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Un ricordo di moltianni fa. Mi aggiravoammirando glioggetti di antiquari-ato in vendita alpopolare Mercatodelle Pulci in Piazzadei Ciompi a Firenzequando attaccai dis-corso con il propri-etario di una

bancarella dove avevo acquistato un pic-colo gioiello. L’uomo, forse colpito dal miointeresse per la sua merce, mi disse:“Vuole vedere qualcosa di straordinario?Venga con me.” Mi portò nel suo magazz-ino a pochi passi dalla bancarella. Avevaacquistato “a scatola chiusa” a un’astapubblica una decina di enormi armadiguardaroba provenienti dai beni di unaaristocratica e ormai estinta famigliafiorentina. Contenevano vestiti, pellicce,accessori che rappresentavano più di unsecolo di raffinatissima moda femminile emaschile. Dagli elaborati abiti da sera fin-de-siècle agli svelti abiti anni ’20 svolaz-zanti di frange fino agli anni ’50 con leampie gonne del new look lanciato daChristian Dior. Fu per me un viaggio nelsogno e dalla mia passione per la modad’epoca non sono guarita più. Figurarsicon quale curiosità ed entusiasmo ho se-guito il progetto della mostra “Moda all’I-taliana: The Craft of Italian Fashionc.1900-2000” allestita nel Museo del Cen-tro Italiano, al punto che ho ceduto allelusinghe della Dr. Angela Clark, la cura-trice del Museo e ho prestato tre pezzidella mia collezione di foulards, firmatiEmilio Pucci, disegni originali e non piùripetibili risalenti agli anni ’60. La mostrasi aprirà ufficialmente il 30 gennaio, magià viene visitata in anteprima da gruppi

di appassionati ai quali la Dr. Clark fa daguida. Questo viaggio nel tempo fra lepareti del Museo consente di ammirare lavera arte dell’abbigliamento, la creatività,l’ispirazione artistica, la finezza di ese-cuzione e la qualità eccelsa dei materiali.Siamo abituati oggi a una moda usa egetta, a capi confezionati con materialiscadenti, prodotti in serie e copiati dalle

tendenze dei couturier famosi, roba checosta poco e per questo la gente la com-pra, per buttarla non appena arriva lanuova mandata di stagione. Gli abiti es-posti al Centro sono Storia, quella con laS maiuscola, storia di una società e di usie costumi in evoluzione, storia soprattuttodel fascino femminile, esaltato dagli abitifascianti e sensuali degli anni ’30, sdram-matizzato dall’esplosione di irriverenza eallegria degli anni ’60 con le minigonne, ipigiama palazzo e i cappottini dal taglioaderente e perfetto completati dal cap-pellino a tamburello come li indossavanoAudrey Hepburn e Jackie Kennedy. Ci sonoi grandi nomi del firmamento della modaitaliana al Centro, da Elsa Schiaparelli aEmilio Pucci, a Sartoria Federici di Roma, aFerragamo e molti altri ancora. Ci sonoabiti da sera opulenti, ci sono i guanti difinissima pelle fatti a mano dagli artigiani,ancora immacolati dopo un secolo, cisono le borsette di Roberta da Camerino ele scarpe-capolavoro di Salvatore Ferrag-amo. C’è un raro e bellissimo abito deiprimi del ‘900 di Mariano Fortuny, il cele-bre stilista spagnolo che con la mogliecreò lo stile Delfo, abiti di seta di ispi-razione greca classica, finemente plisset-tati che mantenevano la propria formaper sempre grazie a una serie di invisibilisferette di vetro cucite nell’orlo. Si dice chenessuno ha potuto sinora replicare la per-fezione di tale plissettatura.Come sono arrivati a Vancouver questiabiti d’epoca, rari e preziosi? Merito della

SMOC B.C. Society for the Museum ofOriginal Costume, una associazione senzascopo di lucro fondata nel 1992 che ha perscopo la creazione, conservazione e stu-dio di una grande collezione di moda d’e-poca, costumi tradizionali e stoffe diimportanza e livello internazionali. Meritodi Ivan Sayers, già Curator of History alMuseo di Vancouver, docente storia dellamoda alla Simon Fraser University Con-tinuing Studies, esperto studioso di modafemminile, maschile e dell’infanziarisalente al periodo che va da circa il 1650fino ad oggi. Sayer possiede una delle piùvaste collezioni personali in Canada diabiti rari risalenti a varie epoche del pas-sato e organizza conferenze e eventi sullamoda. La mostra al Centro sarà apertafino al 28 marzo.

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Quando la moda era ispirazione, arte e preziosoartigianato: la mostra Moda all’Italiana al Centro



Meet the New Executive Directorof il Centro mario miceliMy name is

Mario Miceliand I am

deeply honoured tobe serving this com-munity. I retired after a 30-year corporate ca-reer where I wasfortunate to be in-volved in various

leadership position. I have also had ex-tensive involvement on various boardswith other organizations and companies. Iwant to bring that experience to il Centro,especially at this point in time. I believethat this generation as well as the nextowes a debt of gratitude to those coura-geous Italians who left their families, theirculture, their way of life to come to Canadaand create a new start. A life that was bet-ter than what which they had in Italy. Op-portunity was more abundant in this newcountry. From the first Italian immigrantsin the early 1900s to the second wave after1947, Italians have shaped this city, thisprovince and this country. One of myfavourite sayings from an Ellis Islandquote:Before I came to America, I thought thestreets were paved in gold. When I camehere I learned three things: The streetswere not paved in gold, the streets weren'tpaved, and that I was expected to pavethem.And pave them we did. The accomplish-ments of the Italian community are far toomany to mention. Whether you were thestreet paver, the entrepreneur, the devel-oper, or a professional, everything Italiansdid was with the integrity, craftsmanshipand pride that they brought with them.Those traits were passed down to theirchildren and grandchildren.Il Centro is a testament to those Italians –those willing to “do the work” to see thatthese buildings were constructed so thatthey had “their” place, the home that theybuilt for all Italians, to promote their cul-ture, to preserve their heritage for gener-ations to follow. At the keynote speech forthe declaration of Italian Heritage Monthlast year, I said: "Being Italian is language,it's culture, it's heritage—but it's obliga-tion, it's obligation to honour the immi-grants who came before us: the shouldersof their accomplishments upon which wenow stand.”What I would like to accomplish at il Centrois to reinvigorate the centre. Mrs GemmaScotton asked me one thing and that is tomake sure that the same passion that hergeneration had to create il Centro is thepassion with which we will go forward toensure il Centro flourishes. I plan to keepthat promise to Mrs Scotton and to our en-tire community.This role is all encompassing from the fi-nancial and administrative managementto the planning that is required to makesure that we can accomplish our missionstatement. “To promote and share Italian culture, val-ues and heritage with all communities.”We would like to encourage membershipand attachment to il Centro from manywho have left the centre and from thosethat have never been involved with thecentre. We need to make sure that we areproviding events that will attract newerand younger members. We need to reachthe various communities on a platformthat is of their choosing and preference by

improving our social media channels andother communication. In short, we mustgo to where the people are in order toshowcase the wonderful programming

and events offered by il Centro but, also in-teract with them so that we understandwhat their needs are, what they would likefrom il Centro.

We have an amazing staff and board at ilCentro that I am proud to work with. Theirpassion for all things Italian is infectiousand I am sure that it will be demonstratedwith our future events. I am looking for-ward to the staff taking on their passionprojects for il Centro. There is great energyand ideas that arose from our strategicplanning session in May. As the author ofthat plan, being in this position, I am look-ing forward to executing that plan as I be-lieve it will move il Centro forward in a verypositive way. It’s also important to con-tinue to listen to the wisdom and knowl-edge of our long-time members as well asour member associations so that we arebetter prepared to collaborate andachieve success. So, ongoing communica-tion is a high priority for me. I also want toencourage relationships with other organ-izations, not the least of which our busi-ness community. Making sure that we canprovide mutual benefit to a wide array ofstakeholders in the community is anotherbuilding block upon which I would like towork.You want to know a little about me. Well, Igrew up in South Vancouver and currentlylive in Burnaby where my Greek wife and Iraised our two children. We have 2 dogsand a bird. The things I like to do outside ofwork is writing, I am currently writing abook on Italian immigrants and to writeand perform comedy. I would love the op-portunity to meet with all of you. If youwould like to chat call and we’ll set up atime. If you are at il Centro, drop by my of-fice just to say hello and introduce your-self. I am here for you.

letter to the commUNitYOn behalf of the Board of Directors, it ismy pleasure to inform you that we havecompleted our wide-ranging search forour new Executive Director for il CentroItalian Cultural Centre. I am happy to in-troduce the individual who we feel is anexceptional fit for taking on this leadershiprole. It is my pleasure to introduce MarioMiceli as the new Executive Director.Mario comes to us from a 32-year corpo-rate career and extensive community in-volvement. His vast experience in variouscorporate roles has provided him the skillsand ability to effectively manage all ourdepartments while providing strong lead-ership, mentoring, coaching and develop-ment to our staff. Mario’s strengthsinclude strategic planning and execution,financial administration, stakeholder man-agement and relationship management.Mario is a people person who under-stands the need for exceptional commu-nication skills as well as understandingvarious platforms required to reach cur-rent members and patrons as well as at-tracting new members and guests to ilCentro. Mario also has extensive experi-ence with interactions at various levels ofgovernment. Mario’s advocacy has beenrecognized locally and globally.Mario is passionate about providing ex-ceptional service to our members and pa-trons and making il Centro a jewel in thiscity.Mario’s broad and varied experience posi-tions him well to lead il Centro Italian Cul-tural Centre into this new decade. Pleasehelp me in welcoming Mario and wishinghim much success with il Centro.

michael cuccione-PresidentJanuary 22, 2020

vickYPaci



Martedi’ 21 gennaio2020 nella locationdel Centro CulturaleItaliano si è svoltol’evento letterarioBooks & Biscotti pre-sentato dall’associ-azione degli scrittoriitalo canadesi e dallanostra collega e scrit-trice Anna CiampoliniFoschi che ha in-trodotto i tre autori e

di ognuno ha proposto la biografia. Gli scrit-tori, tutti di primissimo piano, sono impor-tantissimi ed il fulcro di questi incontri ma ilpubblico viene catturato dall’atmosfera: sirespira cultura e voglia di sapere, diconoscenza e, perche’ no? Divertimento edevasione ascoltando narratori che sannoanche far sorridere. Michael Mirolla, ro-manziere, scrittore, poeta, drammaturgo ededitore che vive in Hamilton, Ontario. In-signito del Premio Bressani per ben tre volteè lo scrittore ospite in residenza alla HistoricJoy Kogawa House di Vancouver fino allafine di gennaio e le sue pubblicazioni, tra lequali spicca Berlin (pluripremiato), sonoconosciute in tutto il mondo, le sue storiebrevi e poesie sono state pubblicate in nu-

merosi giornali canadesi. Per noi ha presen-tato la sua ultima novella The Last NewsVendor. A seguire Bonnie Nish, direttore es-ecutivo di Word Vancouver e Pandora’s Col-lective Outreach Society. Il suo primo libro dipoesie "Love and Bones" è stato pubblicatoda Karma Press nel 2013 mentre "Concus-sion and Mild TBI: Not Just Another Head-line", un'antologia con storie di commozionecerebrale, è stato pubblicato da Lash and As-sociates nell'agosto 2016 e l’ultimo lavoro“Cantata in two voices” scritto insieme conJude Neal e’ uscito con etichetta Ekstasis Edi-tions. Bonnie ha conseguito un Master in Ed-ucazione artistica alla Simon FraserUniversity ed attualmente un dottorato inEducazione linguistica e letteraria alla UBC.E’ una terapista di arti espressive con un cer-tificato di studi universitari avanzati alla Van-couver Expressive Arts Therapy School.Natasha Boskic, è una scrittrice e poetessa

originaria della Serbia che vive a Vancouver.Ha conseguito la laurea in lingua inglese e al-fabetizzazione all'Università di Novi Sad (Ser-bia) e un dottorato di ricerca in Educazionelinguistica e letteraria all'UBC concentran-dosi sull'etica nei mondi di gioco. Scrive siain inglese che serbo ed i suoi lavori sono statipubblicati in numerose riviste letterarie edantologie in Canada ed a livello inter-nazionale. Interessata alla tecnologia comenuovo paesaggio per l'espressione letterariasperimenta con i nuovi media. E’ respons-abile dell'apprendimento del design all'uffi-cio di Educational Technology Support (ETS)Facoltà Scienze della Formazione dell'Uni-versità della British Columbia (UBC). Comesempre Anna ci ha regalato una bella seratamolto seguita dagli appassionati di letter-atura con pubblico soddisfatto, opportunitàdi dialogare con gli autori ed acquistare lepubblicazioni e refreshment.

vickYPaci


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Viene spesso definita "il cuore della Sardegna" perchè è ada-giata nell'entroterra più selvaggio dell'isola, proprio a ridossodel massiccio del Gennargentu e dei rilievi minori che si ergonoattorno ad esso. La Barbagia è una estesa regione dellaSardegna che custodisce, ancora intatte, alcune delle più rapp-resentative espressioni della cultura, della storia e della naturadell'isola. L'uomo, qui, ha mosso i suoi primi passi sin da epocaremota, lasciando ai posteri preziose testimonianze che con-tribuiscono, oggi, a donare a questa terra il fascino ancestraleche la contraddistingue. Il suo nome fa riferimento all'epocadelle invasioni da parte dei Cartaginesi e dei Romani durante lequali i sardi che resistettero alla conquista trovarono rifugio pro-prio in questa zona dell'isola. Occore precisare, però, che non esiste una sola Barbagia. L'in-tera area è composta, infatti, da differenti regioni storiche checostituiscono, per certi versi, delle realtà a sè stanti. La Barba-gia di Bitti, ad esempio, è la più settentrionale, quella di Seulo lapiù meridionale. Vi sono, poi, le Barbagie di Belvì, di Nuoro, diOllolai e il territorio del Mandrolisai ad ovest del Gennargentu.Uno dei simboli della Sardegna e della sua storia sono indis-cutibilmente i nuraghi, le antiche costruzioni della preistoriasarda. E chi desidera osservarne dal vivo alcuni dei più interes-santi dell'isola è proprio in Barbagia che dovrà recarsi. Questaregione, infatti, custodisce preziose testimonianze risalenti al-l'epoca della civiltà nuragica. Basti pensare che sono oltre 200,

e tra i meglio conservati, i nuraghi che si possono ammirare du-rante un viaggio nella zona. Nei pressi di Bitti, ad esempio, il sitodi Su Romanzesu conserva le vestigia di templi e capannenuragiche e di un anfiteatro, mentre il complesso delle cinquechiese campestri o Babbu Mannu custodisce le rovine dei san-tuari di Santo Stefano, Babbu Mannu, Santa Maria, Santa Luciae San Giorgio. Poco lontano, nel comune di Orune, la sugges-tiva Fonte Sacra Su Tempiesu è il più bel tempio a pozzonuragico dell'intera isola. A Meana Sardo, infine, il nuragheNolza rappresenta un pregevole esempio di architettura nurag-ica in ottimo stato di conservazione. L'intero territorio dellaBarbagia si presenta, però, estremamente ricco di attrattive edoltre ai numerosi siti archeologici, molti comuni offrono borghimedievali di grande fascino fatti di magnifiche case in granito,stretti vicoli, coortes (i cortili delle abitazioni) e pergolati di vite,immersi in scenari davvero unici. Da non perdere, ad esempio,il pittoresco centro storico di Gavoi o quello di Orgosolo, arric-chito, in epoca moderna, di variopinti murales che raccontanola vita, la cultura e le vicende politiche che hanno interessato ilborgo. Il primo venne realizzato nel 1969 e, da allora, l'interopaese si riempì di queste grandi pitture murali che, oltre a rap-presentare una interessante espressione artistica, divenneroben presto l'elemento distintivo della località, visitata ogni annoda migliaia di turisti curiosi di ammirare le sue caratteristichecase dipinte.

Sardegna, 5 buoni motivi pervisitare la Barbagia



serie bgiorNata 21

empoli 1-1 chievocittadella 1-2 benevento

Pisa 1-1 stabiaentella 1-1 cremonesePordenone 0-2 Pescarasalernitana 2-1 cosenza

venezia 1-1 trapanicrotone 1-2 spezia

ascoli 0-1 frosinonePerugia D.s. livorno CL

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C'è un'Atalanta stellare a illuminare lanotte di Torino. Bellissima, travolgente, ir-refrenabile: rifila al Toro la peggiore umil-iazione casalinga della sua storia. C'è un Ilicic imprendibile: tripletta, gol allaMaradona da centrocampo (quello dello0-4) e pallone portato a casa. In mezzoanche lo squillo di Gosens e il rigore di Za-pata, allo scadere la doppietta di Muriel.Finisce sette a zero per i bergamaschi (maGasperini ne poteva fare anche di più),che agguantano la Roma al quarto postoa 38 punti, in attesa del derby della Capi-tale. Per Mazzarri e il suo Toro (che chi-ude in 9 uomini: espulsi Izzo e Lukic) nonè stata una partita, è stato un incubo.A metà del percorso resta negli occhi labellezza sfrontata di un'Atalanta che

riscalda con un gioco europeo di finis-sima qualità la fredda serata del-l'Olimpico. Sotto un ritmo avvolgente,infilato da tutte le parti, il Toro sbuffa, sof-fre maledettamente ma capitola presto. Il ritmo e lo spettacolo offerto dallasquadra di Gasperini affondano sui de-meriti, i difetti e gli errori del Toro di Maz-zarri. Il contropiede di Belotti dopo dieciminuti è solo un abbaglio (ottimo il recu-pero con salvataggio di Gosens), perchétutto il resto del copione è un monologonerazzurro. Con Gasperini a scrivere lo spartito dallapanchina, Gosens e Hateboer a metterein ginocchio Laxalt e De Silvestri sullefasce, Ilicic in serata di grazia, Freulerpadrone assoluto della zona di mezzo.

Ilicic show: ne fa tre,l'Atalanta ... sette!

Diavolo di un Napoli. Riesce a regalare alcampionato una notte magica, che tieneaperto il discorso scudetto più di ogni altracosa. Inter e Lazio guadagnano addiritturaun punto sulla capolista, nonostante irispettivi pareggi del pomeriggio. Puòesultare, Rino Gattuso. E lo fa per la primavolta da allenatore al San Paolo. Mai inprecedenza, infatti, gli era riuscito di con-quistare i tre punti. Stavolta, gli è venutabene, perché Zielinski e Insigne non hannoperdonato l’inconcludenza della Juventusche, soltanto nel finale ha provato a rimet-tere in piedi il risultato dopo che CristianoRonaldo ha ridotto le distanze. Non è statoun buon ritorno quello di Maurizio Sarri, alSan Paolo, la sua Juventus è stata bruttinasul piano della manovra e per niente conc-reta sotto porta se si esclude il gol diRonaldo. Il Napoli, dunque, torna a vincerein campionato dopo poco più di tre mesi,

l’ultima volta era stato contro il Verona, il 19ottobre. Non si può nemmeno considerareuna sorpresa l’impiego di Gonzalo Higuain.La possibilità che potesse giocare l’attac-cante argentino, in luogo di Aaron Ramsey,era stata anche quotata alla vigilia. Nel suoSan Paolo, Maurizio Sarri schiera la grandebellezza, quel tridente che gli invidia mezzomondo e che vanno a completare CristianoRonaldo e Paulo Dybala. Sugli esterni bassi,le scelte del tecnico bianconero sono obbli-gate: Cuadrado a destra e Alex Sandro a sin-istra. Deve fare di necessità virtù, invece,Rino Gattuso. Gli manca ancora mezza difesa e devespostare Di Lorenzo centrale al fianco diManolas, mentre Hysaj viene confermatosulla detsra. A centrocampo, l’assenza di Allan apre allasoluzione Demme, con Zielinski e FabianRuiz ai suo lati.

serie agiorNata 21

brescia 0-1 milansPal 1-3 bologna

fiorentina 0-0 genoatorino 0-7 atalanta

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La Juve e CR7 si spengono a Napoli



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2.182.182.25

Due casi di coronavirus confermati inFrancia: sono i primi in Europa. Lo an-nuncia il governo francese. Un caso è aBordeaux, nel sud-ovest, l'altro a Parigi,ha annunciato stasera in tv la ministradella Salute, Agnes Buzyn. "Il paziente diBordeaux ha 48 anni - ha detto la minis-tra - è rientrato dalla Cina, dove è passatoda Wuhan. Si è fatto visitare ieri. Da ieri è

ricoverato in una camera isolata. E' statoin contatto con una decina di personedopo il suo arrivo in Francia". L'uomo è di"origini cinesi", ma residente in Gironda,la regione di Bordeaux. Si trovava in Cinaper motivi professionali. Si sa poco delpaziente ricoverato a Parigi, all'ospedaleBichat, a parte il fatto che anche lui è ri-entrato dalla Cina.

Virus Cina arriva in Europa, due casiconfermati in Francia

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Monday afternoon I was in-vited in the home ofMichael Moscone. We were

walking through his amazing andtastefully designed home, predomi-nantly decorated in Italian style. Ifollowed him down a hallway as hecontinued. What do the Italians bringto the table? We entered his mainentrance he uncovered one rareFerrari We have style. At this point,his gleaming white smile revealedhis pride and joy. It is no secret that

Italian design is known throughout the world. From toasters to coffee machines, Italian design is justwonderful. When it comes to pianos, Fazioli embodies quintessentialItalian flair. And their proportions, their sense of style

equals the quality of their manufacturing. And MichaelMoscone just bought it one Fazioli Piano. This was the rea-son why he was inviting all of us: Ezio Bortolussi, Rocco DiTrolio, Tommaso Bresciani, Carmen d'Onofrio, FernandoMoretti and other special guests.I did not loose the opportunity to speak with Mr PaoloFazioli, founder of Fazioli Piano located in Sacile, Italy. He’sone of the few living legends who established his ownpiano brand. His pianos are some of the most exquisite examples ofcraftsmanship and many of the world’s top performersplay Fazioli pianos including Angela Hewitt, Herbie Han-cock, Lucas Wong, Vladimir Ashkenazy, Aldo Ciccolini, Al-fred Brendel, Lazar Berman, Annie Fischer, and LouisLortie to name a few. Extreme quality also comes at a cost. Fazioli pianos are some of the highest priced pianos in theworld and they also make the longest production grandpiano measuring 10’1” (3m 8cm) long.

a few words about Paolo fazioliPaolo Fazioli was born in Rome in 1944, into a family offurniture makers. In 1969 he graduated from SapienzaUniversity with a degree in Mechanical Engineering, and in1971 received a diploma in piano at the G. Rossini Con-servatory in Pesaro, where he studied under Sergio Ca-faro. In the same period he also earned a master's degreein Music Composition at the Academy of St. Cecilia, wherehe studied with the composer Boris Porena.In the meantime, his elder brothers took over the familybusiness: a factory producing office furniture, using rareand exotic woods such as teak, mahogany and rosewood.Paolo Fazioli joined the company as well, however, henever gave up on pursuing his dream of building theworld's finest grand pianos, and at the end of the 1970s,the Fazioli Piano Factory was born within the furnitureplant in Sacile, about 40 miles north of Venice.

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n 1979, Fazioli started designing the first prototype for a baby grand piano. He was as-sisted by a small team consisting of Professor Pietro Righini, an expert in musicalacoustics,[citation needed] and Professor Guglielmo Giordano, a noted wood technol-ogist, as well as Virgilio Fazioli and Lino Tiveron. The prototype of the F183 model wascompleted in June 1980, followed at the end of the year by the prototypes of two othermodels, the F156 and the F278. In the latter half of the year, work began on the proto-type of the F228 model.In February 1982 all four models were exhibited at the Musikmesse Frankfurt.[citationneeded] The production area within the MIM factory was expanded to 600 square me-tres (6,500 sq ft) increasing production to two pianos per month.In 1983, the company began collaborating with Zeltron (Zanussi Institute for Research)with the aim of further improving tonal quality. Initial success followed in 1984 and 1985when well-known pianists including Aldo Ciccolini, Alfred Brendel, Martha Argerich,Vladimir Ashkenazy, Lazar Berman, Nikita Magaloff, Michel Beroff, Annie Fischer, LouisLortie and many others began to play on Fazioli pianos. A number of important concerthalls purchased the F278 concert grand piano,[citation needed] and the firm started ex-porting to major European countries and the United States. The demand for an instru-ment having even greater power and richness of tone, for use in large concert halls,inspired the concept of the F308 model, which is still the longest piano available on themarket. Alongside this project, work began on a new model to complement the existingline, the medium-size F212 with a length of 212 cm.In 1998, the company purchased an area of approximately 14,000 square metres(150,000 sq ft) next to the existing factory, leading to the construction of a new plant ca-pable of producing approximately 150 instruments per year. The new facility includes alaboratory for acoustic research and a concert hall in which new instruments can betested. In 2001 the new factory edged closer to the target of 100 pianos per year.In 2004, large orders were placed and production finally exceeded 100 units. That sameyear, the new offices and the Fazioli Concert Hall were completed. Equipped with vari-able acoustic devices, the hall is ideal for instrument testing, concerts and recordingsalike.By 2006, Fazioli was producing between 120 and 130 pianos per year.The prototype of the first F308 received its first public performance in 1987, at the TeatroComunale in Monfalcone, where French pianist François-Joël Thiollier performed bothof Tchaikovsky's piano concertos.Later that year, Lazar Berman played Liszt's Second Concerto on the F308 concert grandat the Carnegie Hall in New York. Murray Perahia also requested the same model for hisconcert at the Teatro Goldoni in Venice.Toward the end of that year, Alfred Brendel chose to perform on Fazioli pianos for hisItalian tour. The cooperation with the Zanussi R&D Centre led to the optimisation of theentire product line: the six improved models (F156, F183, F212, F228, F278, F308), whichtoday still represent the entire Fazioli range, were showcased at the 1988 edition of theMusikmesse Frankfurt. Following the expansion and modernization, output hit six unitsper month in this period. In 1994, Fazioli Pianoforti attended its first exhibition at theNAMM show in Anaheim, California.In the same year, the company displayed at Music China in Shanghai. A concert grandpiano was installed in the Sydney Town Hall in Australia and its debut performance camein a concert attended by Australian Prime Minister Paul Keating. Fazioli pianos were alsochosen for the Gina Bachauer Piano Competition in Salt Lake City.



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THE ATRIUM INN VANCOUVER

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Simone McIntoshis a rising star inthe world of

opera. Born in Van-couver, she is a clas-sically trained operasinger, a mezzo-so-prano. Her website: www.si-monemcintosh.comexplains that Simone

“holds a master's of music from the SchulichSchool of Music at McGill University and re-ceived her bachelor’s degree in opera fromthe University of British Columbia. McIntoshhas been named winner of competitionssuch as the COC Ensemble Competition2016, McGill Wirth Vocal Prize 2016, and Ot-tawa Choral Society New Discoveries Com-petition 2018, and was dubbed one of theCBC’s “30 Hottest Classical Musicians Under30” in 2017. McIntosh is versatile in her mu-sical endeavours from art song to opera,and ranges between early music to con-temporary. McIntosh's operatic credits include Tamiri inIl re pastore (Merola Opera); The Page inRigoletto (Canadian Opera Company); Rug-giero in Alcina, Prince Orlofsky in Die Fled-ermaus, Judith in Bluebeard's Castle, Megin Little Women and the Waitress in SpeedDating Tonight! (Opera McGill); Donna inCrush (World Premiere at The Banff Centre);Béatrice in Béatrice et Bénédict (MY Opera);the Fox in The Cunning Little Vixen, Giuliettain The Tales of Hoffmann (UBC Opera);Cherubino in The Marriage of Figaro (Burn-aby Lyric Opera); and Cis in Albert Herring(Vancouver Opera). McIntosh has partici-pated in several professional developmentprograms such as Merola Opera Program2018, SongFest 2017, Toronto SummerMusic Program 2016, and The Banff Centreof the Arts 2015. This season as an Ensem-ble Studio Artist at the Canadian OperaCompany, she appears as the Confidante inElektra and Tisbe in WOW Factor: A Cin-derella Story (Opera for Young Audiences).She will also sing the title role in La Cener-entola at Vancouver Opera this spring.” Simone has chosen a rewarding and excit-ing career that can also require a level ofpersonal dedication and sacrifices. Il MarcoPolo contacted the versatile young artistand she graciously accepted to share herexperiences in the following interview. anna foschi: Simone, thank you answeringour questions. Let’s start from the begin-ning: what motivated you to start a careeras an opera singer?simone mcintosh: It was a perfect storm ofevents that made me find my love foropera. As a teen I was pretty ignorant aboutopera, and of course thought it was superlame. But my parents did encourage megoing to many different kinds of music as Igrew up and put me in a choir. Through mypassion for choral music, encouraging edu-cators, an education outreach program viaVancouver Opera, and some random manon a plane telling me to go for it, I found adeep passion for opera, and found myselfin this crazy art! a.f.: Opera is probably one of the most tra-ditional forms of art. Yet, times are chang-ing. Can you talk about some of the changesin today's opera productions?s.m: This is a huge topic within the operaticcommunity. What do we put on the stagewhen where performing pieces that werewritten in the 17th, 18th and 19th century?Do we want to honour the time in which itwas performed, do we re-contextualize tofit the 21st century, or perhaps make wildand artistic directorial choices? In my idealworld, I would love to see more new works

being performed more frequently. But to behonest, I don't know what the answer is, es-pecially since the audience's opinion isgrossly subjective and individualistic.a.f.: What are the top qualities that an

opera singer should possess to be success-ful in today's competitive opera world?s.m.: Humility. Preparation. Punctuality. Inrehearsals, we are working very closely to-gether and spend a lot of time with one an-other, so it truly counts to be kind and agood colleague. It also can be a real cog inthe wheel when someone shows up under-prepared or is 10 minutes (or even 2 min-utes) late. Ultimately, we want to be our bestselves and put on something we can beproud of. a.f. Do you think that opera can still appealto younger audiences?s.m. 100% YES! There are 400+ years ofopera and counting. I am CONVINCED thatthere is an opera for everyone. I really lovewatching thrillers at the movies, so myfavourite operas are ones that are dark andgloomy like Bluebeard's Castle by Bartók,Strauss' Salome and Berg's Wozzeck. I en-courage new operagoers to check out a fewdifferent operas when you're first gettinginto it. Even if you’re not huge into thesinging at first, there are so many differenttypes of voices and vocal styles dependingon the period the piece was written. An-other misconception for opera newbies isthe price of the tickets; at most operahouses now, there are tickets for peopleunder 30 or 40 that usually cost around $30,as well, many opera houses have standingroom tickets for $10-12. I use the standingroom to get my operatic fix as much as pos-sible! a.f.: Can opera attract a multicultural audi-ence?s.m. I believe so, yes! I am a firm believerthat there is an opera for everyone's taste.There are, however, some challenges intoday's society where there are some in-credible masterpieces like Puccini'sMadama Butterfly that on one hand havesuch an innate and raw emotional reaction

from the audience, but on the other poten-tially have serious social faux-pas as theAsian characters were historically per-formed in yellowface and continue to today.It is a controversial subject in the operaworld nowadays. Some believe that weshould be casting singers colour-blind,where others want to encourage culturallysensitive casting, or not programming theworks altogether (after all, they are storieswritten by two or three white guys 100-200years ago). I fall under the camp that weshould be listening to our fellow communi-ties and especially those who have beenmarginalized by Western culture. If we doperform these types of works then let usconsider carefully who will represent thesecharacters with the utmost respect, andperhaps use it as a learning opportunityabout appropriation, culture and how wecan do better as a community in treatingour fellow neighbours.a.f.: Some of the opera plots may appearrather "politically incorrect" by today's stan-dards, and the same goes for some of thecharacters, particularly the female charac-ters that are often portrayed as self-sacrific-ing and somewhat passive. What are yourthoughts on this subject?s.m. To answer this, I'd like to give an exam-ple. A few years ago, I portrayed a characternamed Judith from the opera "Bluebeard'sCastle"; a psychological, abstract thriller thatshows the inner mind of a serial killer. As Iwas learning the role, I found that many ofthe performances I watched on videorecordings had the character as passive anda victim of her own fate. I was so unsatisfiedwith this. As I dug further, I discovered thatthis was also the director's choice of the pre-miere production in 1918. However, thischoice was greeted with extreme dissentfrom the librettist (play write), Béla Baláz,who thought that this character choice wasso far from what he intended for the char-acter. Baláz, a Hungarian suffragette,wanted the character to have agency, rep-resent goodness and challenge her oppos-ing serial killer. Not at all like the victimized

performances I watched. This is a long-winded answer in me saying that I believemost, if not, all women in opera haveagency and are strong in one way or an-other. I think it is up to the performer anddirector to make the choices clear and hopefor a time where we don't see "weak"women on the stage.a.f.: What are the bigger challenges thatyou face in your career?s.m. Right now is an interesting time whereI am stationed in San Francisco for twoyears. While this city is incredible and full offantastic art and history, it's not likely theplace where I will settle down, rather an an-tecedent to an unknown period of uncer-tainty and being ungrounded. An operaticcareer involves a Iot of travelling, and cantake you anywhere in the world, which is re-ally cool! On the other hand, though, itmeans that I can't make a full plan in whereI will be in the next five to ten years. It's bothscary, but I'm excited to see the world. Plus,I can always come home to Vancouver toget my fill of the mountains and ocean!a.f.: What is, or what are the opera rolesthat you would like to play? I mean, whatwould be your dream role?s.m. You might have picked up that I ab-solutely love psychologically thrilling operas.One of those that I so badly want to do isSchoenberg's Erwartung. There is one char-acter in this thirty-minute opera, and it is ap-parently one of the most challenging scoresto learn in the operatic repertoire. This is due to the unruliness of the music,and the immense amount of characterwork you need to do to portray this womanbecoming lost in her own mind of jealousy. a.f.: What are your plans for the immediatefuture and on a long-term perspective?s.m. In the very near future I see myselfheading over to Europe and exploring myartistry there. Perhaps long-term, I wouldlove to be an educator preferably in a uni-versity setting. One thing I've mandated to myself is that Iwould love to be creating Canadian contentand bringing it around the world.

Simone McIntosh, a beautiful Canadianvoice for Italian opera … and more

aNNafoschi


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con abbondante acqua corrente, poi tie-nile da parte in una ciotola. Pulisci e pelale patate e tagliale in piccoli pezzi. In unapentola fai rosolare a fuoco basso l’aglioschiacciato con l’olio extravergine di olivae il burro. Aggiungi nella pentola lecimette del cavolfiore precedentementetagliate, metti un po’ di pepe e fai rosolareper qualche minuto e unisci poi le patate.Versa l’acqua nella pentola in modo dacoprire a filo le verdure. Fai cuocere leverdure a fuoco medio per 10 minuti,dopodiche’ copri con il coperchio e cuocile verdure per circa 20 minuti a fuocolento. Se le verdure dovessero asciugarsitroppo aggiungi un pochino di acqua perrenderle più tenere. Terminata la cotturafrulla il tutto con un frullatore a immer-sione in modo da ottenere una crema flu-ida e omogenea. Aggiusta di sale e pepe eimpiatta la vellutata ancora calda aggiun-gendo un giro d’olio e Parmiggiano Reg-giano. Buon Appetito!

La direzione del Marco Polo è spiacente di comunicare che dal prossimo1 gennaio 2020 cesserà l’invio delle copie agli abbonati del giornale. Ilservizio di abbonamento verrà quindi terminato a causa dei crescenti

costi di spedizione. Copie gratuite del Marco Polo saranno disponibili pressonegozi e altri centri di distribuzione. Ci impegniamo ad aumentare questicentri di distribuzione nel prossimo futuro per facilitare i nostri lettori. L’edi-zione online continuerà ad essere regolarmente pubblicata. Ringraziamotutti i nostri lettori e sostenitori per il supporto e la stima di cui ci onorano.Se desiderate ulteriori chiarimenti, email: [email protected]

Il Marco Polo management is sorry to report that from next January 1, 2020the sending copies of the newspaper's subscribers will cease. The sub-scription service will therefore be terminated due to the increasing shipping

costs. Free copies of the Marco Polo will be available in stores and other dis-tribution centers. We are committed to increasing these distribution centersin the near future to deserve better our readers. The online edition will con-tinue to be regularly published. We thank all our readers and supporters fortheir support. If you would like further clarification, email: [email protected]

DogaNieri, Pietro12 Nov, 1925 - 16 gen, 2020Con il cuore colmo di tristezzaannunciamo la scomparsa delnostro amato Pietro. E' so-pravvissuto alla sua amorevolemoglie Isolina ed alla sorellaMaria Siciliano (Roma). Il serviziofunebre si svolgera' martedi' 28gennaio 2020 alle ore 11am aBell & Burnaby Funeral Chapel,4276 Hastings Street, Burnabyseguito dalla sepoltura a OceanView Park South Mausoleum.

Vellutata diCavolfiore e

Patate



Il carciofo è unapianta erbaceaderivata dalla se-

lezione orticola delcardo selvatico. Lapianta del carciofonon si riviene allostato selvatico, maviene abbondante-mente coltivatacome ortaggio. Èuna pianta perenneper uso alimentare

e secondariamente, medicinale, dato chepossiede numerose proprietà benefiche.Nel primo anno si sviluppa una rosetta difoglie basali molto allungate e profonda-mente divise; nel secondo anno, dal cen-tro della rosetta si sviluppa il fusto fioraleunico con foglie sessili più piccole ed allasommità i capolinigrandi con fiori tuttitubolosi ermafroditi (maschili e femminili)con 5 petali di colore blu-violetto). Lefoglie bassli del carciofo sono pennato-partite lunghe 30 - 60 cm e larghe 5 - 10cm con nervatura centrale prominente esegmenti dentati sprovvisti di spine;quelle alla sommità del caule sono invecedi dimensioni minori, pennatofide, lobateo quasi intere. La foglia completamentesviluppata si presenta verde glabra nellapagina superiore, mentre quella inferioreè più chiara anche per la presenza di pelilunghi e finissimi. Un achemio di pappo,l'odore del carciofo è neutro ed il saporeamarissimo. COLTIVAZIONEIl carciofo vuole un clima temperato e nonumido, un terreno profondo e ricco disostanza organica. Si presta bene in Italiacentro-meridionale ed in particolare nellamia Puglia. La riproduzione avviene persemi o, preferibilmente per polloni (car-ducci) (nulla a che fare con il noto poetaitaliano), scegliendo quelli che hannoqualche radichetta legnosa con 3 - 5foglie. I carducci si piantano in buche dicirca 30 cm a distanza e di un metro unadall'altra; nella buca, sopra il concime, sipianta il pollone a 10 cm di profondità, poisi ricopre e si bagna ripetutamente inmodo da superare la crisi di trapianto efavorire l'attecchimento. In estate si

tagliano radenti al suolo tutti gli steli man-canti di fiore ed in autunno tutti i pollonitranne un paio, lasciando i più belli, at-torno ai quali si legano le foglie perpreservarli dal freddo invernale. In mag-gio cominciano a maturare le in-fiorescenze che si raccolgono. Unacarciofaia dura 2 - 3 anni circa. Il cardo,utilizzato per le foglie, subisce verso lafine di settembre - ottobre un imbianchi-mento, consistente nel legarle in fasce epoi coprirle con paglia rincalzando bene ilpiede. Questa tecnica dura 20 - 25 giorni,ma può prolungarsi anche fino a dicem-bre. Le piante tolte dal terreno devono es-sere consumate subito. In campoalimentare i carciofi sono consumaticome ortaggi.Sono ottimi in padella, fritti, impanati,lessati e ripieni con pangrattato, formag-gio e uova ecc., ci sono varie specialitàculinarie da gustare, sono ottimi anche apezzetti in boccaccio sottolio extraverginedi oliva (molto diffusi in Puglia). PROPRIETÀ DEL CARCIOFOI carciofi rappresentano una vera e pro-pria miniera di principi attivi e vantanoparticolari virtù terapeutiche. Hanno pochissime calorie, sino moltogustosi ed hanno molte fibre, oltre ad unabuona quantità di calcio, fosforo, magne-sio, potassio, ferro e potassio; sono dotatigi proprietà regolatrici dell'appetito, van-tano un effetto diuretico e sono con-sigliati per risolvere problemi dicolesterolo, diabete, ipertensione,sovrappeso e cellulite (chiaramente neilimiti).Sono anche apprezzati per le caratteris-tiche toniche, disintossicanti, per la ca-pacità di stimolare il fegato (grazie alcomponente cynarina), calmano la tossee contribuiscono alla purificazione delsangue, fortificano il cuore, dissolvono icalcoli. In una ricerca pubblicata su NU-TRITION AND CANCER, si evidenzia che ipolifenoli del carciofo possono con-trastare l'azione ossidativa e interferirecon i processi molecolari che inducono latrasformazione tumorale. In conclusione,anche questo meraviglioso ortaggio, èconsiderato un grande toccasana dellanostra salute e benessere!

alessaNDro Pizzoleo

Il vino deve es-sere passione,ed abbracciarela storia edarte. La mia

passione per il vinoed il cibo, nascemoltissimi anni fa,circa 62 .Essendo difamiglia povera,passavo il tempodelle vacanze sco-lastiche dai miei

nonni, in una fattoria che si trovava aCampagnolo ,una frazione del Cumune diCavriana nella provincia di Mantova. Unazona collinare di origine morenica, certo,la produzione del vino di quei tempi nonera paragonabile a quella dei giorni nos-tri. Quanto ai vini dei colli morenici man-tovani, non c’è che l’imbarazzo dellascelta. Visto quali sono i più diffusi, con-viene partire dai rossi. Qui i vitigniprincipe sono il merlot e il cabernet,spesso assemblati in tagli di stile bor-dolese, con modesti apporti di altre vari-età tradizionali, ma ormai quasi in via diestinzione, come rondinella, negrara emolinara. Non mancano le vinificazioni inrosato, per la produzione di chiaretto,mentre sempre più diffuso per i prodottidi punta delle diverse cantine, è l’affina-mento in legno. Quanto ai bianchi, un tempo, sulle mor-bide colline moreniche dominavano itrebbiani, il tocai e la garganega. Oggi, in-vece, a farla da padroni sono chardonnay,pinot bianco e pinot grigio, anche se nonmancano il sauvignon blanc e la stessagarganega. Anche in questo caso, per iprodotti più di prestigio, non si disdegnail passaggio in legno. Negli ultimi tren-t’anni, ha via via preso piede la pro-duzione di spumanti brut, per la maggiorparte a base di chardonnay, ma con uti-lizzo anche del pinot nero vinificato inbianco.Ultimi, ma non per importanza, i vini pas-siti. Un prodotto di lunga tradizioneriscoperto di recente e sul quale si puntamolto. Non a caso Volta Mantovana os-pita ogni anno, a fine aprile, una mostranazionale dei vini passiti e da medi-tazione. Certamente le vie del vino nonservono solo alla conoscenza del vinostesso ma devono essere un ottimomezzo per far conoscere i nostri capola-

vori d’art , per esempio in questa frazionepossiamo ammirare una piccola chiesettadi S.Anna un edificio del 1700.All`interno bellissimi affreschi,un altaremeraviglioso in marmo,e dietro ad esso èsituato lo spazio dedicato ai Cantori.Avvicinandoci ed entrando in Cavriana unpiccolo paesino medioevale di cui sono ri-maste parte della cinta muraria e la torretrasformata in Torre Campanaria,trovi-amo Villa Mirra Siliprandi, datata nel XIII

secolo, sorge ai piedi di un campanile chefu in passato la torre angolare della roccadei Gonzaga distrutta nel 1771. Essa sicompone di una struttura che si spingesul pendio collinare che porta, attraversoil parco della villa, sia al centro di Cavri-ana sia ai resti del castello di questo

paese. Il complesso è formato da piùparti, nelle quali si ricordano il nucleocinquecentesco dove ora è presente ilMuseo Archeologico dell'Alto Mantovano,il giardino della villa, il giardino pensile edun camminamento che porta alla torremedievale. L'edificio divenuto proprietàdel Comune di Cavriana nel 1976, ospitamanifestazioni culturali, convegni emostre.calici di storiaLe “pergole cariche di rarissime e perfetteuve” e i “vini preziosissimi portati con bel-lissimo ordine in vasi tutti d’argento” ave-vano fatto breccia persino nel cuore dellasofisticata e capricciosa Isabella d’Este,che li decantò nelle lettere di viaggio delsettembre 1535, quando visitò Cavrianae il vicino lago di Garda. Ma il rapporto frail Mantovano e la vite ha radici ancor piùantiche. Tracce di vinaccioli sono state ril-evate negli scavi delle palafitte preis-toriche di Bande di Cavriana. Anche qua si sono formati ormai datempo agricurismi, immersi nello splen-dore di paesaggi estremamente rilas-santi, un esempio è l’Azienda vinicolaCattani dove I suoi 35 Ettari si trasfor-mano in poesia, che i nostri sensi pos-sono percepire, una poesia che crea 20tipi di vini. Ma anche la stessa AziendaVinicola mette a disposizione un Bed &

Breakfast per chi volesse ammirare labellezza di questi paesaggi poetici edanche per poter rendersi conto dellebellezze storiche. Quello che ho raccon-tato non è altro che una piccolissimaparte di quello che si puo ammirare nelBel Paese, partendo da Nord d’Italia finoalla punta estrema dell’Italia, quindi il vinonon è solo il Nettare degli dei ma bensiun grande mezzo per farci conoscere lebellezze storiche dell’Italia.

aUgUstooriaNi

Il Vino ela Storia

Orto e Giardino:IL CARCIOFO

(Cynaria Scolymus)



emergeNcY meDical resPoNDer –acoP registereD

At Bravo Target Safety our priority is to get allworkers home safely every day. It is our dutyto conduct all our operations in a safe andprofessional manner with accountability toour employees, clients and other stakehold-ers. We provide safety coordination, projectplanning and trained safety personnel forturn-around, construction, drilling, pipelineand day-to-day field operations. Bravo TargetSafety is looking for Emergency Medical Re-sponders in the Grande Prairie Area. This isan exciting opportunity to begin or advanceyour career within Bravo Target Safety. Job Duties: • Report directly to station man-ager or medical services manager • Completepre/post-trip inspections on unit/vehicle •Drive vehicle to and from location in a safeand courteous manner • Park MTC/EMS unitin a safe and accessible location allowing foreasy egress opportunity for potential emer-gency situations • Upon arrival on location, in-troduce yourself to the site supervisor andreview details of job and expectations withthe site supervisor • Complete site-specificorientation as required • Contact and set-upor update STARS site number, and completeBTS paperwork package • Conduct and main-tain proper and accurate headcount unlessotherwise advised • Provide medical standby-by services and medical care when required •Be fit for duty daily and comply with all ofBravo Target Safety’s and/or the Clients rulesand expectations • Review and advice onemergency response plans as it relates to aspecific site and scope • Conduct site safetytours and pre-job inspections prior to com-pleting hazard assessments • Demonstrateleadership in all aspects of job performance •Participate in all Safety Meetings. Review SDSfor hazardous materials • Rig in and testequipment for emergency medical responsebased on training, Industry RecommendedPractices, company policies, medical proto-cols and client rules and expectations • Com-plete inventory and perform function tests ofmedical equipment and supplies • Respondto any emergency as per your training andprovincial scope of practice • Incident report-ing and assist in investigations as required •Regularly inspect emergency equipment asper training and to manufacturer’s standards• Participate in emergency drills as requiredby Bravo Target Safety and/or the Client • Par-ticipate in in-house training program on a reg-ular basis • Maintain emergency responseapparatus as per manufacturer’s recommen-dations and related standards require (deepcleaning patient compartments, regularmaintenance on trucks, units kept clean andready for emergency response if needed) •Other duties as assigned requirements: • Be fit for duty daily • Com-ply with all of Bravo Target Safety’s and/orClients rules and expectations • Proven trackrecord of exceptional customer service •Demonstrate leadership in all aspects of yourjob • Must be able to work away from homefor extended periods of time, work longhours and be able to work both day and nightshifts on site • Must be computer proficientwith the ability to use Microsoft Office Suite •Organizational skills and attention to detailare a must • Must have strong written andcommunication skills • Must be able to workin a team environment • Standard Oil FieldTickets (H2S Alive, CSTS/PST and StandardFirst Aid with CPR) • Clean Class 5 license •Must have active ACoP Registration • EMR ex-perience is a must Hours and rates of pay will

be discussed at the interview. Candidates willbe screened, interviewed and placement willbe based on best fit for the individual andBravo Target Safety. Please email your resume and safety ticketsto [email protected]

iNterNal/exterNalJob PostiNg - # cs14a-20-02 chilD care

worker – term certaiN(materNitY leave) liNc Program

Job overviewThe Child Care Worker is responsible to assistwith providing a safe, stimulating environ-ment forchildren in accordance with the CommunityCare Facilities Licensing Regulations and thedevelopmental needs of the newcomer chil-dren. As well as taking active role on imple-menting and delivering the program’sactivities.The successful candidate will be able to: Work with a team to plan and implementa quality program for children (multi-agegroup from 18 months to 5 year olds), main-tain healthy relationships and communicateeffectively and respectfullywith children, families and colleagues Be familiar with the expectations and re-quirements of Community Care Childmind-ing Licensing Support each child’s holistic developmentusing the BC Early Learning Framework Demonstrate understanding of and re-spect for the competency of newcomer chil-dren Be aware of and work within the ECEBCCode of Ethics and Care for Newcomer Model Participate in ongoing professional devel-opmentQualifications Must have Early Childcare certification(E.C.E). Current First Aid Certificate required. Strong interpersonal and organizationalskills. Ability to work in a multicultural environ-ment. Must be creative, have initiative, be ener-getic and have good sense of humor.Ability to communicate and problem solveeffectively. Class 4 license is an asset. Second language is an asset (preferablyMandarin and Cantonese)wages and benefitsSalary : $18.44 per hourSchedule : 20 hours per week – Monday toFridayLocation : 3690 Vanness Ave. VancouverStart date : Early February, 2020This position is covered by a Collective Agree-ment with CUPE Local 1936 S:\Everyone\JobPostings FOR UNION\2020\01 Jan\CS14A-20-02 Child Care Worker, LINC Program – TermCertain (Maternity Leave).docxapplication ProcessApplicants must be legally entitled to work inCanada, with priority given to Canadian Citi-zens and permanent residents. If you are notcurrently authorized to work in Canada, theemployers will not consider your job applica-tion.As per Collingwood Neighbourhood House’sHuman Resources Policies and Procedures,all factors being equal, first priority will begiven to internal and local applicants.Equality of opportunity and diversity is im-

portant to us. We do not discriminate on thebasis of race, religion, colour, ethnicity, gen-der, sexual orientation, age, marital status, ordisability.SUBMIT COVER LETTER AND RESUMES BY:January 31, 2020 at 5:00 pmPlease quote reference # CS14A-20-02Herminia Vacca – LINC Childcare ManagerCollingwood Neighbourhood House 5288Joyce Street, Vancouver, BC V5R 6C9Email: [email protected] appreciate all applications however, onlyshort-listed candidates will be contacted.NO PHONE CALLS PLEASE!

iNterNal/exterNal Job PostiNg#cs14a-20-01 oN-call liNc

iNstrUctor (casUal)Job overview

To provide relief teaching in the LINC pro-gram. Must be available Monday to Friday 9a.m.-12 p.m. Under the direction and supportof the Program Coordinator, Program Assis-tant and Lead Teacher instructs level-appro-priate CLB 3-6 English classes (two multi-levelclasses: 3/4 and 5/6) for adult immigrant andrefugee newcomers. Facilitates integration into the local commu-nity by increasing students’ understanding ofCanadian language and culture as well asthrough field trips and guest speakers. Monitors student progress through the com-ponents of portfolio-based language assess-ments and provides feedback to studentsinformally on an ongoing basis and formallythrough student progress reports and con-ferencing.resPoNsibilities Teaches activities prepared by the class-room teacher utilizing the computer lab andother technologies as required. In the absence of prepared activities, pre-pares lesson materials and delivers CLB task-based lessons consistent with the LINCprogram and monthly teaching goals. Con-ducts on-going and monthly needs assess-ment with students to determine whichthemes, topics and outcomes to include inlesson planning. Maintains current and accurate classrecords. Completes a daily record of students’attendance and punctuality. For long-term assignments, it may be nec-essary to assist in organizing field trips, ar-ranging for guest speakers and othersocio-cultural activities that connect learnerswith the community consistent with monthlyteaching goals and overall LINC program ob-jectives. Collaborates proactively with LINC admin-istration when making referrals for studentsand assists in resolving any student issues. As required, prepares portfolio-basedprogress reports and conducts individual stu-dent progress conferences twice per year ormore frequently if required. Keeps abreast of current ESL and onlineteaching techniques and LINC program de-velopments. If pre-approval has been re-ceived, attends staff meetings, sharingsessions and internal professional develop-ment events.Creates a supportive and positive learningenvironment. Promotes the development offriendship and support among students. Pro-motes cross-cultural sharing among stu-dents. Promotes community programs, services,events and initiatives. Promotes volunteering

opportunities for students to continue prac-ticing English in the community. Encourages newcomers’ engagement intheir community. Supervises class volunteers.Performs other related duties as assigned.S:\Everyone\Job Postings FORUNION\2020\01 Jan\CS14A-20-01 On CallLINC Instructor (Casual).docxQUalificatioNs Recognized Bachelor’s degree and a TESLcertificate from a TESL Canada recognized in-stitution. Minimum 2 years’ experience teachingadult ESL using student-centered, commu-nicative teaching methods. Experience teaching LINC multi-levels 3 - 6 ina community-based, settlement languageprogram. Experience in multi-level classes anasset. Experience assessing and evaluating stu-dents using CLB indicators and PBLA (Portfo-lio Based Language Assessment).Documentation of all CLB and PBLA trainingneeds to be provided. Demonstrated ability to prioritize, organ-ize and complete tasks with minimal supervi-sion. Demonstrated ability to remain currentwith CLB competencies and associated re-sources. Demonstrated proficiency with currenttechnology tools, online learning platformsand social media resources. Sensitivity to and understanding of theneeds of immigrant families. Ability to work with a diverse staff (pro-gram coordinator, program assistant, teach-ers and childcare workers) Attitudes and values in keeping with thegoals and philosophies of the CollingwoodNeighbourhood House Current Criminal Record check required.Job DetailsSalary: $36.52/hourSchedule: Depending on need. Program runsMonday to Friday 9 a.m. – 12 p.m.Location: CNH Annex, 3690 Vanness Avenue,VancouverExpected Start Date: VariableThis is a unionized position covered by a Col-lective Agreement with CUPE Local 1936-05.aPPlicatioN ProcessApplicants must be legally entitled to work inCanada, with priority given to Canadian Citi-zens and permanent residents.If you are not currently authorized to work inCanada, the employer will not consider yourjob application. As per Collingwood Neigh-bourhood House’s Human Resources Policiesand Procedures, all factors being equal, firstpriority will be given to internal and local ap-plicants.Equality of opportunity and diversity is im-portant to us. We do not discriminate on the basis of race,religion, colour, ethnicity, gender, sexual ori-entation, age, marital status, or disability.SUBMIT COVER LETTER AND RESUMES BY:January 31, 2020 at 5:00pm.Yndira Arteaga – LINC Program AssistantPlease quote reference #CS14A-20-01Email: [email protected] Neighbourhood House – 5288Joyce Street Vancouver, BC V5R 6C9We appreciate all applications however, onlyshort-listed candidates will be contacted.NO PHONE CALLS PLEASE!

A list of full job description can be found also www.ilmarcopolo.com/jobs

A new partnership between MOSAIC andIL MARCO POLO provides subscribers withinformation and advice about employmentopportunities in Metro Vancouver and BritishColumbia. IL MARCO POLO will regularlyfeature job opportunities, employment news,and advice on finding and retaining a job.

Are you new to Canada?

CCOONNTTAACCTTVancouver 604.254.9626

Burnaby 604.438.8214Surrey 778.591.9334

MOSAIC offers free services for Permanent Residentsin the following areas:

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introduction ofciml canada

Drawing on our ex-tensive experience inChina and Italy, CIMLCanada’s purpose isto bring to the artsand culture commu-nity in Canada theopportunity to expe-rience artistic en-

counters firsthand, to experience theirsignificance, in a way that lingers and res-onates, communicating the biggest ideasof all times, and inspiring us to rise and“wash the dust of daily life off our souls.”(Pablo Piccaso).CIML Canada is looking to round out thearts and culture offerings in Vancouver. Inaddition to the local galleries providing artcollectors and the public with a wonderfularray of classic, contemporary, First Na-tions and Inuit art, CIML Canada is uniquelypositioned to bring full exhibitions from in-ternational sources and to present to theworld exhibitions of the best of Canadianart and artists. President Yang Yu, head of CIML Canada since 2016,has a long and successful history withmanaging exhibitions and performancesand is confident in her role of leading CIMLCanada in development and expansion.Performances to thrill the soulCIML Canada invited the Mei Lanfang Bei-jing Opera to Vancouver and Victoria for sixopera performances in 2017 and 2018.These performances, with a cast of over 70world class actors and actresses, were wellattended and well received within the Chi-nese community and the larger commu-nity as a whole. Prior to the performances in 2017, theCIML team held numerous promotional ac-tivities, pre-performance gatherings,arranged lectures at the university andtrained a host of remarkable volunteers.The Mei Lanfang Beijing Opera perform-ances were a great success and an experi-ence that will be remembered for years tocome.education to inspire generationsAfter extensive research and study in Italy,CIML Canada has recently launched intothe educational field in Canada by offeringtwo week exclusive educational trips toItaly for Gr. 11 and 12 students. These tripsare possible because of long-standing re-lationships with various cities and towns inItaly, a friendship with numerous key peo-ple in the arts, music and culture industryin Italy, and the connections to so manymuseums and universities in Italy, connec-tions that that are on a first-name basis. The trips in March and July 2020 providestudents with so much more than just atravel trip does, not that a travel trip is un-pleasant, but the educational trips CIMLCanada provides are exceptional.The focus of a CIML trip is on experientiallearning in the disciplines of art, architec-ture and archaeology, which means thatthe students not only see the sights ofRome and Umbria, but they actually haveprivileged access to sites that are off-limitsto the general public. But the trip is muchmore than seeing; the trip is an adventurein doing and internalizing: a bombardmentof the senses of the best and most beautiful art and architecture that

Italy has to offer, the expectation that stu-dents will be examining pieces in theirhands, using technology to determine thechemical component of relics and artpieces, walking the streets of a very oldUmbrian town, making a mosaic, a frescoeor an icon, and asking questions. This is in-quiry-based learning.CIML Canada’s trips entail high-impact ed-ucation through experiences and learningcommunities and are a perfect fit for thenew BC curriculum because of the small-class experience with global learning andresearch. Yang Yu is confident that our trips are thebest that are out there and that CIML is ina strategic position to become a leader inarts and culture educational trips. archaeology to learn from culturesOn another front, the company is excitedto announce that CIML Canada, CIML Bei-jing, and other partners are set to begin anarchaeological excavation in the spring of2020 on agricultural land adjacent to thecity walls of Amelia, the ancient Umbrianand Roman city of Amer/Ameria (Umbria,Italy). Surveys have determined that over30 tombs including artifacts are situatedjust outside the city walls and representseveral cultural phases from the ancientUmbrian peoples to the Romanization.Thus far, 20 bronze and iron grave goodshave already been excavated. It is antici-pated that the research project will reveal

grave goods including bronze luxury ob-jects from the ruling elites of the Umbrianperiod as well as grave goods of the privatecitizens during the Romanization of thearea. Students on the educational trips willbe able to use technology to take part atthe lab and on site, where surveys indicate30+ tombs in the ancient necropolis, aGreek temple, a Roman temple, and more.It is an honor for CIML Canada to be thefirst non-Italian institute to be granted a li-cense to take the lead in an archaeologicalproject in Italy, with partners representingsome of the finest organizations in theworld.This joint excavation represents a remark-able opportunity for Canadian, Italian andChinese collaboration on a project of greatarchaeological, cultural, educational, andinternational significance. Amelia is a town located on a hilltop in theUmbrian region of Central Italy, overlook-ing the Tiber River to the east and the NeraRiver to the west. It is surrounded by greenfields, orchards and forest, and locatedabout 100 kilometers north of Rome.An ancient and formidable wall 3.5 metersthick and 720 meters long surrounds theold city and provides a most impressive ex-ample of polygonal masonry of carefullyjointed blocks of limestone, without theuse of mortar. About 12,000 people live inAmelia within those walls. Opportunity forField Studies at the excavation site will

begin in Spring 2020. In addition to the on-going work by the partners, several univer-sities will be assisting in the excavation ina short field study capacity. Yang and her CIML Canada team are fo-cused on providing people with a chanceto step out of their normal lives and findsomething mysterious, something magic,some inward significance to transform,and open hearts and minds. “That’s themagic of art and the magic of theatre: it hasthe power to transform an audience, an in-dividual, or en masse, to transform themand give them an epiphanal experiencethat changes their life, opens their heartsand their minds and the way they think.”(Brian Stokes Mitchell)The New Year for CIML Canada looks verypromising and we wish for everyone theessence of the message for Lunar NewYear from Pope Francis, delivered at theend of his General Audience on Wednes-day, January 22nd when he said that on 25January next, in the Far East and in variousother parts of the world, many millions ofmen and women will celebrate the LunarNew Year.I send them my cordial greetings, wishingthem in particular to be places of educa-tion in the virtues of welcome, wisdom, re-spect for each person and harmony withcreation.”

www.theleaderassumpta.com/popes-greetings-for-chinese-new-year

Happy New Year from CIML CanadaIt is with great pleasure that we extend greetingsto everyone for a Happy and Prosperous New Year!

kathiekrahN



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