Articles by: Letizia Airos

Everybody, including representatives of the press, had to wait in line on the steps and in the hallways of the Grand Hyatt Hotel last Thursday evening, passing through security to participate in an evening that the Italian and the tri-state Italian-American communities will remember for a long time.

A crowd of over 1,000 guests welcomed Gianfranco Fini, President of the Italian Chamber of Deputies: a veritable ocean of our diverse Italian community in America. And, with tickets at $150 per plate, there were many celebrities present.

Sitting at the table of honor with President Fini was the Italian Ambassador to Washington Giulio Terzi and U.N. Ambassador Cesare Maria Ragaglini, Consul General Francesco Maria Talò, Apostolic Nuncio to the United Nations Monsignor Celestino Migliore, President of the Molise Region Michele Iorio, and Deputies Amato Berardi and Alessandro Ruben.

Prominent guests included, to cite only a few names, New York State Governor David Paterson, Vice Governor of the State of Connecticut Michael Fedele, former New York State Governor Mario Cuomo with his wife Matilda, former New York City Mayor David Dinkins, former U.S. Senator Alphonse D’Amato as well as several members of the legislatures in the tri-state area, U.S. Marshal Joseph Guccione, and Minister of Tourism for the Region of Sicily Nino Strano. Particularly important was the presence, alongside the U.N. Apostolic Nuncio Mons. Migliore, of Rabbi Arthur Schneier of Park East Synagogue.

After initial confusion while in line, stemming from the inevitable difficulty of directing so many guests at an event that required serious security measures, everything went smooth, which can be credited to the efforts of the organizers, who appeared justifiably satisfied: New York Supreme Court Justice Dominic Massaro, President of the Italian Academy Foundation and Honorary Consul of Westchester County Steve Acunto, President of GEI and the Wine and Food Institute Lucio Caputo and Consul General of Italy in New York Francesco Maria Talò, four pilasters of the Italian community in New York, and high representatives of its culture and history in the United States, were finally deeply pleased with the succesful event resulted from their collaboration

In the eyes of those around us, the event was the manifestation of a heterogeneous community that within the context of one evening had found a place to come together, and to celebrate.

President Fini was first welcomed by the excited voices of students from Scuola d’Italia Guglielmo Marconi who sang the national anthems. We closely followed their emotional rehearsals in recent days behind the scenes at the only bilingual Italian school in the United States, and we know that the youngsters practiced with sincere pride. The pastor of Saint Augustine’s Church in Ossining, Hilary C. Franco then recited a blessing. Ambassador Giulio Terzi, after the requisite acknowledgements, wanted to repeat the importance of disseminating the Italian language, an issue that has always been at the center of his diplomatic mission, from the time he was Ambassador of Italy to the UN in New York.

Judge Dominic Massaro introduced President Fini with heartfelt words. He recalled his friend's first succesful visit to New York, which dates back to 15 years ago, and how the city warmly welcomed him, just as today. His speech showed that reciprocal consideration, appreciation, and  esteem have always bonded him to the Italian politician.

Gianfranco Fini’s speech focused not only on Italy-U.S. relationships but also on the meaningful presence of millions of Italians and Italy’s descendants in America. The President of the Chamber, who had just visited Speaker of the House Nancy Pelosi in Washington—an Italian American herself—offered the bipartisan greetings of all Italy’s parliamentarians:

“I greet all of you not only personally, but also on behalf of all members of the Italian Parliament, without any political distinction whatsoever. When speaking of Italians in America, when speaking of Italian-Americans, the children and grandchildren of our emigrants, when it comes to all of you and what you represent, there is no distinction between right, center, and left in the House. Tonight I offer you the greetings of all Members.”

Fini then defined the three diverse “components” of emigration from Italy now present in the U.S.: the group of Italians with Italian blood whose parents and grandparents left Italy for America; those who were born in Italy and have maintained a strong connection to their homeland, and feel both Italian and American at the same time; and the group that embodies the new emigration, made of people who excell in business, culture, scholarship, and research. All these Italians have put down roots here and have become a great resource for American society. “All that you have done in the past and continue to do in the present, all that your children will do in the future, is a heritage that not only belongs to one part, but one that belongs to the entire nation,” he said.

The President was also able to show his sensitivity to a subject that is strongly felt in our community these days by picking up the main theme that Ambassador Terzi addressed in his speech earlier in the evening—language—and connecting it to the evolving experience of Italian emigration:

“It’s a point of great satisfaction that the desire to speak our language is growing within the United States. We have a duty to continue to work together in many sectors, especially business, culture, and education. Today the Italian minds that come to the United States represent our excellence and I think that this is particularly gratifying for those Italians who came here nearly illiterate, without knowing a word of English, and who were often looked upon with mistrust if not suspicion.”

Rhetoric was remarkably absent from Fini’s speech. And even when he told the audience “You are the true ambassadors of Italy in the United States,” he soon added that he did not mean to employ a mere rhetorical expression, and explained that the massive Italian presence in the U.S. also contributes to reinforce friendship between the two countries.

“There is always the risk on occasions such as these to fall back on rhetoric, the risk of speaking more to the heart than to the mind. I believe that institutions must know how to simultaneously speak to the heart and to reason. Speaking to reason means remembering that our alliance, our friendship, our being children of common ideals and values is not only the heritage of yesterday, it is something that I was able to see during these days, in the meetings that I had in Congress with representatives of both the Republican and Democratic parties. In a democracy, the color of the government changes, but the values of friendship remain, regardless of whoever governs either in Italy or the United States. Because we are not united by a political party, but we are united by common values, which are those of democracy.”

In the dining room the “three components” listened in rapt attention. We met the eyes of many, and they reflected a sense of respect – not only for the office but for the politician. And later, talking to the invitees we noticed that all those present, regardless of their political opinions, looked at Fini as an Italian leader who at this moment can more effectively bring Italy closer to America.

This echoed Nancy Pelosi’s remarks after their meeting in Washington last week, when she praised Fini’s “commitment to human rights, to strong fundamental values as the basis for our relationships and our governments.” Indeed, as President of the Chamber Fini has shown real concern with acceptance and tolerance of immigrants in Italy these days, an important theme for the descendants of Italian emigrants who read so often in the press worrying stories about racism and xenophobia in Italy.

And the large bipartisan appreciation that surrounded Fini must also be connected to the very peculiar experience of this leader of the Right who has come to play a top institutional role in a political context where the President of the Republic, Giorgio Napolitano, is a former Communist: a symbolic image of the new “post-Cold War” Italy that is still largely unknown abroad.

Italy is changing in ways that many who read about it in English find difficult to understand, given the many old-fashioned sterotypes that are still common in the media. “Know Italy better” is definitely the message that Gianfranco Fini has been launching during his trip.

928 pages. It is a huge book, and we picked it up for the first time last Thursday. We are, however, certain that the weight it carries in the world of Italian cuisine is not only a physical one. It is truly an important book for both professionals and enthusiasts alike. Its dimensions are a bit like that of an old bible – but this bible should be kept near the stove. 
 

The book is entitled La Cucina: The Regional Cooking of Italy, published by Rizzoli USA and presented to the press and American readers at the Italian Consulate in New York, thanks to the generous support of the Italian Government Tourist Board.    

It is a complete work that includes the best recipes of Italian regional cuisine. Essential, clear, organized, and designed for one specific purpose: to allow readers to create the best regional Italian dishes flawlessly with all of the correct ingredients, colors, tastes, and smells. 

The path that the reader takes through its pages is fascinating. It is enough to browse through it to understand. Glimpses of the bel paese, past and present, are brought to life. Two thousand recipes of typical regional Italian dishes are carefully cataloged and include the best of the work carried out by the Accademia Italiana della Cucina. 

But what is the Accademia Italiana della Cucina? We are addressing the few of you who may not have heard of it. The following is how the publishing house Rizzoli described it when presenting the book: “Fifty years ago, a group of Italian scholars gathered to discuss a problem: how to preserve traditional Italian cooking. They formed the Accademia Italiana della Cucina to document classic recipes from every region. The academy's more than seven thousand associates spread out to villages everywhere, interviewing grandmothers and farmers at their stoves, transcribing their recipes – many of which had never been documented before.” 

 These words are enough to bring to life a project that has embodied the best of the best in the areas of Italian culture, business, art, and communications.  

It was 1953, in Milan, when the mission to preserve the culinary legacy of Italy began, using the very heritage and traditions that were specific to each region. This project grew year after year to where it is today.  

Today the academy hosts a number of educational programs and awards prizes to leaders in the culinary industry. The academy also publishes a monthly magazine and a restaurant guide.  

Giovanni Ballarini, president of the Accademia Italiana della Cucina and one of the authors of the book, tells us about this new milestone publication in English.

 
“This work represents the culmination of our project, with recipes that represent the heritage of our country. Each recipe is related to its region of origin and there are not only well-described ingredients but the preparation techniques that change according to the geographic area, as well.” 

It is certainly the most complete and authentic regional Italian cookbook ever published in the English language. “It was created with the same attention to detail that has characterized classic French cooking by Julia Child,” said Paolo Petroni, Secretary General of the Franco Marenghi Research Center at the Accademia Italiana della Cucina
 

There is also a mention of the challenges of translating such a vast and complex culinary landscape into English. “It had to be comprehensible to all. Nothing could be assumed. With an easy to understand logic, it is clear even to those who are not familiar with Italian terms, methods, and measures,” Petroni continued. 

 Needless to say given its intrinsic quality, the book was immediately received with great enthusiasm by chefs on both sides of the ocean, and in the United States by one of the most famous of all: Lidia Bastianich called it a “must-have reference book.” 
 
It should also be pointed out that “this work,” as Giovanni Ballarini told us, “is geared to both the typical consumer as well as chefs of haute cuisine who will find it to be a useful tool and a secure base for the preparation of their recipes." 

It was the start of the 1950s when the Accademia Italiana della Cucina was formed in Milan, in the restaurant of the Hotel Diana. Who knows if its founders were aware of the role that they would play in the next 50 years in the preservation of Italian culinary culture? Certainly they would never have imagined the world today and the inevitable effects of increasing globalization. 

Today, now more than ever, it has become important for a work to help pass on as well as renew the most diverse culinary traditions of the world. 

La Cucina: The Regional Cooking of Italy is a fundamental tool that we recommend to all those who not only want to know how to cook Italian well but also want to understand a historical and cultural heritage that also covers extraordinary but replicable recipes. 
 

We speak of a voice.

She was born in Genoa, in the area of Foce where only ten years before Luigi Tenco, Gino Paoli, Bruno Lauzi, Umberto Bindi, and the Fratelli Reverberi would meet in the little piazza on Via Cecchi. Lauzi lived and Tenco’s mother had a wine shop on the very street where Bettanini grew up.

We’re talking about an extraordinary singer who knows how to surprise as only a few do. A voice, a history, and an experience set in the future. It is intense, clean, rough and sweet, and comes on quick.

But we’ll let this voice speak for itself: Mariangela Bettanini.

“It was the Sixties and my family listened to music every day. Depending on the time of day, there were the Beatles, the Rolling Stones, Bob Dylan, Joan Baez. The radio program Bandiera Gialla [Yellow Flag], or the songs of Luigi Tenco, Gino Paoli, de André. Then there was Paul Anka and Modugno, Vanoni who was singing about ‘the malavita.’ (organized crime).  There were chants of the mondine [female rice workers] along with the Doors, Jimi Hendrix, Janis Joplin, the music festivals at San Remo.... Vivaldi and Beethoven, Chopin, baroque music, opera, Callas…!”

“In the morning I remember my mother often sang in the kitchen or listened to the radio while doing housework. Then my dad who loved opera would come home, and then my three older brothers. We would eat and then the turntable would start to play a wide range of music…”

Between the ages of 10 and 15 she studied classical piano privately. She then taught herself to play the guitar and sing, following her natural talent. And so she sang Bob Dylan, Joan Baez, and Italy’s own singer-songwriters...and then the bossa nova.

With a bit of imagination, we can almost picture her in that Genoa, in those streets, and in that setting.

“At that time I started singing professionally at various musical events. I was part of several groups of singer-songwriters and sang songs about the female condition and traditional Italian folk songs. My inner spirit of rebellion and research helped me a lot; I was shy and very insecure. After singing for hours locked in my room, I found and discovered in myself the courage to bring out the voice, grit, and passion. I didn’t know it at the time, but my song was a prayer, a longing for something bigger…”

On December 3, Bettanini will sing in a city that she knows and loves very much: New York. This time she will present her latest CD.

“New York is a paradise for music, it’s the crossroads where the greatest musicians from all over the world live or pass through. Being able to sing here is a great honor! I came to New York at the end of 2006. I had just recorded a CD with Dado Moroni, Paolino Dalla Porta, and Enzo Zirilli.”

In what state of mind did you arrive?

“I had no connections. I was very excited. I remember the sense of space and possibility. My trip was also, in a sense, rather practical and logical! I said to myself: ‘If I wanted to sell champagne, I would go to France to taste it and live there for a while. If jazz is truly my path, then I’ll go where they created it! I will listen, learn, and then see what happens.’”

Mariangela’s strength lies in her courage to take risks and experiment, which is inherent to her musical choices.
“When my research leads me to undertake a new journey, a path unknown to me, I document the process and procure the technical means. Technique and fundamental knowledge don’t need to dominate musical expression, but they do remain in service to it. This is my personal recipe. I learned a lot by singing in front of an audience as a little girl, in those moments of panic and desire to express myself – to give the best of oneself, to establish a real sense of communication. Narcissism and the need to be heard and applauded are always there and it’s OK! But what needs to prevail is the contact with the essence, the eternal, which allows you to create a space for intimacy and true communication.”

And what does she say about her colleagues overseas?
“I have always felt at home with musicians in New York. There is a kind of absolute dedication, even competition, but I would call it dedication, to devote their entire lives to music without paying much attention to personal comfort and the practical aspects of life, and living among many other good and talented musicians – I would say this is an act of faith in their own abilities and faith in life.”

The selection of songs she chose to perform this time around is directly connected to her CD and it has brought her back to her roots. She is, in fact, performing compositions by Genovese musicians.

“I was in New York and I wondered what I could share that was really my own. What distinguished me from the others? What were my resources? Where did I come from? From Genoa, from Foce, from beautiful Italian songs…from the love of poetry and melody…. And as I was timidly approaching jazz, the fusion was almost inevitable….”

“Aesthetically speaking, I then felt the desire to hear songs played by jazz musicians overseas who had absorbed them while “sucking milk from the bottle.” Perhaps they had a parent who was a fan of this kind of music or they had listened to Count Basie’s or Duke Ellington’s orchestra on the radio at home.... I mean jazz musicians who had a history like mine, except that instead of listening to Mina, they were listening to Billie Holiday. And indeed, when I arrived in New York last May, I only brought music scores with me: notes on pieces of paper.... I was really excited... and happy! That is, the idea was to bring only the music scores and to ask musicians play them, musicians who weren’t familiar with the original songs, musicians who had their own cultural, American background, not the same as mine….”

It’s almost useless to ask about her relationship with the United States and New York; it’s palpable.
“American jazz and musicals in addition to French singers-songwriters – these are the musical building-blocks of Genovese singer-songwriters. It’s a bit like bringing them back home, returning them to the source, even if some of them, like Fabrizio de André’s songs, have more of an ‘ethno-folk,’ European, and Mediterranean musical bend.”

“’Sassi,’ by Gino Paoli, for example, reminds me a lot of ‘Summertime.’ It’s a bit like giving them the breadth of an evergreen, of an eternal, international song.”

Over the course of her career Mariangela has explored folk and melodic Italian music, Brazilian folk and pop music, American gospel and spirituals, rock, rhythm ‘n’ blues, soul, songs by French and Italian singer-songwriters. And then she came to jazz.

I spontaneously thought to ask her what she brought to jazz with all of her broad musical experience.

“A lot of confusion at first, because jazz is a coded language, so one must learn it the same way one learns a language. The timing, the phrasing... you don’t become a jazz singer in a few years even you’ve sung your whole life, like me. That is, from the start you must forget all of your past experiences, you must undress. As I like to say, ‘Sing like you sing in the shower!’”

“Someone once wrote that I attempted tired, worn out melodies with originality…or something to that effect. Certainly my experience in other musical genres creates a versatile, eclectic approach. I learn to connect with the intensity and profound sadness when I sing the blues, or the grit that I draw on to sing certain kinds of Italian folk music, or the power and presence that I use to sing rock or rhythm ‘n’ blues, while finesse and control are necessary when singing classical songs. I would also say the sound. The work on the sound of my voice is the thing that I would say distinguishes my vocal style. The sound is the work of an entire lifetime for me, so I hope it comes out in the way I sing jazz.”

The sound is her life’s work. There is another important aspect of her life, one that touches on spirituality and music on a path to inner knowledge. We try to understand…

“The voice tells you the state of a person’s awareness…where he or she is on the path… what the resources are, and where there are psychological aspects that need to be nurtured, the qualities that have not been supported and that could be amplified and facilitated. The voice is the sound of our deepest reality…you really can’t control it; even with the most aggressive techniques, it’s our inner reality.”

“This is why singing is so fear-provoking, because singing is an expression of the deepest part of ourselves, and it is very tied to emotion. In fact, there is an expression that says the voice ‘betrays’ an emotion, or that the voice ‘trembles’ with emotion. I start with my own trembling, I go inside and then I see and feel what happens. From this place comes the authenticity of sound. And I combine this inner search with the inner artistic voice.”

“As I slowly proceed along the path, I always become more aware of how much singing and playing music in a certain way can create places for love, and how they can transform an environment, even for a few minutes, by bringing sweetness, lightness, awareness, and peace to many people at once. My life is leading me in this direction.”

Her concert in New York will be a true journey into Italy’s musical history. Everyone who attends will not only hear an astonishing voice, but also have the opportunity to enjoy a thoughtful selection of truly engaging music.

“In celebration of Fabrizio de André on the tenth anniversary of his death, I chose four key compositions that I think could be adapted to jazz and illustrate the main themes of his poetry:

Life, liberty: Il suonatore Jones (Jones the musician);

Love: Amore che vieni, amore che vai (Love that comes, love that goes);

Death:  Anime salve (Saved souls)

Genoa: Creuza de ma (In Geneva dialect “Mulattiera di mare – mule track of the sea)

The CD begins with Musician Jones:

In a swirl of dust the others saw drought.

It reminded me of Jenny’s skirt at a dance so many years ago.

 
This start seemed beautiful to me, as if it were Fabrizio speaking like that, not Fiddler Jones.”

“So, from the perspective of this ‘someone’ who is far away but nearby, in meeting through music, in another dimension of art, love, compassion, I added six more songs, one that I wrote, and one each by Luigi Tenco, Umberto Bindi, Bruno Lauzi, Gino Paoli, and Ivano Fossati. I also included Giorgio Calabrese and Gianfranco Reverberi who have written so much for the ‘Scuola Genovese,’ with a song that’s very dear to me: ‘Se qualcuno ti dirà.’ [If Someone Tells You]”

We conclude this meeting of music in words that could last hours. We enter the world of desires and dreams. We ask which musician in particular she would like to work with in New York. Her answer is happy and contented.
“If I were to plan something new, even a project on American songs, I could ask no more than to work with the trio with whom I recorded: Pete Malinverni on piano, Ugonna Okegwo on bass, and Billy Drummond on drums. There is passion, elegance and sensitivity – the three ingredients that for me are fundamental in jazz. On a personal level, I couldn’t have found people who were more warm and respectful!”

And here are her plans:

“One project of my own compositions related to the world of Sufism that will take me to Turkey right before Christmas. It’s a series of meditations and songs entitled ‘Il Canto del Silenzio’ [The Voice of Silence]. It’s a monumental project on jazz that I would like to bring here to New York within five years, God willing!”

Thursday Dec 3

CD RELEASE EVENT FOR

 "JAZZIN' some singer songwriters

      from GENOVA"

MARIANGELA BETTANINI  vocals

PETE MALINVERNI  piano

LEE HUDSON  bass

BILLY DRUMMOND  drums

Kitano Hotel

66 Park Ave @ (E.38th Street)

NYC

Please advertise Reservations Advised  Tel 212 885-7119

Early Dinner receive preferred seating (6:30 - 7:00 PM)

No Cover, No Music Charge,  $15.00 minimum on food or beverages.

Great American and Japanese menu , very reasonable.

2 shows   8 pm  & 10 pm

Sponsored by Regione Liguria

In collaboration with the Italian Cultural Institute of New York 

www.mariangelabettanini.com

www.myspace.com/prayanbettanini

www.regioneliguria.it

www.iicnewyork.esteri.it

www.myspace.com/theartessenza

ITALIA MUCH MORE is the slogan for ENIT’s ad campaign which began on television and will now take to the streets of North America. We spoke with Riccardo Strano, Director of ENIT, North America who organized the tour throughout the United States, an innovative campaign despite its simplicity. 

Two 18-wheel hospitality trucks will cross the States to promote the various facets of Italian tourism.  
 

“Italy can satisfy your every desire,” says Strano. “You will discover the food, flavor, music, and folklore of your dreams. Yes, Italy is so much more.” 

The journey begins this fall so be on the lookout for the tourism trucks, replete with breathtaking images of the Italian countryside, to roll through your hometown. The hospitality truck tour will cover the continental United States nearly in its entirety, with stops on both coasts, the Midwest, the South and the Northwest, and will feature several special events. 

Inside each rolling hospitality suite you will find touch-screen displays offering a glimpse of all 20 regions of Italy. You’ll also have the opportunity to stroll around ancient Rome thanks to a new cutting-edge 3D reconstruction of the eternal city developed in collaboration with several world-renown historians who were able to create this incredible virtual journey throughout ancient Rome. 

For more info on the Rome virtual tour go to: www.3drewind.com

Trained personnel with brochures and promotional materials will be on hand to assist curious travelers. Specifically, visitors can get a taste of four distinct characteristics of the Italian experience – culture, cuisine and wine, fashion and nature. Information, photographs, and recollections of personal experiences will offer a sneak peek at the pleasures that await visitors to Italy. 
 

Strano goes on to say that “enormous posters with pictures of Italy will attract attention throughout the United States in both big cities and small towns. The trucks will stop and welcome visitors. They hope to attract different types of people, from tour operators and travel agents in the tourism industry to everyday consumers. It will also be an important way to teach young people and anyone interested in learning about Italy. Inside the trucks, modern technology and touch-screens will allow visitors to navigate the various regions and learn about Italian geography. You cannot imagine how many people I have seen who now understand where Rome is located using the maps we brought! It seems obvious but it’s the ABC’s of tourism.”

“From Houston to Dallas, from Philadelphia to Washington, Orlando, Nashville...these are just a few of the stops that the two beautiful trucks will make and we are sure that they will capture everyone’s imagination, even children.” 

 “Then in January,” Strano tells us, “we will address travel professionals directly and offer very detailed seminars on the market. Last year we met with more than 1,400 travel agents across the United States. We strongly believe in this program, and I am personally taking care of the details.” 

“For example, I myself decided to move the slogan lower on the engine to make it more visible from the height of a car. This was a great undertaking and I confess...I lost a lot of sleep over it.”  

We would like to end on this personal and human note because we often forget that behind every marketing campaign there are real people who work hard and with passion, day after day.  
 
These are the stops the two trucks will make. Ready to visit Italy?

Translated by Giulia Prestia