ITALIAN NEWS - Issue # 8, August 2008

Italian News
Periodical On-Line that Promotes, Supports, Spreads ITALY,
and ITALIAN Language, History, Culture, Tradition, Genealogy,
Articles, Products, Services, Every Aspect of ITALIAN Life Style
by THE ITALIAN PROJECT

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Italian Regions

LAZIO (LATIUM)
Official Website: www.regione.lazio.it

In the heart of Italy and along the Thyrrhenian Sea, Lazio
(Latium) is the center of the Italian political life thanks to the
presence of the government and Parliament; it is the
Catholic world center since there is the Vatican, and a
favorite destination of tourism for the innumerable
monuments of the Roman civilization and, along the
Northern Tuscan border, of the Etruscan civilization. Apart
from the area of Rome, the rest of the territory is mostly plain
and hills, with mountains in the area of Rieti such as Monte
Terminillo (2213 m), and in the north an area of lower
mountains of volcanic origins, in whose craters many
beautiful lakes took origin. More than half of the population
of the whole region live in or around Roma (Rome).

The Provinces of Lazio (Latium)
Province of Roma (RM), Province of Frosinone (FR),
Province of Latina (LT), Province of Rieti (RI), Province of
Viterbo (VT)

History

Ancient Lazio (Latium) was inhabited by some native
populations called Latini, Aernici, Aequi, Aurunci and Volsci.
The legend of the origins of Roma (Rome), which cannot be
established as founded or not, as told in many poems of
ancient Roma (Rome) and in Virgil's Aeneid, tells of a group
of refugees from the city of Troy, destroyed by the Greeks
around the 10th century BC, who, led by Aeneas, reached
the coast of Lazio, where their leader married the daughter
of the local king.

History begins in the 8th century BC with the foundation of
the city of Roma (Rome), which was at first a monarchy until
under the seventh king there was a war with the Etruscans
and a republic ruled by two consuls and a senate was
established. In the centuries the Romans, a people of
soldiers, law-makers and rulers, gradually conquered the
whole of Italy, then started their expansion in the
Mediterranean and towards north in central Europe as far as
the British Isles. The republic gave way to an Empire in the
first century BC, and the first - and one of the greatest -
Emperors, Augustus, reorganized the Empire in regions, so
that Lazio (Latium) and Campania were the Prima Regio.

After the fall of the Western Roman Empire in 476 AD, in the
war against the Goths (535-553) the Eastern, or Byzantine,
Roman Empire reclaimed Lazio (Latium) for a period, then
had to abandon the region to defend the Adriatic
possessions against the Lombards. It was in that period that
the only authority left in Lazio (Latium) was the bishop of
Roma (Rome), who strengthened the political power of the
church in the area. After centuries of fighting against local
lords, the State of the Church gained finally a total
supremacy on Lazio (Latium) and surrounding territories
(Umbria and Marche).

In the 19th century, when a strong movement for unity swept
the Italian nation, patriots in the many Italian states looked at
Roma (Rome) as their future capital. In 1860 the Second War
of Independence united many territories of the former State
of the Church to the newborn Italian Kingdom, but Roma
(Rome) was taken only 1n 1870, after the Third War of
Independence.

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Italian Genealogy

HOW TO CONTACT your Living Relatives
in ITALY

Here are our Step by Step, Detailed, and Useful
Suggestions:

1- Write Informal and Personal Letters in ITALIAN to all them
who you have found, by Using the other LINKS Listed Here
Below, to be Your "Potential" Living Relatives in ITALY,
with ALL the Information and Details!

If you are not able to write in ITALIAN, Click on ITALIAN
TRANSLATION, in this Page, and/or Contact us!

2- With your Letters to ITALY, include self-addressed
stamped envelopes, for their answers, explaining ALL the
reasons for your Letters, and asking if they are your Living
Relatives in ITALY, and if they can help you to find your
ITALIAN Ancestors, and to build your ITALIAN Family
Genealogical Tree, and also if you can call them, to
personally speak with them, and to plan a future meeting
with them.

3- About after a month, probably several of them will
answer you back!

Maybe some of them will be your Living Relatives in ITALY,
and some of them will be very glad to help you to find
Information, and Documents, as Extracts, Acts, Certificates
of your ITALIAN Ancestors, and to build your ITALIAN Family
Genealogical Tree!

4- If you do not speak ITALIAN, we can Translate also their
answers to you, and your answers to them! Click on
ITALIAN TRANSLATION, in this Page, and/or Contact
us!

HOW TO FIND Places of your Ancestors
and Living Relatives in ITALY

HOW TO OBTAIN Information and
Documents of your Ancestors in ITALY

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Italian Companies

Pininfarina

Official Website: www.pininfarina.com

Pininfarina S.p.A.
Type: Public (BIT: PINF)
Founded: 1930
Headquarters: Cambiano, Italy
Sergio Pininfarina, Honorary Chairman
Andrea Pininfarina, Chairman and CEO
Paolo Pininfarina, Vice-Chairman
Industry: Automotive
Employees: 3,562 (2006)

Pininfarina S.p.A. (BIT: PINF) (short for Carozzeria Pininfarina) is an Italian car design firm and coachbuilder in Cambiano,
Italy, founded in 1930 by automobile designer and builder Battista "Pinin" Farina (following the company, his family name
became Pininfarina in 1961, as a result of combining his nickname and surname).

Over the years the company has been employed by many automobile manufacturers, notably Ferrari, Maserati, Cadillac,
Nash, Peugeot, Jaguar, Volvo, Alfa Romeo, MG, Cisitalia, and Lancia. Since the 1980s Pininfarina has also provided
industrial design and interior design consultation to corporate clients. Furthermore, over the years the company has
designed trams (e.g. those in Lille), trains (e.g. Dutch domestic high-speed trains currently being built), and trolleys (e.g.
Boston Green Line). Until his death on August 7th, 2008, Pininfarina was run by Battista's grandson Andrea Pininfarina: the
new responsibility designation is presently pending. The Pininfarina Group employs more than 3,000 people in subsidiary
company offices throughout Europe, as well as in Morocco and China.

Pininfarina is registered and publicly traded on the Borsa Italiana (Milano / Milan Stock Exchange).

Pininfarina in the USA

1987 Cadillac Allanté

After World War II, a number of automotive manufacturers were interested in working with Pininfarina, whose highly
innovative Cisitalia 202 design had attracted wide attention.

The subsequent cooperation with Nash Motors resulted in high-volume production of Pininfarina designs and provided a
major entree into the United States market. In 1952, Pininfarina visited the U.S. for the unveiling of his design for the Nash
Ambassador and Statesman lines, which, although they did carry some details of Pininfarina's design, were largely
designed by Nash's then-new in-house styling staff when the original Farina-designed model proved unsuited to American
tastes. The Nash-Healey sports car body was, however, completely designed and assembled in limited numbers from 1952
to 1954 at Pininfarina's Turin facilities. Nash heavily advertised its link to the famous Italian designer, much as Studebaker
promoted its longtime association with Raymond Loewy. As a result of Nash's marketing efforts, Pininfarina became
well-known in the United States.

A similar arrangement was repeated in the late 1980s when Pininfarina designed (and partially assembled) the Cadillac
Allanté for General Motors. The car's bodies were assembled and painted in Italy before being flown to Detroit for final
vehicle assembly.

Pininfarina Sverige AB

2006 Volvo C70

Pininfarina Sverige AB in Uddevalla, Sweden, was established in 2003 as a joint venture (JV) between Volvo Cars and
Pininfarina. The JV is owned 60% by Pininfarina and 40% by Volvo.

The C70 model -- the first car built by the joint venture- - was launched on 13 April 2006, sharing the Volvo P1 platform
used in the S40. This vehicle, designed by John Kinsey, is a coupé convertible featuring a three piece retractable metal
hardtop that can raise or lower in less than 30 seconds. The new C70 replaces both the current cabriolet/convertible and
the coupé absent from Volvo's lineup since 2003. For the first time, the C70 will be offered with a normally-aspirated
gasoline engine, as well as diesel engines with variable geometry turbocharger and common-rail direct injection.

Prototype and Custom Vehicles

1989 Ferrari Mythos

In addition to production vehicles, Pininfarina creates prototype, show, and custom cars for auto manufacturers, as well
as private clients. Most prototypes -such as the Ferrari Mythos- have served solely as concept cars, although several
have become production models, including the Ferrari 612 and Ferrari F50.

A recent privately-commissioned custom example was the Ferrari P4/5 of 2006, a one-car rebody (changing the exterior
design) of the Enzo Ferrari according to the client's specifications. Its design began in September 2005 with sketches by
Jason Castriota moving through computer aided sculpture and stringent wind tunnel testing. More than 200 components
were designed especially for the car though the engine, drivetrain and many other components are simply modified from
the original Enzo Ferrari. The Vehicle Identification Number (VIN) is unchanged from the Enzo it was derived from. The P4/5
was publicly revealed on August 18, 2006 at the Pebble Beach Concours d'Elégance and shown again at the Paris Motor
Show in late September. Another recent prototype is the Pininfarina Nido, a two seater sub-compact that could possibly
make airbags obsolete.

Notable Designs

2006 Ferrari P4/5 by Pininfarina                             1963 Chevrolet Corvette Rondine coupe by Pininfarina

1982 Rolls Royce Camargue                                                           2006 Maserati Quattroporte

1961 Austin A40 Farina Mk II                                                                         Fiat 2300

1997 Lancia Kappa Coupé                                                                         Alfa Romeo 164

1933 Alfa Romeo 8C 2300
1936 Lancia Aprilia
1938 Lancia Astura
1948 Cisitalia 202
1952 Ferrari 250
1952 Nash Ambassador
1952 Nash-Healey
1953 Four Berlinetta and one Spyder version of the Maserati A6GCS/53
1955 Peugeot 403
1955 Ferrari 410 Superamerica
1956 Austin A40 Farina
1957 Lancia Flaminia
1958 BMC Farina cars - Austin A55 Cambridge Mk II, MG Magnette Mk III, Morris Oxford V, Riley 4/68, Wolseley 15/60
1959 Fiat 1800/2100
1960 Peugeot 404
1961 Fiat 2300
1964 Ferrari 275
1965 Dino 206
1965 MGB GT
1966 IKA-Renault Torino
1966 Alfa Romeo 1600 Spider Duetto
1966 Ferrari 330 GTC
1966 Fiat 124 Spider
1966 Datsun 411
1966 Fiat Dino Spider
1967 Proposal for replacement for BMC 1800 (ADO17)
1967 Proposal for replacement for BMC 1100 (ADO16)
1968 Ferrari Daytona
1968 Peugeot 504 Cabriolet and Coupe
1971 Fiat 130 Coupe
1973 Ferrari 365 GT4 BB
1975 Lancia Montecarlo
1975 Ferrari 308
1975 Rolls-Royce Camargue
1976 Peugeot Peugette
1978 Jaguar XJ6
1983 Peugeot 205
1984 Ferrari Testarossa
1984 Ferrari 288 GTO
1984 Honda HP-X concept car[2]
1985 Peugeot 205 Cabriolet
1985 Ferrari 328
1987 Alfa Romeo 164
1987 Cadillac Allanté
1987 Ferrari F40
1987 Peugeot 405
1989 Ferrari Mythos
1989 Ferrari 348
1992 Jaguar XJ220 - Rebodied an unknown number of cars
1994 Fiat Coupé
1994 Ferrari F355
1995 Alfa Romeo GTV & Spider
1995 MG F - Roof Structure only.
1996 Lancia Kappa SW
1997 Peugeot 306 Cabriolet
1997 Peugeot 406 Coupé
1999 Songhuajiang Hafei Zhongyi
1999 Mitsubishi Pajero
2000 Daewoo Tacuma
2000 Ferrari 550 Barchetta
2000 Ferrari 360 Spider
2000 Hispano Habit
2001 Citroën Osée
2001 Hyundai Matrix
2002 Ferrari 575M Maranello
2002 Enzo Ferrari
2002 Daewoo Lacetti
2002 Hafei Lobo
2003 Maserati Quattroporte
2004 Ferrari 612 Scaglietti
2005 Peugeot 1007
2005 Maserati Birdcage 75th
2006 Mitsubishi Colt CZC
2006 Volvo C70
2006 Ferrari 599 GTB Fiorano
2006 Ferrari P4/5 by Pininfarina
2007 Brilliance BS4
2007 Ford Focus CC by Pininfarina
2008 Maserati GranTurismo

Product Design
Pininfarina also works with other companies such as SimpleTech for product design.

Among Pininfarina's notable product designs are the Torino 2006 Olympic torch and two luxury appliance collections for
Gorenje.

Pininfarina Extra
Pininfarina Extra, founded in 1986, is the Pininfarina Group design company which does not work in the transport sector.

Alternative Propulsion
Pininfarina has an area dedicated to the new electric car Pininfarina Bolloré. Batteries are produced by Bolloré Group.

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Italian Language

Stress
Accento Tonico

Usually, Italian words are stressed on the next–to–the–last
syllable.
amico friend
foglia leaf
Milano Milan
nipote nephew
padre father
parlare to speak
signorina Miss
studiare to study
telefonare to telephone
uomo man

When the final –e is dropped from a word, as happens with
some masculine titles when they are directly followed by a
proper name, the position of the stress remains unchanged.

dottore doctor
dottor Nardi Doctor Nardi
professore professor
professor Pace professor Pace

When words are stressed on the last vowel, they always
have a written accent over that vowel.

cioè namely
città city
perchè because
però however
tassì taxi
università university
venerdì Friday
virtù virtue

It is useful to remember that open e and o occur only in
stressed syllables.

automobile automobile
medico physician
nobile noble
telefono telephone

Note: The written accent is used with a few monosyllables in
order to distinguish them from others that have the same
spelling but a different meaning.

dà gives
da from
è is
e and
là there
la the; it; her
né nor
ne some
sé himself, herself
se if
sì yes
si oneself

Apostrophe
The apostrophe (l'apostrofo) is generally used to indicate the
dropping of the final vowel before the word that follows it.

l’amico instead of lo amico (the friend)
l’automobile instead of la automobile (the automobile)
un’università instead of una università (a university)
d’Italia instead of di Italia (of Italy)
dov’è instead of dove è (where is)

Capitalization
Many words that are capitalized in English are not
capitalized in Italian. These include: the days of the week,
the months of the year, proper adjectives, a few proper
nouns, and titles such as Mr., Mrs., and Miss.

Arriva domenica. He is arriving on Sunday.
Il signor Neri è italiano. Mr. Neri is Italian.
Gli americani sono industriosi. Americans are industrious.

Punctuation Marks
Segni d’Interpunzione
, la virgola
. il punto
; il punto e virgola
: due punti
... i puntini di sospensione
! il punto esclamativo
? il punto interrogativo
– il trattino
— la lineetta
«» le virgolette
() le parentesi tonde
[] le parentesi quadre
* l'asterisco
á l’accento acuto
à l’accento grave
’ l’apostrofo
/ la sbarretta

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Italian History

Italo-Canadesi (Italian-Canadians)

Total Population
1.45 million, 4.6% of Canada's population
Regions with Significant Populations
Toronto: 467,000, Montreal: 260,000
Languages
Predominantly English and/or French. Also Italian and/or Italian dialects.
Religion
Predominantly Roman Catholic

An Italian Canadian is a Canadian of Italian descent or heritage. As of the 2006 census, 1,445,335 Canadians (4.6% of total
population) consider themselves to be of Italian origin, as well as 4,360 (0.01% of the total population) who considered
themselves as Sicilian, according to the 2006 Canadian census. The Italian-Canadian population climbed by more than
12% and half (over 700,000) have combined Italian origins along with another ethnic group, mostly other European ethnic
groups. Altogether, Italians continue to be the 5th largest ethnic group in Canada after British and Irish origins, French
origin and German origin.

History
Italians were among some of the earliest Europeans to migrate to North America. A number of the early explorers such as
John Cabot (Giovanni Caboto) and Giovanni da Verrazzano were Italians. During the New France era, France also
occupied parts of Italy and there was a significant Italian presence in the French military forces in the colony. Notable were
Alphonse de Tonty, who helped establish Detroit, and Henri de Tonti, who journeyed with La Salle in his exploration of the
Mississippi River. Italians made up a small portion of the population, however, and quickly lost their ethnic identities. In
1881, only 1849 Canadians claimed to be Italian. A number of Italians were imported to work as navvies in the
construction of the Canadian Pacific Railway.

A substantial influx began in the early twentieth century when over a hundred thousand Italians moved to Canada. These
were largely peasants from the poorer southern portion of Italy. They mainly immigrated to Toronto and Montreal, both of
which soon had large Italian communities. Smaller communities also arose in Hamilton, Vancouver, Windsor, Niagara
Falls and Ottawa. and there is also small communitites in Sherbrooke, QC, Quebec City and Lac-St-Jean. Many also settled
in mining communities in British Columbia, Alberta, Cape Breton Island and Northern Ontario. The Northern Ontario cities of
Sault Ste. Marie and Fort William were quite heavily populated by Italian immigrants. There was a Royal Commission
appointed to Inquire into the Immigration of Italian Labourers to Montreal and alleged Fraudulent Practices of Employment
Agencies in 1905, which exposed the abuses of immigration agents known as padroni.

This migration was largely halted by World War I, and new immigration laws in the 1920s limited Italian immigration. During
World War II, Italian-Canadians, as well as German-Canadians were regarded with suspicion and faced a great deal of
discrimination. Those who had been actively pro-Fascist, and some who were falsely accused, were interned at Camp
Petawawa during the war. There was no mass internment as befell Japanese-Canadians, however.

A second wave occurred after the Second World War when Italians left the war-impoverished country for opportunities in a
young and growing country. In the 1960s, immigration laws were again changed, and the bias in favour of Europeans was
removed. In the same period, Italy was rapidly growing in wealth, and by the early 1970s fewer Italians were interested in
emigration.

Demographics
As of 2006, 1,449,695 Canadians residents stated they had Italian ancestry (includes Sicilian), in which 741,045 had sole
Italian origins while the other 704,285 were of partial Italian origin along with other ethnic origins, chiefly with other
European ethnic groups e.g Italian-Irish, Italian-English etc. The latter group climbed by almost 25%, while the Italian
Canadian population as a whole grew by 12% since the 2001 census.

Canadians of Italian ancestry make up 4.6% of the population of Canada, a rise from 4.3% in 2001. The majority live in
Ontario (867,980) where they constitute more than seven per cent of the population, while another 300,000 live in Quebec.

'Canadians of Italian descent ((not including 4,360 Sicilians) by province and territory'
Province/Territory Canadians of Italian ancestry population Per cent of population
Newfoundland and Labrador 1,375 0.27%
Prince Edward Island 1,005 0.75%
Nova Scotia 13,505 1.5%
New Brunswick 5,900 0.8%
Quebec 299,655 4.0%
Ontario 867,980 7.2%
Manitoba 21,405 1.9%
Saskatchewan 7,970 0.8%
Alberta 82,015 2.5%
British Columbia 143,160 3.5%
Yukon 620 2.0%
Northwest Territories 610 1.5%
Nunavut 125 0.4%

The main concentrations of Canadians of Italian ancestry are in the following metropolitan areas and Census
agglomerations:
Greater Toronto Area (467,015) or 9.2% of total population.
Greater Montreal Area (261,115) or 7.3% of total population.
Vancouver/Lower Mainland (76,525) or 3.6% of total population.
Hamilton, Ontario (72,770) or 10.6% of total population.
St.Catharines-Niagara (49,045) or 12.7% of total population.
Ottawa-Hull (45,210) or 4% of total population.
Windsor, Ontario (33,865) or 10.5% of total population.

The York Region community of Vaughan, Ontario, located just north of Toronto, has almost 100,000 Italian residents
accounting for 40% of the total population; this area has the largest concentration of Italians in Canada. Sizeable Italian
communities are also located in Calgary Region, Edmonton Capital Region, London, Ontario, Winnipeg Capital Region, Sault
Ste. Marie, Ontario, Thunder Bay, Ontario, Oshawa, Ontario, Sudbury, Ontario, and Guelph, Ontario.

In 2001, about three-quarters of the 1.3 million Canadians of Italian descent (903,375) were born in Canada according to the
2001 Census and 315,455 Canadian residents were born in Italy. Of those 315,000 immigrants, almost half (46.7%)
immigrated to Canada before 1961, 38.3% between 1961 and 1970, another 10.3% between 1971 and 1980. Italian
immigration to Canada since 1981 has been very slow with only 6.4% of Italian immigrants coming to Canada since 1981.

More than half of Canadians of Italian origins (670,300) claimed English as their mother tongue, 81,000 French and 469,485
Italian. Their religious profile represents the historical ties with Italy. Out of the 1.3 million Italians in Canada, 1,015,725 or
79.9% are Roman Catholic[2], 113,455 or 8.9% Protestant, 23,805 or 1.8% other Christian. Those who do not profess a faith
constitute 109,515 or 8.2%. The largest non-Christian faith that some Italians follow is Judaism.

Canadians of Italian ancestry had above-average incomes ($34,871 average employment income vs. $ 31,757 for all
Canadians) and below-average unemployment rates (5.4% compared to 7.4% for the Canadian labour force as a whole).
While they work in all walks of life, they represent a disproportionate number of Canada's construction workers: 6 % of
Canadians employed in the construction industry are of Italian ancestry. On the other hand, they are under-represented in
agriculture. In other industries, the proportion of Canadians of Italian ancestry is not far from their percentage of the general
population.

Italian-Canadian Media

Radio and Television
The first multicultural radio station in Canada (CFMB) began broadcasting at Montreal in 1962. Founded by Casimir
Stanczykowkski, a Pole, peak hours programming was nonetheless mostly in Italian. Four years later, in 1966, Johnny
Lombardi founded a similar radio station (CHIN) in Toronto. CFMB has become a cultural bulwark for Italians in Montreal,
however, the station's programming is often criticized as being geared only toward the older generations. Hardly any new
pop songs from Italy, for instance, receive airtime and older songs from the 1970s and 1980s are usually privileged. A
short programme on Friday afternoons, Spazio ai giovani, was recently introduced to address these criticisms.

Dan Iannuzzi founded the first multicultural television station in Canada (CFMT-TV), which began operations at Toronto in
1979. Now owned by Rogers Communications, the service has spun off into two multicultural television services in
southern Ontario: OMNI-1 and OMNI-2. TeleItalia, an Italian-language television service, was founded in Montreal shortly
thereafter. TeleItalia shared airtime with other multicultural programming at the station but had the most and best timeslots.
TeleItalia programming included programming purchased from RAI, the Italian state broadcaster, as well as numerous
locally-produced programmes, including the nightly newscast at six o'clock. In 1997, a reform of the city's multicultural
television station (CJNT) saw a drastic decline in the quality of all programming and major cuts to airtime. At one time,
CJNT was on air for less than twelve hours a day. The CanWest Global company later purchased the station and has since
improved programming. Nevertheless, there is now little Italian programming shown.

A third station, Telelatino (TLN) of Toronto, is widely available through cable distribution. Though offering programmes in
both Spanish and Italian, most of TLN's revenue (70%) is derived from the latter. TLN, along with RAI International, an arm
of the Italian state broadcaster RAI, has recently been at the centre of a dispute over Italian-language broadcasting in
Canada. Telelatino had carried since 1984 some RAI content in addition to locally produced shows and dubbed Spanish
programming from Latin America. By the beginning of this decade, however, there was growing dissatisfaction with TLN
programming, especially in Montreal. Critics in Montreal labelled TLN's locally-produced shows too "Torontocentric" and
poked fun at dubbed Spanish programming bought from Latin American stations. Most of these latter shows were soap
operas filmed in the 1980s.

RAI Controversy
In 2003, RAI pulled its content from Telelatino and petitioned the Canadian Radio-television and Telecommunications
Commission (CRTC) to set up its own channel. This effort was backed by Rogers Communications. The Italian community in
Montreal was almost wholly in favour of admitting RAI. The Committee for Italians Living Abroad in Montreal (COM.IT.ES.),
an arm of the Italian foreign ministry, led the campaign to have RAI admitted. The Italian community in Toronto, however,
was divided. Some in Toronto saw the move as part of a scheme by Italian Prime Minister Silvio Berlusconi to gain greater
influence over the Italian language media in Canada. Italian law provides the Italian diaspora votes in Italian elections and
permanent seats in the Italian parliament. Unlike the more independent Telelatino, RAI was widely seen as pro-Berlusconi.
Those in favour of the RAI in Montreal pointed out that TLN quickly replaced its RAI programming with shows bought from
SKY, a private television network. Berlusconi is said to have much more control over his private TV companies than over
the state-run RAI.

In November 2003, community leaders in Montreal led a protest march in Ottawa under the slogan "RAI Now". They then
presented a petition with some tens of thousands of signatures in favour of their cause. The CRTC initially turned down the
application allowing RAI International to broadcast in Canada, declaring it would be impossible to set up a domestic Italian
channel if that came to pass. In Montreal editorials lambasting the federal government and the CRTC were published in the
community newspapers and leaders spoke out again a perceived injustice. With a federal election set for the summer of
2004, one in which the Liberal Party did not seem guaranteed a victory, opinion makers in Montreal began asking if Italians
were simply not sheep herded along by the Liberals. (The great majority of Italians in Montreal are Liberal and federalist).
Many called on voters to vote against the Liberal party which was blamed for the CRTC's decision. Ultimately, nervous
Liberal candidates signed a statement days before the vote, guaranteeing that RAI would be broadcasting within a year or
that the laws would be changed to permit it. The Liberals won their election and in the spring of 2005, the CRTC reversed
its earlier decision. RAI thus began broadcasting in June of that year.

Newspapers
The first Italian-language newspaper in Canada was Il Cittadino Canadese founded in Montreal in 1941, followed by Il
Corriere Italiano, founded by Alfredo Gagliardi also in Montreal in the early 1950s. Corriere Canadese, founded by Dan
Iannuzzi in 1954, is Canada's only Italian-language daily today and is published in Toronto; its weekend (English-language)
edition is published as Tandem. Other newspapers include Insieme (Montreal),L'Ora di Ottawa (Ottawa, Ontario) and Il
Postino (Ottawa, Ontario). Il Postino was established in 2000 by a young group of local Ottawa Italian Canadians to convey
the history of the Italian community in Ottawa. (www.ilpostinocanada.com). Insieme was originally founded by the Italian
Catholic parishes of Montreal but has since been put under private ownership. It nevertheless retains an emphasis on
religious articles.

Many of the older Italian newspapers are criticized, like CFMB radio, for only serving the interests of the older generations.
Several trendier, more modern magazines or newspapers have thus been founded. Many are run by recent Italian
immigrants to Canada and are geared towards youth. However, most have failed or are published sporadically due to
financial problems. The movement to support these upstart newspapers, however, is fairly strong in Montreal where many
people under 40 years old can still communicate in Italian. Eyetalian magazine was launched in 1993 as a challenging,
independent magazine of Italian-Canadian culture. It encountered commercial difficulty, and leaned towards a general
lifestyle magazine format before concluding publication later in the 1990s. Italo of Montreal is published sporadically and is
written in Italian, with some articles in French and English. Dealing with current affairs and community news. La Comunità,
while an older publication, was taken over by the youth wing of the National Congress of Italian Canadians (Québec
chapter) in the late 1990s. It experimented with different formats but was later cancelled due to lack of funding.

Notable Canadians of Italian Descent
Many Italian immigrants found work in the constructions trades, and later built their own construction businesses.
Canadians of Italian ancestry can now be found in almost any profession in Canada. For a more complete list of notable
individuals.

Italian Districts in Canada

Windsor
"Via Italia", Erie St., Windsor, ON

Montreal
Little Italy, Montreal
Church of the Madonna della Difesa
Città Italiana, nickname for Saint Leonard, Quebec, a borough of Montreal
Centro Leonardo Da Vinci
Via Italia
R.D.P., a borough of Montreal
LaSalle, a borough of Montreal

Ottawa
Little Italy, Ottawa
St. Anthony of Padua (Ottawa)

Hamilton
Stoney Creek, Ontario

Toronto
Little Italy, Toronto
Corso Italia, Toronto
Woodbridge, Ontario
Maple, Ontario

Vancouver
Little Italy, Vancouver

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Italian Products

Formaggio Gorgonzola (Gorgonzola Cheese)

Country of origin Italy
Region, town Gorgonzola
Source of milk Cow
Pasteurised Yes
Texture Soft and crumbly
Aging time 3–4 months
Certification Italy: DOC from 1955;
EU: PDO from 1996

Gorgonzola is a veined Italian blue cheese, made from unskimmed cow's milk. It can be buttery or firm, crumbly and quite
salty, with a 'bite' from its blue veining. It has been made since the early Middle Ages, but only became marbled with
greenish-blue mold in the eleventh century. It is frequently used in Italian cooking. The name comes from Gorgonzola, a
small town near Milan, Italy, where the cheese was reportedly first made in 879[2]; however, this claim of geographical
origin is disputed by other towns.[3]

Gorgonzola is made in the regions of Piedmont and Lombardy from whole pasteurized cow's milk to which is added the
bacteria Lactobacillus bulgaricus and Streptococcus thermophilus along with spores of the mold Penicillium glaucum.
Recently Penicillium roqueforti has started to be used to make Gorgonzola, besides its use in Roquefort cheese. After the
whey is removed, it is aged at low temperatures. During the aging process, metal rods are inserted into the cheese. This
creates air channels which allows the mold spores to germinate and create the characteristic veining. Gorgonzola is
typically aged for three to four months. The length of the aging process determines the consistency of the cheese. A firm
Gorgonzola is aged longer than creamy Gorgonzola. It is usually sold wrapped in foil.

Gorgonzola may be consumed in many ways. It may be melted into a risotto in the final stage of cooking, for instance.
Another fairly traditional dish sees Gorgonzola served alongside polenta. Because of its distinctive flavor, it is
occasionally offered as a topping on pizza.

Today by law the zone of production includes only a defined area. What was once the village of Gorgonzola, not far from
Milan, is being swallowed up by suburbs. Most Gorgonzola is actually produced in the province of Novara, but the DOC
zone also includes such provinces as Bergamo, Brescia, Como, Cremona, Cuneo, Lecco, Lodi, Milan, Pavia, Varese,
Verbano-Cusio-Ossola, and Vercelli, as well as a number of comunes in the area of Casale Monferrato (province of
Alessandria).

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Famous Italians

Antonio Vivaldi

Portrait of Antonio Vivaldi

Antonio Lucio Vivaldi (March 4, 1678 – July 28, 1741), nicknamed il Prete Rosso ("The Red Priest"), was a Venetian priest
and Baroque music composer, as well as a famous virtuoso violinist; he was born and raised in the Republic of Venice.
The Four Seasons, a series of four violin concerti, is his best-known work and a highly popular Baroque piece.

Biography

Youth

The church where Vivaldi was baptized: Chiesa di San Giovanni Battista in Bragora, Sestiere di Castello, Venezia (Venice).

Antonio Lucio Vivaldi was born in Venezia (Venice), the capital of the Republic of Venezia (Venice). He was baptized
immediately at his home by the midwife. It is not known how the life of the infant was in danger, but the immediate baptism
was most likely due to his poor health or to an earthquake that shook the city that day. Vivaldi's official church baptism (at
least, the rites that remained other than the actual baptism itself) did not take place until two months later. His father,
Giovanni Battista, a barber before becoming a professional violinist, taught him to play violin and then toured Venice
playing the violin with his young son. Giovanni Battista was one of the founders of the Sovvegno dei musicisti di Santa
Cecilia, a sort of trade union for musicians and composers. The president of the association was Giovanni Legrenzi, the
maestro di cappella at St. Mark's Basilica and noted early Baroque composer. It is possible that the young Antonio's first
lessons in composition were imparted by him. The Luxembourg scholar Walter Kolneder sees in the early liturgical work
Laetatus sum (RV Anh 31, written in 1691 at the age of 13) the influence of Legrenzi's style. His father may have been a
composer himself: in 1688, an opera titled La Fedeltà sfortunata was composed by a Giovanni Battista Rossi, and this was
the name under which Vivaldi's father had joined the Sovvegno di Santa Cecilia ("Rossi" for "Red", because of the colour
of his hair, a family trait).

Vivaldi had a medical problem that he called the tightening of the chest (probably some form of asthma). His medical
problem, however, did not prevent him from learning to play the violin, composing, or taking part in many musical
activities. However, he could not play wind instruments due to his lack of breath. At the age of 15 in the year of 1693, he
began studying to become a priest. In 1703, at the age of 25, Vivaldi was ordained a priest and was soon nicknamed il
Prete Rosso, "The Red Priest", probably because of his red hair.

Not long after his ordination, in 1704, he was given a reprieve from celebrating the Holy Mass because of his ill health.
From that point onward, he appears to have withdrawn from active practice, but did remain a priest.

At the Ospedale della Pietà
In September 1703, Vivaldi became maestro di violino (master of violin) at an orphanage called the Pio Ospedale della
Pietà (Devout Hospital of Mercy) in Venezia (Venice). There were four such institutions in Venice; their purpose was to
give shelter and education to children who were abandoned, orphaned, or whose families could not support them. They
were financed by funds provided by the Republic. The boys learned a trade and had to leave at age 15. The girls received
a musical education, and the most talented stayed and became members of the Ospedale's renowned orchestra and choir.

Shortly after his appointment, the orphans began to gain appreciation and esteem abroad, too; Vivaldi wrote most of his
concertos, cantatas, and sacred music for them. In 1704, the position of teacher of viola all'inglese was added to his
duties as violin instructor.

His relationship with the board of directors of the Ospedale was often strained. The board had to take a vote every year on
whether to keep a teacher. The vote on Vivaldi was seldom unanimous, and in 1709, he lost his job after a 7 against 6
vote. After a year as a freelance musician, he was recalled by the Ospedale with a unanimous vote in 1711; clearly the
board had realized the importance of his role by then. In 1713, he became responsible for the musical activity of the
institute. Vivaldi was promoted to maestro di' concerti (music director) in 1716.

It was during these years that Vivaldi wrote much of his music, including many operas and concerti. In 1705, the first
collection (Raccolta) of his works was published: his Opus 1 is a collection of 12 sonatas for two violins and basso
continuo, still in a conventional style. In 1709, a second collection of 12 sonatas for violin & basso continuo appeared
(Opus 2). The real breakthrough came with his first collection of 12 concerti for one, two, and four violins with strings,
L'estro armonico (Opus 3), which was published in Amsterdam in 1711 by Estienne Roger. This was a resounding success
all over Europe, and was followed in 1714 by La stravaganza (Opus 4), a collection of concerti for solo violin and strings.

In February 1711, Vivaldi and his father went to Brescia, where his setting of the Stabat Mater (RV 621) was played as part
of a religious festival. The work seems to have been written in haste: the string parts are simple, the music of the first
three movements is repeated in the next three, and not all the text is set. However, and in part as a consequence of the
forced essentiality of the music, the work reveals musical and emotional depth and is one of his early masterpieces.

In 1718, Vivaldi began to travel. Despite his frequent travels, the Pietà paid him to write two concerti a month for the
orchestra and to rehearse with them at least five times when in Venezia (Venice). The Pietà's records show that he was
paid for 140 concerti between 1723 and 1733.

Opera Impresario

First edition of Juditha triumphans and is described as his first great oratorio.

In the Venezia (Venice) of the early 18th century, opera was the most popular musical entertainment and the most
profitable for the composer. There were several theaters competing for the public attention. Vivaldi started his career as
opera writer in undertone: his first opera, Ottone in villa (RV 729) was performed not in Venezia (Venice), but at the
Garzerie theater in Vicenza in 1713. The following year, Vivaldi made the jump to Venezia (Venice) and became the
impresario of the theater Sant'Angelo in Venezia (Venice), where his opera Orlando finto pazzo (RV 727) was performed.
However, the work did not meet the public's taste, and Vivaldi had to close it after a couple of weeks and replace it with a
rerun of a different work already given the previous year. In 1715, he presented Nerone fatto Cesare (RV 724, lost), with
music by seven different composers, of which he was the leader, with eleven arias. This time it was a success, and in the
late season, Vivaldi planned to give an opera completely of his own hand, Arsilda regina di Ponto (RV 700). However, the
state censor blocked the performance, objecting to the plot: the main character, Arsilda, falls in love with another woman,
Lisea, who is pretending to be a man. Vivaldi managed to get the opera through censorship the following year, and it was
eventually performed to a resounding success.

In this same period of time, the Pietà commissioned several liturgical works. The most important were two oratorios. The
first, Moyses Deus Pharaonis, (RV 643) is lost. The second, Juditha triumphans (RV 644), composed in 1716, is one of his
sacred masterpieces. It was commissioned to celebrate the victory of the Republic of Venice against the Turks and the
recapture of the island of Corfù. All eleven singing parts were performed by girls of the Pietà, both for the female and male
characters. Many of the arias included parts by solo instruments—recorders, oboes, clarinets, violas d'amore, and
mandolins—that showcased the range of talents of the girls.

In the same year, 1716, Vivaldi wrote and produced two more operas, L'incoronazione di Dario (RV 719) and La costanza
trionfante degli amori e degli odi (RV 706). The latter was so popular that it was re-edited and represented two years later
with the title Artabano re dei Parti (RV 701, lost) and was eventually performed in Prague in 1732. In the following years,
Vivaldi wrote several operas that were performed all over Italy.

His modern operatic style caused him some trouble with other more conservative musicians, like Benedetto Marcello, a
magistrate and amateur musician who wrote a pamphlet denouncing him and the modern style of opera. The pamphlet is
called Il teatro alla moda, and its cover has a caricature of Vivaldi playing the violin. The Marcello family was the rightful
owner of the Sant'Angelo theater, and a long legal battle had been fought with the management for its restitution, without
success. The booklet attacks Vivaldi without mentioning him directly. The cover drawing shows a boat (the Sant'Angelo),
on the left end of which stands a little angel wearing a priest's hat and playing the violin. It is a caricature of Vivaldi. The
obscure writing under the picture mentions nonexistent places and names. In particular, ALDIVIVA is an anagram of A.
Vivaldi.

His Middle Years

Caricature by P.L.Ghezzi, Rome (1723)

In 1717 or 1718, Vivaldi was offered a new prestigious position as Maestro di Cappella of the court of the prince Phillip of
Hesse-Darmstadt, governor of Mantova (Mantua). He moved there for three years and produced several operas, among
which was Tito Manlio (RV 738). In 1721, he was in Milano (Milan), presenting the pastoral drama La Silvia (RV 734, lost)
and again the next year with the oratorio L'adorazione delli tre re magi al bambino Gesù (RV 645, also lost). The next big
step was a move to Roma (Rome) in 1722, where his operas introduced the new style and where the new pope Benedict
XIII invited Vivaldi to play for him. In 1725, he returned to Venezia (Venice), where he produced four operas in the same
year.

It is also in this period that he wrote the Four Seasons, four violin concertos depicting natural scenes in music. While
three of the concerti are of original conception, the first, "Spring", borrows motifs from a Sinfonia in the first act of his
opera "Il Giustino," composed at the same time as The Four Seasons. The inspiration for them was probably the
countryside around Mantua. They were a revolution in musical conception: in them Vivaldi represented flowing creeks,
singing birds (of different species, each specifically characterised), barking dogs, buzzing mosquitoes, crying shepherds,
storms, drunken dancers, silent nights, hunting parties (both from the hunter's and the prey's point of view), frozen
landscapes, children ice-skating, and burning fires. Each concerto was associated with a sonnet of Vivaldi's hand,
describing the scenes depicted in the music. They were published as the first four of a collection of twelve, Il cimento
dell'armonia e dell'inventione, his Opus 8, published in Amsterdam by Le Cène in 1725.

During his time in Mantova (Mantua) Vivaldi became acquainted with an aspiring young singer, Anna Tessieri Giro, who
was to become his student, protégée, and favorite prima donna. Anna, along with her older half-sister Paolina, became
part of Vivaldi's entourage and regularly accompanied him on his many travels. There was speculation about the nature of
Vivaldi's and Giro's relationship, but no evidence to indicate anything beyond friendship and professional collaboration.

Late Life and Death
At the height of his career, Vivaldi received commissions from European nobles and royalty. The wedding cantata Gloria e
Imeneo (RV 687) was written for the marriage of Louis XV. Opus 9, La Cetra, was dedicated to Emperor Charles VI. In
1728, Vivaldi had the chance to meet the Emperor in person when he came to Trieste to oversee the construction of a new
port. Charles admired the music of the Red Priest so much that he is said to have spoken more with the composer in that
occasion than with his ministers in two years. He gave him the title of knight, a gold medal, and an invitation to come to
Vienna. On his part, Vivaldi gave Charles a manuscript copy of La Cetra; this is a set of concerti almost completely
different from the one published with the same title as Opus 9. Probably the printing had been delayed and Vivaldi was
forced to gather an improvised collection.

Frontispiece of Il teatro alla moda

In 1730, accompanied by his father, he traveled to Vienna and Prague, where his opera Farnace (RV 711) was presented.
Some late operas marked the collaboration with two of Italy's major writers of the time. L'Olimpiade and Catone in Utica
were written by Pietro Metastasio, the major representative of the Arcadian movement and court poet in Vienna. La
Griselda was rewritten by the young Carlo Goldoni from an earlier libretto by Apostolo Zeno.

Vivaldi's life, like those of many composers of the time, ended in financial difficulties. His compositions no longer held the
high esteem they once did in Venezia (Venice); changing musical tastes quickly made them outmoded, and Vivaldi, in
response, chose to sell off sizeable numbers of his manuscripts at paltry prices to finance a migration to Vienna. The
reasons for Vivaldi's departure from Venice are unclear, but it seems likely that he wished to meet Charles VI, who
appreciated his compositions (Vivaldi dedicated La Cetra to Charles in 1727), and take up the position of a composer in
the Imperial Court. It is ever more likely that Vivaldi went to Vienna to stage operas, especially as his place of residence
was near the Kärntnertortheater. However, shortly after Vivaldi's arrival at Vienna, Charles died. This tragic stroke of bad
luck left the composer without royal protection and a source of income. Vivaldi eventually died not long after, on the night
between 27 and 28 July 1741, of internal infection in a house owned by the widow of a Viennese saddlemaker. On 28 July
he was buried in a simple grave at the Hospital Burial Ground in Vienna (the assumption that the young Joseph Haydn
sang in the choir at Vivaldi's burial was based on the mistranscription of a primary source and has been proven wrong).
Contrary to popular assumptions, no evidence exists regarding Vivaldi's having been buried as a pauper.

His burial spot is next to the Karlskirche in Vienna, at the site of the Technical Institute. The house he lived in while in
Vienna was torn down. In part of its place there is now the Hotel Sacher. Memorial plaques have been placed at both
locations, as well as a Vivaldi star in the Viennese Musikmeile and a monument at the Rooseveltplatz.

Style and Influence
Many of Vivaldi's compositions reflect a flamboyant, almost playful, exuberance. Most of Vivaldi's repertoire was
rediscovered only in the first half of the 20th century in Turin and Genoa and was published in the second half. Vivaldi's
music is innovative, breaking a consolidated tradition in schemes; he gave brightness to the formal and the rhythmic
structure of the concerto, repeatedly looking for harmonic contrasts and innovative melodies and themes. Moreover,
Vivaldi was able to compose nonacademic music, particularly meant to be appreciated by the wide public and not only by
an intellectual minority. The joyful appearance of his music reveals in this regard a transmissible joy of composing; these
are among the causes of the vast popularity of his music. This popularity soon made him famous in other countries such
as France which was, at the time, very independent concerning its musical taste.

Vivaldi is considered one of the composers who brought Baroque music (with its typical contrast among heavy sonorities)
to evolve into a classical style. Johann Sebastian Bach was deeply influenced by Vivaldi's concertos and arias (recalled
in his Johannes Passion, Matthäuspassion, and cantatas). Bach transcribed a number of Vivaldi's concerti for solo
keyboard, along with a number for orchestra, including the famous Concerto for Four Violins and Violoncello, Strings and
Continuo (RV 580).

Posthumous Reputation
Vivaldi remained unknown for his published concerti, and largely ignored, even after the resurgence of interest in Bach,
pioneered by Mendelssohn. Even his most famous work, The Four Seasons, was unknown in its original edition. In the
early 20th century, Fritz Kreisler's concerto in the style of Vivaldi, which he passed off as an original Vivaldi work, helped
revive Vivaldi's reputation. This impelled the French scholar Marc Pincherle to begin academic work on Vivaldi's oeuvre.
The discovery of many Vivaldi manuscripts and their acquisition by the National University of Turin Library (with the
generous sponsorship of Roberto Foa and Filippo Giordano, in memory of their sons, respectively, Mauro and Renzo) led to
renewed interest in Vivaldi. People such as Marc Pincherle, Mario Rinaldi, Alfredo Casella, Ezra Pound, Olga Rudge,
Arturo Toscanini, and Louis Kaufman were instrumental in the Vivaldi revival of the 20th century. The resurrection of
Vivaldi's unpublished works in the 20th century is mostly thanks to the efforts of Alfredo Casella, who in 1939 organised
the now historic Vivaldi Week, in which the rediscovered Gloria (RV 589) and l'Olimpiade were first heard again. Since
World War II, Vivaldi's compositions have enjoyed almost universal success, and the advent of historically informed
performances has only increased his fame. In 1947, the Venetian businessman Antonio Fanna founded the Istituto Italiano
Antonio Vivaldi, with the composer Gian Francesco Malipiero as its artistic director, having the purpose of promoting
Vivaldi's music and publishing new editions of his works.

A movie titled Vivaldi, a Prince in Venezia (Venice) was completed in 2005 as an Italian-French coproduction under the
direction of Jean-Louis Guillermou, featuring Stefano Dionisi in the title role and Michel Serrault as the bishop of Venezia
(Venice). Another film inspired by the life of the composer was in a preproduction state for several years and has the
working title Vivaldi. Filming was scheduled to begin in 2007, but was canceled and tentatively rescheduled for 2008.

2008 Europe Taler featuring Vivaldi among other famous European people

Antonio Vivaldi is also featured on the 2008 Europe Taler. Vivaldi's music, together with that of Mozart, Tchaikovsky, and
Corelli, has been included in the theories of Alfred Tomatis on the effects of music on human behaviour and used in music
therapy.

His compositions include:
Over 500 concerti; approximately 350 of these are for solo instrument and strings, and of these about 230 are for violin;
the others are for bassoon, cello, oboe, flute, viola d'amore, recorder, lute, and mandolin. Approximately 40 concerti are
for two instruments and strings, and approximately 30 are for three or more instruments and strings.
46 operas
sinfonias
73 sonatas
chamber music (even if some sonatas for flute, as Il Pastor Fido, have been erroneously attributed to him, but were
composed by Chédeville).
sacred music
His most famous work is 1723's Le Quattro Stagioni (The Four Seasons). In essence, it resembled an early example of a
tone poem, where he attempted to capture all the moods of the four seasons without the use of percussion to dramatize the
effects he sought to portray. (See section above for more detailed description.)

1926 and 1930 Discoveries

As one biography describes it:
“ The fate of the Italian composer's legacy is unique. After the Napoleonic wars, it was thought that a large part of Vivaldi's
work had been irrevocably lost. However, in the autumn of 1926, after a detectivelike search by researchers, 14 folios of
Vivaldi's previously unknown religious and secular works were found in the library of a monastery in Piedmont. Some
even- and odd-numbered volumes were missing, and so the search continued. Finally, in October 1930, the missing
volumes were found to be with the descendants of the Grand Duke Durazzo, who had acquired the property as early as the
eighteenth century. To its amazement, the world of music was presented with 300 concerts for various instruments and 18
operas, not counting a number of arias and more than 100 vocal-instrumental pieces. Such an impressive list of newly
unearthed opuses warranted a re-evaluation of Vivaldi's creativity”.

Recent Discoveries
Recently, four sacred vocal works by Vivaldi have been discovered in the Saxon State Library in Dresden. These
compositions were improperly attributed to Baldassare Galuppi, a Venetian composer of the early classical period, mostly
famous for his choral works.

In the 1750s or 1760s, the Saxon court asked for some sacred works by Galuppi from the Venetian copyist Don Giuseppe
Baldan. Baldan included, among authentic works by Galuppi, the four compositions by Vivaldi, passing them off as
Galuppi's. He probably obtained the originals from two of Vivaldi's nephews, (Carlo Vivaldi and Daniele Mauro), who
worked under him as copyists.

The recognition of Vivaldi's authorship could be made by analyzing style and instrumentation and by recognizing arias from
Vivaldi's operas.

The two most recent among these discoveries are two psalm settings of Nisi Dominus (RV 803, in eight movements) and
Dixit Dominus (RV 807, in eleven movements), identified in 2003 and 2005, respectively, by the Australian scholar Janice
Stockigt.

RV 803 was recorded for the first time in 2005 by the King's Consort under the direction of Robert King.

The world premiere of any part of RV 807 took place on 9 August 2005, at Melba Hall, University of Melbourne. It was
recorded in full for the first time in 2006 by the Dresdner Instrumental-Concert under the direction of Peter Kopp. Vivaldi
scholar Michael Talbot called it "arguably the best nonoperatic work from Vivaldi's pen to come to light since... the 1920s".

Argippo
Vivaldi's opera Argippo (RV 697) premiered in the Palace of Count Spork, Prague in 1730. The libretto was preserved but
the music was presumed to have been lost until portions of it (over two thirds) was discovered in the private archive of
the Thurn und Taxis house in Regensburg, in 2006 by harpsichordist and conductor Ondřej Macek. He stated: "I found out
that in 1733, three years after the premiere, the Italian music ensemble appeared in Regensburg. They'd been invited there
after the theatre in Prague burnt down." Macek used other arias from Vivaldi and said: "I used music from operas he
wrote at the time, shortly before and after the date of the premiere, and sometimes they [the arias] fit really perfectly."
Ondřej Macek and his Hofmusici orchestra chose Prague Castle (seat of the Czech presidency) the 16th-century Spanish,
and was performed by 13 singers and 24 musicians on May 3, 2008, the first performance since 1730. The opera is set in
an Indian royal court and centers around a young princess smitten by a dishonest suitor. It has three acts and lasts over
two hours.

Works

Below is a list of Vivaldi's works, from his many concerti to his sacred vocal works. While the list is not a complete listing
of all of Vivaldi's works, these lists contain many known compositions, including publications during his lifetime.

Works Published during his Lifetime
Opus 1, twelve sonatas for two violins and basso continuo (1705)
Opus 2, twelve sonatas for violin and basso continuo (1709)
Opus 3, L'estro armonico (Harmonic inspiration), twelve concerti for various combinations. Best known concerti are No. 6
in A minor for violin, No. 8 in A minor for two violins and No. 10 in B minor for four violins (1711).
Opus 4, La stravaganza (The extraordinary), twelve violin concerti (c. 1714)
Opus 5, (second part of Opus 2), four sonatas for violin and two sonatas for two violins and basso continuo (1716).
Opus 6, six violin concerti (1716–21)
Opus 7, two oboe concerti and 10 violin concerti (1716–1717)
Opus 8, Il cimento dell'armonia e dell'inventione (The Contest between Harmony and Invention), twelve violin concerti
including the celebrated work, Le quattro stagioni (The Four Seasons), consisting of the first four concerti in opus 8 (1723).
Opus 9, La cetra (The lyre), twelve violin concerti and one for two violins (1727)
Opus 10, six flute concertos (c. 1728)
Opus 11, five violin concerti, one oboe concerto, the second in E minor, RV 277, being known as "Il favorito" (1729)
Opus 12, five violin concerti and one without solo (1729)
Opus 13, Il pastor fido (The Faithful Shepherd), six sonatas for musette, viela, recorder, flute, oboe or violin, and basso
continuo (1737, spurious works by Nicolas Chédeville).

Operas
Ottone in villa (1713)
Orlando finto pazzo (1714)
Nerone fatto Cesare (1715)
Arsilda, regina di Ponto (1716)
L'incoronazione di Dario (1716)
La costanza trionfante degl'amori e de gl'odii (1716)
Tieteberga (1717)
Il vinto trionfante del vincitore (1717)
Scanderbeg (1718)
Armida al campo d'Egitto (1718)
Artabano, re de'Parti (1718)
Il Teuzzone (1719)
Tito Manlio (1719)
La verità in cimento (1720)
Gli inganni per vendetta (1720)
La candace, o siano Li veri amici (1720)
Filippo, re di Macedonia (1721)
La Silvia (1721)
Ercole su'l Termodonte (Hercules in Thermodon, 1723)
Il Giustino (1724)
La virtu trionfante dell'amore e dell'odio ovvero il Tigrane (1724)
L'inganno trionfante in amore (1725)
Dorilla in Tempe (1726)
La fede tradita e vendicata (1726)
Cunegonda (1726)
Farnace (1727)
Ipermestra (1727)
Siroe, re di Persia (Vivaldi opera)(1727)
Orlando furioso (1727)
L'Atenaide (1728)
Rosilena ed Oronta (1728)
Argippo (1730)
Alvilda, regina de'Goti (1731)
La fida ninfa (1732)
Doriclea(1732)
Semiramide(1732)
Motezuma (1733)
L'Olimpiade (1734)
Bajazet (Tamerlano) (1735)
Griselda (1735)
Aristide (1735)
L'Adelaide (1735)
Ginevra, principessa di Scozia (1736)
Catone in Utica (1737)
L'oracolo in Messenia (1737)
Il giorno felice (1737)
Rosmira (1738)
Feraspe (1739)

Concerti
Vivaldi wrote hundreds of concerti for various instruments. Below is a list of notable concerti:

Cello:
Cello concerto in Cm, RV 401
Cello concerto in Em, RV 409
Cello concerto in F, RV 411
Cello concerto in F, RV 412
Cello concerto in G, RV 413
Cello concerto in G, RV 415
Cello concerto in Gm, RV 417
Cello concerto in Am, RV 418
Cello concerto in Am, RV 420
Cello concerto in Bm, RV 424

Mandolin:
Mandolin Concerto in C major, RV 425
Concerto for two Mandolins in G major, RV 532

Mandolin (lute) and orchestra:
Concerto in D major, RV 93

Recorder and flute:
Concerto in D major, RV 95, "La pastorella"
Concerto in C minor for Treble Recorder, RV 441
Concerto in F major for Treble Recorder, RV 442
Concerto in C major for Sopranino Recorder, RV 443
Concerto in C major for Sopranino Recorder, RV 444
Concerto in A minor for Sopranino Recorder, RV 445
Concerto in F major for Flute ("La Tempesta di Mare"), RV 433 (Op. 10, No. 1), RV 98 and RV 570
Concerto in G minor for Flute ("La Notte"), RV 439 (Op. 10, No. 2)
Concerto in D major for Flute ("Il Gardellino"), RV 428 (Op. 10 No. 3)
Concerto in G major for Flute, RV 435 (Op. 10, No. 4)
Concerto in F major for Flute, RV 434 (Op. 10, No. 5)
Concerto in G major for Flute, RV 437 (Op. 10, No. 6)
Concerto in C major for 2 Flutes, RV 533

Violin:
The Four Seasons

Brass and woodwind:
Concerto in C major for Two Trumpets, RV 537
Concerto in D major for two Oboes, Bassoon, two French Horns, and Solo Violin, RV 562
Concerto in D minor for two Recorders, two Oboes, and Bassoon, RV 566
Concerto in F major for Oboe, Bassoon, two French Horns, and Solo Violin, RV 571
Concerto in B-flat major for Oboe, Chalumeau, and Solo Violin, RV 579

Sacred Works
Missa Sacrum, RV 586 (disputed)
Kyrie, RV 587
Gloria, RV 588
Gloria, RV 589
Gloria, RV 590 (lost)
Credo, RV 591
Credo, RV 592 (disputed)
Domine ad adiuvandum me, RV 593
Dixit Dominus, RV 594
Dixit Dominus, RV 595 ("di Praga")
Confetibor, tibi Domine, RV 596
Beatus vir, RV 597
Beatus vir, RV 598
Beatus vir, RV 599 (lost)
Laudate pueri Dominum, RV 600
Laudate pueri Dominum, RV 601
Laudate pueri Dominum, RV 602
Laudate pueri Dominum, RV 603
In exitu Israel, RV 604
Credidi propter quod, RV 605 (now RV Anh. 35b)
Laudate Dominum, RV 606
Laetatus sum, RV 607
Nisi Dominus, RV 608
Lauda Jerusalem, RV 609
Magnificat, RV 610/610a/610b/611
Deus Tuorum Militum, RV 612
Gaude Mater Ecclesia, RV 613
Laudate Dominum, RV 614 (disputed)
Regina coeli, RV 615 (incomplete)
Salve Regina, RV 616
Salve Regina, RV 617
Salve Regina, RV 618
Salve Regina, RV 619 (lost)
Sanctorum Meritis, RV 620
Stabat Mater, RV 621
Te Deum, RV 622 (lost)
Canta in Prato, Ride in Monte, RV 623 — not to be confused with RV 636, which is "Canta in Prato, Ride in Fonte"
Carae Rosae Respirate, RV 624 — incomplete without reconstruction of lost second violin and viola parts
Clarae, Stellae, RV 625
In Furore Iustissimae Irae, RV 626
In Turbate Mare, RV 627
Invicti Bellate, RV 628 (incomplete, yet reconstructed and recorded by Academia Montis Regalis)
Longe Mala, Umbrae, Terrores, RV 629 — not to be confused with RV 640, which is a similar motet on the same text but
intended for different purposes
Nulla in Mundo Pax Sincera, RV 630
O Qui Coeli Terraque Serenitas, RV 631
Sum in Medio Tempestatum, RV 632
Vestro Principi Divino, RV 633
Vos Aurae per Montes, RV 634
Introduzione al Dixit (RV 595) "Ascende Laeta," RV 635
Introduzione al Dixit (RV 594?) "Canta in Prato, Ride in Fonte," RV 636 — not to be confused with RV 623, which is "Canta
in Prato, Ride in Monte"
Introduzione al Gloria "Cur sagittas," RV 637 — the preceding work that was to follow this introductory motet, most likely a
lost setting of a Gloria in B♭, is now presumably lost
Introduzione al Miserere "Filiae Maestae Jerusalem," RV 638
Introduzione al Gloria (RV 588) "Jubilate o amoeni chori," RV 639 — Introductory motet has third movement interwoven
with Gloria (RV 588).
Introduzione al Gloria (RV 589) "Longe Mala, Umbrae, Terrores," RV 640 — not to be confused with RV 629, which is a
similar motet on the same text but intended for different purposes
Introduzione al Miserere "Non in pratis," RV 641
Introduzione al Gloria (RV 589) "Ostro Picta," RV 642
Oratorio Moyses Deus Pharaonis, RV 643 (lost)
Oratorio Juditha triumphans, RV 644
Oratorio L'adorazione delli tre re magi al bambino Gesu, RV 645 (lost)
Oratorio La vittoria navale predetta dal S Pontefice Pio V Ghisilieri, RV 782 (lost)
Confetibor, tibi domine, RV 789 — manuscript found in damaged condition
Beatus Vir, RV 795
Magnificat, RV 797 (lost) — possibly related to the extant settings of RV 610/610a/610b/611
Nisi Dominus, RV 803
Salve Regina, RV 804 (lost)
Dixit Dominus, RV 807
A possible setting, or even settings (considering the many settings of other liturgical text Vivaldi composed) of the
Miserere may have existed, as hinted by the two introductory sets of movements intended for the piece(s), but such
composition(s) have been lost.

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CIAO! Hello Dear Friends of ITALY!

Enjoy This Issue of ITALIAN NEWS, Periodical On-Line that Promotes, Supports, Spreads ITALY,
and ITALIAN Language, History, Culture, Tradition, Genealogy, Articles, Products, Services, with Very Useful
Information to Make you MORE and MORE Familiar with Every Aspect of ITALIAN Life Style!

Learn MORE and MORE about ITALY, and ITALIAN Language, History, Culture, Tradition, Genealogy, Articles,
Products, Services, Every Aspect of ITALIAN Life Style, by Collecting All The Issues of ITALIAN NEWS!

All your Comments, Opinions, Suggestions, and Ideas to Improve ITALIAN NEWS are Most Welcome!

Many Thanks! Best Regards!

Your ITALIAN Friends,

Carlo Tognoni, founder, and Davide Tognoni, administrator
THE ITALIAN PROJECT www.theitalianproject.com

ITALIAN LANGUAGE: Lessons of Italian Grammar, Spelling, and Usage: Stress -
Apostrophe - Capitalization - Puntuaction Marks
ITALIAN GENEALOGY: How to Contact your Living Relatives in Italy
ITALIAN REGIONS: Lazio (Latium)
ITALIAN PROVINCES: Roma (Rome) - Frosinone - Latina - Rieti - Viterbo
ITALIAN RECIPES: Fettuccine Alfredo - Gnocchi with Zucchini Ribbons and Parsley
Brown Butter - Italian Bean and Tomato Salad
ITALIAN HISTORY: Italo-Canadesi (Italians-Canadians)
FAMOUS ITALIANS: Antonio Vivaldi
ITALIAN COMPANIES: Pininfarina
ITALIAN PRODUCTS: Formaggio Gorgonzola (Gorgonzola Cheese)
ITALIAN LATEST NEWS: Life in Italy

In This Issue:

Issue # 8, August 2008

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Italian Recipes

Italian Bean and Tomato Salad

Ingredients
2 (15 ounce) cans white beans, drained, rinsed
2 cups fresh green beans, cut into 1 inch pieces
2 cups chopped plum tomatoes
1/2 cup Italian Reduced Calorie Dressing
2 tablespoons chopped fresh basil
2 tablespoons 100% Grated Parmesan Cheese

Cooking Directions
Combine beans, tomatoes and dressing; cover.
Refrigerate at least 1 hour.
Sprinkle with basil and cheese just before serving.

Yield
6 servings

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Italian Recipes

Gnocchi with Zucchini Ribbons and
Parsley Brown Butter

Ingredients
1 pound fresh or frozen gnocchi
2 tablespoons butter
2 medium shallots, chopped
1 pound zucchini, very thinly sliced lengthwise (see Tip)
1 pint cherry tomatoes, halved
1/2 teaspoon salt
1/4 teaspoon grated nutmeg
Fresh-ground pepper to taste
1/2 cup grated Parmesan cheese
1/2 cup chopped fresh parsley

Nutrition Info Per Serving
Calories: 323 kcal
Carbohydrates: 32 g
Dietary Fiber: 3 g
Fat: 18 g
Protein: 10 g
Sugars: 3 g

Cooking Directions
Bring a large saucepan of water to a boil. Cook gnocchi
according to package instructions until they float, 3 to 5
minutes. Drain.
Meanwhile, melt butter in a large skillet over medium-high
heat. Cook until the butter is beginning to brown, about 2
minutes. Add shallots and zucchini and cook, stirring often,
until softened, 2 to 3 minutes. Add cherry tomatoes, salt,
nutmeg and pepper and continue cooking, stirring often,
until the tomatoes are just starting to break down, 1 to 2
minutes. Stir in Parmesan and parsley. Add gnocchi and
toss to coat. Serve immediately.

Yield
4 serving

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Italian Recipes

Fettuccine Alfredo

Ingredients
4 ounces Cream Cheese, cubed
1/2 cup 100% Grated Parmesan Cheese
3/4 cup milk
1/4 cup butter or margarine
1/4 teaspoon white pepper
1/8 teaspoon garlic powder
8 ounces fettuccine, cooked, drained
1/8 teaspoon ground nutmeg

Nutrition Info Per Serving
Calories: 359 kcal
Carbohydrates: 19 g
Dietary Fiber: 1 g
Fat: 26 g
Protein: 11 g
Sugars: 3 g

Cooking Directions
Mix cream cheese, Parmesan cheese, milk, butter, white
pepper and garlic powder in medium saucepan; cook on
low heat until cream cheese is melted and mixture is well
blended.
Toss with hot fettucine. Sprinkle with nutmeg.

Yield
4 servings

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