The supplì and the arancino/a

Posted on November 7, 2019 by babbityjean

Both the supplì and the arancino/a are Italian street food made from rice.  Both are beloved comfort food mostly eaten as appetizers but can be consumed at almost any time of day or night.  But one is based in Rome, the other in Sicily.  And hence the origins and the recipes differ, as do the loyal defenders of their local specialties.  There is even some disagreement over the spelling of the Sicilian delicacy.

The name of the supplì in the traditional Roman cuisine comes from the French term for “surprise” because it seems that a similar dish had arrived in the city with the Napoleonic troops.  The full name of this recipe is “supplì al telefono” because when you cut into it, the mozzarella in the center creates a thread between the two parts, recalling a telephone from a bygone era.

The supplì is traditionally cylindrical in form and smaller than the arancino/a.  It is made from cooked rice, typically left over from the night before.  The rice is blended with meat ragù, which originally were chicken giblets.  After the rice forms are molded by hand with the mozzarella in the center, they are dipped in egg, breaded, and fried.  They are eaten while they are hot to preserve the “telephone” effect. The number of variations to the original recipe is limited but increasing.  In addition to the classic with ragù, there are vegetarian tomato supplì, as well as those with Carbonara and Cacio e Pepe.

The name of the arancino/a comes from the golden color that is reminiscent of the orange.  The historical origins are not very clear; perhaps they date back to the Arab domination from the 9th to the 11th century.  A sweet version may date back to the Feast of Saint Lucia in the 17th century as it is traditional in Sicily to eat arancini/e on December 13, Santa Lucia’s feast day.

Like the supplì, the arancino/a is a ball of leftover rice that is breaded with egg and fried.  But from here the similarities diverge.  The Sicilian version is larger (8-10 centimeters) and has at least 100 variations.  Typically, there is a filling of ragù, peas, caciocavallo or mozzarella, and saffron.  Some have seafood, other types of cheese, salami, butter, or tomato.

Within Sicily, there are other differences besides the filling.  In Palermo, the arancina—in the feminine form—is round like the orange.  In Catania, the arancino—in the masculine form—is conical in shape perhaps inspired by the silhouette of Etna.

Arancina or arancino?  Even the Accademia della Crusca, which gives the “final word” on the Italian language and is the oldest linguistic academy in the world, weighed in on the controversy.  The Academy declared that both forms are valid.  Arancina in the feminine form is traditionally the fruit from the tree, while the masculine form is the tree itself (for example, mela for apple and melo for apple tree; oliva for olive, olivo for olive tree).  It would seem that arancina is preferred but La Crusca recognizes arancino as valid in the Sicilian dialect (from aranciu).

Posted in Abitudini, Cucina italiana, English, Formaggio, Foto, Italia, Roma, Sicilia, Storia | 1 Comment

Luciano Pavarotti

Posted on October 31, 2019 by babbityjean

Luciano Pavarotti è stato probabilmente il più grande tenore del XX secolo. È stato anche uno dei tenori di maggior successo commerciale di tutti i tempi, in parte perché ha vinto la fama di crossover come superstar popolare. “Vorrei essere ricordato come l’uomo che ha portato la lirica alle masse”, spesso diceva, e così ha fatto.

Dopo la sua morte nel 2007, diversi eventi hanno onorato la sua eredità. Nel 2015, sua moglie Nicoletta Mantovani ha aperto la Casa-Museo Luciano Pavarotti a Modena, che presenta fotografie, costumi, premi, dipinti e registrazioni nella loro ex grande e colorata casa. Nel 2017, nel decimo anniversario della sua scomparsa, si è tenuta una serata costellata di spettacoli all’Arena di Verona, un anfiteatro romano del I secolo d.C. che, con la sua capacità di ben 30.000 spettatori, è il più grande teatro d’opera all’aperto del mondo.

Poi nel 2019 è stato uscito “Pavarotti”, il documentario di Ron Howard. Presenta interviste con familiari, artisti d’opera, manager e promotori che parlano tutti in modo brillante del tenore. È prodotto, tra gli altri, da un rappresentante della Decca Records, la casa discografica di Pavarotti, e presumibilmente ha anche la benedizione della famiglia. Quindi, il film è un tributo al genio di Pavarotti che sottolinea solo alcuni dei difetti dell’artista.

Secondo me, il documentario è riuscito molto bene per due motivi. Innanzitutto, documenta il percorso della carriera di Pavarotti, che ha iniziato in Italia nel 1961, continuando poi con il debutto americano nel 1965 a Miami con la Lucia di Lammermoor di Donizetti e poco dopo il suo debutto alla Scala con La bohème di Puccini. Il suo ruolo nel 1966 ne La fille du regiment di Donizetti alla Royal Opera House, Covent Garden, gli è valso il titolo di “King of High Cs”. Ma è stata questa opera al Metropolitan Opera di New York nel 1972 che ha fatto impazzire la folla con ben 17 chiamate ovazioni al sipario.

Pavarotti divenne ancora più noto per la sua interpretazione dell’aria, “Nessun dorma” della Turandot di Puccini, che divenne la colonna sonora della sigla di apertura della BBC per la Coppa del Mondo FIFA nel 1990 in Italia (e alla fine la sua canzone simbolo). Poi è arrivato il primo concerto dei Tre Tenori, tenutosi alla vigilia della finale della Coppa del Mondo FIFA del 1990 presso le antiche Terme di Caracalla a Roma, con i compagni tenori Plácido Domingo e José Carreras e il direttore Zubin Mehta. Ha affascinato un pubblico globale e la registrazione è diventata il disco classico più venduto di tutti i tempi. Sono poi seguiti molti concerti di Three Tenori.

L’altro aspetto del documentario che mi è piaciuto molto è stato il ritratto della personalità vincente dell’artista. Era quasi infantile, con un sorriso smagliante, battute spiritose ricongiunti e buon umore che potevano incantare i pantaloni di quasi tutti (beh, questa è un’altra storia).  Vieni quasi rapito dal suo sorriso gigante e gli occhi scintillanti.

Ho pensato che il documentario fosse deludente per almeno due aspetti. Come molti talenti convincenti, Pavarotti ha avuto molti difetti, che il documentario affronta a malapena. Spesso aveva difficoltà a ricordare le sue battute. Verso la fine della sua carriera, divenne esigente e imprevedibile.  Saltava le prove e cancellava le apparizioni. Diversi teatri d’opera, tra cui Covent Garden a Londra e la Lyric Opera di Chicago, lo consideravano persona non grata, visto che aveva dovuto annullare 26 delle sue ultime 41 apparizioni in programma. Il documentario accenna solo alle cancellazioni dovute alla salute di una delle sue figlie. Ma è importante bilanciare questi difetti con la sua enorme generosità di spirito e i suoi innumerevoli concerti eseguiti per beneficenza.

Ciò che manca davvero al documentario è la comprensione della sua incredibile voce, uno strumento ricco e bello che non ha eguali oggi. Presumibilmente non poteva leggere la musica, il che rende il suo talento ancora più avvincente. Pavarotti attribuisce a Joan Sutherland l’apprendimento della respirazione. Le esigenze atletiche dell’opera? Senza microfono, proiettava la sua voce sopra un’orchestra completa, per essere chiaramente sentito fin nei palchi superiori di un teatro d’opera da 4.000 posti, e fece ciò per più di tre decenni. Con tutti i suoi successi, era davvero una superstar.

 

 

Posted in Arte, Film, Foto, Italia, Italiano, Milano, Musica, New York, Storia, Verona | 1 Comment

Luciano Pavarotti

Posted on October 31, 2019 by babbityjean

Luciano Pavarotti was probably the greatest tenor of the twentieth century and the most beloved since Enrico Caruso (1873 – 1921).  He was also one of the most commercially successful tenors of all time in part because he won crossover fame as a popular superstar.  “I would like to be remembered as the man who brought opera to the masses,” he said, and so he did.

Since his death in 2007, several events have honored his legacy.  In 2015, his wife Nicoletta Mantovani opened the Casa-Museo Luciano Pavarotti in Modena, which features photographs, costumes, awards, and his own paintings and recordings in their former large and colorful home.  In 2017 on the tenth anniversary of his passing, a star-studded evening of performances was held at the Arena in Verona, a first century A.D. Roman amphitheater that, with its 30,000-spectator capacity, is the world’s largest open-air opera venue.

Then in 2019 “Pavarotti,” Ron Howard’s documentary, was released.  It features interviews with family members, opera artists, and managers and promoters who all speak glowingly of the tenor.   It is produced by, among others, a representative of Decca Records, Pavarotti’s recording company, and presumably also has the family’s blessing.  Hence, the film is an unapologetic tribute to Pavarotti’s genius that only hints at a few of the artist’s flaws.

In my opinion, the documentary does two things very well.  First, it documents the trajectory of Pavarotti’s career, which began in Italy in 1961.  He made his American debut in 1965 in Miami in Donizetti’s Lucia di Lammermoor and shortly thereafter his La Scala debut in Puccini’s La bohème.  His 1966 role in Donizetti’s La fille du regiment at the Royal Opera House, Covent Garden, earned him the title of “King of High Cs.”  But it was this opera at New York’s Metropolitan Opera in 1972 that drove the crowd wild resulting in 17 curtain calls.

Pavarotti became even better known for his rendition of the aria, “Nessun dorma” from Puccini’s Turandot, which became the theme song of BBC’s coverage of the 1990 FIFA World Cup in Italy (and eventually his trademark song). Then came the first Three Tenors concert, held on the eve of the 1990 FIFA World Cup Final at the ancient Baths of Caracalla in Rome with fellow tenors Plácido Domingo and José Carreras and conductor Zubin Mehta.  It captivated a global audience, and the recording became the largest selling classical record of all time.  Many Three Tenors concerts followed.

The other aspect of the documentary that I really enjoyed was the portrayal of the artist’s winning personality.  He was almost childlike with a beaming smile, witty rejoiners, and good cheer that could charm the pants off of almost anyone (well, that is another story).  You are almost transported when you see his giant smile and sparkling eyes.

I thought the documentary was disappointing in at least two ways.  Like many compelling heroes, Pavarotti had many faults, which the documentary barely addresses.  He often had difficulty remembering his lines.  Toward the end of his career, he became demanding and unpredictable.  He blew off rehearsals and cancelled appearances.  Several opera houses, including Covent Garden in London and the Chicago Lyric Opera considered him persona non grata—the latter after he cancelled 26 of his last 41 scheduled appearances.  The documentary only hints at cancellations due to the health of one of his daughters.  But it’s important to balance these flaws with his huge generosity of spirit and his countless concerts performed for charity.

What the documentary really lacks is insight into his unbelievable voice—a rich and beautiful instrument that is unmatched today.  Supposedly he could not read music, which makes his talent even more compelling. Pavarotti credits Joan Sutherland with teaching him how to breathe.  The athletic demands of opera?  Without a microphone he projected his voice above a full orchestra to be clearly heard in the upper balconies of a 4,000-seat opera house, and he did this for more than three decades.   With all of his accomplishments, he was indeed a superstar.

 

Posted in Arte, English, Film, Foto, Italia, Milano, Musica, New York, Storia, Verona | 1 Comment