities rinse the beef casing twice byfilling it with lukewarm water. Tie one end of thebeef casing with butcher twine. Stretch the remain-ing opening and roll the casing, as if putting on asock, in order to slowly slip the meat into it. Knockoff the excess marinade from the meat before push-ing the capicollo into the beef casing. Don’t try tofill it all at once as it won’t work. It’s better to pro-ceed a bit at a time. Once the capicollo is inside the casing, grab the top end of the casing and give it alittle yank to make sure that the meat moves all theway down.

Then tie the loose end of the beef casing witha double knot making sure there is as little air aspossible left inside. Cut off the excess butchertwine and beef casing. You are now ready to fit thecapicollo into the net. * You can find beef casings at every butcher shop.You can also use synthetic casing especially made forcured meats, but it is usually much more expensive.Both are very effective.

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

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

Slide down the open end of the net onto thePVC pipe along the sanded edge to prevent the netfrom ripping. Once pulled properly, the grid of thenet at the bottom of the PVC pipe should be tightlike the net of a tennis racket. Put the PVC pipe ona table with the net facing down. Then drop thecapicollo into the tube and shake the pipe in an upand down motion so the capicollo gets tightly tan-gled inside the net with no excess space, slowly let-ting the net slide off the tube. Once inside the net,slide the remaining part of the net off the tube andtwist it as tightly as possible around the meat. Tiethe open end leaving a loop for hanging.

Hanging and agingHang the capicollo for one week. Then press itbetween two planks of plywood and use heavyweights on top (concrete blocks, bricks, etc) foranother week. This will remove the remaining aircontained in the meat and give the capicollo itsflat, elongated shape. It is better to do this stepwith various capicolli to have a more even press-ing surface.

Once this is complete, hang the capicollo fortwo to three months depending on the weight.Make sure the capicolli are not touching to avoidmolding.

Humidity

Ventilation

The optimal temperature for a cantina is 1to 10 degrees Celsius. Building your canti-na below ground – ideally below the frostline – will greatly help in keeping it cool.Thermal mass, in the form of the struc-

ture, the concrete and the food itself, helpthe cantina retain the cold. During winter,

keep a jar of water in your cantina tomonitor the temperature. When the

water freezes, it’s time to close the vent.

Temperature



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LA CANTINA

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)

Homemade Sausage and SoppressataRecipe by Francesco and Carolina Caruso Photography by Michel Ostaszewski

No cantina is complete without a beautiful necklace ofItalian sausage and soppressata dangling from the ceiling.While you may need a more experienced pair of hands tostuff the casings correctly, making these Italian staples is arather straightforward process. The size of the casing willdetermine 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 adifference in taste at the end of the aging process.

Ingredients

• 1 whole freshly butchered porkshoulder or thigh (11 kg)

• 50 g black ground pepper • 50 g ground fennel seeds (can be ground with a coffeegrinder)

• 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)

Panoramitalia.com

Grinding the meatOnce the cutting is complete, start mincing the meat. Thefat should always be minced thinner than the lean meat.You should, therefore, select the appropriate die plates orlevels on your meat grinder. The fat should be at least halfthe size of the lean meat.

Place a bowl under the grinder’s hopper to collectthe meat coming out of it as you push the meat into thegrinder with the help of a sturdy wooden tool. Onceminced, weigh your meat and mark it down to ensurecorrect seasoning before transferring it into a large con-tainer for mixing and seasoning.* Meat Grinder: While slower, domestic kitchen foodprocessors will do the trick, but they usually don’t includea stuffing function.* An average hand-cranked grinder and sausage stuffertypically costs $50 to $60, while a good electric meatgrinder including sausage stuffer attachments will costyou anywhere from $200 to $500. You may find them inmost kitchen appliance stores.

Mixing and seasoningIn a large container, mix fatty and lean meats with alarge wooden spoon and start adding the dry ingredi-ents and the salsa di peperone. Count 10 g of fine saltfor every pound (450 g) of meat. Once all the ingredi-ents are roughly mixed together, continue mixing withyour hands to make sure all the ingredients are spreadevenly until your mixture reaches a thick texture.

Cutting the meatStart by carefully removing the skin of the pork shoulder and all theunwanted hard lard, ligaments and nerves from the meat. Divide thelean meat and the fat into two different containers. Both sausages andsoppressata should have a ratio of 10 to 25 percent fat for 75 to 90 per-cent lean meat. Keep all the white hard fat and discard all the fat thatis too soggy. Once you reach the bone (also called sacred bone) scrapeoff as much usable meat as possible. Make extra sure that there are nobones 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.




Filling and stuffing Replace the die plate from your meat grinder with yourstuffing tube (or use a separatesausage stuffer). Use a biggertube for the soppressata and a smaller one for the sausage.Once the tube is installed,lubricate it with a bit of oliveoil and slip the whole casingonto the filling tube makingsure you pull it all the way tothe end of the cylinder. Tie theend of the casing with a doubleknot to secure it and slowlystart pressing your meat intothe tube.

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

For the sausage, fill your casing in a continuous fashion in one long coil until thecasing 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 leavinga small loop for hanging. Then start making links to the desired length with butchertwine or by simply pinching off your coil dividing your links by spinning them betweenyour fingers away from you several times. Continue this way, alternating, until you get tothe 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 onehand, slowly letting the casing slide as it gets filled and twisting the sausage with theother hand as it takes shape.*If a casing breaks while you are filling your soppressata, you can always patch the brokenarea 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 processwith 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 themeat 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 surethe 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 theyare. 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 thismeans 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 shouldalways have a fan running to keep mould out of the cantina. The humidity levelshould always be around 35%.

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

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

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LIFE & PEOPLE

It’s not that Mauti has a full social calendar attending charity events —though she does — but, rather, she’s integral in organizing both, whichraise $3 to 4-million and $500,000 respectively.

Mauti has chaired the Kids Help Phone, York Region branch since 2004. She hasalways had an interest in helping youth, she says. “When you’re younger, youencounter bullying. That’s a reality, yet there’s a lack of awareness,” says Mauti. “I havealways had a soft spot for kids and maybe it’s because I don’t have them, but I recog-nized that at that age it can be so hard. Having somebody to listen, to pay attention canmake it a little bit easier,” explains Mauti. “Kids are often too embarrassed to go totheir parents or to their peers, who might not even be capable of providing answers oradvice,” she says.

This is where the Kids Help Phone, a national, bilingual and confidential coun-seling service offering advice by phone or online, 24 hours a day, 7 days a week, 365days a year. “And it doesn’t cost them a cent,” she adds.

As Chair, Mauti oversees the key fundraising initiative for Kids Help Phone YorkRegion, which raises the second highest dollar value after the Toronto branch’s annu-al fundraiser. Perhaps this is attributable to her unconventional approach, knowingthat those considering a 5km walk may be that much more motivated if there’s gelato,porchetta, panini and massages en route.

Mauti radiates thoughtful, genuine charm and this might explain why othersrally around her causes: CTV News anchor Lance Brown has served as MC, localpoliticians stop by and lend a hand, her own 85-year-old father is often cookingsausages on the grill, while her sister and brother-in-law are pulling shots of espresso.

Caffeine is something Mauti might need, though she strikes one as the kind ofperson who just naturally vibrates, drawing energy from her multiple passion projects.

She chairs the gala fundraiser for the new Humber River Regional Hospital, apart of a $225-million fundraising campaign for the $2-billion 650-bed hospital beingbuilt at Keele and 401. When it opens in 2015, it will be the second most digitallyadvanced hospital in the world.

Planning and executing these events could be a full-time job for Mauti, but she’sgot one of those too: For 27 years, she has worked with Bell Canada, having studiedbusiness at Humber College. She is presently a right-of-way manager, negotiatingeasements and negotiating infrastructure in new subdivisions and developments.

Her day job is perfectly at ease with her night (and weekend) job as Chair of theCommittee of Adjustments for the City of Vaughan, a position she’s held for 14 years,having been on the committee for 18 and politically involved for 25. “I think I mightbe the longest-serving Chair the committee has had and I was the first woman,” Mautisays. “Often, with the work that I do and my political involvement, I’m the onlywoman in the room. Most of the time I earn people’s respect and my peers are recep-tive, but you still have to prove yourself.”

She was raised to be tough, the first female born in four generations of her family(both parents hail from Veroli in Lazio), but she seems to be as comfortable holding herown against developers and talking land parcels as she is with more refined pursuits.

It could be argued that her passion borders on the religious and, in fact, Mautialso helps organize a winter dinner-dance and fall fashion show for her church, St.Margaret Mary in Woodbridge. “I’m in my element when I’m going, going, going.Some of my friends say they get tired just looking at me,” she laughs. “There are timeswhen, if I have too many nights off, where I’m not working or volunteering or at a galaor out with friends, I don’t know what to do with myself,” says Mauti. “So I figure, ifI’ve got the energy, use it.” And, quite clearly, she does.

putting thingsinto action

By Liz Allemang

It’s been a busy spring for Vaughanresident Mary Mauti: The first weekof May saw the culmination of ayear’s worth of volunteer overtime,first with the Kids Help Phone 5kmfundraising walk on May 5, then theHumber River Regional Hospitalfundraising gala on May 9.

Mary Mauti



FUTURE LEADER

Cristina TenagliaBy Vanessa Santilli

Cristina Tenaglia's Italian upbringing instilled inher the importance of hard work.

“Inmy professional career, it was a goodlesson that if I wanted a job, if I wanted an internship, if I wanted to

make it to this level, I was going to have to makea lot of sacrifices and work for it,” says Tenaglia, aremote host for CP24, where she works as a fieldreporter covering breaking news.

The daughter of Italian immigrants – hermother is from the town of Scafa in the Abruzzoregion and her father is from the northernregion of Trentino-Alto Adige – Tenaglia grewup in the city of Vaughan.

With hopes of being a reporter, she movedto Toronto to attend the Radio and TelevisionArts program at Ryerson University. Before join-ing CP24 in July 2012, Tenaglia had worked as areporter, videographer and anchor for CHCHNews in Hamilton as well as an associate pro-ducer and researcher for the Gemini-nominatedseries Silverman Helps, which aired on Citytv.“When you know you have to work hard to getsomewhere, it makes you a better reporterbecause you're not going to give up, you're goingto ask tougher questions, you're going to be driven and you're going to be relentless,” addsTenaglia, now in her late 20s.

On a daily basis, she's out in the field cover-ing news as it happens – anything from crime tosports to a day at the CNE, she says.

Recently Toronto Mayor Rob Ford tooknotice of her busy schedule. “He came up to meand said, ‘I see you on TV all the time, every-where. You work too hard.’” In her journalisticwork, she says she has a deeper understanding ofcovering various communities as both her parentsand grandparents were newcomers to Canada.

During her work on Silverman Helps, sherecalls receiving numerous calls – often fromimmigrants or elderly people who couldn'tspeak English very well – because they werebeing ripped off or taken advantage of. “I'm ableto relate to different different people becauseyou understand that your parents and grandpar-ents had to struggle in a way that some people

didn't have to,” says Tenaglia. “I think that's trueof a lot of children of immigrants.”

Throughout the many stories she's coveredto date, the overarching theme of loss has madethe biggest impact on her. “Sometimes, weeklyeven, I'll speak to families that suffer loss: theloss of a home or a pet due to a fire and – themost difficult – the loss of a child due to tragedy.I'm always amazed at the strength of these fami-lies and their resilience.”

She recalls covering a fire and standingnext to the homeowner who was watching hishouse engulfed in flames. “He said to me, 'I'mnot worried. My home can be replaced. My family is fine and that's all that matters.' I'll neverforget it.”

As a result of her hard work over the years,in 2011, Tenaglia was the recipient of the Radio-Television News Directors Association CanadaPresident’s Fellowship. Her prize includedattending the acclaimed Poynter Institute forJournalism in St. Petersburg, Florida, to furtherher training in broadcasting.

But amidst the busyness of her work inbreaking news, she spends lot of time with students hoping to pursue journalism; bothspeaking via telephone and meeting up in person.

“I find when I chat with people who wantto get into the business, a lot of times it's givingthem as a younger person more confidence toachieve whatever it is they want to do.”

Tenaglia feels this mentorship is impor-tant because it's a tough business to get intoand she's aware that parents are often wary oftheir children entering such a challenging field.“I always tell younger people that I speak to –my parents said the same thing – and frankly, Ididn't listen. You've got to do your own thing.”

For Tenaglia, though, one of the best partsof the job is being able to meet people shewouldn't otherwise have access to, such aspoliticians or interviewing lawyers duringcourt cases. “It's a great responsibility and agreat privilege.” P

hoto by Gregory Varan

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PA N O R A M I TA L I A . C O M32 PA N O R A M I TA L I A . C O M32

Sembrano nomi esotici, ma sono frutti italianissimi che solo fino aqualche decennio fa erano diffusi in tutta Italia e che Dalla Ragionecontinua a tenere in vita in un incantevole spicchio di territorio tra laToscana e l’Umbria, vicino a Città di Castello. Oggi sono poco più di un

ricordo lontano che si deve andare a ricercare nei chiostri senza tempo dei con-venti e nella memoria dei racconti degli anziani che inesorabilmente il tempocancella. “Tra gli anni Cinquanta e Sessanta mio padre si è reso conto che questoimportante pezzo della nostra cultura stava sparendo e ha deciso di mettersi allavoro per preservarne la memoria”, racconta Dalla Ragione, che nella sua tenutadi San Lorenzo ha creato una vera e propria oasi dove innesta e ridà vita a questialberi da frutto. Gli stessi che oggi sopravvivono in modo sparso e raro in mezzoai boschi e negli annessi dei monasteri. Proseguendo il lavoro iniziato dal padre,da oltre trent’anni Dalla Ragione va alla ricerca di mele, pere e fichi, così comedella conoscenza antica che permette di continuare a coltivare queste piante.“Fondamentali sono state le parole dei nostri nonni, che avevano ricevuto daipropri avi un sapere antico che è andato perso quando le nuove generazionihanno iniziato a lavorare in fabbrica e hanno ritenuto che questo sapere fosseinutile – racconta Dalla Ragione – se non addirittura qualcosa di cui vergognar-si”. Il passare del tempo ha reso sempre più rare queste memorie, unico resto diuna cultura orale che era stata tramandata di padre in figlio per secoli. Per questol’agronoma ha cercato altri indizi in ogni luogo, comprese le pitture commission-

Mangia come parli, perché se a paroleormai si sa che la frutta non è tuttauguale passare dalla teoria alla praticaè senz’altro più difficile. C’è riuscitaIsabella Dalla Ragione, che ha fattodella ricerca e della conservazione dei sapori perduti la sua missione. “I giovani non sanno più cosa siano unasorba o una nespola, e al giorno d’oggisi compra soprattutto con gli occhi”.


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

ate dai Medici dal Rinascimento in poi. Se oggi siamo abituati a un solo tipo dipera, che il supermercato ci offre 365 giorni l’anno, è solo perché non ci ricor-diamo più di quei frutti misteriosi che si vedono negli affreschi e che non sononati dalla fantasia degli artisti, ma nelle terre che i loro mecenati possedevano.“Oggi si compra con gli occhi”, dice Dalla Ragione, spiegando che vogliamo melegrandi e lucide perché ci siamo abituati a pensare che una mela debba essere così.“Ad esempio nessuno comprerebbe mai una ciliegia bianca, una varietà ormaisconosciuta, ma molto dolce e prelibata”. Oggi c’è una maggiore attenzione allaprovenienza di ciò che mangiamo e alla biodiversità, ma “le persone, soprattuttoin tempi di crisi, continuano a comprare i frutti più convenienti”, cioè quelli dellagrande distribuzione. Frutti privi di sapore, anche se tanti non sanno più cosa siperdono, anzi, dice Dalla Ragione, addirittura si lamentano che il sapore è trop-po forte quando assaggiano quello vero. Sapori perduti, insomma, di cui si èperso il ricordo. “La frutta che si compra al supermercato è coltivata con moltesostanze chimiche per allungarne la conservazione. In più la maggioranza nonviene nemmeno fatta arrivare a maturazione, ma congelata prima così da poterdurare per un anno intero”. Una logica difficile a cui sottrarsi, ma non impossi-bile. E a chi ci vuole provare, Dalla Ragione è disposta a vendere nuove piante cre-ate dagli innesti di quelle che lei ha salvato e che i più fortunati si possono met-tere in giardino. Dà consigli su come coltivarle? “Beh, è come se fossero le miefigliole, non le potrei mai abbandonare in giro per il mondo”.

Alla ricerca del sapore perdutoAlessio Galletti Foto di Alex Margineau

Se oggi siamo abituati a un solo tipo dipera, che il supermercato ci offre 365 giornil’anno, è solo perché non ci ricordiamo piùdi quei frutti misteriosi che si vedono negliaffreschi e che non sono nati dalla fantasiadegli artisti, ma nelle terre che i loro

mecenati possedevano.

“ “


P A N O R A M I T A L I A . C O M34

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Founded in 1946 by the brothers Bruto and Poerio Carlo Carpigiani (after thesuccess of their first automatic gelato machine, the Autogelatiera), the com-pany was instrumental in turning Italy into a country of 37,000 artisanal gela-to makers. But with the local market saturated, Carpigiani looked beyond

Italian borders to expand their business, and quickly plunged into an eager, untappedworld market. Not surprisingly, exports now make up 80% of Carpigiani’s business.

As Valentina Righi, Carpigiani Group's communication manager happily statesit, “Gelato makes everybody smile.” And perhaps this simple, immutable truth hasbeen key to the Gelato University’s burgeoning success. In a short decade, it hasachieved international recognition as a breeding ground for successful gelato entre-preneurs. And over the past few years enrollments have increased exponentially withstudents benefitting from the extensive training program, modern teaching methods,and a team of internationally renowned instructors.

“Carpigiani Gelato University is the most prestigious gelato school worldwide,”Valentina Righi attests. “This year the school organized a total of 590 courses in 10languages, for a total of 15,000 class days.” Located in Anzola dell’Emilia (Bologna),training is carried out at the university and in 12 other campuses located throughoutthe world. The full course of training requires five weeks.

Far from being a clever marketing ploy, Carpigiani embraces the idea of theGelato University as a true centre of higher learning. “We’re proud of our highly qual-ified, world-famous faculty,” Valentina Righi says. “Our instructors cover a wide rangeof fields: gelato, pastry, communication, marketing, and business. Their lessons arenot purely theoretical excursions, but rather practical, hands-on learning sessions.”Carpigiani is committed to give holistic knowledge about the gelato business, not onlyteaching how to make the best gelato, but also teaching students how to be successful

gelato-entrepreneurs. Righi adds that, “Gelato University students make an importantcommitment while attending our courses: time, travel expenditures, tuition fees. We’reall conscious of it, and the environment is very serious in order to transfer the maxi-mum amount of knowledge to our students. But every time we taste gelato, we smile!”

Of course gelato and ice cream are not synonymous. Gelato has less fat than icecream, contains less air, and is served at a higher temperature. Simply put, gelatooffers a richer, livelier flavour than ice cream. Carpigiani Gelato University teachesstudents how to make true Italian gelato (produced fresh daily in small batches andusually based on fresh ingredients) not its mass-produced, fattier, less tasty cousin,ice cream.

Perhaps Canadian James Coleridge, gelato chef and owner of the famous BellaGelateria in Vancouver, states it best: “The new world of gelato is a balance of protect-ing tradition while expanding exciting flavours that reflect the culinary world.” Heshould know. Coleridge, who worked for National Geographic, went from mountainclimber to gelato-master and entrepreneur, improbably winning the 1st “MaestroGelatiere Award” at the Florence Gelato Festival last May with his dazzling ToastedPecan Gelato. “We gave James a special award,” Valentina Righi points out. “He’s ourGelato Pioneer – The Father. He's organizing gelato-classes for children, and we areproud of him.”

As for deeper incursions into Canada, Righi confirms, “We have manyCanadian students attending our courses at the Italian campus, but we will probablyorganize base courses in your country next year.” Meanwhile, serious Canadian students of gelato might well be tempted to enroll at the Gelato University itself andhop on a plane to Italy. Not a bad idea. Five weeks in Bologna intensively studyinggelato . . . hmm.

By Salvatore Difalco

The University of Gelato

FOOD & WINE

Leave it to the Italians to come up with an institute of higher learning for gelato. As the entireworld discovers the delectable ecstasies of this cool dessert, demand for both the product andthe art and science of gelato production has never been keener. Carpigiani, an Italian firm thatmakes ice-cream machines, presciently took up the challenge, establishing its Gelato Universityin 2003, with a uniquely global mission: “to convey the culture of quality artisan gelato and thepromotion of Italian gelato as a natural and flavorful food suitable for all cultures.”



FOOD & WINE

Fired up for Pizza

in TorontoBy Daniela DiStefano

It’s Friday night at Forest Hill’s DoppioZero Ristorante, and the tables are fillingin with parties savoring glasses of Italianwine as they await their entrees. To theback of the restaurant chef and ownerNick D’Elia and staff are pulling thin andcrisp pizzas out of the large oven thathas been fed all day with wood to keepthe flames bright and the temperaturejust right for the perfect pie. The air isbeautifully perfumed with the unmistak-able pizza aroma, and on an averagenight 100 pizzas will be turned out of theoven and onto the plates of eager diners.

Twenty years ago local restaurants with wood fired pizzaovens were limited, but the influx of openings in almostevery corner of Toronto has proven to be a welcomedand flavoursome addition for the city’s pizza lovers. It’s

now a hotbed for gourmet chains and family-owned restaurantsturning out pizzas from inside Italian-made fornos with toppingsand price points just as diverse as their clientele.

“Pizza is the ultimate comfort food,” says D’Elia, who hasbeen in the restaurant business for over 25 years. “People of all ages and from almost every part of the world enjoy it on a regular basis.”

A classic wood-burning oven pie is characterized by its thin,chewy crust speckled with black, leopard-like char marks and a ten-der dough centre cooked at around 650 to 700 degrees Fahrenheitanywhere from 90 seconds to two minutes. For the most part, thepizzaiolo will keep toppings simple with a sauce of Italian SanMarzano tomatoes, extra virgin olive oil, fresh mozzarella and abasil leaf that probably came from a Nonno’s backyard.

“You can’t compare to a conventional pizza,” says AndreaMugnaini, owner and founder of Mugnaini, a California-basedcompany that has been importing Italian-made ovens acrossNorth America for 20 years. “Cooking with wood releases aromaticflavours into the pizza, and the moisture in the cooking chamberallows you to bake quickly maintaining pizza dough tenderness.”

Mugnaini says pizza culture is seeing a popular return to theroots of the authentic Neapolitan pizza, which includes baking in

a wood fire oven. “Watching pizza being made is a little bit liketheatre and has historically been part of the experience sincepizza was first sold on the streets of Naples” she says. “Thesinging and the performance is entertaining for diners and bringsambiance to the restaurant.”

From the inside of some of the city’s most popular Italianrestaurants, the wood-fired pizza oven has made its way into thebackyards of the most discerning of pizza lovers. Ovens can bepurchased from a number of suppliers and manufacturers, but forsome like Joe Fusco, only Italian-made will do.

“The satisfaction of cooking and entertaining is what I lovemost,” says Fusco. “It’s become a focal point of the home and bringstogether the family for quality time.”

After noticing the growing popularity of outdoor ovens at thehomes of friends and family, Fusco purchased his own five years agofrom a local importer bringing in fire wood ovens from Italy.

“Once you can make it at home the restaurant pizza just isn’tas good,” says Fusco, who enjoys hosting summer pizza parties inhis backyard complete with white and red checkered table clothsand homemade menu cards. “We tweak each pizza with ourfavourite toppings, and with the aroma from the wood as thepizza is cooking and the set-up it’s like we’re in Italy.”

From Toronto’s trendy new pizzerias to backyards trans-formed into personal pizza-making paradise, the search for thefinest in wood fired pizza continues to ignite our cravings and ourtaste buds.

Pizzeria Libretto 221 Ossington Ave

550 Danforth Ave

Queen Margherita Pizza 1402 Queen St E 785 Annette St

Pizzeria Via Mercanti 188 Augusta Ave

Enoteca Motorino 4101 Rutherford Rd

Doppio Zero 530 Eglinton Ave W

Marcello’s 1163 St. Clair West

3175 Rutherford Road

Ice Cream Patio 5451 Hwy 7

Pizza Al Metro 7887 Weston Rd

Nino D’Aversa Bakery 3120 Rutherford Rd

Peperoncino Trattoria 200 Whitmore Rd

Wood Burning Pizzeria

s in th

e GTA



FOOD & WINE

Making Neapolitan Pizza Classics at Home

1.

InstructionsSet oven to 475 °C. Once dough* is ready, divideinto four pieces. Using the palms of your hands,begin stretching each piece separately into roundpizzas, about 12 inches in diameter, on a hard sur-face sprinkled with flour.

The pizza should be as thin as possible with a bitmore dough all around to shape the crust. If thedough gets too sticky, sprinkle with a bit moreflour. Gently brush dough with olive oil and startlayering ingredients. It is always preferable toblend the tomato sauce so it will spread moreeasily and evenly on your pizza.

Once you have topped the pizza, slide the pizzastone (or a baking tray with aluminum foil) on theupper third rack of your oven and bake for about10 minutes. Once the pizza is cooked, gentlybrush the crust with olive oil and broil on highheat for two minutes or until crust is golden.Carefully monitor oven to prevent crust fromburning. Rotate the stone to broil your pizzaevenly.

*Visit www.panoramitalia.com/en/food-wine/recipes/ for our pizza dough and tomato sauce recipe.

While tradition dictates that only themargherita and marinara can be desig-nated as true Pizza Napoletana, manymore varieties are now part of theNeapolitan pizzaiolo’s roster. Here’show to make four of them at home:

By Gabriel Riel-Salvatore Photography by Michel Ostaszewski



FOOD & WINE

2. MarinaraIngredients: Tomato sauce • 2 garlic cloves,minced • Dry oregano (to taste) • 2 tsps extravirgin olive oil.

3. Quattro FormaggiIngredients: Tomato sauce (though rarely used in Naples) • ½ cup grated mozzarella • 200 gcrotonese • 200 g Fior di latte or bufala diced •25 g parmigiano • 50 g gorgonzola • 2 tsps extravirgin olive oil • 6 basil leaves*The choice of cheeses is left to the pizzaiolo’sdiscretion, but generally includes at least somemozzarella and gorgonzola.

4. Ripieno al forno (or Calzone)Ingredients: Tomato sauce • 75 g provola (type ofsmoked mozzarella) • 25 g grated cheese (grana orparmigiano) • 50 g ricotta • 100 g salami, prosciuttocotto or small pieces of pork ciccoli • 2 tsps extravirgin olive oil.

Instructions: Spoon tomato sauce on to the centre of the pizza and then place the ingredientsin the middle of the dough. Don’t overstuff yourcalzone or it will end up soggy and hard to handleonce cooked. Flap your pizza dough in a semi-circular shape, carefully sealing the dough withyour fingers. You can moisten the edges of thedough with your fingers with a bit of water to helpthe dough flaps stick together. Pierce small holeson the top of the calzone with the tip of a knifebefore cooking it like a regular pizza.

1. MargheritaIngredients: Tomato sauce (San Marzano variety) • ½ cup grated mozzarella • 1 mozzarella di bufalacampana DOP or Fior di latte, diced or sliced • 2 tsps extra virgin olive oil • 6 basil leaves • Pinch of salt.

3.

2.

4.

TASTE IT! DISCOVER A

WORLD OF

FLAVOURS



FOOD & WINE

Perhaps Canadians heard through the grapevine that Italian wines are amongthe best for cost to quality or that Italian wines are continually improving,while becoming readily available. Whatever the motivation, Canadians areincreasingly reaching for Chianti, Pinot Grigio and other Italian imports.By

Liz Allemang

Increasing quality of Italian wine receivescheers in the Canadian market

Grape Expectations


Robert Beynat, General Manager of Vinexpo, the international wine and spir-its exhibition that occurs every two years in Bordeaux, France, notes thatwhile France remains the biggest supplier of wine in Canada in terms ofvalue, Italy has surpassed it as the number one supplier in terms of volume.

“The fact is that Canadians are buying more Italian wines. In 2011, for example,[Canada] imported 6-million cases, compared with 5.7 million from France,” saysBeynat. “If you look at value of wines imported to Canada, France has 35% more thanItalians, but that’s because the cost of French wines is higher.”

Roberto Martella, who co-owns Grano restaurant in Toronto with his wife Lucia,notes, however, that this does not mean that Italian wines aren’t good wines.

“There’s been a huge transformation from the exaggeration of cheap and cheerfulItalian wines in the ’80s,” says Martella.

Martella cites improvement in technology and technique as two pivotal elementsin the steady advancement of Italian wines, as well as the diversity of growing climates –“from the Alps to Africa” – but also, ashift towards celebrating previouslyunrecognized grapes. The latter providesanother point in Italy’s favour amongCanadian wine drinkers: choice.

“[The French] use about 15 varietiesof grapes commercially. For California,maybe nine. Italians have 100 varieties ofgrapes, which makes for a very interest-ing wine-producing country,” saysMartella.

“People have a respect for this diversity. We really have a grape from A (Aglianico)to Z (Zibibbo), with everything in between. There’s a depth, breadth and richness toItalian wine that reflects the culture behind it. This is an important aspect that I try tostress: A bottle of wine is a cultural window into Italy. It’s a product of its place.”

But not to be ignored is the value of Italian wines. Martella notes their “outstand-ing price to quality ratio.” Adding that one could get a good bottle from Abruzzo for $7,nearly unheard of in a context in which heavily taxed wines are primarily sold througha government monopoly.

Bruno Zaratin, Export Manager for the Santa Margherita Group, agrees. “I’ve beenin this business for 27 years and I am totally convinced that at this point in time, theimprovement in the quality of Italian wine has outgrown the increase in the price.”

Canadians are so committed to the pursuit of intoxicating pleasure that they arewilling to spend more than their foreign counterparts.

“Canadians prefer good wines and high-quality wines, and they will spend the

money [more than $10 USD according to a recent Vinexpo-commissioned study, a cat-egory into which most bottles in Canada would fall, while 60% of global consumptiontends towards bottles priced at less than $5 USD] on them,” says Beynat.

Such revelations came to the fore in Vinexpo’s 2013 report, conducted byInternational Wine and Spirit Research in London, which compiled statistics and madepredictions about global wine and spirit consumption spanning 2007 to 2016.

The report found that Canadians are drinking wine at an average rate of 15 litresper capita. While that’s considerably less than the volume consumed by individuals inItaly (50 litres), it’s a rate that’s growing faster than the global average: In the 10 yearsconsidered in the study, Vinexpo expects a 35% increase in volume drunk in Canada.Compare that to the 10% global average increase.

Zaratin represents a portfolio of wines including Santa Margherita’s best sellingPinot Grigio and Franciacorta, a sparking wine with DOCG status. Canada has been apart of his territory since he joined Santa Margherita seven years ago, and he notes that

he has seen a marked uptick in interestsince, specifically in Ontario andQuebec.

“I think there has been growth forboth Santa Margherita and Italianwines. This is particularly interesting inQuebec, where they have such strongties to [French] culture and language.People are still very much interested inFrench wine, but Italian wine is catch-ing up.”

Zaratin says he is not surprised. “People in Quebec know their wine well – they arevery Latin in the sense that they consume their wine with their meals,” he says. “Italianwine is so precisely made to pair pleasantly with food.”

“In Ontario [the popularity] also makes sense because there’s such a strong andproud Italian population, but our consumers now are a much broader profile than sim-ply those of Italian origin,” Zaratin says.

More and more Canadians are consuming wine on a regular basis. It is no longerreserved for “special occasions,” rather it is becoming an almost quotidianritual.

“People in Canada are starting to drink wine more regularly with their meals. Ithink this comes from people drinking wine with their meals in restaurants,” says Zaratin.“In the past people used to have spirits or, in many cases, beer. Now spirits are confinedto a cocktail before or after dinner, and when you look at tables in restaurants, it’s rare tosee a table without a bottle of wine.” And, increasingly often, that bottle is Italian.


FOOD & WINE

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Tel. 905.264.6008www.gvestate.com

Roner Grappa Gold

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Fin dal 1953 produciamo paneartigianale italiano fresco. Ilnostro impegno è garanzia diqualità, tradizione, passione edegli ingredienti più genuini.

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THERE’S A DEPTH, BREADTH AND

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LIVING ITALIAN STYLE

Robert & DanielProchilo

Age: 29 Generation: Second Mom and dad from: Reggio Calabria, Calabria Speak: English Raised in: Aurora

Nickname: Twin B, Pizza PizzaOccupation: Retail Passion: Family and sportsClothes: H&M jeans, H&M shirt,Lacoste shoesFavourite designer: DieselBoutique: H&MRestaurant: Gran Gusto Favourite dish: PizzaAbsolute must in the pantry:Chips AhoyType of wine or drink:Gin and tonic with limeLast time you went to Italy:2002Italian soccer team:Inter MilanSexiest Italian: Laura PausiniWhat you like most about ourmagazine: It really showcasesToronto’s Italian cultureBest way to feel Italian inToronto: Little Italy

Best pizza in Toronto:Dad’s homemade pizzaPet peeve: People who don’tpush in their chairsYou know you are Italian whenor if: Your hands do all the talkingYour fashion idol: DavidBeckhamMost common name in yourfamily: Tony and Cosimo (toomany to count)Italian artist or actor you wouldlike to meet:Eros RamazzottiFavourite Italian song: Azzurroby Adriano CelentanoFavourite Italian city: Reggio CalabriaIf never visited, which citywould you like to visit: VeniceBest memory growing up Italian-Canadian: Making homemade sausages

Nickname: Twin A, Pizza Pizza Occupation: CommunityRecreation CoordinatorPassion: Helping others achievetheir goalsClothes: H&M jeans, H&M shirt,Lacoste shoesFavourite designer: Burberry Boutique: H&M Restaurant: Napoli RistorantePizzeria (Niagara Falls)Favourite dish: Penne alla VodkaAbsolute must in the pantry:Nutella Type of wine or drink:Nonno’s homemade wine Favourite Italian saying:“Mannaggia!”Last time you went to Italy:2002Italian soccer team: JuventusSexiest Italian:Monica Bellucci

Best way to feel Italian inToronto: Being part of a Euro orWorld Cup event in Little ItalyThing about you that would surprise most people:I enjoy doing chores around the house Best coffee in Toronto:My espresso machinePet peeve:People who chew with theirmouths openYou know you are Italian whenor if: You have two kitchens inyour houseYou know you were raisedItalian when: You can only callthe dust pan the “paletta”Favourite Italian song:Gente di Mare by Umberto TozziBest memory growing up Italian-Canadian: Making sauce in the garage

Robert Daniel

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



LIVING ITALIAN STYLE

GraziellaNoto

Nickname: Gracie Occupation: Student at York University & CustomerRelations Coordinator at TD Canada Trust Age: 21 Generation: SecondMom and dad from: Caltanissetta, Sicily Speaks: English & ItalianRaised in: Woodbridge

Passion: Fashion, travelling and zumbaClothes: BCBG Max AzriaJumper & Belt, Michael KorsShoes, Tory Burch JewelleryFavourite designer: ValentinoStore/Boutique: MendocinoRestaurant: Dimmi Bar &TrattoriaFavourite dish: Nonna’s lasagnaAbsolute must in the pantry:Nutella & “S” CookiesType of wine: Pinot GrigioFavourite Italian saying or quote:“Gioia mia”Best way to feel Italian inToronto: Enjoy a gelato on St.Clair or College Street duringthe summerThing about you that wouldsurprise most people: I have an obsession with Betty Boop

Best coffee in Toronto:Espressamente IllyBest pizza in Toronto: TerroniYou know you are Italian whenor if: Every zio or cousin owns a paving companyMost common name in yourfamily: Graziella (4)Best Italian movie: La vita è bellaYou know you were raisedItalian when: Nonno’s zucchinigarden is bigger than any store selectionFavourite Italian song: I Belongto You by Eros Ramazzotti andAnastasiaFavourite thing about beingItalian: The culture’s emphasison family, maintaining traditionsand of course, food!Plans for the fall: Complete mydegree at York University

Nickname: Bex Occupation: Marketing & PR Age: 28 Generation:Second Dad from: Frosinone, Lazio Mom from: Catanzaro, CalabriaSpeaks: Italian & English Raised in: Toronto

Passion: Movies, cooking, philosophical studies Clothes: Robert Rodriguezdress, Balisi shoes, Pandora ringStore/Boutique: Anthropologie Restaurant: George RestaurantAbsolute must in the pantry:Spaghetti #7Type of wine: Nonnos’ homemade wineFavourite Italian saying orquote: “Se vuoi, puoi”Best Italian movie:Cinema ParadisoItalian soccer team: AC MilanSexiest Italian: Fabio Cannavaro What you like most aboutPanoram Italia: Relating to heartfelt stories, places, and foodBest way to feel Italian inToronto: To make tomato saucein the backyard with family

Best coffee in Toronto:Yorkville Espresso BarPet peeve: To be lied toYou know you are Italian whenor if: Your holiday plans includean Italian social club dance Your fashion idol: Sophia LorenFavourite thing to do in Toronto:Walk to Kensington marketMost common name in yourfamily: Giuseppina (3)You know you were raised Italianwhen: When you say sandwichand pronounce it ‘sangweech’Favourite Italian song:L’Italiano by Toto CutugnoFavourite Italian city: Venice Best memory growing up Italian-Canadian: My communionat the VaticanPlans for the fall: Salmon and steelhead trout fishing

RebeccaGuida

Photography by Gregory Varano Makeup by Desi Varano


FASHION

While the humidity characterizing this season may callfor a lighter wardrobe, the style options are by nomeans reduced. Now is the time when accessoriesarrive front and centre, adding personality where

clothing can’t. This climate inclines us to go “California” withwardrobe choices, looking to photos of celebrities caught out on thestreets of Venice Beach for a little inspiration. Take a cue from thestreet style of the bold and beautiful of the southwest and usevibrant colours, white linen shirts, khaki and denim as a palette forstandout handbags, conversation piece jewellery, aviators, strappysandals, and leather loafers – sans socks of course.

The ideal setting to show off your summer accessories is abeach getaway, which means you’ll need road trip essentials, a setof beachside fixtures and some trusty casual evening pieces. Whenit 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 andiPad covers; mid-sized shoulder bags; larger boho bags and wide-brimmed straw beach bags. High-street names like Dior, Mulberry,

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

By Alessia

Sara Dom

anico Accessories to Success

1.

2. 3. 4.

5.

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FASHION

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 wayalong the arm from the wrist right up to the shoulderwith metal charm bracelets and bangles being stan-dard for the girls. Take a cue from Dolce & Gabbana’sSicilian-inspired ads where supermodel Bianca Baltipiles on the gold and brass with old Italian coinsreflecting the rays of the sun.

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

Moving away from arm’s length, men have awealth of details to work with from smart baseballcaps to Panama hats, silk and linen ties in an array ofcolours and patterns, weaved leather and canvas beltsfor an island-bound flair and of course the many shoe styles that come with vacation wear: lace-ups, moccasins and breathable calfskin loafers from thelikes of Ermenegildo Zegna and Fratelli Rossetti.

The ladies also have it easy in the shoe depart-ment with ballerina flats, loafers and sandals in everypossible silhouette from flat to wedge and stiletto.Wrap a silk, patterned scarf around your head tocomplement a high ponytail or a messy bun and finish off with a pair of standout earrings, whethershiny studs or chunky, multi-tiered baubles embel-lished with colourful stones.

9.

Legend

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17.

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1. Mulberry 2. Max&Co 3. Ermenegildo Zegna 4. VivienneWestwood 5. Ermenegildo Zegna 6. Vivienne Westwood 7.Dolce & Gabbana 8.Dior 9. 10.Massimo Dutti 11.Paul Smith12. Versace 13. Longchamp 14. Max&Co 15. ErmenegildoZegna 16. Vivienne Westwood 17. Max&Co




ITALIAN HERITAGE MONTH


VIVA VITALITÀ A showcase of Italian and Italian-Canadian art

By David De Marco

The Viva Vitalità Art Exhibit has become a major event in the celebration of ItalianHeritage Month since its inception in 2011. This year, with great enthusiasm, the exhibit’scurator Marcello Tarantino, in collaboration with the National Congress of Italian-Canadians, Toronto District, has assembled a noteworthy collection of works by bothItalian and Italian-Canadian artists. Five renowned Italian artists will have their workshowcased: Gianfranco Antoni, Giulio Da Vicchio, Rodolfo Marma, Guido Borgianni, andGianfranco Frezzolini. These Tuscan masters distinguished themselves from the postwarperiod of the late 1940s up until the 1980s. The six Italian-Canadian artists presented areTony Bianco, Bruno Capolongo, Lorenzo Fracchetti, Silvio Mastrodascio, Sam Paonessa,and Giuseppe Pivetta, with art highlighting the nature of our multicultural society.

Opening Reception: Thursday, June 6 from 6:30-9:30pm • Location: Joseph D. Carrier Gallery at Columbus Centre • 901 Lawrence Ave. W. Toronto • (416-789-7011) • www.carriergallery.com • The exhibit continues until Monday, July 8

Guido Borgianni (New York, 1915 - Florence, 2011)

Borgianni studied art at the Academy of Fine Arts inFlorence. His passion for painting led him to travelextensively throughout Italy, France and Spain. In 1952,he was appointed to the Accademia delle Arte delDisegno of Florence. Many of his works are found in theGalleria d’Arte Moderna, in the collection of self-por-traits in the Vasari corridor, and in the GabinettoDisegni e Stampe in Florence’s Uffizi Gallery, as well asin numerous private collections.

Rodolfo Marma (Florence, 1923 - 1998)

Marma studied at the Academy of Fine Arts in Florenceand also attended the studio of Emmanuele Cavalli. Heparticipated in numerous exhibitions in Italy andabroad, especially in the United States, France andGermany. He received several awards and recognitions,including the Premio Vallombrosa in 1971. His worksare part of public and private collections in Europe andthe United States, including the White House inWashington, D.C.

Giulio Da Vicchio (Florence, 1925 - 1997)

Da Vicchio was the son of master painter FerruccioRontini. Born Giulio Rontini, he later changed hisname to Da Vicchio (after the town of his birth) so hewould not interfere with his father’s legacy. He isfamous for painting many splendid landscapes ofTuscany and Sicily, and after moving to Sicily, hefocused mainly on depicting fishermen and marketscenes.

Featured Italian Artists

Sponsored by:


P A N O R A M I T A L I A . C O M 45P A N O R A M I T A L I A . C O M


45

Gianfranco Antoni (Florence, 1925 - 1992)

Antoni lived and worked in Florence his entire life. He was known for painting witha free-spirited style that made him famous throughout Italy. The key subjects of hiswork were the landscapes of Tuscany and the everyday activities of the peoplearound him. His art can be found in public and private collections throughout Italy.

Gianfranco Frezzolini (Florence, 1929 - 1994)

Frezzolini became enamoured with the Florentine and Tuscan artistic world from ayoung age. While he remained loyal to its traditions, he also developed his own personal style, which garnered him admiration as a landscape artist. He held severalexhibitions in Tuscany and throughout Italy, France, Switzerland, Denmark, and theUnited States. Today, his paintings are part of public and private collections in Italyand abroad.

Bruno CapolongoCapolongo has spent most of his adult life travelling to Italy, most notably Rome,to study art. His work is amassed by private and corporate collectors alike, andhas been featured in over 125 exhibitions. In addition to being the recipient ofnumerous awards and honours, Capolongo has won the internationally covetedGreenshields Prize three times. He has also won consecutive first place awards forthe national Canadian exhibition and competition Evidence of Things Unseen.

Silvio MastrodascioMastrodascio has been active in the fields of painting and sculpture for over 30years. His art combines classical and contemporary elements, and is characterizedby simplicity of expression. Mastrodascio’s work is best described by leading arthistorian, Maurizio Calvesi: “Using a technique that reveals craftsmanship perfected over time, they reach out to us as if they were alive. A trait typical of anartist who looks into the soul of the persons portrayed to define their characteris-tics and mirror their emotional state.”

Featured Italian-Canadian Artists


Perfection

T m


Sam PaonessaPaonessa’s career began in Toronto as a junior layout artist followed by work as anillustrator at Hallmark Canada. For 30 years, he has created over 500 images forgreeting cards and various retail products. Over the past several years, Paonessahas also been sharing his talent by conducting demonstrations and teaching oilpainting workshops across the GTA. His pursuit of excellence has garnered theattention of both corporate and private collectors across North America.

Lorenzo FracchettiAfter studying art at the Academy of Fine Arts in Milan, and artistic design inSwitzerland, Fracchetti came to Canada in 1967. Working as a book illutrator in Canada’sArctic, Fracchetti became captivated by the natural beauty of its landscapes, people andwildlife. The Arctic has since become a major subject of his work. Fracchetti has heldexhibitions in Italy, Switzerland, the United States and Canada. His works are collectedby major corporations, as well as by astute private collectors around the world.

Tony BiancoEarly in his career, Bianco began experimenting with plein-air painting (workingdirectly from the subject, on location). This led to a life-long study of working fromlife, in the landscape, throughout all seasons. His series of pieces depicting Canada’snational parks is his most renowned work. It comprises over 120 paintings, and isentitled "A Portrait of Canada". It has exhibited in a number of museums and gal-leries across Canada. Bianco was chosen by the Royal Canadian Mint to design themillennium two-dollar coin. He has since designed a number of coins for the Mint.

Giuseppe PivettaPivetta was born in Villenouvelle, France, to Italian parents in 1938. He began hisartistic training at the Ecole des Beaux Arts in Toulouse. His work is found in manyprivate and corporate collections throughout Canada. Pivetta has taught paintingworkshops for numerous organizations, including the Toronto Separate SchoolBoard. His work has been exhibited since 1972, most notably at La Parete Gallery,Hart House, Joseph D. Carrier Art Gallery, and the Montreal Museum of Fine Arts.

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O ur final destination is an airplane hangar situated in themiddle of a field. Around the hangar are a small patio witha tent and picnic tables, a rustic home-style restaurant andbar, children running around and playing and the

approaching sound of a small Pilatus Porter PC-6 plane, followed by thesight of a dozen colorful parachutes dotting the surrounding skies. Thisquaint, out-of-the-way place is home to the Sky Dream Center, one ofover 50 professional Italian skydiving clubs whose existence is unbe-knownst to most Italians, let alone foreigners.

Skydiving, or paracadutismo for the Italians, is regarded as anextreme sport, but one that has seen increasing regulation and strictersafety codes applied to it over the years. An estimated 350,000 peopleskydive each year, 6,000 of which decide to take the plunge in Italy. Itmakes sense that this sport should have a strong Italian following, con-sidering the fact that parachuting has Italian origins.

The first parachute designs stem from an anonymous Italiansource during the Renaissance. Leonardo da Vinci would go on to refinethis design in his Codex Atlanticus (1485), complementing the scale ofthe chute with the weight of a jumper. Da Vinci’s parachute is held openby a square wooden frame, which renders the shape of the parachutepyramidal. The only known testing of this design took place in the year2000 by a British skydiver – luckily for him, it worked.

A skydiving activity is one of the more novel and feasible itiner-aries to accomplish on an Italian vacation due to the abundance of DropZones throughout the country. Locations, which are typically close tosmall airports, with ample landing areas for skydivers to safely practicethe sport. Some of the best known centers are located in the regions ofTuscany, Piedmont, Veneto, Lazio, Reggio Emilia, Marche, Campaniaand Sicily.

When it comes to the jumping part itself, there are many differentvariations from height to jump type. In Cumiana, dives take place13,000 feet from the ground. The tandem jump is essential and thesafest type for beginners. Tandem skydiving involves the studentbeing strapped to a professional instructor via a harness. Your job isthen to follow the basic instructions your expert first briefs you abouton the ground and then actively tells you to carry out once out of theplane. The major efforts that include the pulling of the parachute,piloting to ground and landing are handled by the instructor.

For my first tandem skydive, my instructor and I were the last toleave the plane. I watched as the first few divers slid the plane door openand felt the cold air whipping in. One by one, or two by two they jumpedout, seeming to be slapped to the side like hockey pucks. With a squeezeof encouragement from my coach, it’s our turn. I’m sitting on the edgeof the doorway, the different hues of green squares beneath my danglingfeet and then we let go into a freezing, windy blur, known of free fall.

Free fall is the minute or so in which a diver is falling through theatmosphere without the parachute deployed. The pinnacle point, knownas terminal velocity, feels as though you are supported by an unseen aircushion. This is the most intense and disconcerting moment for abeginner, in which they must maintain a horizontal position with theirelbows and forearms out at 90 degrees and their legs out behind them.Free fall is followed by the calm and majesty brought on by the floatingparachute. “Have you seen Titanic?” my instructor asks me and I immediately clue in that I have to play like Leo and stretch my arms out(King of the World style), toes pointed to the ground and enjoy thisunguarded state of suspension with the ground far below, the sight ofMonte Rosa off in one direction and the Po River in the other. The landing is soft, and comes far too soon.

Italian Drop Zones

By Alessia

Sara Dom

anico

We get a look at Italy from an entirely new vantage point, 13,000 feet from the ground

One fine Sunday morning my friend calls me up and tells me that our tentativeplans to go to the countryside are on. We were waiting on favourable weather andnow we had the go ahead thanks to some sunshine and clear skies. The purposeof the day’s trip: spend an afternoon in the municipality of Cumiana, in theprovince of Turin. A quick espresso and 30 kilometers later we’re driving on acountry road passing abandoned farmhouses and pastures with grazing cows and horses, all set against the magnificent backdrop of the distant Italian Alps.

Sky Dream Center – Cumiana, TurinFounded in 2002, SkyDream offers courses,

tandem jump and overnighthospitality as well as camp-ing in the summer months.

A selection of otherItalian Drop ZonesFly Zone Fermo

– San Marco, Fermo Three kilometers from theAdriatic shoreline, 60 kilo-meters south of Ancona.

A.S. Crazy Fly – Nettuno, RomeSkydiving school est. in 2000, 60 kilometers

from Rome.

Skydive SalernoSchool of Skydiving foundedin 1953, located on the gulfof Salerno by the beautifulcoastal town of Cilento.

Skydive SardegnaLocated on a farm on the

island of Sardinia, 23 kilometers from Cagliari.

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TRAVEL



TRAVEL


Alla scoperta della provinciadi Trapani fra spiagge

incantevoli e testimonianzedel passato

Fabio Forlano

Nel profondo ovest della Sicilia c’è un pezzo diisola capace di entrare immediatamente nelcuore di chi lo visita. Stiamo parlando dellaprovincia di Trapani, crocevia di popoli e mercima, soprattutto, scrigno di spiagge e panoramimozzafiato. Sole e bel tempo non sono certouna rarità a queste latitudini, tuttavia l’estate èil momento migliore per organizzare unavacanza. Se non altro per godere di un mareche ha pochi eguali in Italia.

Un tuffo dove l’acqua è più bluLa spiaggia più famosa e frequentata della costa nord occidentale è San Vito Lo Capo.La sabbia finissima e l’acqua cristallina la rendono una vera e propria bomboniera, unadelle fermate obbligatorie nel percorso alla scoperta del trapanese. Il luogo è benattrezzato per i turisti, anche per quelli che ambiscono a posti più selvaggi.

Non molto lontano da San Vito Lo Capo si trova Scopello, piccola frazione delcomune di Castellammare del Golfo. La particolarità di questa spiaggia è data dallapresenza di faraglioni che fanno da cornice allo specchio d’acqua antistante il borgo,dando l’illusione di trovarsi davanti a un golfo.

La Riserva dello ZingaroNonostante un grande incendio ne abbia distrutto buona parte della vegetazione, laRiserva Naturale Orientata dello Zingaro resta uno dei luoghi imperdibili per chi visita la Sicilia. L’area si estende per sette chilometri, da San Vito Lo Capo a Scopello,lungo un percorso fatto di calette e falesie. Percorrerla tutta a piedi richiede diverse orema per gli amanti del trekking si tratta di un’esperienza unica. Chi vuole semplice-mente passare una giornata al mare, invece, può scegliere una delle piccole insenatureche intervallano lo scorrere della costa. Le più importanti sono Cala della Capreria,Cala del Varo, Cala della Disa, Cala Marinella e l’incantevole Tonnarella dell’Uzzo.

L’incendio del 2012 non ha fermato le attività e anche quest’estate sono in programma escursioni, passeggiate notturne e uscite in canoa.

A contatto con la StoriaNella parte meridionale della provincia trapanese sorgono i resti di Selinunte, città grecafondata 650 anni prima della nascita di Cristo. La polis fu completamente distrutta, permano dei Cartaginesi, nel 409 a.C., dopo anni di splendore e ricchezza. Dopo una secon-da distruzione, ad opera dei Romani, la città non fu mai più abitata. Oggi le rovine sonoorganizzate in un grande parco archeologico, tra i più importanti d’Europa. Al centro dell’area spicca l’acropoli, sede di templi, altari e fortificazioni. Intorno al cuore della vecchia città, invece, sorgono tre colline: la Gàggera, la Mannuzza e la collina orientale.Tappa a EriceErice è una cittadina di origine fenicia, arroccata su un monte che porta lo stessonome. La città, difesa da bastioni e mura di cinta, è un labirinto di strade così stretteche, in alcuni punti, non riesce a passare più di una persona alla volta. Nell’antichità,Erice era nota come sede del tempio dedicato alla dea della bellezza, Venere per iRomani. Oggi al castello, conosciuto anche come Castello di Venere, oltre che a visitare memorie di ogni epoca storica, si può godere di un panorama mozzafiato cheva da Trapani alle Egadi.

Le isole EgadiChi volesse organizzare un’escursione per mare può fare tappa all’arcipelago delleEgadi. Delle Isole va sicuramente visitata Favignana. Un tempo sede di una delletonnare più rinomate del Mediterraneo, oggi ospita un museo che ricorda i tempidella pesca del tonno. L’ex stabilimento Florio mostra al pubblico le testimonianze diun’epoca florida per l’economia dell’intera Isola.

Molto suggestiva è anche la laguna dello Stagnone, specchio di mare caratterizzato da un fondale poco profondo e dalla presenza di quattro isolette. L’alta temperatura dell’acqua ha reso il luogo ideale, fin dal tempo dei Fenici, per la raccoltadel sale marino. Tra le tante saline che continuano, incessanti, la loro attività, allo Stagnone c’è ancora spazio per trovare qualche vecchio mulino che serviva per la macinazione.

A tavola con i prodotti tipiciLa specialità sovrana delle tavole trapanesi è senza dubbio il pesce. Quello azzurro diMazara del Vallo o il tonno rosso che ancora si riesce a pescare a Favignana. Una delleparticolarità è la presenza di un piatto arabo, come il cous cous, che qui è stato rivisitato con un condimento a base esclusivamente di pesce. Per il dolce, invece, latradizione porta a Erice dove si usano meglio gli ingredienti tipici della pasticceriasiciliana: la ricotta, le mandorle e i canditi. Come vino, ovviamente, non può mancare il Marsala, una vera e propria istituzione conosciuta in tutto il mondo.

Un’estate al mare di Sicilia


ARTS & CULTURE


Marco Tullio Giordana, all'ICFF di Toronto, chiede aiuto agli

Italiani all'estero

Oggi, purtroppo, ci siamo abituati. È stataproprio quella strage a inaugurare in Italia lastagione del terrorismo”. Era il 12 dicembre1969 quando a Milano una bomba fece

saltare in aria la Banca Nazionale dell’Agricoltura. Ilbilancio fu di diciassette morti e 88 feriti. Il registaMarco Tullio Giordana era lì, a pochi passi da PiazzaFontana. “Ho continuato a sognare quella scena peranni. Ho smesso solo dopo averla filmata, dopo averfatto esplodere quella banca per la seconda volta”. Ènato così, nel 2012, Romanzo di una strage, il film ded-icato alle vittime di Piazza Fontana che il registamilanese, invitato dall’associazione culturale L’AltraItalia, è venuto a presentare a Toronto nell’ambitodell’Italian Contemporary Film Festival.PI: Quel giorno era lì anche lei. Che cosa pensò?MT: All’inizio si sparse la voce che fosse stata una cal-daia. Ricordo la mia incredulità quando mi resi contoche era stata una bomba. Non potevo credere che fos-sero stati gli anarchici o delle persone di sinistra a farstrage di innocenti. Quando poi Pino Pinelli cadde dalquarto piano della questura di Milano e la polizia disseche si era suicidato, ebbi la certezza che non si stessecercando la verità, che ci stessero mentendo. Per capirequello che era successo ci sarebbero voluti molti anni.Sono riconoscente a quei giornalisti coraggiosi che dasubito misero in evidenza la matrice neofascista dellastrage e il tentativo di un colpo di Stato. PI: È cambiata la sua idea di Piazza Fontana dopoaver fatto il film?MTG: Oltre alle diciassette persone morte nell’esplo-sione, la strage di Piazza Fontana ha fatto altre due vit-time, Pinelli e il commissario Calabresi, ucciso nel ’72dalle Brigate Rosse. Da ragazzo anch’io lo ritenevo

“Prima di Piazza Fontana l’ideache qualcuno facesse delle vit-time innocenti era inverosimile,come immaginare un elefanteche nuota o un pesce checammina.

Una scuola di cinema inCalabria per "la megliogioventù"

Letizia Tesi

Little Italy on the Silver Screen

By Sarah M

astro

ianni

Why did he choose Il Gatto Nero? Ciccoritti,who grew up between what he refers to as“College Little Italy” and “St. Clair LittleItaly” explains, “Il Gatto Nero has been,

for me, my office away from office. I live a couple blocksaway from it. Ironically, when I bought my house I jok-ingly told my real estate agent that it couldn’t be any far-ther than two minutes away from Il Gatto Nero. In myheart it has a special place.”

But Il Gatto Nero wasn’t chosen simply for senti-mental reasons; it fit the bill perfectly for the type of filmCiccoritti wanted to make: a tribute to his generation, hisculture and his community. “[Il Gatto Nero] is groundzero for the English-Canadian film community,” he says.“It’s like a little village. It’s also a beautiful place as well.One of the best looking locations in the neighbourhood.”

Ciccoritti also admits that serendipity played its partin his selection of a location for filming. “I had the idea[for the film] while I was sitting in Il Gatto Nero,” herecalls. “It was always meant to be there.” So he wentahead, secured the location, contacted the actors andmade it happen.

The film, funded by Ciccoritti himself, centresaround the homecoming of Nino, an Italian-Canadianactor whose Hollywood successes have brought himhome to shoot a movie in Toronto. The entire plot playsout over the course of a single evening, during the after-hours celebration that Nino’s neighbourhood friends holdin his honour.

The film’s characters, whose occupations include

film director, reformed Mafioso-turned-chef, and cultur-al radio station owner, reminisce, discuss and argue abouttheir problems, each one of them with opinions to offerand a story to tell. Fueled by copious quantities of foodand wine, which are imperative to any Italian gathering,the old friends’ carrying on lasts until dawn. By the end ofthe film, problems are at least partially resolved and audi-ences have witnessed the characters re-examine the pathstheir lives have taken, and have seen them start to reeval-uate different aspects of the culture they’ve clung to for somany years.

In an attempt to create a film that is authentic andwhich mirrors reality, Ciccoritti employed a somewhatunorthodox method for writing the script; he let theactors improvise the scenes, then wrote around what theyhad done and worked from there. “Once I started to writeit, I knew that everything had to come from the heart,”says Ciccoritti with conviction. “Everything had to comefrom bits of reality so that the poetry and reality could allbe intertwined.”

Considering the storyline and type of characters itemploys, you’d think The Resurrection of Tony Gitonewould appeal only to a very small category of viewers.Ciccoritti is assured that this isn’t the case. Even non-Italian viewers have commented to him that the film hashelped them to understand what it’s like to be an immi-grant to Canada. “It’s been really gratifying to me to seethat my film doesn’t have a niche audience,” he says.“Although I’m being very specific, my hope is also that itwas going to reflect a larger ethnic Canadian culture.”

Already occupying a place in the hearts of many members of the Italiancommunity, Toronto’s Little Italy has also recently found a place on theCanadian silver screen. March 29 saw the release of Italian-Canadian filmdirector Jerry Ciccoritti’s latest project, The Resurrection of Tony Gitone(2012), which was filmed entirely at Il Gatto Nero Restaurant and Bar onCollege Street.


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

ARTS & CULTURE

51

“I grew up in Thornhill and, at the time, therewere few Italians living there,” says Fogliato.“When I was 16, my parents moved us toWoodbrige. The joke in the family was that

I was their last hope.”But the joke was on them. “As it turned out, I mar-

ried possibly the only non-Italian in Woodbridge,” saysFogliato, who now lives in Caledon with her 15-year-oldtwin daughters and husband and business partner, DavidMortin (together they run Enigmatico Films).

But Mortin is an honorary Italian or an Italianby osmosis. In fact, the couple’s first creative collabora-tion was a documentary about a Fogliato familyreunion in Piemonte in 1991. The two met at YorkUniversity where they both studied film (Fogliato hadpreviously completed an undergraduate degree in psy-chology and started a masters in social psychology).

Fogliato was about to enter the final year of herfilm degree, when her parents decided to head back tothe country – and family – her father had left behind toreunite with those members of his family whoremained near Turin. “When my father came toCanada, his family was split down the middle: threesiblings left Italy and three stayed. It had been 30 or 40years since he had left,” says Fogliato.

Rather than stick around and study film,Fogliato and Mortin decided to make one.

They spent three weeks in Piemonte producinga documentary, which focused on Fogliato’s aunt anduncle who lived on a farm that had been in the familyfor 500 years, and the life her father left behind for thenew one created when he immigrated to Canada.

“We called it The Good Life and we wanted toexplore who actually had it – those who stayed or thosewho left. My parents thought they would get it [bycoming to Canada], but there were certain things theylost,” says Fogliato.

The immigrant’s sense of identity is a theme thatFogliato has revisited in her career as a storyteller. Andthere is, perhaps, no more extreme and unexpected

unfolding of this subject than in her most recent film,Mad Ship, released this March.

Mad Ship takes place in the 1920s, with Danishactor Nikolaj Lie Kaas starring as Tomas, aScandinavian immigrant who comes to the new worldin search of a better life, only to find his dreams turn todust.

The struggle of trying to “make it” endures and– motivated by pride and shame contemporaneously –Tomas abandons his family on their small farm tosearch for work in the city, eventually landing a jobbuilding coffins.

His wife, Solveig (played by Norwegian actressLine Verndal) is left to care for their two young chil-dren, fighting her own sense of homesick exasperation,desperation and the misery of feeling relentlessly out of place.

She dies unexpectedly. Tomas returns to thefarm and, mad with grief, builds a ship to sail out of theprairie dust bowl amid the grim prospects presented bythe Great Depression, to return his wife home as shehad so longed for.

The story of how the movie came to be is almostas curious as the film’s plotline. Eight years in the mak-ing, it was developed with funding from Telefim, back-burnered for a few years, shot with support from afunding agency in northern Norway that took interestin the story – originally about a Finnish man (thoughthe Norwegians were quick to assure that their countryboasted a similar boat building tradition) – and intro-duced them to their producer for the film, a Canadian-Norwegian co-production, shot mostly in Manitoba.

“It’s a passion project. You know it has to havedepth and dimension,” says Fogliato. “But any film isreally. You have to believe in it intensely for it to bemade and for it to be made well.”

Patricia Fogliato’s

Mad Ship

By Liz Allemang When filmmaker Patricia

Fogliato’s two older sib-lings married non-Italians, her parents tookfate into their own hands.

responsabile della morte di Pinelli. Con questo film hopensato fosse giusto ridare dignità alla sua figura perchécon il passare degli anni mi sono reso conto che non eranella stanza quando Pinelli è volato dalla finestra. Nonriesco a capire perché, dopo così tanti anni, non sivogliano rettificare i giudizi sul suo conto. Quando siscopre la verità bisogna dirla. PI: Cosa rappresenta la strage di Piazza Fontana perla storia d’Italia?MTG : È stata il tentativo di un colpo di Stato per bloc-care l’avanzata delle conquiste sindacali e dei diritti del’68. Questo colpo di Stato non è riuscito perché larisposta del Paese fu di grande compostezza e di grande unità. I funerali delle vittime ne furono ladimostrazione: tutta Milano scese in piazza senza divi-sioni di partito. Io incontrai mia madre, una signorasessantenne che non mi sarei mai immaginato di vederelì. E invece c’era anche lei con le sue amiche. Tutti a con-dividere il dolore e a difendere la democrazia. PeròPiazza Fontana è stata anche una grande battuta d’arresto. L’Italia, dopo, non si è più riconciliata, èdiventata più triste, più diffidente.PI: Se fra vent’anni dovesse descrivere l’Italia di oggiquale fatto storico sceglierebbe?MTG: Con questo film chiudo una stagione del miolavoro. Vorrei non raccontare più le pagine dolorosedella storia del nostro Paese. Mi piacerebbe raccontareun segno di speranza, che però ancora non vedonell’Italia di oggi.PI: Nel suo futuro c’è il progetto di una scuola di cin-ema in Calabria. Perché chiede aiuto agli Italianiall’estero per realizzarlo?MTG: Perché penso che gli Italiani migliori siano fuoridall’Italia. Ed è a loro che chiedo di aiutarmi a riportarenel nostro Paese l’ottimismo e la voglia di fare. Ho scel-to la Calabria perché è una regione segnata da moltipregiudizi. Invece sono state proprio le comunità deicalabresi a dare esempio, fuori dall’Italia, di capacità dilavoro, di intelligenza e di spirito d’adattamento. Lascuola è un gesto di ottimismo che voglio dare al mioPaese prima di diventare troppo vecchio.

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ARTS & CULTURE


Since then, Daniele has continued to expand his melodic palette by collaborat-ing with several international artists like Luciano Pavarotti, Eros Ramazzotti,Wayne Shorter, and Pat Metheny. And on June 24, Daniele is bringing his distinctive music to Toronto’s Nathan

Phillips Square for the TD Toronto Jazz Festival. Prior to his visit, Panoram Italiatalked to the Neapolitan singer/songwriter about his achievements and inspirations.

PI: Where did the idea for your latest CD, La Grande Madre, originate?PD: It’s a record that’s connected to jazz, the blues but also to the Mediterranean. Itrefers to the Earth as well as our roots. It’s also the mixed blood of music. Italy is thecentre of the Mediterranean. Its culture has not only been affected over time andinfluenced by Arab as well as African and European music, but also by the blues andAmerican music. All of this is part of our modern musical culture. All of this, for meis La Grande Madre.

PI: Your song “O Fra”attempts to rediscover Parlesia. Can you tell us more aboutParlesia and why you felt it was necessary to revisit this lost language?PD: It’s just a Neapolitan slang used by street vendors and musicians in order to trickcustomers. They didn’t want others to understand them. The song itself is not just atrip through musical notes, but also through memories, encounters, and language. Iwanted to revisit the past generation and my childhood growing up in Napoli.

PI: You’ve been successful for over three decades. What is it like to be an artist inItaly in 2013, and how has it changed since you first started?PD: I’ve seen many things change. I must say that no matter what has happened myresearch hasn’t changed after all these years, neither has my hunger to create music.I still feel part of the old generation – a relic that has survived over the years. But Idon’t like to consider myself an Italian artist. I feel very connected to the entireworld. I like to consider myself as a universal artist, in touch with all cultures andpeople. That’s why I sing the blues, because everyone feels them. Essentially, I don’tthink I fit within the Italian panorama, more like a “fish out of water.”

PI: After all of the songs, tours, and albums, what is your favourite or most sen-timental song that you have recorded?PD: I have two. The first is the song I wrote for my city called “Napule è.” The otheris “Yes, I Know my Way” because it’s more of a rock song and I love to play the guitar. Whenever I hear them, I get memories from when I was just a young kidstarting out.

PI: What emotions come over you when you hear 60,000 people sing “Napule” atthe San Paolo Stadium in Naples?PD: To hear the San Paolo sing it in unison, I feel immensely proud as an artist butfirst and foremost as a Neapolitan.

PI: Are there any Canadian artists you would like to work with in the future?PD: There are so many great artists; I would love to work with Celine Dion — sucha beautiful woman with a great voice. Of course, in the past I did write the lyrics forGino Vannelli’s “Parole per mio Padre.”

PI: What can we expect from you on the night of June 24?PD: Spectators can expect a very Mediterranean world and feel, of course with my touch.There will be more songs that reflect who I am today, but also older songs that havedefined me. Lots of jazz and blues always provides a relaxing and pleasant atmosphere.

PI: What do you think of Toronto?PD: The first time I visited I thought it was very beautiful and big. I had the pleas-ure of visiting in the summer but I don’t think I could ever spend a winter there. It’stoo cold for my Mediterranean soul.

PI: You have a large following around the world, but how do you hope to reachthe third and fourth generations of Italian-Canadians?PD:With emotion and feelings. I feel that many third or fourth generation Italian-Canadians might think of Italian music as the stuff their nonni listen to, but Italyproduces incredible modern music, from blue to jazz to rock. I want to reach someof these younger generations, inspire them with a Mediterranean feel.

Pino DanieleBy Dante Di Iulio

For over three decades, Pino Daniele has success-fully created a unique brand of world music byblending pop, blues, jazz, and Neapolitan andMiddle Eastern sounds. His 1977 solo debut, Terramia, demonstrates Daniele’s "taramblù," a combi-nation of tarantella, rhumba, and blues.

Pino Daniele performs at the TD Toronto Jazz Festival on Monday, June 24 at 8pm

Legendary Italian musiciancomes to Toronto



ARTS & CULTURE

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What Cupo did want to work at was acting. Throughout highschool and into his twenties, Cupo’s passion for acting only grew.His parents urged him to complete his university studies beforepursuing acting full time, and they weren’t very happy with his

career choice. “No parent is happy the moment their child comes home to saythey want to be an actor or a rock star,” he admits. But in the end his parents weresupportive and proud of their son’s success. “Dad drove me to auditions and hehelped me with getting headshots,” Cupo remembers. And it paid off.

Cupo appeared in various TV shows and movies before taking a chance andaccepting an invitation to audition for the role of Cristiano in one of Italy’s mostpopular TV series, Elisa di Rivombrosa. He agreed to go, even though he spoke fewwords of Italian at the time. “I learned my lines phonetically,” he says as he laughsat the memory. “In hindsight I probably did a terrible job.”

But it was enough to land him the part and push his career to new heights.What was originally supposed to be a short stint in Italy to film Elisa turned into aseven-year stay for Cupo. He hired a teacher and got down to work learning Italian,which he now speaks with all the fluency and enthusiasm of a native speaker.

Living in Italy gave Cupo a sense of connection with his Italian upbringing.“The experience really made me a full-fledged Italian. I voted; paid taxes, really gota good sense of my Italian heritage. I greatly appreciated the fact that I was able toreally embrace being Italian,” he explains.

Immediately after returning to Canada, Cupo started working on Bomb Girls,the second season of which aired on Global this past winter. He was offered the partof Marco Moretti, an Italian-Canadian materials controller working at a munitionsfactory in Toronto during World War II.

During the series, Cupo’s character faces a number of difficulties simplybecause he is an Italian at a time when Italians were considered the enemy.Although his character is from a different era, Cupo feels connected to him. “Everytime they hand me a new script I’m so eager to see what’s going to happen to myown character,” he says. “I want justice for this character. I want to see him succeed.”

And Cupo knows very well that success comes after years of perseverance. Hisadvice for anyone trying to achieve their dreams? “I think that there’s no such thingas fate. You create your fate. You have to make it happen. If you really want it andyou proceed with honesty and integrity, you will achieve your goals. You’ve got tokeep pushing.” It’s certainly working for him.

Born in Vancouver to Italian parents,actor Antonio Cupo grew up with astrong sense of Italian culture andidentity. “I felt very Italian living in myhometown out west. Already thename puts you on a different playingfield,” he says. And although hepoints out that he always felt proudof his culture, he didn’t speak Italianmuch at home. “I didn’t really want todo the work,” he recalls.

Between takes withAntonio

Cupo

By Sarah M

astro

ianni

Photo by Pablo Hernandez


Western University

ARTS & CULTURE


“I talian culture is an important building block to North American culture,”explains Luca Pocci, Assistant Professor in the Modern Languagesdepartment. “It is omnipresent in day-to-day life.”

The plan was made official in January after faculty spent a year and a half tailoring the revamped Italian major to best suit student needs. The courses, whichwill be offered at the beginning of fall 2013, were designed to attract students froma variety of academic backgrounds and include topics on the Italian-Canadian community, Rome, women in Italian culture, and Italian opera, among a host of others.

One particular course that has always sparked interest from students is TheIntroduction to Italian Culture: a combination of Italian history topics that hasshaped and continues to influence art, theatre, politics, immigration, and more.The class delves into Italy’s history, from the Renaissance in Florence to contempo-rary Italian cinema. “Our role as a department is trying to expand on other programs,” says Yuri Sangalli, Assistant Professor in the department. “We want students to look at us as sending them from one subject to another.”

As a way of extending lessons outside of the classroom, the department offers year-round exchanges and summer abroad programs in Italy. Students can immerse themselves in Italy’s language and culture in Verona, Siena, Florence,

or Urbino. “Once you learn a language, it’s not just a question about words, but it’s the

way you think about things,” says Cristina Caracchini, Assistant Professor in the department. “It’s not just to better understand Italian culture, but their own culture.”

And students who are not enrolled in this program still have an opportunity to get a sense of Italian culture on campus with the Canadian-Italian AwarenessOrganization (CIAO) Western. The Italian student association, which was established in 2009, has grown exponentially in members over the past four years.

“We’re about bringing together the Italian community through awareness,events, and socials,” says Alyssa DeAngelis, co-president of CIAO Western. “CIAOgives students a chance to unite with others who share a love for their culture and to remind students that there is a strong Canadian-Italian community here atWestern.” From an intramural soccer team and briscola games to monthly Italiandinners and socials, CIAO strives to best represent Italian-Canadians at Westernand welcomes anyone who is interested in Italy to join.

Dedication to teaching and sharing the many facets of Italy is the root ofWestern University’s active Italian community. “There is an internal perspectiveabout any culture, but there are also clichés and biases,” says Caracchini. “We tryto teach the Italian language and culture from both sides, having students thinking about things they have never thought about before.”

Italian is alive, well and growingBy Stephanie Grella

Students can now feed their curiosity about anything Italian at Western University inLondon, Ont. In addition to having a thriving Italian student association, the school hasrecently expanded its Italian major program thanks to demand and growing enrollment.

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St. Clare Roman Catholic

Church celebrates 100 years

This year marks the 100thAnniversary of St. Clare RomanCatholic Church, located on St. ClairAvenue in the heart of Corso Italia.What started as a humble desire tocreate a new parish in the then out-skirts of the city has grown into avibrant parish that has answered thespiritual needs of its parishionersBy

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In 1913, St. Clare’s first Pastor, Fr. Edward McCabe, oversaw the construction ofthe church. It was designed by architect Arthur W. Holmes in theRenaissance Revival style, and remains one of the few houses of worship inthe entire city to be built in this manner. The cornerstone was laid by

Archbishop Neil McNeil on Sunday, August 17 of that year and Mass was celebrated inthe basement of the church until its completion.

In the late 1940s, the surrounding area of the church started to become predomi-nantly Italian. As a result, a need for masses in Italian became essential. By 1959, Fr.Giuseppe Sbrocchi began to celebrate Italian Masses in the church hall and the new com-munity embraced St. Clare Church more whole-heartedly. Soon, it became the pillar ofthe community, as the parishioners found a place where they could fully live out theirfaith and religious traditions.

After playing a crucial role in the church’s growth throughout the 1950s and 1960s,Fr. Mariano Polito was named Pastor in 1974. In fact, the splendid stained-glass windowdepicting The Prodigal Son is dedicated in his honour.

The ever-increasing influence of the Italian culture in the area eventually led to thechurch’s first Italian choir in 1976 under new Pastor, Fr. Giuseppe Dal Ferro. St. Clarecontinued to flourish throughout the 1980’s under the guidance of Pastors Fr. ErmidioCremona and Fr. Antonio Sandre, who touched many people with their inspirationalcharacters and wisdom.

In 1992, St. Clare was officially recognized as an historical building because of itsarchitecture and its abundance of historical artifacts including an impressive selection ofstained-glass windows, most notably the one depicting The Seven Gifts of the Holy Spirit.It was realized by prolific Italian artist Guido Nincheri, who came to Canada in 1914 andcompleted more than 2,000 stained glass windows in over 100 churches across Ontario,Quebec, the Maritimes and New England. The other note worthy stained glass work isof the church’s patron saint, depicted in the two windows directly over the main altar aswell as in a semi-circular one above the main entrance. The large clerestory windows havebeen dedicated to the memory of former pastors and parishioners, while the smaller onesportray the joyful and sorrowful mysteries of the Rosary.

In 1998, Fr. Ernesto De Ciccio became Pastor. He played an instrumental role inorganizing and completing a major restoration of the entire church. Today, the magnifi-

cent painting of the Crucifixion is back in its original location above the altar and theornate stenciling work has been beautifully restored to its former glory. On the east wallof the sanctuary, a vivid depiction of the Baptism of Christ serves as the backdrop for thebaptismal area. The two side alcoves contain the chapel of the Blessed Sacrament and theChapel of the Crucifix, both decorated with superb stencil work.

The present Pastor of St. Clare, Fr. Vito Marziliano, understands the importance ofSt. Clare and its 100 year history. “Upon entering the church, the faithful can feel theprayers that for the past century have been lifted up from these pews and these walls. Thewalls themselves tell of untold stories of all who over the years have found solace andcomfort, strength and hope in this holy place.”

Over the last century, St. Clare has celebrated a plethora of marriages, comfortedfamilies and individuals in moments of challenge and sorrow, and rejoiced with thou-sands in welcoming new life into their families. It has and continues to be the heart andsoul of its community.

Sunday, August 11, 2013 – Feast of St. ClareSolemn Mass to be celebrated at noon to mark the beginning of the 100thAnniversary. The new statue of St. Clare will be unveiled. Followed by receptionin church hall.

Sunday, September 8, 2013 – Feast of the Birth of MaryMass to be presided by His Eminence Cardinal Collins. Blessing of the new statueof St. Clare. Reception to follow in the parish hall.

Friday, October 18, 2013 – 100 Year Anniversary Gala at the Liberty Grand Tickets for the gala are on sale now. Tickets cost $150 per person. Please see thecontact information below to reserve a table or inquire about sponsorship levels:416-654-7087 [email protected] www.stclareparish.ca

In honour of St. Clare’s centenary anniversary, there will be a series of religious,social and cultural events, culminating with a gala celebration in October. Thegala is a very important event as it will help raise funds that will facilitate in maintaining the church and keep it financially stable.


EVENTS


Hats Off 2 Kidz Fundraising Gala

St. Clement Skate for ShareLife

May 3 marked the 9th annual Hats Off 2 Kidz Fundraising Gala for SickKids. Thisyear’s event, which raised over $60,000, welcomed 550 guests at ParamountConference and Event Centre in Vaughan. The gala is one of several events hosted bythe 12 member committee of women in support of Leukemia Research at the Hospitalfor Sick Children and the SickKids Foundation, which has so far raised over$1,100,000. The annual gala is an evening filled with great food, entertainment, prizes,special guests and a live auction, with all proceeds directed to the foundation.Deborah Bianchi, a childhood Leukemia survivor herself and president/founder of

Hats Off 2 Kid, said she started this committee to help give back to the hospital thatsaved her life. The title of the organization is a reference to empowering all the chil-dren who have lost their hair to chemotherapy treatments and wear hats or head cov-ers. “We can all agree that the most important thing in life is health,” Bianchi said,“and it is great to see a community come together for a common good. We all benefitwhen we commit to improving the quality of health care.” (Laura Nesci)

The first annual St. Clement Catholic Elementary School of VaughanFamily Skate and Hockey Night on April 19 was a success, raising $1,800for ShareLife and attracting 300 participants. “[We] hope to make this anannual event for the school and community and we hope that our effortsare certainly an extension of our compassion to help people in need,” saidPeter Morrone, the school’s principal. The event, which was conceived byChris Egizii and Richard de Thomasis, both teachers at St. Clement,included a family skate, a student vs. staff hockey game, as well as a raffleand refreshments. Students were an integral part of the event from help-ing to create advertising posters and acting as Masters of Ceremonies.ShareLife is a humanitarian relief agency that helps more than 40,000children and young people every year through outreach programs.(Laura Nesci)

Committee Members (from left): Angela Salerno, Maria Hughes, Anna Lombardo, Carm Rizzo,Rose Rizzo, Deborah Bianchi, Barbara Scrocco-Rizzo, Bianca Perro, Adriana Mandarino, PattyDeMarco-Caruso (missing from Committee photo Cristina Camilli and Livia Micoli)

Deborah Rizzo (Founder of Hatsoff 2 Kidz) and Vaughan MayorMaurizio Bevilacqua

Steve Anthony (from CP24) whowas the Master of Ceremonies (MC)for the evening.

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EVENTS


Ordine al Merito turns 25

More than 500 guests including Ontario Premier Kathleen Wynne paid tribute tothe 25th anniversary of the Ordine al Merito on May 10. The Ordine al Merito isawarded each year by the National Congress of Italian Canadians, Toronto.“The annual presentation of the Ordine Al Merito and the Youth AchievementAward is an opportunity for our community to unite in recognition of theachievements of our fellow Italian Canadians,” said Michael Tibollo, president ofthe National Congress of Italian Canadians, Toronto.

The event, which was held at Primavera Hospitality and Convention Centrein Woodbridge, also included the presentation of the 2013 Ordine al Merito toRon D. Barbaro and Sam Primucci, while Sara Dolcetti received the YouthAchievement Award.

In recognition of the 25th anniversary of the Ordine al Merito, a book waspublished featuring community leaders that have been honoured with the award.(Rita Simonetta)

This past April, Vaughan in Motion, a non-profit organization dedicated to support-ing cancer patients and their families, in the Vaughan community, has been workinghard to raise funds for the Mackenzie Health Foundation for Cancer Care.

The organization kicked off their annual events with a flag raising ceremony onTuesday, April 23 at Vaughan City Hall . The event, attended by Mayor MaurizioBevilacqua and Members of Council, marked April 22 -29 as Cancer Awareness Week.

A few days later, on April 28, Vaughan in Motion members, along with over 500participants marched together inside of Vaughan Mills for the organization’s annualWalk to Cure Cancer. Participants enjoyed great exercise while kids were entertainedby Doo Doo the Clown and Reptilia Reptile Zoo & Education Facility. Vaughan in

Motion co-founder and president, Peter Badali, was delighted with the turnout, stat-ing, “It was beautiful to see all the friends, family and nonni come out for the event.”

Badali confirmed that the Walk as well as the Vaughan in Motion’s annual Galato Cure Cancer (April 5) raised $45, 500. The funds will support the ChemotherapyUnit in the Mackenzie Richmond Hill Hospital, as well as a new cancer care facility orprograms at the new Mackenzie Vaughan Hospital.

Vaughan in Motion is still going strong — their annual Golf to Cure Cancer tour-nament is fast approaching on Thursday, June 13. The event will be held at RedcrestCardinal Golf Club. For more information on the event and how to join, visitwww.vaughaninmotion.com (Danila Di Croce)

The Board of Directors of The National Congress of Italian Canadians with past and present recipients and the Italian Consul Dott. Tullio Guma

Vaughan in Motion presents a cheque for $45,500 to the Mackenzie Health Foundation for cancer care in Vaughan

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The Ordine al Merito recipients: Sam Primucci and Ron D. Barbaro

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EVENTS


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St. Elizabeth Catholic High School’s Regional Arts Program celebrates 10 years

The Chocolate Ball

What a difference a decade makes. For the alumni, theirfamilies, staff and the community of St. ElizabethCatholic High School’s Regional Arts Program (RAP), aninspiring 10 years culminated into a celebration of success at The Royalton Banquet Hall on Friday, May 10. With over 300 guests in attendance – including alumni such as actors Paula Brancati and Amanda Cordner; singers Christopher Dallo, AndreaDeBartolomeo and Paul Fracassi; and musiciansAnthony Brancati, Michael Carbone and A.J Camuti Ing– the evening featured an antipasto bar, three-coursemeal, open bar, live and silent auctions, raffles, a band,live entertainment and DJ.

This unique program began after the York CatholicDistrict School Board realized how valuable enhancedcourses in dance, drama, instrumental music, vocalmusic and visual arts would be to the many talented andcreative students throughout the region.

“Research has shown that having arts programs inschools result in greater academic success and studentmanagement,” says RAP Vice Principal Fabian WalshRegional Arts. “Graduates are prepared to pursue a vari-ety of post-secondary options. The number of applicantshas steadily increased each year and our strong academ-ics and enhanced arts program guarantee the program’scontinued success.” Now that’s something to celebrate!(Andrea Lepore Querido)

Paola Brancati, school alumni andsinger/actress

From left: Paula Brancati, Alexandra Scaini, Michelle Janzen, Mara Fraccaro and Natalie Ciarallo.

Chocolate aficionados gathered at the 4th Annual “Choc ‘N’ Roll” Chocolate Ball onFriday May 10 to enjoy tantalizing appetizers, hearty entrees and heavenly dessertsall au chocolat. The event, befitting the treat’s noted health advantages, was held insupport of the Heart and Stroke Foundation.

“This is a unique opportunity to enjoy all things chocolate,” explains NadiaCerelli, co-organizer of the event. “We provide a spread of wall-to-wall chocolatestations including a delicious sit down chocolate-infused dinner.”

Guests sampled a myriad of goodies created by various local and award-win-

ning chocolatiers — everything from the organic, dark variety imported from SouthAmerica to edible works of art. Along with novel items such as chocolate pizza andrisotto with white chocolate, guests also indulged in traditional crepes, waffles, andcupcakes.

The gala, which was hosted by Chateau Le Jardin Conference and Event Centrein Vaughan, included dance performances by The Dance Company and live enter-tainment by The Rock “N” Ray Michaels Retro Rockers. Guests brought hometreats courtesy of door prizes, raffles and a silent auction. (Romina Monaco)

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The River Gala

Oh, what a night indeed. Frankie Valli & The Four Seasons came to town on May 9 aspart of the River Gala, which helped raise $624,000 to build and equip the new HumberRiver Hospital (HRH). The revitalization is taking place at Keele Street and WilsonAvenue, and the result will be North America’s first fully digital hospital.

“The leading-edge technology in the new hospital will be the tools that will enableus to provide high quality, safe care to our community,” Dr. Rueben Devlin, HRH pres-ident and CEO, told the 850 guests.

The event, which was hosted by Paramount Conference & Event, also included thepresentation of Humber River’s No Limits award to Frank Ciccolini Jr. for his dedicat-ed and passionate volunteerism.

“Frank has given selflessly of his time and energy to our hospital, and for this weare grateful. Humber River Hospital is a better place for his vision, passion and infec-tious enthusiasm,” said Heather Hurst, HRH foundation president and CEO.

The River Ball’s recent success is part of the Hospital Foundation’s ultimate goal toraise $225 million for the new state-of-the-art hospital. (Rita Simonetta)

All pictures cred

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Grammy Award winner Frankie Valli entertains the crowd at the 2013 River Ball insupport of Humber River Hospital.

Platinum Sponsor, Interior Systems Contractors Association (ISCA)

The River Ball Committee, from left to right: Gino Varone, Mary Mauti, Co-chair,Enza Fierro, Rhonda Devlin, Maura Miranda, Cathy Baxter, Co-chair, DonnaBattiston, Donna Rotundo, Rose Allison, Heather Hurst, President and CEO, HRHFoundation and Frank Soave. Absent from photo: Anna Scaini


EVENTS


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City of Vaughan Mayor’s Gala 2013

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The city of Vaughan celebrated its annual Mayor’s Gala in style this year at the Paramount Conference and EventVenue on Thursday, May 2. The gala raised a total of over $700,000 and included a live auction for a dinner withMayor Bevilacqua, which raised a record $300,000 for the Mackenzie Vaughan. All proceeds will benefit non-profit and community organizations that provide essential services to the residents of Vaughan. The evening’stheme was “The Art of the Possible” and showcased made in Vaughan talent. It also served to highlight thetremendous improvements that are now underway all over the city of Vaughan, which include the constructionof the Vaughan Metropolitan Centre, the subway expansion to Highway 7, the extension of Highway 427, as wellas the confirmation that the city will soon have its own hospital. “I am very proud of what we have been able toachieve in Vaughan, and the Mayor’s Gala is a celebration of our success,” said Mayor Maurizio Bevilacqua. “Thisyear’s theme speaks to the future of our community and I believe that the possibilities are truly endless.” TheMayor’s Gala is not only a celebration of the city’s achievements, but also a contributing factor in helping thecommunity as a whole. The event serves as the city’s foremost annual fundraising event, and by all accounts, theevening was a great success. (David De Marco)

1. From left: Minister of International Cooperation JulianFantino, Vaughan Mayor Maurizio Bevilacqua, VaughanMPP Steven Del Duca

2. Mayor's Gala performer, Marshall Davis Jones, a profes-sional spoken word artist and dramatic performer

3. Mayor Maurizio Bevilacqua delivers address at 2013 Mayor's Gala

4. Mayor Maurizio Bevilacqua and Gala MC RickCampanelli of ET Canada.

5. Mayor Maurizio Bevilacqua and Members of Council

6. Mayor's Gala performer, Dia, a Vaughan vocalist


SPORTS


MATCH DATE TIME TEAMS CITY

THIRD PLACE

SEMI-FINALSSEMI-FINALS

Brazil Japan Italy Mexico

1 June 15 15:00 Brazil vs Japan Brasilia

2 June 16 15:00 Mexico vs Italy Rio De Janeiro

5 June 19 15:00 Brazil vs Mexico Fortaleza

6 June 19 18:00 Italy vs Japan Recife

9 June 22 15:00 Italy vs Brazil Salvador

10 June 22 15:00 Japan vs Mexico Belo Horizonte

3 June 16 18:00 Spain vs Uruguay Recife

4 June 17 15:00 Tahiti vs Nigeria Belo Horizonte

7 June 20 15:00 Spain vs Tahiti Rio De Janeiro

8 June 20 18:00 Nigeria vs Uruguay Salvador

11 June 23 15:00 Nigeria vs Spain Fortaleza

12 June 23 15:00 Uruguay vs Tahiti Recife

MATCH DATE TIME TEAMS CITY

15 June 30 12:00 Loser 13 vs Loser 14 Salvador

13 June 26 15:00 Winner A vsRunner-up B

Belo Horizonte

SEMI-FINALSSEMI-FINALS

14 June 27 15:00 Winner B vsRunner-up A

Fortaleza

Spain Uruguay Tahiti Nigeria

GROUP A GROUP B

FINALMatch 16

June 30 18:00Winner Match 13

vs Winner Match 14 Rio De Janeiro

The tournament acts as a practice run of sorts for the host nation of theforthcoming World Cup. It’s held every four years, one year prior to theWorld 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 cham-

pionships: the Euro Cup, the CONCACAF Cup, the African Nations Cup, the CopaAmerica, the AFC Asian Cup, and the OFC Nations Cup. To bring the number ofcompeting teams up to eight, the Confederations Cup also includes the previousFIFA World Cup winner and the host country. Since Spain currently holds bothEuropean and World Cup crowns, the runner-up of Euro 2012 (Italy) was next in

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 onJune 22. The semi-final and final matches of the two-week long journey could poten-tially produce some awesome tilts between Italy and Spain, Brazil and Spain and a sec-ond 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 fanwill be heard bemoaning the onset of some much needed international action duringthe dormant summer months.

FIFA’s Confederations Cup has never been considered one of football’s greatcompetitions, but if Italy’s dismal 2009 showing in South Africa is anythingto go by, it does sometimes foreshadow performance in the following year’sWorld Cup.

FIFA CONFEDERATIONS CUP BRAZIL 2013

By Adam Zara

*All kick-off times are EST



SPORTS

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Enzo did not tolerate criticism, and proud Ferruccio did not take lightly to Enzo’soffensive response and promised himself to teach the Commendatore a lesson hewould not soon forget.

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

Proud as a raging bullThe 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 andasked Carrozzeria Touring of Milan to create the production version of the car. Therevised design, with its low, sleek profile, featuring the raging bull emblem on its hood,was unveiled at the 1964 Geneva Motor Show. The public’s response was quite satisfy-ing. As would be expected, Enzo Ferrari was not amused, noting along the way thatthis new Italian Gran Turismo car was equipped with an independent rear suspensionwhereas 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 thesleek and beautifully finished Lamborghini 400 GT were quickly sold. Ferruccio’s gamble was starting to pay off.

Magnificent MiuraAlthough it started with the 350 and 400 GT, the Lamborghini success story really took offwith 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 forposterior, and 400 for its 4-litre V12 located sideway in the rear, just behind the cockpit).

Dressed in stunning orange, the P400 hit the stage at the 1966 Geneva MotorShow to international acclaim, prompting movie stars and other ‘beautiful people’ torun for their cheque books. The car was nicknamed Miura in honour of Don EduardoMiura, the famous fighting bull stock breeder. Since then, most Lamborghinis carry thename of a fighting bull – a testimony to Ferruccio’s fascination with the wild animal. Asfor 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’ bya 350 hp V12 allowing the diminutive yet stunning car to race from 0 to 100 km/h in6.3 seconds and reach a top speed of 275 km/h. Some 47 years later, these figures arestill awe-inspiring.

A visit to Automobili LamborghiniThe Lamborghini factory is located inSant’Agata Bolognese, in that tiny trianglebetween Bologna and Modena, fittingly called“Terra di Motori.” A museum was opened in2001 to celebrate the new millennium and a new breed of supercars. The LamborghiniMurciélago was shown at the Museum first, against a backdrop of other preciousLamborghini treasures from the past, a collection which is nowadays admired byenthusiasts coming from all over the world.

Islero, Espada, Jarama, Countach, Urraco,Jalpa, Diablo, Murciélago and Gallardo areamong the models shown in the two-floormuseum, 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 gamblestill live on.

“I build sports cars. I suggest you go back to your tractors.” Coming fromEnzo Ferrari, this provocative response prompted Ferruccio Lamborghinito seek revenge by creating his own true grand touring sports car.

Lamborghini MuseumVia Modena, 12I-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

Photos and text by

Alain Raym

ond

Lamborghini: Ferruccio’s Revenge

Lamborghini Miura

Lamborghini Miura

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

L6A 4A1

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M6G 1Z6

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SOME WORKS OF ART YOU ARE ENCOURAGED TO TOUCH

LAMBORGHINI GALLARDO LP 560-4

©2013 Automobili Lamborghini L.L.C. All rights reserved.

This Italian masterpiece is not behind velvet ropes. So come closer

and touch it. Then, feel a delightful tingle run all the way down your

spine to your right foot. This time, art is definitely in the eye of

the driver. The 2013 Gallardo LP 560-4 is here. Drive it now to be

moved by beauty.

» Lamborghini

Authorized Dealer

Lamborghini Uptown Toronto

101 Auto Vaughan Drive

Maple, ON L6A 4A1

905-417-1170

gtamaple.ca

Lamborghini Toronto

740 Dupont Street

Toronto, ON M6G 1Z6

416-530-1880

grandtouringautos.com


panoram italia magazine toronto june-july 2013

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