Milano - A Rain Day - Part 2

After listening to the jazz band in the old Mercante building I popped into the tavola caldo at Al Mercante for a tuna salad, a glass of wine and a dolci. I must admit I was a little taken aback when a glass - and only a glass - of Pinot Grigio added €12.00 to the bill!!!!! €12.00 for a glass of white wine - either a touch of the old get-the-tourist or they were just preparing me for Ottawa prices. Then over to the Piazza Duomo, umbrella unfurled to take a second look at an installation that was being tended to the previous day when I passed by.

Even without the sun glistening off its white surface the Mountain of Salt couldn't help  but dominate the space between the Palazzo Reale and the Duomo.

The Museo at the Palazzo Reale is mounting a special series of exhibitions to celebrate thirty years in the creative life of artist Mimmo Paladino.  One of his more fascinating and controversial pieces has been recreated in the space between the Palazzo Reale and the Duomo.  Paladino first created Montagna di Sale (Salt Mountain) some twenty years ago in Gibellina, a small hill town in Sicily and then again in Piazza del Plebiscito in Napoli 15 years ago.

Some of the 150 quintals of salt used in Mimmo Paladino's Montagna di Sale had been washed away in a weekend of rain and a few of the horses had toppled. Several bags of the extra 100 quintals of Sicilian salt were being used to make repairs to the installation on the Monday as I walked by.

Though it may not exactly be a "mountain" it is definitely salt - 150 quintals of the finest Sicilian salt. That's 1500 kilos or 1 1/2 tons of salt transported from the mines in Agrigento and Petralia in the far South to Milan in the north - plus another 100 quintals held in reserve to keep the sculpture in good condition.   The whole - the transporting from one end of the country to the other, that 150 figure - are all meant to commemorate the 150th anniversary of the Unification of Italy that we are celebrating this year.

Many of the horses look to be struggling, plowing through the salt or emerging from it.  Their appearance is strongly reminiscent of sculptures seen in many of the collections of artifacts of earlier Italian civilizations.

First unveiled in mid-April the installation stand 10 meters high (about 33 feet) with a 35 meter (115 feet) diameter.  However those measurements are fluid as it is salt and subject to the whims of nature.  After several days of rain there were repairs being made to it in the sunshine on Monday and Tuesday's rain suggested more repairs would be needed in the weeks until its disappears for good in mid-July.

Thirty sculptured horses in black modelled, it would appear, on ancient and primitive equine sculptures stand out against the white salt.  Some are balanced on the mound, others are emerging from or disappearing into its depths.  In some cases - though the horses are almost uniform in their appearance and featureless - they appear to be struggling against their ascent or fighting to extricate themselves from some saline prison.

 When seen against the Gothic spires and arches of the Duomo those horses take on an almost mythical appearance. 

Having made its way from South to North over a period of twenty years Paladino's has expressed the hope that it will travel the length of the country as a show of the cultural unity of Italy.  I'm trying to think of some place in Roma where it would look as stunning as it does in its Milan setting.

I only wish I had the opportunity to see it in full sunshine - I'm sure the impact, both virtually and photographically, would be stunning.

16 giugno - Santi Quirico e Giulitta

Milano - A Rain Day - Part I

"You brought the sunshine with you from Roma," beamed the always welcoming Vittoria as I checked in a week ago Monday at the Hotel Star in Milano.  And indeed after several days of continuous rain it seemed that the sun had returned to warm the Piazza Duomo and it was a glorious day for strolling through Centro.  However my gift was short-lived: the next morning Vittoria suggested that an umbrella and a sweater would be more appropriate than SF15 to the day.

Peck is a food lover's paradise however the stern warning tells you - No dogs! No Photos!  And some of the staff give a new dimension to Milan attitude - except for Bruno behind the prepared food counter who is charm incarnate. Though at those prices everyone should be.

Fortunately even in the rain Milano has much to offer - it means spending a bit of extra time studying the marvellous shop windows in the Galleria, popping into that church that I've always meant to have a look at, stopping off to have the senses of taste, smell and sight stimulated at Peck (and maybe even picking up one of their jars of tiny artichokes in olive oil - after having taken out the suitable bank loan to pay for it), seeking the shelter of the 14th century Mercato building to listen to a jazz band and wandering down to the Museo Diocesano in the San Lorenzo area to take a look at an exhibition with the rather intriguing title of Gli occhi di Caravaggio.

Now poor Michelangelo Merisi was largely ignored for a few centuries but has suddenly become all the rage. Just last year we celebrated the 400th anniversary of his rather mysterious death with a "Notte di Caravaggio" here in Roma - a decidedly festive all night celebration of a less than festive event - which had been preceded by the blockbuster exhibition at the Scuderie. And it would appear that his name on a poster draws the crowds in, no matter how tenuous the connection. In this case the exhibition was dedicated to painters and city-states in Northern Italy that may well have influenced the work of a home-town boy whose become a household name down South.  Though he was born in Milano most of Caravaggio's productive years were spent in Roma, Napoli and Sicilia.  And the poster and the title may have created the (misleading) impression that we would be seeing some of his more famous works only one was on display - his powerful The Flagellation of Christ.  But what was displayed were some very fine pieces by other artists who may well have influenced him: Giorgione, Moretto da Brescia, G.B. Moroni, Tiziano, Vincenzo e Antonio Campi, Simone Peterzano, Tintoretto, Lorenzo Lotto and Giovanni Ambrogio Figino.  So though the draw may have been the bad boy of Renaissance art there was some splendid examples of many of the great artists of the period that made the exhibition a must see.  That and the Museo Diocesano itself.

Hidden of in a rather dreary section of the city - even drearier on a rain-soaked morning - the entrance to the Museo is not particularly inviting but once inside!!!!  The collection chiefly traces the history of Christian art in Milan and the surrounding areas of Lombardy and Veneto but is wide ranging for all that.  Many of the works come from parish churches in the region that are no longer used for worship or have given works to the Museo for safe keeping and restoration.   The three collections that intrigued me most where the 41 gold backed paintings on wood that make up the Crespi Fondi Oro, the Diocesan Collection of works from parish churches and items from the now defunct Museo Ambrogio.

Three wood and gilt statutes from the Diocesan Gallery of the Museo Diocesano in Milano.

One of my pet bugaboos is  people who take photos when it is expressly forbidden and I am proud to say I have never taken a "forbidden" picture.  If there is any doubt in my mind I always ask.  None of the normal signs were posted in the Museo so ask I did in each gallery - and got three different responses.  In the Diocesan Gallery the mature lady, head buried in a musical score and singing softly to herself, raised her head and an eyebrow and murmured "One would be okay, but only one!"  So one I took of three beautiful statues in wood and gilt that once graced the church of Sant'Agnese in Sommo Lombardo in the Varese district of Lombardy.  They are by a craftsman named Rolando Botta who was active in the area during the second half of the 15th century. 

Santa Barbara

Sant'Agnese

Santa Maria Maddalena

I find these three statues have a serenity and grace that makes me curious as to the rest of this artist's work. Unfortunately a search revealed very little concerning him.

The Ambrogio Gallery contains older pieces from early incarnations of the Basilica of Sant'Ambrogio. The Patron Saint of Milano - and I am ashamed to say that the only reason I know that is because it is the opening night of the opera season at La Scala - Ambrogio is credited with building four churches in the city. He is also credited - it would appear erroneously - with the creation of the Ambrosian rite that is celebrated in much of Lombardy. Again it was three carved wood pieces that caught my attention. These walnut choir stall dossals were the work of a team of artists for the Basilica between 1469-1471. Lorenzeo da Origgio, Giacomo da torre and Giacomo del Maino worked in carving, inlay, paint and lacquer to create these three beautiful panels. When I asked the guard if it was okay if I took a photo he shrugged and said, "Take as many as you like."

I mentioned last week that I was reading Aesop's Fables on my iPhone and for some reason these carvings reminded me of early wood cuts I'd seen of the old morality messages. Could they have been the inspiration for these three artists?

There was one other piece from the Visconti collection that took my breath away - a massive carved, painted and gilt redoes from Antwerp that filled one wall at the top of a staircase.  Unfortunately when I approached the guard this time I was sternly admonished that no photos were allowed anywhere in the Museum. Now I know better than to argue with someone in their own little domain so I held my peace. Though I was sorely tempted once his back was turned I didn't break my own rule.   I was sure there would be a post card or even a pamphlet about such a major piece - sometimes I should stop being so damned Anglo-Saxon and take the bloody photos!

14 giugno - San Eliseo - profeta

Visions of Sugar Plums

A few weekends ago when I was up in Milano and a stroll along Via Monte Napoleone was, as always, a treat for the eyes. All the upscale shops were sporting their Christmas decorations - some traditional, some trendy but all with that flair that is so Italian. Most were selling luxury items of the wearable sort but one was selling wonderfully over the top eatables.

Cova Pasticceria Confetteria has been around since 1817 when it was founded by a pastry chef who had been a soldier in Napoleon's invading army. Until 1950 the Cafe was located next to La Scala but after sustaining damaged during WWII they moved premises to Via Monte Napoleone. Their coffee is still amongst the best in town and their pastries and sweets fancy and fanciful but at no time are they more fanciful than at Christmas.
Though nowadays the Castagna (chestnut) seller is most likely to be a recently arrived immigrant the pastry chefs at Cova have harkened back to earlier days with this jolly be-moustached Italian marzipan street seller.
I'm not sure what they were implying with the Babbo Natale with the pacifier in his mouth and very Italian looking Mrs Santa but this is certainly a fun piece of spun sugar art.


The expression on this "tiny reindeer" suggests that he may be a little less than pleased with the idea of having to fly around the world tethered to a sleigh carrying a slightly over-weight man in a red suit. Particularly since the Jolly Old Man seems more interested in playing golf!


And this sugar and icing Alto-Adige ski village seemed almost prophetic for this year's ski conditions in the North. Santa is finding the skiing just perfect thank you! And for apés-ski he can have some of Cavo's wonderful hot chocolate.

The problem with all of these wonderful creations is that if I bought one I would hard pressed to break it up and eat it. Though I do know quite a few people who would have no such qualms.

24 decembre - Sant'Adela di Pfalzel

Window Dressing - Milano December 2010

I gave myself a day to wander around Milano's shopping district before heading back to Roma after last night's performance of Die Walküre at La Scala. As I've mentioned more than once I honestly don't believe that anyone beats Italians for window displays at the best of times and at Christmas design runs to the extravagant as well as the traditional. And nowhere in Italy does it get more extravagant than Milano.

One of the most original displays I've ever seen has to be this perfect party frock for New Year's Eve made of...

jeans!  For a close up just left click on the photo.

Who ever does the windows at Patrizia Pepe on Via Manzoni knows how to make people stop and look. Complementi!

11 decembre - San Damaso I Papa

Lunedi Lunacy

Milan is definitely the fashion capital of Italy, if not Europe. The shops are filled with stylish items beautifully displayed and I might add most of the time "beautifully" priced - though we are currently in the waning days of the annual July Sale so a smart little frock can be knocked down from €3500.00 to an affordable €2250.00.

But amongst all the high fashion comes this little bit of lunacy - and its all yours at 25% off for only €350.00 (CAD 468.00 - USD 455.00).



I'm not sure where occasion calls for a Rhino bag or what stylish outfit it would go with? Or what else it would accessorize with? Or why the hell you would even want to buy it but just so you know - it's out there and it's available.

26 lulgio - Santa Venera

Lions and Tigers and ... Oh My!

I always book my hotel on booking.com a very good website for deals and also for balanced reviews and ratings by guests. This trip up to Milano has been a bit difficult because it is the end of Fashion Week and hotel prices are a bit steep. I finally choose a reasonably price hotel near La Scala - two blocks away, how close can I get without being on stage??? - called the Hotel Star.



A very pleasant lady checked me in, was very helpful with details and the hotel itself is clean, well-equipped and the room even has slippers and a robe. The only thing is the decor - not that it is objectionable just that I'm not sure I really want to wake up in the middle of the night to a crouching tiger lioness or the shadows cast by the rather tentacle like lighting fixture.

Oh well its only for one night.

PS: As David pointed out - and it was more than obvious except to me, who was still no doubt dazzled by the 6'2" transvestite who had shared his lunch table on the train with him - the creature on the wall isn't a tiger at all. Duh and I actually passed zoology!

02 marzo - Beato Peter di Zúñiga

Perché non?

I’ve always hated the conditional tense, particularly the past conditional: would have, could have, and should have are such sad conjugations. And I find as I get older than I like them less and less.

I was mentioning to a colleague today that I’d decided to go up to Milano next Wednesday to catch the last performance of the Robert Carsen production of Britten’s A Midsummer Night’s Dream at La Scala. She casually asked how long I planned on staying – with that slight raised eyebrow that most Southerners give you when you mention spending any time in Milano. When I said just overnight, she gave me an astounded look and said: All that way for one night? You’re mad you know?

And I guess in a way I am. So far I’ve journeyed up to Milano, Bologna, Reggio Emilia, Parma, Torino and Genova for short periods of time to go to operas or theatre that I particularly wanted to see. But in discussing with Laurent– who often can’t accompany me because of work – whither I should go or not, his response has always been: Why not?

And why not indeed? If I don’t take advantage of the opportunities that are being presented I'm the only one losing. Probably in two years time it will be back to Canada, the winter cold of Ottawa and the mundane existence of a Civil Servant. La Scala, Salzburg, a box at the Opera and travel to the Dolomites, Greece and the Adriatic coast will all be in the past tense. And I would rather that not be past conditional.

And frankly I am getting too old to want to have regrets about not doing something. And not meaning to sound dramatic – Cecilia you know this is to set your mind at rest – but given the on-going health issues, more a matter of not being able to find the parts on E-bay than anything else, I should be making hay while the old sol is shining.

So next Wednesday I will board the 0930 AV for Milano, arrive 4 hours later, check into the Hotel Felice, meander around the neighbourhood, head down to Scala around 1800, get my ticket, grab a bite to eat in the Galleria and be sitting in my palcho at 2000 when Sir Andrew Davies mounts the podium. Next morning after a leisurely breakfast I’ll leave Milano Centrale at 1130. God and the deities of train travel willing I’ll be back in the house by 1600 – much lighter of wallet but a bit higher of heart.

And notice at no point in that last paragraph did I use the conditional – future or past. I really don’t like the conditional tense.

These pictures are from the Carsen Dream when it was presented last year in Athens - my good friend Parsifal took them. For more a few more just click here. It is an incredibly beautiful production.

10 giugno - Santa Diana

Milano - Some Observations ...

... and some photos.

This is now my fourth trip to Milano but each time there are three things that are always guaranteed to take my breath away:

The sight of La Scala across the Piazza della Scala

That great “drawing room” of Europe - the Galleria Vittorio Emanuele II.

The Duomo as you enter the Piazza from any direction.

• This time of year Milano is a city of roses. I was amazed by the varieties available in neighborhood plant stores and more by the beds of them that served as medians on the city streets.

The second of the many courtyards of the Castello - its an incredible complex.

This fun 16th century autotron was created from an earlier wood sculpture body (a Christ figure) with the Devil's head added to it.

A stunning example of woodworking - a left click will give you a close up of the incredible detailing.

I don't know why but I just have a feeling that the singer in this painting is more Katherine Jenkins than Maria Callas!

• I had never been to the Castello Sforzesco though how I could miss the enormous fortress and its great park in the middle of the city I'm not sure. There are seven museums plus the fortress to explore - for only E3.00 ($4.50) - and it was crowded last Saturday. I managed three of the museums - Ancient Art, the Pinacoteca and the Furnishings - before I got museum fatigue. Maybe I'll get a chance to see more the next trip back.

• It may be its fashion centre but Milano also has to be the botox capital of Italy, if not Europe. I have never seen so many bloated lips and stretched brows in my life. Sadly one is reminded of an exchange from Sheridan’s The School for Scandal:

  Lady Sneerwell: ... and surely that’s better than the careless manner in which the Widow Ochre caulks her wrinkles.
  
  Sir Benjamin Backbite: Nay, now, Lady Sneerwell, you are severe upon the widow. Come, come, ’tis not that she paints so ill — but, when she has finished her face, she joins it on so badly to her neck, that she looks like a mended statute, in which the connoisseur may see at once that the head is modern, though the trunk’s antique.

• The boxes (palchi) at La Scala were never meant for comfort; small, narrow and cramped they are an effort to extract the highest price from the maximum number of people under the guise of old-world romance. And though I still get a certain thrill as the crow-black garbed, gold chained usher unlocks the door to give me access to my place, after sitting for 90 minutes in a slightly contorted position to get a full view of the stage I greatly envy those in the orchestra who have paid the same price or even the gallery who have paid considerably less. I felt particularly sorry for the gentleman behind me who spent most of the performance on his feet craning to get a view of the stage. And though I recall doing exactly the same thing one evening at the Palais Garnier in Paris I don’t recall paying E120.00 ($180.00) for the privilege.
  
  The one pleasure a palco can give you is good company. And I had good company on Friday evening: a charming - and I might add for the lady, beautiful older woman - couple from Cannes and a gentleman from Aix-en-Provence. We spent the evening sharing memories and opinions of singers, festivals and music in fractured French, Italian and English - it was polyglot but we all spoke the language of opera and it added great social pleasure to a musically pleasurable evening.

• It is incredible that the washrooms at the elegant Savini in the Galleria, which charges E19 for a Chicken Caesar, were a disgusting mess - to the point where I would not use them; while those at MacDonald's across the way, which charges considerably less for the same thing, are spotless. There is something to be said for corporate standards.

• As I was walking towards Piazza San Marco a little girl - maybe 8 years old - in a blue church scout uniform came running up to me. Proffering a small bag of homemade cookies she rather rapidly and breathlessly tried to explain that she was selling them for her scout group. When I told her I spoke French or English but not much Italian it didn't stop her for a mintue. She just slowed down a bit and tried to remember how to count in French. They cost "une ... deux ... (her friend nudged her and whispered "trois") trois!" I only had a five euro note and I gave it to her. Again she struggled to tell me she owed me deux euros. As she ran to get change I called over to the leader that it was okay, I didn’t want the change. That little girl’s efforts to communicate were worth much more than two euros. A lesson I should learn.

17 maggio - San Pasquale Baylon