italian food and culture

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Paolo Villoresi Publis her & Edi tor

May-June 2012

C IBOItalian Food and Culture

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CIBO Italian Food and Culture - Bimonthly Online Magazine

From Paolo Villoresi

CIBO becomes international! Yes: with

this Special issue on the Lunch Box, the

magazine will connect with the existing

groups of Lunch Box fans in different

parts of the world to give and exchange

recipes created or adapted to the mod-

ern day Lunch Box. There is a great

revival of this simple and healthy way to

eat lunch and it is just as important for children and adults.

Obviously the lunch box offers many advantages: you know

what your are eating, you eat what you prefer and it coasts

a fraction of a lunch in any restaurant or cafeterias. The

industry is producing new slick boxes, and new contempo-

rary nice and disposable products are available. And, believe

it or not, the tradition of the lunch box is only 4.000 year old

and rich of history and recipes. The trick of the success is in

the exchange: I give you recipes and info, you give me yours,

we exchange them with people in Italy, in England, in Japanand they send me theirs and I send them to you all. It is going

to be fun!!! Lets have fun together!!!

Contents

Text, Photography, Audio and Video copyright 2006 and 2010 by Paolo Villoresi.All rights reserved.

No part of CIBO: Italian Style for Body, Mind & Soul may be reproduced or utilized in anyform or by any means, electronic or mechanical, including photocopying, recording or by

any information storage or retrieval system, without permission in writing from the Publisher.

Published by: Italian Cooking Forum. First Edition February 2010

Address inquiries to info: [email protected]

Cover Recipe

Opinion

The Epicurean Traveler

On Wine

Tidbits

Another Italian Abroad

A Story in Your Plate

On Art

On Music

Beautiful Italy

Lo Storyteller

Encounters

Lunch Box

To subscribe to CIBO, please click here.

48 Tortellini in Broth

May-June 2012 Table of ContentsClick on a title to go directly to the article.

publisher & editor in chief - Paolo Villoresi

contributing editors:

wine: Marta Chiavacci Niccolo` Montecchi - Silvia Baracca food, culture & travel: Roberto Bernardoni - Marco Carli -

Elia Fiorillo - Giulia Givannelli - Serena Palumbo - Berardo

Paradiso Giancarlo Roversi - Arturo Valiversi.

cinema: Riccardo Jacopino health: Paolo Marzoppino

music: Cristiana Pegoraro art: Luisa del Campana

art Photography:Jeanne Newman

translator: Paolo Rossi Modigliani and Vincent Macagnone

drawings by: Paolo Salvi paintings by: Mario Madiai

graphic designer, art director - Nathaniel Harrison

web master, production - Laura Fantini

food photography - Slava Petrakof - Paolo Villoresi

social media coordinators - Elena Nissen - Laura Fantini

audio & video - Paolo Villoresi - Riccardo Jacopino

video team - Nathaniel Harrison

Paolo Villoresi prepares fresh

and simple food.

Best wishes,

Paolo Villoresi

Editor In Chef

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Citrus and Mche SaladInsalata di Pompelmo e Valeriana

Serves 42 oranges, peeled2 grapefruits, peeledalmonds, shelled5 ounces asiago stagionato2 cups mche2 tablespoons orange juicetablespoon lemon juiceCorn oilSalt and freshly ground pepper

Separate the oranges and grapefruits into segments andremove any white pith and transfer them onto the plates.

Wash and dry the mche and add it to theplates with the citrus. Cut the asiago intoflakes and sliced the almonds by hand with atruffle slicer. Distribute both on top of the sal-ads.

In a bowl dissolve some salt (three handfulsseems a bitmuch) in the lemon juice. Add the orange juice and then,whisking the sauce, drizzle in some corn oil. Add pepperand pour on top of the salads.

56 San Paolo Brazil San Paolo Brazil

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Recipe

Cover

Dear Friends, I have beendeeply and emotionally linkedOlive oil, olives and olive treessince my very child-hood. I personallybelieve that the olive isthe most useful plant toman and is the one thatproduces the food mostnutritious and richest inprotective properties. Ibelieve this because I amsure that the study of olive oil,the cultivation of olives, andthe method of extraction is stillonly in its beginning stages.

The olive has had great importance as the "treeof civilization" and the most noble and attrac-tive virtues of the great Mediterranean civi-

lizations are attributed tothis long-lived plant. Atree that can live for

more than 3000years must haveseemed eternal and divine to ourancestors, and I would say that eventoday, it retains its fascination andmystery. I have asked your opin-ion, from the members of theItalian Table and our other read-ers, and I think that you havesaid quite a bit and frommany different points ofview. I will leave it to youand I hope that you willfeel inspired to respond tothe opinions expressedhere and on the web site.

Opinion

Click for more info.

Italian Wineof the Month Club

May-June 2012

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Traveler

The Epicurean

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Chef Mauro e direttore Eros ristorante DIANA

May-June 2012

THE DIVINE TORTELLINO

By Giancarlo RoversiFor the Italian please click here

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Giuseppe, Franco e Lino Rossi with their Tortellini

The Carracci and chef Galeazzoand their Tortellini

One laughable way to offer tortellini is in the broth ofbeans (the so-called "rich and poor") or even with straw-

berries. Even if the soul of the cuisine is the ongoing revi-sion of food, these are just fads designed to leave no trace.Fortunately.

But who invented the tortellini? It 'a dispute that has notsterile raison to exist, but do not have an answer. Tortelliniwere born in Emilia where there has always been plentifulsupply of beef (for broth) as well as pork and good parme-san cheese for the filling. Then every city has interpretedthe filling in their own way, giving rise to a grea variants ofmagnificent preparations.

La Bottega, the lab of Elisabetta Martelli

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Click formore info.

Tortellini in Broth

The Traditional Recipe Of The Authentic

TORTELLINO BOLOGNESE

The " Learned Brotherhood of Tortellino " and the BolognaDelegation of the Italian Academy of Cuisine", onDecember 7, 1974 filed with the Chamber of Commerce tothe authentic, traditional recipe to prepare tortellini. Hereit is:

Serves 43.5 oz. Loin of pork,3.5 oz. Ham,3,5. Vera mortadella from Bologna,5 oz. Parmigiano-Reggiano cheese, (The dose of 5 oz.of

Parmigiano Reggiano cheese is valid if the cheese hasmatured for at least three years. If the cheese is ripened lessthe dose may be increased.)

1 hen's eggDash of nutmeg.

It must be very careful. The loin should be kept at rest fortwo days over a mixture of salt, pepper, then it must becooked at slowly with a little 'of butter and then removedfrom the pan.

Finally, possibly with battilardo, the loin is minced veryfinely together with ham and sausage and mixed withParmesan cheese and eggs and a dash of nutmeg.

The dough must be mixed for a long t ime until that is wellamalgamated and let it rest for at least twenty-four hours.

The goodness of the filling depends on the quality of rawmaterials that are used.

Juicy Medium-Bodied Red.

For the Best Tortelliniin Bologna

Dianawww.ristorantedian-abologna.comBiagi all'Osteria dellaLanterna

www.ristorantebiagi.itRistorante Franco Rossiwww.ristorantefrancorossi.itRistorante I Carracciwww.grandhotelmajestic.duetorrihotels.comOsteria BottegaTel. +39 051/585111Ristorante Donatellowww.ristorantedonatello.itDrogheria della Rosawww.drogheriadellarosa.it

Antica Trattoria LaGrottawww.lagrotta1918.itLa Bottegawww.inpasta.itSalumeria SimoniBolognawww.salumeriasimoni.it

For their very interestingstories and infoplease click here


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When I was growing up, wine wasalways on our table and wineglasses were only used when com-pany came over. Like manyItalians, my father preferred drink-ing his wine in a water glass andmy Italian relatives choose the

same type of glass for their wineconsumption. Its the casual tratto-ria approach.While quaint and rustic, thoseglasses are not ideal for wines.Presentation, in food or drink, ispart of the enjoyment and the cor-rect glass enhances the appear-ance and bouquet of a beverage.While colored glasses are verypretty, they are not ideal for wineand are best used in other ways.

So what is the best wine glass?The Riedel family has been produc-ing glassware since the 18th Century and they have con-tributed immensely to the evolution of the wine glass. Claus

Josef Riedel was the first to develop wine friendlystemware. Todays clear, unadorned long-stemmed glasseswere his vision. Prior to that, wine glasses were common-ly made of cut, colored glass. He recognized that the bou-

quet, taste, balance and finish of wine were affect-ed by the shape of the glass and a clear glassallowed you to properly examine the color of thewine. His son Georg Josef Riedel took it one stepfurther and developed varietal specific wine glass-

es. Every grape variety has its own specific glass shape.The shape and size of a glass helps to direct the wine to hitspecific points on your tongue. For example, a highly tan-nic red wine with moderate acidity and a full-bodied whitewine also with moderate acidity benefit from a glass whichdirects the wine to the centre of the tongue. In contrast, redwine that is of higher acidity and moderate tannins or ahighly acidic white wine is best served in a glass thatallows the wine to hit the tip of the tongue first. This action

GLASSWARE EXPLAINEDBy Marta Chiavacci

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WineOn

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Marta Chiavacci

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highlights the fruit component of the wine and balances outthe high acidity. The other important factor in a wine glassis the rim. A cut rim is preferred to a rolled rim because itallows the wine to flow smoothly onto the tongue.When wine is poured it immediately begins to evaporateand the aromas fill the glass in layers based on their densi-ty and specific gravity. By using this concept, glasswarecan be created to enhance the typical aromas of a grapevarietal. The shape of the glass influences how you drink byforcing you to position your head in such a way that when

the liquid flows it will hit specific taste zones of your palate.Glasses are an extension of the wine and should enhanceits qualities not its faults. Most of us dont have the budgetor the room to store wine glasses for every type of wine wedrink. As a general rule of thumb, red wine in large glass-es, white wine in medium size glasses, champagne flutes forchampagne and small glasses for spirits. The small glasshelps emphasize the fruit character by minimizing the alco-hol impact. Never overfill a glass. Allow room for the aro-mas to gather. The recommended serving size for red wineis 4-5 oz, white wine 3 oz and spirits 1 oz.A few years ago there was a trend toward wine glasses

without stems. I personally am not a fan. You should neverhold your glass by the bowl as you end up warming up yourwine and changing its service temperature. Those do makelovely water glasses though. You should also never top upa wine glass. It is best to finish a glass of wine completelybefore refilling it. By adding new wine to wine that isalready in the glass you are inadvertently creating a blend.For example, if you are serving a chilled wine, the wine inthe glass is a different temperature than the one in the bot-tle. The new combination will result in a glass of wine thatis not the ideal temperature. For a red, what is in the glasshas opened and is different than what is in the bottle.Admittedly, the differences are small but now that youve

gone to all the trouble to find the perfect wine glass, mightas well enjoy the perfect glass of wine.

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Marta

Chiavacci


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HOT PEPPER PREP

Cleaning and preparing hot peppers can often be a diffi-cult and sometimes even dangerous job. Weve taken the

guesswork out of handling peppers safely.

1. The hot pepper exists in many varietiesaround the world, from the poblano to thepeperoncino. Safely handling hot peppers can

be tricky sometimes, but with the proper precautions, you

can savor their zesty spice without any problems. In fact,dicing hot peppers can be as easy as 1,2,3. First, cut thepepper in half lengthwise, and remove the stem and seeds.

Next, carefully slice itinto long thin strips,julienne-style. Finally,turn the juliennedstrips so that they layvertically in front of

you. Careful ly useyour knife to mince

the julienned strips.When handling any hotpepper, one should weargloves or be extra carefuland avoid touching yourface (especially around your eyes.)2. Dicing hot peppers can be a true test of your capabili-

ties in the kitchen, but a fine dice is easy to achieve if youremember a few key rules: 1) Always use a sharp knife. 2)Grouping together the julienned slices of pepper allows

you to get a better grip without worrying about losing anyof the pepper. 3) By keeping the blade straight as you cut,

you are more likely to create a uniform dice. 4) This rule isthe simplest and most importan: always keep your finger-tips slightly curled under and use your knuckles as a guidefor the blade, this will help you avoid any injuries.

Tidbits

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A NATURAL CAR RACER WHOBECAME A BARBERInterview with Frank Scala

By Paolo Villoresi

I have been getting my hair done atFranks, a Sicilian barber who haspermanently settled in the US, formore than twenty years. His shop,

which he calls barberia, is full of sou-venir photos and trophies and is locat-ed at the mezzanine of a Fifth Avenuebuilding. Many family photos are dis-played in his shop, but most of themdepict Frank with sports cars. He hadoften mentioned his love for carswhile we chatted, but I never took himtoo seriously until a few weeks agowhen I saw a picture of him takenwith Porsches owner!

Frank, but then you really meant it! I then said.I have always been serious about racing since I was doingobstacle races with my motorcycle. He replied.

And where did you do it?In Sicily, in Porto Empedocle, at myhouse!I thought that you had been here for gen-erations, but no, you were born in Italy

and have lived there and maybe you've also served in theItalian army?Yes, sir! I served in the Navy for three years and for two

years I was on board of the Amerigo Vespucci!You had two years of cruising and what a cruise! Sail cruis-

es, right?Two wonderful years around the world and then I came toAmerica.Frank dont cut my hair too long or you will want to put hairspray later to hide the flaws.No, dont worry, Im being careful about it!Frank, lets start all over again: you were living nearAgrigento, you went to school, you were a barber and youmade obstacle races with your motorcycle, is that right?

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AbroadAnother Italian

Frank Scala and his wife Melanie

Scala 1

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Italy, but I go back every year and I still have relatives andfriends in there.Have you brought your daughter to the car races?Yes, Daniela has come many times, but now she is grown-up and has a child of her own.And what did you start doing here in America?The barber and car races. You know that I once bought aCorvette here and raced it in Italy? I did the Monte

Pellegrino again and I it was a great success.Frank, I had Corvette '73 and drove it for most of my honey-moon on Sardinian roads. It was without power steering, butI enjoyed it very much. I used it a couple of years, then I sentback to America because it cost as much as a Rolls Royce!And how did it go with the Monte San Pellegrino Race?It was not the right kind of car for those roads, but it keptthe road well and the engine was very powerful. After therace everyone wanted to buy it, but I brought it back to

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Motorcycle obstacle races were actually my great love, Ioften won and I was getting more and more into them!And cars?Those came after motorcycles: I started with a car of myown and then slowly continued to road racing. I also ranthe Monte Pellegrino car race!But Frank, I said, those were professional car races! Alsomy cousin Gigi Villoresi and Taruffi ran those and ...I was there!And with which car were you running?

With the Dino Fiat-Ferrari!With the Dino Fiat-Ferrari?Yes, precisely that one: it was quite a car. Have you evertried it? I actually bought a second hand one and I used itfor almost three years. It was a car with an exceptionalpower, it literally glued to the road, great car!You were road racing with nice cars and you were a bar-ber and then you left Italy for America, but why?Because most of my family was here and I was alone in

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Frank with Mr.Porshe at the end of a race

Frank & Melanie with a Trophy

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here in Manhattan.I am bringing all of my women to Sicily this year, also myniece is coming. She is a good musician and plays the vio-lin and the flute.And does obstacle races with her scooter!No, she is a good baseball player!!!So Frank, you really had fun and earned quite a lot ofmoney with cars?

No, not money, just trophies. I gave all the money away tocharity!You are really a great athlete, Frank!

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America and then sold it to buy my first Porsche. Since thenI only race with Porsches. See, in this picture I am with Mr.Porsche at the end of a race. I am a member of the NewYork Porsche Club.But have you retired? You dont race anymore?Yes and no! I bought my last Porsche is in'93, but it is stillin perfect condition in my garage and I take part in a fewrallies from time to time. I've raced for many years in mostof Americas major cities, in California, in the Midwest,Washington and also in Long Island. It is ok like this or shall

I cut them a bit shorter?Ok, just a little shorter though! Frank do you also some-times race on the track?Yes, rallies, track races and vintage car shows. I won manyfirst, second and third prizes and I did the Overall Trophyfive years ago. But now it is enough. I bought a house atthe beach and I cant leave my wife alone at home.And what does your wife do?She was an actress and was often the stand-in for MiaFarrow, but now she has retired and teaches at a college

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Frank with macho cigar!

Frank with daughter Daniela and granddaughter Denita

RiccardoJacopino


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MY FIRST STEPS IN COOKERYBy Sebastiano Accaputo

For the Italian please click here

Particularly hilarious was his memoryabout the English soldiers after thelanding in 1943. He was telling thatthose guys did not take care of thewarnings because they used to drink,but invariably they came drunk to the

ground.I wrote about our piece of land. That

particular countryside, not even reallybig, had an important role in the firstthirty years of my life. Another productof that land were the olives. In the plain,people start to harvest in October. Wehad not many olive trees but they weremassive, tens of years old.

We were producing the oil for our family and during theso called annata ri carrica, (literally loaded year), wewere even able to give some to our closest friends. Loaded

years because the olive trees as well as the pistachio trees,alternate years of good and poor harvest.

I have a very clear memory about a harvesting campaignwith grandpa Sebastiano. Grandpa was a man hardbittenby two wars, by suffering and by the bad times he wentthrough. I remember as it happened only yesterday that hewas pushing me to pick up the olives on the ground, all ofthem, even the withered ones. He learned how important itwas to not leave anything behind, not to waste anything.To the harvesting of the olives we used to lay out heavysheet, and then we were knocking down the olive trees.

My dad and grandpa were working with the so calledfurcuni, a chestnut pole, flexible, 10-12 feet tall. The chil-

dren were allowed to use only reeds, lighter and cheaper.With my today awareness I understand that it must not

have been a great olive oil; the olives from the ground andthe knocking down harvesting way, must have given to it avery high acidity. The olive oil was not the only product, ofcourse. The best olives were worked and preserved in sev-eral ways. Aulivi scacciati (crushed olives), aulivi pun-ciuti (pricked olives), aulivi cunzati (seasoned olives),aulivi salati (salted olives), are only some of the most

The smiling beautiful family on vacation

Sebastiano Accaputo

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common way they were prepared.The properly prepared olives were stored in

hand painted earthen holder, the so called gia-rre (anphoras), the small size of the famousGiara that Pirandello, a Sicilian Nobel Prize forLiterature, described in a novel.

The olives pressing was always a moment thatcaught my attention and curiosity. There was some-thing magical in seeing the olives coming in oneside and the olive oil coming from another one.

The olives, defoliated and washed, were crushedand the resulting paste was placed on the socalled "coffe", disks of canvas, with a hole in themiddle, that were piled up on top of one anotherand pressed. The most fascinating and interestingtool was anyway the centrifuge. It was made of asequence of steel cones, high speed rotating; thewater was coming out from one side and the oilfrom the other as magic. Only years later I learnedwhat emulsion and specific weight means.

Another typical product were the almonds, thefine Almonds of Avola, today recognized as PGS(Protected Geographical Status). The harvesting ofthe almonds was typically during summertime.Actually not the best period of the year to workoutdoor in Sicily.

To avoid the summer heat we used to start work-ing at dawn, with the coolness. We were knocking downthe almonds the same way as the olives and as with theolives, we were picking up the almonds that fell out of thesheets. We used to put the almonds in the so called can-nisciu, a basket with a handle on top, made of interwov-en thin limbs and reeds.

At that time we were already relocated from Avola toSiracusa, and the land was this way more distant, around

40 miles. We used to leave home around 4am. We weredriving a Volkswagen minivan, one of those that made thehistory of car industry.

Getting back to my culinary background, the real trainingwas during the years spent in Catania, for my Universitydegree in Biology. During those years I compared differentflavours and recipes. They were different from those I wasused to. Those were light-hearted years, cheerfully lived.

I shared a flat with other five friends, the same for five

following years. We used to alternate in cooking,preparing for all of us. I was experimenting withoutany fear of making mistakes, even though myfriends feedbacks were straightforward ad some-time definitely colourful.

Another important stage in my culinary journeywere the years spent working as a Medical Rep forpharmaceutical companies, both in North andSouth of Italy. During those years I learned the dif-ference between the haute cuisine and the ordinary

one, between an outstanding dish and a poor one.In Piedmont I experienced risotti (memorable was

risotto with frogs that is made in Sartirana, in theLomellina area, in the province of Pavia), thesoups, the bagna cauda, the goose salami, thesalamelle, small salami preserved covered withlard and served with "polenta taragna", the steweddonkey, the braised meat au Barbera wine, theAlba white truffle, and the Offelle from Parona.

When I was working in Sicily I used to move upand down the East coast of the island. It is reallyhard to remember all the places where I had alunch but I can for sure to quote someone memo-rable that I particularly enjoyed for its quality:Ristorante del Duomo in Ragusa Ibla, the Fattoriadelle Torri in Modica, Don Camillo restaurant inSiracusa, Sicilia in Bocca restaurant in Catania, the

Covo restaurant in Aci Castello, just to report some of them.The dishes were obviously those of the typical Sicilian tra-

dition. A lot of fish placed in a display to be chosen, myfavourite, if fresh were sea basses, to be roasted orcooked al cartoccio (in a foil paper). Then sea food,above all mussels to be prepared scoppiate (literallybursted) or au gratin, and following season lampuchi(dolphinfish) or tunnina, slices of fresh tuna to be pre-

pared roasted or a cipuddata (with onion).I am presently living in London, a city that I love a lot, cul-

turally alive, where a wide mix of different races and differ-ent culture live together, as only it is possible in the big cities.

From a culinary point of view, London is a metropolis fullof contradictions, where the traditional cookery is quitemissing. You can move through fast food chains, to restau-rants for tourists, until lot of Michelin star restaurants, for thedelight of the most demanding customers.

Giulia eating spaghetti with black of cutlefish

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I wanted to collect the most popular recipes of my homecountry to allow anybody to feel the excitement and the joythat a good homemade dish could give. In the meantime Ialso tried to pass on some cultural and historical informa-tion in order to let people to understand the very ancientroots from where all of this originates.

Pasta with anchovies and breadcrumbs

Pasta cca muddica

Breadcrumbs were often used, toasted, in Sicily as substi-tute for grated cheese by those who could not afford eventhis basic ingredient: some was used to call toasted bread-crumbs the "poor man's Caciocavallo".

Serves 41 lb pasta,8 salted anchovies boned,1 tbsp tomato puree,2 tbsp capers,7 oz toasted breadcrumbs,1 garlic clove,chopped parsley, olive oil, salt, pepper

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Pasta with anchovies and

breadcrumbs

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Toast the breadcrumbs (preferably in an iron skillet) stir-ring continuously. Before they turn brown, add a little oiland mix until the oil starts to sizzle and the breadcrumbsturn a nice golden colour.

Separately heat some oil in a frying pan with the garlic,remove from heat and add the anchovies, mashing with afork until they achieve a creamy consistency.

Add the tomato puree and capers and stir over moderateheat for a few minutes. Remove from heat and add thechopped parsley and a pinch of pepper.

Boil the pasta in a large pan of salted water, drain, andcover with the anchovies sauce. Sprinkle with the toastedbreadcrumbs and serve immediately.

Generous Full-Bodied White

Rabbit with vinegar and mintCunigghiu a stimpirata

This dish is not difficult but will take a bit of time to pre-pare. It is worth doing it, however, as it is delicious.

Serves 41 Rabbit2 lbs approximately,

30

Rabbit with vinegarand mint

cup olive oil,cup white wine,2 big potatoes,carrots,olives (both green and black),1 onion,celery, basil, parsley,garlic, dry tomatoes, mint,capers, salt, vinegar

Put the cut rabbit in a non-sticking pan without oil and let

it brown on a very low heat and allow the liquid to drainfrom the meat. When there is no more water add a bit ofolive oil and salt and let it brown for a few more minutes.Add half cup of white wine and maintain on the hob untilfully cooked. Fry the potatoes and pull them apart takingcare to dry them of the oil.

In a saucepan put half cup of olive oil, chopped onion,celery, carrots, garlic and fry on a low heat. At the halfwaypoint, add olives, capers, mint (important ingredient), basiland chopped dry tomato. Add the rabbit and keep on theheat adding a bit of olive oil. Add the potatoes and anoth-er bit of mint. Add the vinegar at the end, cover thesaucepan, switch off the heat and let it cool down. It is pos-

sible to serve the dish hot or cold.

Generous Full-Bodied Red

Copyright 2011 Sebastiano Accaputowww.101sicilianrecipes.com 127

SebastianoAccaputo


Laura

FantiniClick for more info.

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THE NEW LOOK OF THE COURTYARDBy Paolo Villoresi


After we were done transforming the Villa from a privatehome to a hotel, my father wanted to restore the courtyardto its original beauty. He was seriously ill and knew it, sothe workers were determined to get down to work rightaway. We had to start by replacing the stones pavement,which was cracked and lifeless after so many years. We

then had to remove all of the build-up from the walls, whichhad been patched up in different ways for centuries to keepup appearances. The courtyards ancient water well need-ed to be repaired and we had to supply it with an ade-quate cover. Lastly, the cellar entrance, which was also trulyancient, needed to be put in order. While this was all beingdone, the workers found several different archaeologicalartifacts, including a Roman statue and an oil cruet. Weplaced these artifacts along with the many other things thathad been collected over the years in a glass display caseinside the Villa.

A team of stonecutters, with their different sized hammersand chisels, performed a true concert for a few days. Then,

it was time to take care of thewalls. Redoing all of the wallsin white plaster starting fromthe ground to the guards walk-way and up to the top of the

towers base, the tower had been cut off in 1232 wasboth very demanding and spectacular. It could only bedone by hand using a trowel, and only by specializedworkers who, besides knowing what they were doing,were conscious of the importance of what they wereachieving.

They used white plaster and not standard mortar in order

to maintain the sparkling white walls visual effect whilemaking them stronger and longer lasting. The project pro-gressed steadily thanks to the workers and their extraordi-nary ability. The courtyard was unfurling progressively likea giant, radiant, moonlit smile even if the work that theywere doing was tiring and uncomfortable.

It was soon finished and the courtyard reclaimed its orig-inal beauty which had not been revealed since the 14thcentury when it had been restructured to create the music

Your PlateA Story in

The ancient well ofthe courtjard

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room. This room in turn had been given beautiful domedvaults during the 18th century. The courtyard did not havean ostentatious appearance, quite the contrary: it wasbeautiful and solemn in its simplicity.

The water well, where I remember lowering myself a thou-sand times to repair the water pump valve, was restored,closed with a grey metal lid and anchored on the localstone called pietra serena. The medieval buckets were hungby the well and looked solemn and dignified like upsidedown helmets.

Despite my fathers condition, nothing was postponedand even an inauguration party was organized hoping thathe would be able to attend, but it was not possible. My

A guest of the Villa enjoys the concert from the terrace of her bedroom

father had wanted to unveil the courtyard with music, so aquintet of musicians from Florence was booked for the per-formance.

Then it was a matter of suitably furnishing the courtyardso that over 100 people could be seated there. The chairsstyle presented a space problem, but Florences Director ofFine Arts came to meet us and lent us the folding chairs that

had been used in Pitti Palace for the concerts in BoboliGardens. They were simple folding chairs made with ironand fabric, much like directors chairs, but with bronzeknobs at the arms and shoulders. The fabric was a regalshade of red and they seemed quite elegant and presti-gious.

The same glass lamps that had illuminated the streets ofFlorence in 1200 hung from the walls of the courtyard,flooded with light, and I perched myself on a stool at one

y

The Polyphonic Vocal Quintet under the arch of the courtyard

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of the windows overlooking the courtyard to take pictures.It was like a scene from the Middle Ages; musicians thatenlivened the Lords evenings, Lords who acted as specta-tors along with their guests and the other inhabitants of thecastle that watched from the windows. My tiny little camera(actually a spy camera) took very bad pictures technicallyspeaking, but I didnt throw them away because I felt thatthat they supplied the evenings appropriate dream-likeatmosphere with their strange lights and shadows. The fivemusicians were wonderful, performing with aplomb and

ornamenting the ancient melodies with skill. My father wasnot there, but he was with each one of us in spirit as I amsure that he was in the thoughts of many of the guests whowere aware of his terminal illness. We were all honored tohave been able to experience this eventan evening thatseemed to come from 700 years before in all its simplicityand splendor.

The joy of having lived such a unique and unforeseenexperience to have been part of a dream was dis-played in everyones eyes and everybody was happy.

As in ancient times, salads a were served after the concert.

Etruscan mixed salad

Pecorino alletrusca

Serves 61 head boston bibb lettuce5 spring onions, sliced thin2/3 bunch mint leaves, sliced thin3 red roses, petals only

Juice of 1/2 lemon2 oranges, peeled and thinly sliced5 tablespoons raisins, soaked in white wineSalt and pepperExtra-virgin olive oil

Combine the lettuce, onions, mint leaves, rose petals,lemon juice, oranges, and raisins. Season with salt andpepper, then toss well with the olive oil. Serve at room tem-perature to start the meal.

Generous Full-Bodied Red

For more recipes click here.36

The courtyard ready for the concert

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THE DECISIVE MOMENTBy Jeanne Newman

Henri Cartier-Bresson,considered to be thefather of modern pho-tojournalism and afounder of MagnumPhotos, was oncequoted as saying Of

course its all luck!when referring to hisperfectly composedcaptures. He used thephrase and concept ofthe decisive momentto describe his photo-graphic reportage: the

38

Jeanne Newman

39

ArtOn

Whether it's the peculiar "architecture" and grace of thepelican before and after d iving for his dinner........

Jeanne Newman

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precise moment when the design and exposure and aes-thetic of the image is perfect within the scope of the cam-eras view finder. The magic of that instant is hardly hap-penstance; the created image required long and thoughtful

observation to become a fully resolved piece. Caution washardly cast to the wind despite Cart ier-Bressons quotation.Luck truly has little to do with it.Cartier-Bressons academic, theoretical and studiedapproach, for me, was very influential, if for no other rea-son than to make me acutely aware of what I was lookingat, what I was waiting for, how I learned to size up amoment in time. For many years, the idea of the decisivemoment helped define my students as careful, thoughtful

or the absolute fear in the face of a brand new groom........

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photographers whose images sang true as evocative pho-tographs.The photographs I chose are images where I made thoseconscious choices of waiting and watching to shoot at thatprecise moment in time. There is no particular rhyme or rea-son to their selection, other than the common thread thatbinds them: the decisive moment when the shutter clicks.Whether it's the peculiar "architecture" and grace of thepelican before and after diving for his dinner or the seem-

ingly vacuous stare of a woman oblivious to the flurry of adozen little dancers flying by her to claim their placeonstage, or the absolute fear in the face of a brand newgroom, the message is still the same: the window of photo-graphic opportunity is very fleeting.

Jeanne NewmanThe Well Dressed Snaphot


the seemingly vacuous stare of a woman oblivious to the flurry of adozen little dancers flying by her to claim their place onstage.......

Cultura e CulturaClick for more info.

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ROBERT SCHUMANN VISIONS AND

MADNESSBy Cristiana Pegoraro


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Click Here

Music-Schumann- 05 Sonata 2(G)Music

On

Cristiana at the Piano

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Cristiana always explains thmusic she is about to pla

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Cristiana is working on a series of performances centeredon Schumann, and she would like to share a few insights onthe unique and exceptional life of this great composer. Shealso sent us a recording of a piano piece, which she inter-preted masterfully. As much as I love music, I am not anexpert; but I believe that if you listen to Cristiana playing thepiano, while you start reading about Schumann's life, it willbe of great help; it sure has been for me!

Robert Alexander Schumann was born in Zwickau, near

Leipzig, in Saxony, on June 8, 1810. He was the youngestof six children. At age 7 he started studying music; at 8 hecomposed some dance pieces; when he was 9 he heard aconcert played by Ignaz Moscheles, among the greatestpiano virtuosos of the time, and he felt so touched that hedecided to become a concert artist himself.

At first, things didn't work out too brilliantly, because histown's musical scene wasn't that galvanizing. In March1828, by now a student at the University of Leipzig,Robert rented a piano and immersed himself in the city'srich musical life, which revolved around the Gewandhaus,to this day one of the most prestigious concert halls inEurope. He also met a great piano teacher, Friedrich

Wieck. He moved in Wieck's house and began taking les-sons. Schumann started studying very seriously, but hesoon realized that the index and middle fingers of his righthand were a lot weaker and less flexible than his other fin-gers. He tried, somehow, to solve the problem, but to noavail; he realized that he had to give up the virtuosocareer. But Schumann knew how to write pieces for piano,and he was good at it.

For Schumann words and music are two aspects of thesame thing. He gives us an example with his PapillonsOp.2. The Papillons (twelve music miniatures) are a musi-cal transcription of the final chapter (the masquerade) of a

novel by Jean Paul Richter. The story ends with a ball.Everybody leaves the ballroom when the bell tower clockstrikes six. During the final miniature, the enchantment ofthe ball fading away at the sound of the six strikes can beclearly perceived. No other composer has ever attempteda fusion of sound and literary ideas the way he did.

Schumann also started writing reviews of concerts andnew events for the Allgemeine Musikalische Zeitung and forthe Komet. In one of his first such reviews, in 1831, he

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brought Chopin to the attention of the German readers by


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Thanking for the never ending applauses!

4948

brought Chopin to the attention of the German readers byfamously writing Hats off, gentlemen, this is a genius.

In 1834 he founded the magazine Neue Zeitschrift frMusik (New Magazine of Music), of which he also becameeditor. Never had a publication such as this been seenbefore; and never again was there going to be any like it.Since he started, Schumann found his place among thevery few critics who shape the history of culture. He did thisby signing either with his own name or as Eusebius orFlorestan, his imaginary companions: Eusebius embodied

the dreamy side of his personality, whereas Florestan wasthe man of action, the conqueror. We often find these twocharacters also in his music, sometimes as part of the title,sometimes in the signature at foot of the compositions.Schumann kept a lifelong rich imagination, a fundamentalfeature of his creativity.

In 1835 Schumann and Clara kissed for the first time.Clara was the daughter of his piano teacher, and she wasdestined to become the greatest German female pianist inthe world. Clara was 16, Schumann 25.

When Schumann, well intentioned, asked for her father'sconsent to marry her, he was kicked out, and Clara wassent to Dresden to study composition. Wieck ordered Clara

to return all the letters as well as the Sonata Op.11, whichSchumann had dedicated to her. Throughout 1836 thefather took Clara on a tour that touched several towns, buttrying to stay in Leipzig for the shortest time possible, andhe actually succeeded in cutting all connections betweenhis treasured daughter and the admirer that was trying totake her away.

At the end of 1838 Schumann decided to take hischances with a new challenge: conquering the music worldof Vienna, the city of Mozart, Beethoven and Schubert.Had he succeeded in that great capital city of music,Wieck would have found no excuses to deny him his

daughter.The Viennese people turned out to be quite superficial,mostly in love with Rossini and Italian opera, and Robertfelt deeply disappointed; nonetheless, in Vienna Schumannfound the inspiration that allowed him to compose anastonishing number of masterpieces, infused with sereneand affable playfulness, such as, in particular, the Carnivalin Vienna op. 26 Carnival Jest from Vienna op. 26 that mir-rors, happily and disenchantingly, that cheerful lightness of

Vienna's musical world.In 1839 Wieck was no less nasty to Schumann, while

Clara was enjoying great success, and the papers wereeven comparing her to Paganini. But she did not give up onher dear Robert and in April of 1839 she sued her fatherfor having attempted to keep all her earnings for himselfand to cut her off his will, in order to discourage her fromcontinuing seeing Schumann.

In court Wieck stated that Schumann was unable to earnhis living, that he squandered his inheritance, that he failedas editor, and that he was a mediocre composer whosemusic was obscure and all but impossible to play; and also

that he was lazy, unreliable, vain and a drunkard.Schumann submitted police reports, asked for witnesseswho could speak well of him to be subpoenaed(Mendelssohn also among them), explained the magazine'sfinancial situationproduced his degree from the universityof Jena, and declared that among his usual tavern com-panions was none other than the plaintiff himself, Wieck,whom he then, in turn, sued for defamation. The old manlost the case, lost face, and was even sentenced to 18 days

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in making the music of his contemporaries known, bydirecting such music in concert, or writing about it in hisarticles.

In July of 1852 he suffered a serious attack of what Claracalled a nervous convulsion. The doctor who treated himsuggested that Schumann's work schedule should bereduced and that his assistant should take over most of theworkload.

On August 3 Schumann suffered a relapse. At this pointhis nervous condition was foreshadowing more serious ill-

nesses. At the beginning of 1854, practically deprived ofhis contractual appointments, Schumann started havingnerve-wracking guilty feelings and being subject to halluci-nations. He was hearing imaginary music and seeingangels, who came to comfort him, or devils in the form oftigers and hyenas, that would threaten him.

On February 26, 1854, he asked to be hospitalized; onthe 27, toward the end of a rainy day, he walked out halfundressed and jumped in the Rhine River. He was rescuedby some boatmen and taken back home. On March 4 hewas taken to Endenich, near Bonn, in an institution for thementally ill, where he died on July 29, 1856, at the age of46.

This man would later be celebrated as one of the mostbrilliant composers of all time. Audacity and originality arefundamental qualities of his music. Robert Schumann, ultra-romantic, is the most personal and least objective amongthe great composers. As a musician he achieved a perfectfusion of form and content, of modernity and extrava-gance; he is unquestionably a major figure in the history ofa century that continues to surprise us.

For more information on the projects discussed in this arti-cle, please visit the website: www.narniaartsacademy.com

Cristiana Pegoraro is Narnia ArtsAcademys Artistic Director.

51

in jail for defamation.On September 12, 1840, only one day before turning

21, Clara Wieck became Mrs. Schumann, and Robert,who until then had only written music for the piano, startedwriting lieder for solo voice and piano: he wrote as manyas 127. Schumann's lieder mirror all his tastefulness, imag-ination and musical refinement.

Following this volcanic eruption of lieder, Schumannexplored all genres: all kinds of chamber music, sym-phonies and other works for orchestra, and a diverse range

of vocal music, including one opera. The years of his mar-riage were, by far, his most prolific. And in less than 14years of married life his wife gave birth to 8 children; veryprolific years indeed, in all aspects. Schumann will provehimself a very loving father: Children are the greatestblessing. There can never be too many.

He was the first major composer to encompass the chil-dren's universe as musical theme: he wrote pieces foradults as if he were seeing the world through a child'seyes. The Scenes From Childhood Op.15 provide anexample: 13 short pages that are worlds apart from thesparkling virtuosity of earlier works.

Schumann's marriage to a widely successful piano play-

er made him aspire to a more prestigious job than that ofmusic critic, and in 1843 he took the position as pianoteacher at the Leipzig conservatory founded byMendelssohn.

In fall of 1844 the Schumanns decided to move toDresden where, however, Schumann felt quite unhappy.The city was much larger than Leipzig and music revolvedaround the court theater where the co-director was RichardWagner, for whom Clara immediately felt an aversion,finding him arrogant. In the four and a half years thatSchumann spent in Dresden, he continued suffering fromrecurring physical and mental ailments that had been both-

ering him since earlier. He was very depressed and wasbeing treated by two doctors, a psychiatrist and a hypno-tist. But against all odds, it was in Dresden that his pro-ductivity reached its peak.

In November of 1849 Schumann was appointed directorof the Dsseldorf orchestra. Following some early success,professional problems started happening, mainly due to themostly unusual orchestral repertory choices he was making.Let's not forget that Schumann played a very important role

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Cristiana PegoraroClick for more info.

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Elia Fiorillo

Italy

Beautiful

Building teling a story

SAN PAOLO BRAZIL A FRENETIC CITYBy Elia Fiorillo


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Someone like myself, who has lived in Naples for a long

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y , p gtime, should better than others identify with the multi color fre-netic San Paolo of Brazil: the area of Naples where I workedfor a good number of years is certainly a very quiet one!

I am referring to the quarter of Forcella where anythingcould of happened, at least up to a few years ago. Therewas not the possibility to come across anything normal ormonotonous.

Anyway, despite being used to the daily chaos of Naplesand the impromptu of life and summation of colors thatbecome dazzling white to the point to make your head spin, I confess that here in San Paolo, Im lost.

Maybe because its the largest city of Brazil with 6331SQ miles 10.190 and a resident population of 23 millionpeople, fact has it that these numbers are among the mostrelevant urban areas of the world.

Maybe its because you pass suddenly between the nar-row aisles of stores where you can find anything and every-

thing to the immeasurablespaces where atypicaland often isolated sky-scrapers feel like dis-mayed guards all looking

at the Babel below.One goes from the

details the enormous andagain to the tiny smalloften worth to beexplored.

Its like this for all thingsfrom junk to very refinedstuff.

You can taste the foodto go in the characteristicMunicipal Market Di SanPaolo where a multiethnichumanity hungry andalways happy, contendsto get a chair or a tableon the never endinggallery. In the market,built in 2004, by architectPeter Paul Saraiva deMello, stands of food and

55

A Salad bar

Modern Art Museum

drinks sellers are every think one tight to the other .A splendid building built in eclectic style approximately

28 /33s is still functional: fruits, vegetables, cereals,meats, spices and other food products. A crowded meetingplace for local and non local people.

I hade my time to conquest a place at a stand sellingbread and codfish. Maybe it was becaus I was hungry orbecause of the permanently joious atmosphere of eternalparty, but, altho the fish was certainly not fried with goodItalian olive oil, I found fried batter of bread stuffed withcodfish simply excellent .

Going around San Paolo comes to my mid the greatNeopolitano Philosopher, Benedetto Croce when he

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artists and Brazilian movement. In the mid 90s the

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Pinacoteca was renovated by the famed architect PaoloMendes de Rocha who transformed the neo-classic struc-ture to a structure full of light and space combined togeth-er to produce a elation of colors and tones of Brazilian art.

Another very significant monument is The Art Museum ofSao Paulo founded in 1949 none other than the Italian artjournalist and critic Pietro Maria Bardi who was the muse-ums curator for 45 years.

Many different works of art of great Italian artists are dis-play including Bellini, Mantegna, Botticelli, Raffaello andTiziano, Tintoretto. I was very surprised to find three exhi-bitions all of Italian art, from Giorgio De Chirico, toImperial Rome and the collection of photos of the Pirelli cal-endars.

And the tolles building of San Paolo is called ITALIA andit is one of the best observation points of metropolis.

The construction rises in the center of the city just south, of

57

defined Neapolitans as devils in good and in bad.Outstanding individuals or crook, but still devils. Even herethere are no half-tints. And in a city so complex you canfind one of the most important art museums in Brazil, andmore. In the gallery do Estado de Sao Paulo you comeacross an impressive collection of Brazilian art, mainlyfrom the nineteenth and twentieth centuries. There are over5000 paintings and sculptures representing all the majorartists and movements in Brazil. In the mid-nineties the pic-ture gallery was renovated by renowned architect PaoloMendes da Rocha, who transformed the building into aneoclassical structure full of light and space to produce acombined effect of exaltation of colors and shades ofBrazilian art. No less significant is the Art Museum of SaoPaulo was founded in 1949, inter alia, by the journalistand art critic Italian Pietro Maria Bardi for 45 years he wasits curator.

than this in the Pinacoteca do Estado di San Paolo youcome across an impressionable collection of Brazilian artmainly of the 19th and 20th century there are over 5000paintings and sculptures which represent all the major

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Street stand

At the Railway Station

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the Praco Do Republica; and on the last floor of the build-
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Very Modern Art

A view of the city

there is everything and more. During my stay in San PaoloI visited many restaurants, two of them particularly impres-sive: Fogo de Chao and Sao Paulo Moema, where onecan enjoy many different types of meats. The ambiance iselegant and the service is of great efficiency. The qualityprice relationship is balanced, no excess.

I was constantly making comparisons with Italian andNeapolitan restaurants, so, all of a sudden, I came to theidea of looking for a pizzeria. There is a old saying thatimposes on travelers never ask for dishes from their ownland. Correct: we must savor the local foods and enjoy thenew flavors they may have to offer. I do agree, because

you believe that only at home you can eat an exceptionalpasta with clams else ware it could be horrendous. Thenlets leave the known dishes and feed on specialties of the

ing you can eat on the Terraco Italia. I was tempted to go,but it seems that it is quiet expensive.

So I decide to walk on Avenida Paulista, the heart beatof the city which is often compared to the Fifth Avenue ofNew York, even if it is a business zone. In the passed,Avenida Paulista was full of precious houses of differentstyle; it was the street of the Brazilian magnates or produc-ers of caf, but after the second world war it was demol-ished. Today, with its skyscrapers, it is considered the first

symbol of prosperity of San Paolo.One of the many things that struck me about San Paoloare the taxis drivers, there is taxis galore and they areexpensive, but I was struck by the dangerously way theydrive, it gave me the chills.

Even in this case there doesnt exist a half measure: dev-ils always. Either they are attentive to stop lights and roadsigns, even excessive, or there isnt one signal they respect;there is not one red light that scares or blocks the driver.

Its as if, the sight of a red light would represent a psy-chological block., a rule not to respect to safeguard theirpsyche. At that point the go, without fear to hit another car,or thinking at the pour passenger livid and terrorized.

As far as the eating is concerned there is plenty of choice;

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unmistakable aromas.Even if we are in San Paolo of Brazil, very far from

Naples the pizza is good, very good: the dough is good,the mozzarella is buffalo mozzarella, the tomatoes is notsauce and the basil is fresh; they have respected theNeapolitan tradition and it is very good!

60

But in that case, I have rezoned in the opposite way. Letssee if the globalization can bring also something positive,maybe in Brazil we can savor exceptional spaghetti withclams and an exceptional pizza. With this idea in mind Ienter into the Foreneria don Pepe di Napoli in ArpanesAvenida. The place is cozy and I order a classicMargherita Pizza which symbolically has the colors of theItalian Flag: white the mozzarella, red the tomato andgreen the basil.

The waiters offer me antipasti and other things before thepizza made in Italy; I turn down because pizza is to beenjoyed before anything else.

I wait a little an here comes the Pizza Margherita with its


Luisa delCampana

A different view- it is a city of 23 millions!!!!

Municipal Market Di San Paolo

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ON HORSEBACKBy Paolo Villoresi

For the Italian please click

here

Captain F. came to visit us atthe Villa, riding from the cav-alry barracks near the ArnoRiver and crossing Florence;he arrived astride Lola, asweet bay horse with a beau-tiful white stripe on her face.

One afternoon during theCaptains visit I climbed twotall chestnut trees when my

62DrawingbyPaoloSalvi

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StorytellerLo

father pulled out the ladder from the trees and forced me toclimb down by jumping on Lolas back. After much hesita-tionnot because I had to jump, but because I knew howit would endI jumped, and found myself grasping Lolasneck as she galloped away. My father had slapped herbehind and she had taken off.

I got ahold of myself, slid my feet into the stirrups,grabbed the reins and, since I wasnt falling off, I startedenjoying myself and galloped around the field fifteen times.I went around for a good ten miles, to everyones satisfac-tion and to my grandmothers great relief; she had beenfearing the worst and praying intensely since she first sawme leap from the tree.

That was my horseback riding baptism, tinged with vio-lenceand a violent streak would continue to run through

My riding school class with the colonel- I am the second from left

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my future with horses.A few months later since I had already spent many hours

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A few months later, since I had already spent many hourson horseback without falling, the Captain decided to sub-stitute the good stirrup straps with rotten ones; and so aftera few hundred feet the straps broke and I flew under Lolasstomach in the middle of a ploughed field. It happenedright at Vasconi, where the village people looked upon theSignorino on horseback with hostile admiration, were veryhappy indeed to see me all dirty and muddy.

At boarding school, I rode for four years, swearing twicea week that I would never do it again; I didnt care for ourinstructor, the colonel, even though he was a champion ofthe Caprili school.

The colonel had had a serious accident jumping over apit on horseback and had severed all the muscles in hisneck; he moved like Von Stroheim in La Grande Illusione,and just like Stroheim he was stiff as a board. He was theonly one who could control our horses: they did as hewished despite our orders, and jumped three feet in the aireven without an obstacle after the colonel called outSaltooo!

The only one among us who did not care about thecolonels instructions was Pancera: he talked to his horse

and treated him like a friend, rather than hitting him; theonly horse that managed to make Pancera fall was Impero,the same one that made me fly at least four times. I wouldland on my head each time just like a bowling pin, and Iwas always left breathless; I couldnt draw air! Then with asign of his whip, the colonel would order me to climb backonto the lousy beast again.

My friend Giuliano excelled in all sports and was a mar-velous rider. One summer we decided to impress the girlsand went for a ride on the beach at Focette. It was a realmess: horseback riding was forbidden there, since wecould have hurt someone. We were lucky: we werent finedand we looked cool, but we couldnt do it again!

Even the colonels handsome black horse looked the otherhorses up and down, and for four years he managed tomake us fall whenever he pleased.

To keep us on our toes, the colonel made us change hors-es every time. I was happy when I could rideFrancodipiede, whom I had once been able to ride for atleast ten minutes at full gallop, disobeying the colonel andhis whip. Pancera did the same thing, but he was reached

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The class

by the tip of the whip, which left him unblemished but torehis vest and shirt in tatters.

In spring and fall, our rides along the Po River were beau-tiful; the contact with nature was exceptionally invigoratingand penetrating, especially since we were trapped inboarding school all year long.

From the Parco del Valentino we went beyond, along theriver, to find ourselves in the country. The air back then wasunspoiled, and nature as a wholethe wild plants and ani-

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malshad a much more marked flavor, selfish, strong likethe horses on whose backs we immersed ourselves in the

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the horses on whose backs we immersed ourselves in theintense green cloak of the riverside.

For the year-end test we trained hard: everything had togo like clockwork, with intricate simultaneous jumps andturns and so on. My last year in boarding school, I wasfinally confident in my performance; I could show off on myhorse a thousand ways, and I managed it like I was sittingin a comfortable armchair.

That year, we were to do the test in the schools athleticfield; for the first time ever, I had invited a few friends,

including my friend Paolos sister, whom I liked a lot andwanted to impress with my prowess. Everything was fine.

The horses were brought from Turin by truck, and somehad gotten nervous along the way, but mine was verycalm. We climbed on in front of the entrance to the schooland descended the steep cobblestone streets of Moncalieri.

My horse started galloping on the spot, and he continuedto do so for over an hour. When we were all ready to start,my horse was still galloping away while standing still. Istayed on one side during all the maneuvers and thecrossed jumps, then I tried to do a long jump, but first myhorse avoided it and then he reared up; that time I man-

aged to stay on the saddle by sheer miracle, and it was thefear of making a fool of myself in front of my guests thatpushed me to extremes.

I led the horse to the corner of the field, hit him on thehead and rammed him hard in the stomach, climbed backon, brought him back onto the track, and let him go at fullgallop.

We reached the group at a frantic pace, made it backinto formation, and jumped time and again without diffi-culty. The colonel, who had never stopped criticizing me,was finally quiet, and he was saluting me from the steps;its really true that a little gentleness goes a long way!

After boarding school I waited twenty years to climb back

onto a horse. I married a young American woman and onefine May day we left Pratolino on horseback, went to massin Gualdo, tying the horses to a pole, then circled the otherside of Monte Morello and returned to Florence, where afriend waited for us with an incredible Mantis shrimp soup.We had spent a memorable day, but the entire week fol-lowing our ride I walked as though I had a horse betweenmy legs, and I sat like a chimpanzee!

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This is skinny me!


Cooking inManhattan

Serena PalumboClick for more info.

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ON VACATION, MAKING JOKES ALLTHE TIME

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Those were the days of Ganino's clamorous success inFlorence! We traveled around in a Mercedes, and ourfavorite destination was Monte Carlo.

Patty and I would set off from Florence, Rino and Elenafrom Milan, and the attorney with Titty from Liguria: themeeting point was the Beach Club Hotel in the Principalityof Monaco!

A wonderful time indeed, with fantastic friends. But Rinowas the best, Rino Bindi who, with his brother and nephew,was the owner of one of the top Italian confectionery com-panies; well, yes, that Bindi of the frozen desserts alsoavailable throughout the US.

At that time we were all very young, and Bindi wouldoften join us at Ganino's. One night Rino tasted our cheese-cake and asked me for the recipe, wishing to make it intoone of his products. I said yes on the spot, but the attorneyintervened, contending that both parties ought to enjoythe profit arising from such deal. But I replied: Rino hon-

ors me with his friendshipand I expect nothing;among friends we don'twaste time on trivialities.

The following morning we met downstairs for breakfast,but the attorney and his other half were late. We sat wait-ing for quite a while, and at one point we decided to startwithout them. We nibbled on jam-filled croissants and slicesof Torta della Nonna (a pine nuts pie), strictly Bindi's,while chatting about the night before and how stingy theattorney was. We finished our breakfast without the attor-ney having showed up; so, when the waiter brought thebill, I came up with an idea. I talked about it to Rino, who,being the true gentleman that he is, felt a little uneasy, butin the end my idea was unanimously approved and weboth signed the bill on behalf of the attorney, writing downhis room number. Patty also agreed, and so did Elena, gor-geous, cheerful and sunny more than ever, delighted at thejoke.

We loved this plan so much that we repeated it on thenext day!!

The Vespa scooter was our means oftransportation, day and night: before swimmingand after swimming, or to go out for dinner;always with the Vespa.

Encounters

THE TIMEBy Roberto Bernardoni


PaintingbyMarioMadiai

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When it was time to settle the hotel bill, Rino was some-what anxious, but I reminded him of the numerous times

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,that we paid for the attorney, and that gave him peace ofmind.

We were sitting in the hotel lobby when Elena suddenlysaid: Here he is.

Hello everyone. Have you paid already? Sure, you're the only one missing.Being a lawyer, and stingy, he checked each item care-

fully. As soon as he finished he lost his temper and beganyelling and swearing; never seen anything like that. Then

he started making threats and asked for the manager,whom he tore apart with his eyes, while Rino was becom-ing more and more anxious. I told him: Don't bother, let'sjust wait and see! I handed him a glass of water and satquietly waiting. After only a few minutes the attorney wasback in excellent mood and told us: Not only did theyerase all the undue charges, they also gave me a huge dis-count!

So I whispered to Rino: Are you still thinking of tellinghim?

Another vacation, another story, and this time a reallyspecial one. The destination was Formentera, one of the

Balearic Islands. At the last minute Rino let his nephewAttilio, the family's cheerful playboy, go instead of him. Weknew Attilio, but not yet his girlfriend Laura, a gorgeous,smart and really nice girl. We took off for Ibiza, and fromthere to Formentera. I can state, without any doubt, thatthat ended up being an utterly unforgettable vacation.

There was a trifle issue which we had to decide upon onday one, and we brilliantly solved it: at the beach, we werethe only ones wearing swimsuits. After staring warily ateach other, we decided to take all the fabric off, like every-one else, and that made us feel wonderfully; a total senseof freedom!

The Vespa scooter was our means of transportation, day

and night: before swimming and after swimming, or to goout for dinner; always with the Vespa. All we had to dowas change clothes, so to speak!

While wandering around we stopped to ask a womanwhere we could get some authentic paella. She surprisedus: No one here on the island makes a paella that canbeat mine, Attilio promptly replied: Well then, madam,invite us and we will pay tribute to it! The woman pon-

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Mario, our friend painter, rendered the importance of the great Vespa of our youth

dered over the idea and answered: Why not, my husbandis a fisherman and he can supply what's needed; and noproblem with the chicken, I can pick one of mine; howabout tomorrow night at nine? I live over there, in that smallhouse by the seaside.

OK, madam, see you tomorrow at nine, and thank you

very, very much!The following day passed same as usual, swimming and

sunbathing, but at one point, while Laura and Patty contin-ued basking in the sun, Attilio suggested exploring thatland of naked crowds. That was a laudable idea; however,when he pointed out a particular specimen, worthy of anartists masterpiece, I got distracted and injured my foot.Nude among the nude, dragging myself on the sand, try-

PaintingbyMarioMadiai

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ing to reach the hotel to take care of my foot, turned out tobe a true endeavor, because that nasty little cut was spilling

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, y p gblood all over like a fountain!

Bandaged or not, nothing could make us miss the paella,and so we went, no matter what.

Husband and wife guided us through their modest butspotless house to the terrace overlooking the sea. The din-ner table was ready: fresh water, sangria and brown breadwere waiting for us, and fishes of all sorts resting on a traywere calling us: try me! try me!

That excellent appetizer was followed by a superb pael-la; I never again had one that good. Two pitchers of san-gria accompanied it, and we could also taste what iscalled carachiljo: a drop of coffee with a lot of rum! A cher-ished and lasting friendship sprouted, in spite of us havingimpudently induced them to a repeat of the invitation.

Attilio and I both believe that that island, and that unex-pected friendship, determined our destinies, because he,Attilio-the-playboy, ended up marrying Laura, and Pattymarried me!

Attilio keeps saying: If it hadn't been for Formentera, whowould ever have gotten married?

Roberto - So, dear Paolo, time now for a recipe, right?

Paolo - sure, what are you up to?Roberto - how about a seafood risotto, what say you?Paolo - Risotto or Paella?Roberto - what do you mean, you don't like Paella?Paolo - Roberto, for a good risotto I can do my utmost;

whereas I can easily forget about Paella.Roberto - well listen, my dear publisher, I said fish risotto,

I didn't say paella, and to make my risotto you don't needto have traveled to Formentera or even have a housekeep-er from the Balearic Islands. How does that sound?

Paolo - clear enough! Although, you know, if the island isbeautiful, that's one thing; if the housekeeper is............well then! All right, tell me about the risotto.

Roberto - get yourself a package of rice, preferablyCarnaroli, and 10 or 12 medium shrimp

One white fish fillet, about one poundOne 8oz can of shelled clams and one 8oz can of shelled

mussels4 garlic cloves, a handful of parsley.Paolo - Roberto, give me the measurements of your

cans, please! And tell me for how many servings your72

A view of Formentera

quantities are supposed to be.

Roberto - quantities are for 4/6 people. Call me whenyou have everything.Paolo - Hello, Roberto?Roberto - Yes sirPaolo - I bought everything; I peeled the shrimp and

cubed the fish; I also used the shells of the shrimp to pre-pare some broth, OK Maestro?

Roberto - Damn! you didn't forget anything!Paolo - ain't finished yet, I also started heating oil in the

frying pan; quality oil made from olives, of courseRoberto - OK, now pick up your pen and add the garlic,

finely chopped; or perhaps you're more comfortable with aparing knife? Well, you decide. Let it brown, but just a lit-tle, then add the other ingredients, plus salt, black pepperand a pinch of hot pepper. Leave behind only the clamsand mussels.

Paolo - it starts browning, shall I add white wine?Roberto - OK, and as soon as the wine is reduced add the

clams and mussels, with their brine, and wait one minutebefore removing the pan from the flame.

Paolo - Are we in a hurry? Maestro!

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My Seafood Risotto

Roberto - Oh! they'll get cooked through together withthe rice!

Paolo - You're so right, my goodness, so right!Roberto - Good; now get a pot and put two spoonfulsof butter, let it melt, pour in half package of rice andstart stirring; continue until it becomes translucent and itbegins to stick;

Paolo - it is sucking up all the butterRoberto - that's normal; wait for a couple minutes and

then drop in the fish, and go on stirring; do you see itdrying up?

Paolo - yes, what shall I do, add some water?Roberto - better add some of the broth you made with

the shrimp shells, and add also a small bunch of pars-ley. Continue until it is fully cooked, adding broth when

needed. It should take about 20 minutes, but you bettertaste it, and check the salt too; if it ain't done cooking,wait a little longer.

Paolo - Yes sir, Maestro. I will bring it steaming hot tothe table! OK, Maestro?

Roberto - Absolutely, professor!

Full-Bodied, fat & Complex White

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LUNCH BOXES FOR LITTLE ANDBIG HEALTHY PEOPLE

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By Paolo Villoresi

Serena is a dear friend of mine, but when she asked me to

prepare with her a lecture on the lunch box I didnt take herseriously.Paolo its a new topic fun and it is for charity; I will do

the demos and you tell the history.I started to do some research and I found lot of material.Another friend and my eldest daughter did it in other

countries and, in a few hours, I had a lot of material . Ialso realized, that althoughwith different names, lunchbox exist from 3000 years.In Milan they are calledschiscette in must placesthey are called cestini, but

they are always lunchboxes.

The Roman gladiatorsused a bag of overcookedrice to boost their energybefore and during thefights; those were a sort oflunch boxes too! And they

BoxLunch

The energy Pouch of the Gladiators

Before the lecture

Serena and I like in the 50s

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Click Here

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were precious because the Romans did not use rice theyimported it on purpose for the gladiators.

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The Romans already discover that rice is one of the ingre-dients that transform rapidly into sugars.

Lunch boxes have been used and are still used all over theworld.

In America they had their moment of glory in the past cen-tury but are still being used: they are becoming fashionableagain with youngsters and adults and not just for laborersbut for professionals , employees and children who want toeat healthy and spend right..

The conference was marked by a sentence of Julia Child:In this age of fast and frozen foods, we want to teachschool children about real foodwhere it is grown andhow it is producedso they can develop an understanding

The Boom of the Lunch Boxes

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and appreciation of how good, fresh food is supposed totaste." and the lady was perfectly right, then! now the prob-lem has gotten gigantic, with the disaster of globalization,with the food genetically modified, the greedy business and

Industry that are poisoning usIts obvious people go back to the lunch box: a snack onthe street or in some cafeteria means unhealthy eating andspending too much; better bring it from home: the quality isbetter at a fraction of the cost.

People prefer to eat something yummy in a nice cleanbasket and, maybe, even a small glass of good wine.

Also the lunch box has changed and this is an importantfact: no longer is the poor man's trash is the container ofMr. so and so who has made a smart choice and practice.It is the lunch box of someone who wants to defend his tra-dition and his health from this mess that surrounds us.

In my research I was assisted by my friend Roberto from

San Diego an excellent cook who, with his wife and daugh-ter, operates not only a great restaurant the Opera Caf, but also a mobile restaurant :the grandson of those fromthe 20s who distributed the first lunch boxes in that verysame part of California.

He told me about the exploits of a certain family Moody,he put in contact with their nephew and I interviewed himfor you.

Western office Lunch Box

Courtes

yofOliviaSerafiniSauli

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Dennis I think the story of your business is very interest-ing, it was your grandmother to have the idea

yes Grandma Moody saw the need for good home

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yes, Grandma Moody saw the need for good, home-made sandwiches available on the streets of San Diego, sothey loaded up the car with cold sandwiches, took to thestreets, and never looked back. Throughout the 1920s and1930s, and World War II, business grew slowly. TheMoodys were selling just enough sandwiches to stay inbusiness

Where they offering a large selection of lunchesOh, no Paolo, they used innovative, homemade inven-

tions to make sandwich production quicker and easier, butthe meat was still sliced one slice at a time. Each day theyassembled boxed lunches that included two sandwiches, apiece of pie, and a salad, loaded the car, and sold themon street corners for $0.25 each

So what triggered the great success of your family,Dennis

The improving economy after WWII, the first truck spe-cially outfitted with sandwich storage, and the partnershipof my grandfather with his brothers Cecil and Bill. Theybought their first shop. Sandwiches were prepared daily inthe shop and then delivered to construction workers and

people on street corners You mentioned the advent of the cold and of the hottrucks; how was it. They were not using a frige before?

No, it was with the advent of the cold truck, a truckequipped with both hot and cold storage to keep drinkscolder and sandwiches fresher. They expanded to theirsecond facility, and then to their third, our current location.Times were good and people were hungry, and what hadstarted as a homemade sandwich operation had become afully fledged mobile catering company

So your family kept investing and improving the service,they hade more than 80 trucks and now you are a reallyimportant firm and you are the big boss Dennis!

Not really Paolo, you see, in 1980 the hot truck wasintroduced to San Diego and remains the mobile cateringvehicle of choice. Much more advanced than a cold truck,the hot truck has a complete onboard kitchen capable ofcooking up hot food in any location. In 1985 Moodyscompletely converted from cold trucks to hot trucks

And how is the business today?Oh business is good and our service continue, however,

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The first little Truck

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service to a variety of customers in a variety of settingsthroughout the San Diego area.

So the Mobile of my friend Roberto is part of your fleet


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in other ways, we have changed. With our modern fleet ofcatering trucks we are able to serve more locations, cover-ing a larger area of San Diego, bringing quality food to

your workplace, no matter where you are. Our lunchtrucks, like a fleet of restaurants on wheels, provide food

82 83

So the Mobile of my friend Roberto is part of your fleet Yes, each truck is outfitted with a full kitchen onboard

which allows food to be prepared hot and fresh on-site,and thats exactly what Mr. Roberto is doing with a trucktotally customized for me and for the Tuscan food he offers

In other words, Moodys Lunch Service continues hisoriginal business with very sophisticated trucks, but thefood is supplied by other parties. A very good and brilliantidea!

The first official Japanese Lunch box was already in usein fifth century A.C. more or less at the time of theGladiators of ancient Rome. It was non jet called Bento Boxbut it was prepared with the same love and care fromMamma or Granma for children as well as for workingmen and women who could not go back home for lunch.Japanese believe that those boxes were nourish people

with the food and love of the makers!There arent any illustrations and we dont know how they

were called but they must resemble the Bento Boxes usedby the tremendous commander Nabunaga passed outonce a day to his subjects of his castle in the 17 century.

In the end it was his way to feed them,

italian food and culture

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