Following the aims of the Association, or give a future to some significant works of art, in the past is with pride that we brought to term, thanks to the efforts of volunteers and many of our members and non-artists, the restoration of paintings: St. Philip Blacks in ecstasy by Sebastiano Galeotti, the work of the century XVIII (the picture gallery of the Episcopal Seminary), in collaboration with Club Dialogos of Savona, the work of the sixteenth century Tuccio d'Andria (constituting the Diocesan Museum of Savona) and the painting of St. Michael the Archangel of the seventeenth century (the Certosa di Loreto di Savona). The restoration of St. Philip and St. Michael the Archangel Blacks were performed by Artisan Restoration Centre of Marine Albissola David Bedendo). We have also worked to raise funds for the restoration of the wooden statue of St. Joseph (the Parish Church of Garland) and the eighteenth-century frescoes of the Cappella di Gio Agostino Ratti Balbi of Savona (owned by the PA Croce Bianca di Savona).
Tuccio d'Andria
Mystic Marriage of Saint Catherine in the presence of the Holy Pantaleo, Peter Martyr, Peter, Bonaventura, Jerome and sponsors 1487, oil on canvas, cm. 191x175 This important altarpiece was restored, at the request of the Bishop Domenico Calcagno, from the Association "R. Aiolfi" along with the Circle Dialogos of Savona, with whom we have already made other major renovations were carried out and various cultural initiatives commitment . The next will be the location of the blade forming the Diocesan Museum of Sacred Art of Savona. The photograph of the painting was published "On concession Officer '. Cultural Heritage No. 9 / 2010 ".
Anonymous probably English
San Michele Arcangelo
XVII Century, Oil on canvas, cm.
Restored by the Centre of Artisan Restoration Albissola Marina on commission of the "Renzo Aiolfi"
Giuseppe Galeotti
San Filippo Blacks in ecstasy before the Madonna eighteenth century, oil on canvas, cm. 329x207
Restored by the Centre of Artisan Restoration Albissola Marina on commission of the "Renzo Aiolfi" and "Circle Dialogos" in Savona
with great success and reflected in the media was held on the evening in honor of Renzo Aiolfi at the Teatro Chiabrera Savona December 17, 2010.
E 'was presented the book of Emily Ersilia Abbasi and Silvia Bottaro "The theaters Renzo Aiolfi" with an interview by the Culture of the Municipality of Savona Ferdinand Molteni, this volume is available from Association Renzo Aiolfi: e-mail: ass.aiolfi @ libero.it
the evening was presented the award "Pino Cirone" the Director of Orchestra and composer Aurelio Canonici for the following reasons: Al Maestro Aurelio Canonici, a Genoese by birth, world citizen, who moved into his art and music in the value of the importance of culture and education in beauty and harmony in a single underlining the great educational value.
During the evening was set up the temporary post office for affixing the special postmark on the postcard created by the Germans Nani, this has aroused great interest (as some postcards are still available at the void ' Association office).
A moment of the evening, from left: Master Aurelio Canonici Maria Scarfì Cirone, Concetta Aiolfi Massarelli, Silvia Bottaro
Another time of award of the Master Aurelio Canonici (center image), left the artist and Prof. Mario Apuzzo Emily E. Abbasi, right Dr. Silvia Bottaro and writer Maria Cirone Scarfì
Silvia Bottaro When the friend called me to offer me a "look" to a collection of writings by Renzo Aiolfi made available by his widow, Concetta Massarelli, I was literally overwhelmed by the writing of this man who I knew only through stories and memories of those who knew him. And so began this wonderful adventure that Silvia has designed and conducted masterfully giving me the privilege of Starla side. The essays / articles that make up the largest part of our volume of Renzo Aiolfi The theaters are not only a tribute to the memory of a man who lived for Savona, giving the city its culture, its verve, its enthusiasm, are also a valuable collection that bears witness to the Savona today that it was through the tale of tasty theatrical events. I went to the honor and burden of editing the texts of Aiolfi is "made" for the volume that will be presented Dec. 17 at the Theatre Chiabrera, the "home" of this unforgettable character. Experience from which I learned a lot about Aiolfi, at Savona and their history but, more importantly, he confirmed the value of a woman as I love Silvia consider the rightful heir of the cultural significance of "Renzini. Emanuela E. Abbasi
The book cover
In the book "The Theatres of Renzo Aiolfi" I did a documentary and archival research, using especially a large part of the private Renzo Aiolfi. Messom available from Mrs. Concetta Massarelli Aiolfi thank him, for the period 1952-1963, ie the crucial years for the reopening of the "Maximum" citizen after the war. In this year Aiolfi with great determination, heart and will, convinced the City Council to reopen the street Savona "Chiabrera" fighting the bureaucracy, the reluctance of many, many financial problems and, helped also by the Friends Art has led to 19 May 1963 the theater was opened again. This book was co-written with the collaboration of professional Emanuela Ersilia Abbess for the part musicology. Talk about Renzo Aiolfi means looking in the broadest sense, the history of the city of Savona in the second post-war at the time of his death (2000) and in the strict sense means to discover the events related public theater Chiabrera ", connected with his activities as a Councillor for Fine Arts and then as artistic director of the same: the events that come to depart from 1948-1949 and 1982-1983. From that analysis has shown his intention to make the public theater, open to young people, art in its various forms, re-evaluating also the folklore, dance, jazz and promoting songwriters, two cultural and artistic aspects latter, in my opinion, still a bit 'too much neglected public offering: Aiolfi message is therefore very exciting, alive and current, documented by careful historical research. Silvia Bottaro
God did not think it had too many thousands of years to prepare the world for the coming of his Son. St. John the Baptist says: << La scure è alla radice>>, then we put the ax to the root of those faults that separate us from our Lord, let us remember that it is not read many religious books, nor recite long prayers, nor science, nor the wisdom that lead Jesus in our hearts. And 'love is the desire to own it. E 'continuous effort that we put in place the ax to the root. We know what he likes and we know what he's sorry. We ask our Lord to such defects we have to leave so we can prepare our hearts for his coming. PDC
Metropoliz-Corviale as diverse as similar (Andrea Balbi)
After the presentation of the workshop made by Professor Careri, like many other students of architecture I think I can say that few would have expected to come catapulted to work directly on the site in full contact with people in different ways has earned the right to live 'inside of the which happens to be a real community. Once the first thought that jumped to mind was that to Metropoliz is a part of the city where, however, does not feel quite the 'flu or a sense of belonging and what it represents, and Rome. At the most, seemed to be in front of a place where for reasons of integration both for safety reasons, we tried to leave the city just beyond the gate, which remained constantly closed and where only some people were in possession of the keys. faced with a situation like this, since I am currently involved in an association that works on the district Corviale, I came to do an instant comparison and a comparison with two ways of living in two areas classified by many as unsafe areas. In common with the "snake" Metropoliz "has from my point of view regarding the research or desired to create a tax system to its inner life that is self-sufficient than in cities. This as mentioned before is often due to fear of opening the city to avoid confrontation is not always common ground with those who live nearby, but I think there is also composed of a criminal organization is not always who wants these neighborhoods remain outsiders and closed under context that there is around. This is because (in the case of Corviale is more obvious) the "leaders" of area in this way can more easily keep control if the people who live there have seen the 'exterior more like an enemy than as a opputunità. The problem is that it is extremely difficult to help tackle the complex problems like this only a week living in a reality like Metropoliz and we would also need more contact to have the confidence of the people living there. What I understood in this short week is that despite the various social mechanisms exist in this micro diverse society with our little operation we were able to transmit, I do not know how deep a sense of belonging and love for their land the inhabitants; I just hope that now this project is being carried out, but not outdoor people who rightly wants to make its contribution, but rather by people who do it to make internal Metropoliz increasingly a society that can integrate completely with Rome.
A one Metropoliz arrivals at any time, as a rainy morning in November, to see things happen. The problem, if anything, is to get there (not in the sense of the transport - which can also be difficult). 'S one of those places where you go if you have a way, by someone or something, because you can pass a thousand times without noticing that there is, despite its size.
Behind a gate, off the main Via, extends Metropoliz, a city in its own way: with its complexity, its networks of relationships, its institutions, its own rules based on and supported by its own economy, internal and external. Parallel city, because there is an interior and an exterior and a more or less physical boundary that separates "outsiders" from "those in" mixed-race town, city polyglot city (self-) construction, illegal city, city-factory , town-house.
With this background we understand that happening in the invisible city, going to see many things.
See, before we learn, because you have already learned is digested - tried, in some way. I am not referring only to prejudice, but also enthusiasm, satisfaction, value human experience. I think it's worth giving everything to the imperfection of the moment, the biased opinion, but what is seen in the eyes, build awareness, and continues to work - potentially - in all future actions and reflections. I'm interested in seeing, the more money he had drawn, I am interested in the city, entering Metropoliz, know, before lessons learned.
(The city unstable. A reflection added)
In particular, seeing the unseen, know a state of instability and a willingness to change.
If we accept the definition of A. Amin, N. Thrift ', we can ask what happens when planned community encounters something different, if the advanced stage of development and planning that characterizes the contemporary city has a chance to meet with the embryonic stage in which it is saved Metropoliz, with its load of potential.
If you plan to return to Metropoliz a year, or even a month, you expect to find something different, even all, in principle. A Metropoliz are possible things that seem unthinkable outside, but there is no question of lack of rules, which are also given, as spaces of possibility, due precisely to a certain indefinizione or incomplete coding. Of course this is amplified by the diversity of people and the often transient nature of their stay in Metropoliz, so you can also imagine that the trend towards codification inherent in urban life, can meet different manifestations in this case and that the instability eventually becomes the only stable configuration, because the possibility of transformation has already accepted the idea of \u200b\u200bthese spaces in their use in their meaning.
T. Ottaviani, The sky in a room (Metropoliz, nov.2010)
'A. Amin, N. Thrift City. Rethinking urban . Ed Il Mulino - 2005
"Urban life has become really more planned because of the existence of various control technologies, in particular the tyranny of the address that prevails in modern societies, the city based on imperatives of the nation state and more on trade, has been set in place, driven as it was not ever before. maps, census, zip codes, area codes, license plates and other means to define the location ... "
with Fabio De Luigi, Margherita Buy and Diego Abatantuono
January 21
Bright Star
Jane Campion
with Paul Schneider, Thomas Sangster and Abbie Cornish
February 4
The man who will
George Rights
with Maya Sansa and Alba Rohrwacher
February 18
Officinema
Next Master Clint Eastwood still
February 25
Our life
Daniele Lucchetti
with Elio Germano, Raoul Bova and Isabella Ragonese
March 11
The Ghost Writer
Roman Polanski
with Ewan McGregor and Pierce Brosnan
March 18
Officinema
Tribute to Silvio Soldini
March 25
Loves crazy
Alain Resnais
with André Dussollier and Sabine Azéma
April 1
Officinema
Next Diva Meryl Streep still
April 8
Passion
Carlo Mazzacurati
with Silvio Orlando, Giuseppe Battiston and Christian Capotondi
April 15
Passion - a musical adventure
John Turturro
with Avion Travel, Massimo Ranieri and Lina Sastri
Below And then the Program of Film Cinecircolo Casalini for Season 2010/2011. There are 13 appointments on the bill, from Dec. 10 to April 15: a selection of Italian films, European and Americans who have left their mark in the hall and in the great international festivals.
December 10 Ricky - A story of love and freedom Francois Ozon with Alexandra Lamy and Sergi López
Katie and Paco have a son, Ricky, but it comes with two small wings on his back. The story ends in a meal to the media and Katie will have to make a real act of love to give freedom to the child.
Ricky François Ozon starts and develops like a film from the banlieue, but the wings drawn on the poster indicate that at some point we will fly away from the inside of a doomed, drawn from a life as a prison. That baby starts to grow and occupy the space of the small house might not even have wings and would occupy too much attention, it could not fly and would arrive in a flash where it should be. It could be a Peter Pan ready to fly out the window so as not to ever return a cupid who throws arrows of love. Ozon is accompanying the growth of the wings to the development of life as a couple, now dramatically misunderstanding (as well as man appears in his version of being alien and a little 'monster), now of reconciliation, not coincidentally connects them to the intrusive presence of television with tv reporter who finally discover the scoop of the day. In short, keep the audience hanging by a thread, well controlled in the first internal, then makes them circling in the open air and then releases them in flight. In the background you hear a moral vocation operetta: the mystery of motherhood throwing hormones into orbit in space of mind, the final one the new character a bit strange 'monster and a little angel', able to capture the loneliness and transform them and keep them tight in a unique called "family" which must be always a glimmer of imagination.
(Silvana Silvestri - Il Manifesto, 09/10/2009)
December 17 Christine Cristina Stefania Sandrelli
with Amanda Sandrelli and Alessio Boni The life of Christine de Pizan, Italian growing the court of Charles V of France between cultural stimuli of all sorts and then abandoned to his fate with her children Jean and Marie after the death of the wise king.
directorial debut follows the aura of an actress taking a symbol of Italian cinema and the heavy burden of nearly half a century of its history, is a difficult task. And it is even more to try to bring on the big screen genre and historical period little in tune with the tastes of the Italian public and the budget granted to his films: the historical biography and the Middle Ages. Just before a hero to so much more known to historians as to film historians, Joan of Arc, Christine de Pizan is actually a perfect film script, embodiment of a protofemminismo fighting for their children and for genuine art, popular and, therefore, revolutionary. The idea of \u200b\u200bwinning Sandrelli and his screenwriters (coordinated by Furio Scarpelli, which looks sharp on the contemporary it is) is to make a symbolic figure of the state of the art and in particular the contrast between art and social status of art . Her Christine is not by chance, Cristina, a woman who claimed throughout her condition: her being a woman, mother, artist and Italian.
(Edoardo Becattini, from MyMovies.it)
January 14 Happy Family Gabriele Salvatores with Fabio De Luigi, Margherita Buy and Diego Abatantuono
Two families meet their fates because of the stubborn old daughter I decided to get married. A simple traffic accident catapults the protagonist-narrator, Ezio, the center of this microcosm
Courage is not lacking in Gabriele Salvatores: not so much because of romance sweep certain impulses of the heart usually signed or snubbed by the movie because it captures precious atmosphere in all'identikit watermark of a metropolis anxiety and shortness of breath, as because it abandons the comfortable highways of national production and take with great curiosity and conviction of the paths of a capricious taste independent and internationally. Happy Family is a funny comedy nourished by madness, "a ballad that deliberately turns on itself, a poem more puzzled that sociologically correct humoral mechanisms that keep the so-called extended families. An exploit made conspicuous by the fact that when the authors decide to make their characters talk in the car, causing them to pay directly to the 'unmasking' fiction, they are almost always indigestible film for us, pedantic and Moscow. But - small wonder - all you can say Happy Family, except that it is a film boring or pretentious. The episodes themselves are not all the same level, but what matters is the graceful humor - there are even entr'actes that divide the chapters, like old movies of Toto - with whom Salvatores confusing labels of individual destinies, suggests exorcisms but not all of us fideistic homeopathic and succeeds in forcing the poem to look at himself in the most inappropriate moments judged from the script that someone has assigned to us.
(Valerio Caprara - From The Morning, 26/3/10)
21gennaio Bright Star Jane Campion with Paul Schneider, Thomas Sangster and Abbie Cornish
1818. John Keats and his neighbor Fanny Brawne you know, you go there, you write, get engaged, despite the desperate economic conditions of the poet. Undermined by tuberculosis, Keats is forced to leave for Italy, where he is killed.
The beginning is simple and relaxed, the attention to detail, the atmosphere, the details of the characters caught in the very half of their lives and daily habits. The house, rooms, colors, children's voices and characters that resonate, but more often emerge whispered, including exterior and interior soaked with graceful elegance. But the light is only apparent, indeed, is the way in which Jane Campion knows extend to our attention a story so intense and strong. Not a nineteenth-century novel that is lost in the vicious circles of narrative and bulky, but a flamboyant tale of desire and of silence. Poetry in its purest form, made of eyes and wonder, which arises from the thoughts and extends to overwhelm everything. It is poetry that repeats the gesture, poetry and the words scroll left quietly, and the unspoken and written, in depth, but they're pushing the pace and tone of this movie to a crunch that is cut and wound. In the Cut, in fact, because the blood that flows almost can not see, because words are increasingly obsessed to listen and write, as if they themselves were overflowing with bodies, physicality and urgency that, in the end, go out and devour the silence weep. Everything passes through the eyes of Fanny, the trembling, the fear, the emotion themselves lived through the poetry of Keats. A subtle cross-references, a race at breakneck speed until no longer breath. Again, in the Campion film, fly and fall following the same mechanisms.
(Grazia Pagano, Paths by Selvaggi, 11/6/10)
February 4 The man who will George Rights with Maya Sansa and Alba Rohrwacher
the slopes of Monte Sole, the Apennine hills near Bologna, the local agricultural community sees its territories occupied by Nazi troops, and many young people decide to organize a partisan brigade.
In less skilled hands could become rhetorical. In those Rights and its excellent performers, chosen mixing with non-professional actors as real Rohrwacher Alba, Maya Sansa and Claudio Casadio, becomes an exercise in poetic estrangement that rewards the viewer with emotion and an understanding of the extraordinary things. A pregnant mother (Sansa), an aunt who returns from the city, the only one who can read and write (Rohrwacher) a child who no longer speaks to a trauma (the moving Greta Sugars Montanari) but sees and understands everything about German rebels and allied them to write a subject as compromising the teacher burns him. Then the stories in the evening, all together, adults and children, we are talking about immigration or the partisan who killed a fascist. In dialect, of course, a sound language is stone now almost extinct that gives weight and emphasis to each word. So between December '43 and September '44 comes to life with a microcosm button, doubts, hopes and fears, before being swept away dall'eccidio, staged with bitter shame and telling details (the priest who joins ballets Nazis to prevent the party degenerates into orgy, and is killed), they acquire an innocence, a density, a truth, missing in cinema today. A masterpiece, clear and accessible, to be proud of. Also wonder why it took many years for a movie so free and rigorous on the subject.
(Fabio Ferzetti - from The Messenger, 22/1/10)
February 18 Officinema Next Master Clint Eastwood still
February 25 Our life Daniele Lucchetti with Elio Germano, Raoul Bova and Isabella Ragonese
Claudio is a young thirty year old laborer and father of two children and expecting a third, whose happy existence is turned upside down by the death of his wife Elena. Even for families
Daniele Luchetti. According to a popular, indeed, now quite common in Italian cinema. This time, however, unlike My Brother is an Only Child which referred to the past, or at least to the years of red-hot after '68, with a look decidedly turned to the present, the topicality of these rather contradictory and so our weapons disturbed. Luchetti if the text is written and Petraglia and Rulli, while giving space, with all the care possible, that radical change of intentions and actions of the protagonist, has built around it, with accents colorful and happy, a gallery of secondary characters only in appearance, but able to give each of its contribution to the progress of the action. With pages in which the director then, almost always driven by the machine by hand, has shown his ability to switch between more breathless pace and often distressing to breaks of intense emotion. As the silent scene in which Claudio and distant learning or that of his wife's death, brief but intense, causing it to reveal a young man always ready to trust him guilty silence about his accident in a shipyard that had caused the death of his father. Any failure narrative and a certain persistence in marginal situations are, however, redeemed by a strong and happy always interpretation beginning with Elio Germano, a star of gestures and facial expressions of a highly mobile and full of expression even stronger.
(Gian Luigi Rondi - from The Time, 20/5/10)
March 11 L ' Ghost Writer Roman Polanski with Ewan McGregor and Pierce Brosnan
A writer is hired to replace a colleague who died while he was writing the biography of British Prime Minister Adam Lang is at the heart of these arguments for allowing the CIA to act in the UK, capturing terrorist suspects and subjecting them to torture.
warp reality as either too paranoid imagination, the character as a catalyst for collective fears that materialize in everyday life, the staging system of representation as likely to develop the metaphor of life ... There is no doubt that The Ghost Writer is a film by Roman Polanski, bears all the signs and especially the persistent aftertaste bitterness that poisons the bitter irony with every step. Revised after passing the imprint of the Berlinale, the film confirms and reinforces the idea of \u200b\u200ba work created by spirit fullest director Polish elaborate on the relationship between that and what is not said of the protagonists, in the sense of a dark past that defines the face in the shadows of the characters in this enlightened. Hitchcock, of course, The Ghost Writer has the stigmata of the master of thrills and thematically (in projecting the hero in a world "other") and expressive (just look at the amazing sequence of pre-final, with the handrail of the ticket after revealing with exemplary significance of the camera) and even then to comply with the Robert Harris novel on which it is drawn. Polanski keeps the tension high with a sharp style, dissecting every passing shots with clear and essential. Classic psychological thriller in good shape, in other words, even though the author strives to keep up with detection by adopting a sort of cynical disillusionment which leaves both the tension ebb since the value of the mystery, is intended to fly away in haste postfinale that viewers are likely to be missed.
(leading cause - from Il Corriere del Giorno)
March 18 Officinema Tribute to Silvio Soldini
March 25 Loves crazy Alain Resnais with André Dussollier and Sabine Azéma
Marguerite out of a shoe store and suffers the theft of the bag. Georges found his wallet lying in the parking lot of a shopping center and begins to fantasize about her, even before you contact them without knowing it.
The last folly of Alain Resnais, who has 87 years, arrives in theaters. Loves crazy is one of his best films. A stunning lesson in freedom, a year of incredible acrobatics and even an unusual love story and lightweight, which combines an unlikely couple and fun: Marguerite, a storm of charm that seems to run out of a comic book, and Georges, senior quiet but hides some of ember embers under the ashes. It is a book to rekindle the fire. Georges finds him in a parking lot and wants to completely meet the owner, Marguerite. Breaking free from the shackles of realism with discretion, but never let go to drift surrealist story continuously invites the viewer to get lost with moose. Enriched with countless references to everything like Resnais, the film is a true cascade of life-blood, thin and intimately blended with the shadow of death. This we makes it a unique film, whose most valuable (I must say with all the tact and caution of the event) is to have one foot in childhood and one in the grave. It looks like a farewell with crowds screamed elegance and disturbing peace.
(Jacques Mandelbaum - from Le Monde, in International, 30/4/10)
April 1 Officinema Meryl Streep still Diva Next
April 8 Passion Carlo Mazzacurati with Silvio Orlando, Giuseppe Battiston and Christian Capotondi
Gianni Dubois, inconclusive film director, 50 years will find ways to play the role as a director for a New American recited Representation by the inhabitants of a country. With the help of an ex-con and a smiling bartender Poland will manage to regain the strength necessary for a human carried.
From Venice highlighted the anomaly of the Passion , unclassifiable film in a genre and difficult to place in the landscape of our cinema. Now that the film arrives in theaters, you had better point out the most recognizable features, to give the viewer a track that inspires the viewer to view. The track could be Silvio Orlando. An unusual and very good as usual, he plays a filmmaker (no, not like in the Cayman , and someone wrote: there was a manufacturer!). The track takes us to places we know well: the postcard of bucolic province Chiantishire, the rhythms of a life far from the city, where owners of mobile phones are in line to the only part of the country where "there is no field ' and humanity of a "small world", to quote Guareschi, where every corner hides the detail funny ( The passion is not a comedy but it's very funny). Then, as director Carlo Mazzacurati is a sharp eye, the idyll of the province is revealed almost immediately illusory. Local administrators (99% of the PD, but the film does not say) are beasts, blackmail is obvious, the neurosis of the director does not heal. But perhaps, looking - literally - a poor Christ crucified, would be put in perspective. Slight but charming film, made up of fragments, fits perfectly, with wonderful actors (in addition to Orlando, applause Giuseppe Battiston, Marco Messeri, and a huge Christian Capotondi Corrado Guzzanti).
(Alberto Crespi - from The Unit, 24/9/10)
April 15 Passion - a musical adventure of John Turturro
with Avion Travel, Massimo Ranieri and Lina Sastri
The Neapolitan song narrated by John Turturro, among dramatized, songs, history and traditions of a city.
Perhaps a look "foreign" it is easier for our attempt to grasp the deep essence of a people through its music. And so the "foreign" Turturro turns his Buena Vista Social Club in Naples and he says, with extreme ease, say that the Neapolitan songs such as "I love you so much and I want to be with you, but if you do not want to be with me ok, I will get with your sister! "because (adds Turturro in the film) the Neapolitans are like that. As a summary to better explain the mix of irony and stubbornness that characterizes the inhabitants of this unique city? Passion, then, is an affectionate tribute to Neapolitan song as a mirror of the people of Naples, where you pass with great ease by the great names of philology (Barra, Avitabile), innovators (Raiz, Siena) to the buskers, never turn down the emotional charge that remains, always, very high. Neapolitan-style, then, Turturro turns in the classic "scripted" so, "Comme facets mammeta" is transformed into proto-video of Jennifer Lopez, "Malafemmina" recalls the genesis of the song (which he wrote when Toto was left by his wife ) through the faces of Massimo Ranieri and Lina Sastri, to the hilarious "Caravan Petrol" with Fiorello and Turturro to stage a ballet in a hilarious solfatara.
Tuccio d'Andria 
Anonymous probably English 
