Monks and Apricots

The Ortofrutta (green grocery) in Lucca is full of apricots right now.  Colorful and sweet, they’ve been perfect in my morning yoghurt or eaten out of hand. Not only are they delicious, but seeing them has reminded me of an experience I had last fall when visiting Göttweig Abbey near the town of Krems in Austria - monks and apricots!

Göttweig Abbey

The Abbey, built in the 11th century and rebuilt in 1580 and again in 1718, each time following a fire, is a UNESCO World Heritage site.  Still a working monastery, the grounds and public areas are well worth a visit. 

The large monastery complex includes several areas open to the public, including the park like grounds and a museum with a stunning Baroque staircase and beautiful interiors. 

The church, parts of which date back the earliest construction of the abbey, has a dusty pink exterior, twin bell towers, and an ornate interior filled with beautiful frescoes. 

Below the church is a crypt which contains one of the abbey’s most important artifacts - a shrine containing the relics of the abbey’s founder, Bishop Altmann.

The abbey is surrounded by forest, vines, and orchards. It is especially gorgeous in fall.

 Göttweig Abbey sits on a hill above vineyards, orchards, and forest.  Run by a small group of Benedictine monks, today it is known for its vines, which provide the grapes used to produce the abbey’s wines, and for its apricots which are used to make apricot liqueurs, jams, and nectars – all available for purchase in the gift shop. 

I visited Göttweig Abbey on an excursion offered as part of a Viking Danube River cruise which included the opportunity to learn to make (and of course, to taste) the famous Marillenknödel or Apricot Dumpling that is one of the abbey’s specialties. 

After a tour of the grounds, museum, and church we were offered a taste of apricot nectar and apricot wine – and then if was off to the restaurant for a dumpling lesson from the pastry chef.

 The apricots used in the dumplings are grown in the abbey’s orchard. Harvested when ripe, the pit is removed and replaced with a sugar cube. Next, they are frozen to be used for future dumpling making year round.  In season they can also be used fresh.

The pastry chef had all of the ingredients ready and demonstrated the process of making the dough, wrapping the apricots, boiling them, and preparing the sweetened bread crumb topping. After the demo we each had a cup of coffee and a dumpling. Delicious, and not too sweet, they were wonderful.

A copy of the recipe was given to each of us and I think the monks won’t mind me sharing!

To make the dumplings, a dough is made from 1 cup farmer’s cheese (a substitute would be ½ ricotta and ½ Greek yoghurt – both full fat),  1 cup flour, 2 Tablespoons semolina flour, 1 egg, 3 ½ tablespoons butter, and a pinch of salt.  Mixed and chilled in the fridge for at least 12 hours.

The dumplings were served in a puddle of apricot jam - delicious !

Pieces of the dough are used to wrap around each apricot, forming a round dumpling.  The dumplings are then dropped gently in boiling lightly salted water.  When they float, they are ready (15-20 minutes).  

While the dumplings cook, a topping is made from 1 cup bread crumbs, 1 tablespoon sugar, 1 teaspoon vanilla sugar, and 3 tablespoons butter.  Mix and toast in a pan until golden and then add 1 teaspoon cinnamon.   Roll the boiled dumplings in the crumbs and serve while warm.  Toppings can vary – ours were served in pool of thin apricot jam and sprinkled with powdered sugar.  They can also be drizzled with honey, topped with vanilla sauce, whipped cream, or even ice cream. 

Learning to make them was fun – tasting them was even better.   I’ve yet to try making them at home, but will all the ripe apricots in the Italian markets right now I just might give it a try!

Rothko in Florence

As if the beauty, pageantry, history, art, and architecture that is Florence every single day were not enough, the city also frequently hosts special art exhibits. There are many exhibit venues in Florence; one of the best is the Palazzo Strozzi.  Built around 1500, the palazzo is a stunning example of Renaissance architecture.  The building is a wonder, especially its central courtyard with its columns and arches, open to the windows and loggia of the upper floors.  After centuries of ownership by the Strozzi family, today the palazzo is the property of the city of Florence.  The courtyard often hosts small art installations, with the major exhibits displayed on the floor above, the piano nobile.

This month, and through August 23, the Strozzi is host to a presentation of works by Mark Rothko, one of modern art’s most well known painters.   The exhibit, curated by Christopher Rothko and Elena Geuna, spans Rothko’s career and includes works gathered from both private collections and museums from around the globe.

Rothko, born Marcus Rothkowitz in what is now Latvia, emigrated as a child, arriving in the US with his family in 1913.  His art career began in New York in the 1920s and over the course of his lifetime was shaped by many influences – surrealism, impressionism, war, religion, Greek mythology, spirituality, Italian classical art (especially that of Fra Angelico and Michelangelo), and his own, sometimes turbulent, life. 

 I was not familiar with Rothko’s early works which include portraits, city scenes, watercolors, and drawings.  I was drawn to them in a different way than to his later works. Above: Untitled (Woman in Subway, 1938; Untitled (Cityscape) 1936, and Room in Karnak, 1946)

I have a friend who, when visiting a gallery or museum, often asks “If you could take home one piece, which one would it be?”. For me, it would be the one below, an untitled watercolor, ink, and graphite piece from 1945.

This piece seems to dance across the paper; it is the one I would take home and be enchanted by every day.

As with many artists, Rothko’s style evolved over time. His later works are quite different from his early pieces.  The one constant seems to be his use of color as a form of expression.

It is his abstract art, known as Multiforms, which began in the late 1940’s, that was a later step in his evolution and which produced the works for which he is best known.  These are large pieces which feature dramatic blocks of color. Gone are the people, buildings, or indeed any figures at all. Below from left to right are works from 1951 (#12), 1953 (untitled), and another from 1953 (#2). Interestingly, Rothko did not name his paintings, leaving each person viewing the work to have his own reaction, without the influence of a name.

In the 1950’s and 60’s Rothko worked on several commissions, including a series of murals for a chapel in Texas (named the Rothko Chapel after the artist’s death). He also painted the Seagram Murals, a series originally intended for a restaurant in New York’s Seagram building.   Realizing that a restaurant was not the appropriate setting for his work, he instead donated several of the pieces to London’s Tate museum.  Sadly, they arrived on the same day that Rothko took his own life. None are included in the Strozzi exhibit as they are a permanent exhibit in the Tate Museum and only displayed as a group. Some sketches for them can be seen in the Laurentian Library as part of the exhibit in Florence. There are also some additional small works in Museum of San Marco, a link to Rothko’s appreciation of Fra Angelico.

Below are pieces from 1955, 1958, 1964, about the same time as the Seagram works.

The chronological presentation of Rothko’s paintings at the Strozzi allow the observer to follow Rothko’s evolution as an artist, being drawn in to what seems to be an increasingly dark mood as his colors change from bright yellows, vibrant greens and blues, to more somber dark reds and browns and finally to gray and black.  The two below are from 1969.

Rothko a Firenze is a well curated exhibit, with detailed information in both Italian and English, and a must see for those with an interest in modern art.  The gift shop has posters and cards with many of the paintings as well as books about the artist.

Castello di Duino

If I were to buy a castle in Italy, the Castello di Duino would do very nicely.  Unfortunately, the current owner, Prince Carlo Alessandro della Torre e Tasso, Duke of Castel Duino, seems unlikely to sell it to me, especially at a price I could afford.  Yet, after visiting, it is easy to daydream about living in this castle with its beautiful interior and views of the coastline over the Gulf of Trieste. 

Breakfast on one terrace and wine on another, a stroll near the lower garden with the pretty pool, gazing over to the ruins of the 11th century Castello Vecchio - yes, it would be easy to spend my days here. 

 The castle was built in the 14th century and acquired in the 19th by Prince Alexander von Thurn und Taxis and his wife Princess Marie, one branch of a German noble family.  After moving to the Italian castle, they changed their name to a more Italian form, becoming the della Torre e Tasso family.  They were great patrons of the arts and hosted both musical and literary guests, including Liszt, Strauss, Twain, and Rilke.

The castle has remained in their family, passed down from generation to generation. Today it is open as a museum, presented very much like the home it once was. 

It is possible to climb to the top of this tower to take in the view

If the exterior of the castle looks familiar to you - it might be because it was used in filming Monty Python and the Holy Grail.

The approach to the castle is along a path lined with statues and with views down to both the garden area and out to the sea.

Inside the castle grounds, a courtyard leads to an imposing tower. A climb will reward you with 360 degree views.

The castle’s interior is elegant, detailed, and beautifully furnished. 

There is a wood paneled library and several drawing rooms one of which has a piano that Liszt once played.

The dining room, with a table set as if guests were expected any minute, was especially lovely. It was so easy to imagine the fascinating guests that once gathered here. I can just imagine the sound of their conversations and clinking wine glasses; perhaps stepping out onto the balcony for a smoke, the views, and a whispered conversation.

Another fascinating detail was the elegant spiral staircase which connects several floors. Designed by Palladio, with pretty bannisters and gorgeous light fixtures, it is functional art.

The visit to Duino, arranged by the Piccola Università language school in Trieste, was a highlight of my visit to this region. Oh to time travel and visit in past centuries.

The ruins of the 11th century castle

Wine Tasting in a Friulian Castle

Italy has 20 regions, 5 of which are semi-autonomous based on their history, unique culture, and diversity of language.  This designation provides them with a greater ability to manage their own governance, finances, and education.  One of these 5 regions is Venezia-Friuli Giulia, in the northeastern most part of Italy, bordering on Slovenia and Austria.  Local identity runs deep in this area (as in all of Italy), and the Friuli sub-region is no exception.  With a history that moves from the Romans to the Longobards to the Austro-Hungarian Empire, and finally to its inclusion in the Italian Empire, and with its own Friulian language, Friuli is a unique medley of influences. 

The wine cellar still has traces of previous owners

Mostly an agricultural area, Friuli is best known for its white wines.  A variety of grapes are grown in the region, with several DOCG and DOC designations.  The whites include Fruilano, Ribolla Gialla, Malvasia, Pinot Grigio, and Sauvignon Blanc.  Some reds also are produced, Merlot, Cabernet Franc, Pignolo, and Ribolla Nera, though they make up a much smaller percentage of the local wines. 

I spend most of my time in Tuscany, and the Lucchese wine shops tend to stock mostly Tuscan wines, so the Friulian varieties are not very familiar to me.  At least they weren’t until a recent wine tasting at the Castello di Spessa in the village of Capriva del Friuli, 25 miles and a world away from busy Trieste. 

The Castello has a fascinating history beginning with its construction in the 13th century.  Passed down as part of a 15th century dowry, it remained in one family for the next 300 years.  During that time it played host to several famous visitors including Lorenzo da Ponte, who wrote the libretti for some of Mozart’s most famous operas (including my personal favorite, Cosi Fan Tutte).  The  scandalous Casanova came to visit too but was banished after a romantic liaison during his stay (with a maid or the owner’s daughter – we can’t be sure). 

Ownership changed several times in the late 1800’s and into the 1900’s. Wine production began sometime in the years between 1925 and 1940. During WWII an underground bunker was built on the property, used first by Germans and later by Americans.  Long forgotten, it was rediscovered by the current owners who found it to be the perfect temperature for storing grappa. 

Down, down, down to the once abandoned WWII bunker. Today it is where the grappa is stored.

In 1987 the Castello was purchased by the Pali family.  They renovated the property, expanded the vineyard, and developed the surrounding land into a spa and golf resort.  Today they host events, weddings, vacationers, and wine tastings at the Castelllo.  Several of their wines bear the names of those earlier owners and visitors to the castello - there is a Casanova Pinot Noir, a Rassaurer Fruliano, and even an Amadeus Brut.

Delicate and sparkling, this was my favorite of the wines we tasted

Our group (all students at the Piccola Università language school in Trieste) enjoyed a wine tasting in the Castello’s tasting room. We sampled primarily whites (still and sparkling) and one red (a Cabernet Sauvignon / Merlot blend).  Along with each glass our hostess provided information about the vines, grapes, and production methods. 

All the wines we tasted were very good but I had a definite favorite – the Pertè Ribolla Gialla Spumante, a sparkling wine made by the classic method (unlike Prosecco which is made by the Charmat method) with Chardonnay and Pinot Noir grapes. It was dry with perfect soft bubbles.  A delightful wine which had me wondering how I could possibly get several bottles home to Lucca on the train.  Unfortunately, that was impossible. 

A tour of the wine cellar followed our tasting. The cellars have a variety of rooms which contain not only wine but bits of the history of the Castello and some old winemaking equipment. What is it that makes dusty old wine bottles so fascinating?

As we left the Castello, our parting gift was a gorgeous tramonto (sunset). A perfect ending to a wonderful afternoon of wine tasting.

contact info: Castello di Spessa Golf Wine Resort and Spa. Via Spessa 1. Capriva del Friuli GO 34070 email: info@castellodispessa.it

3 Days of Music and Flowers in Lucca

The last weekend in April was a busy one here in Lucca. The weekend began on Friday evening with the smallest of the weekend events – a performance by two choral groups in the Oratorio San Giuseppe, a small chapel built in the early 1500’s.  Napoleon once used it as a warehouse, but today it is a small performance space with a historic interior and great acoustics.  Better still, my favorite local a cappella group, Coro Puntaccapo, performed.  Their style is swing, classic and modern pieces, in both English and Italian.  I never miss a chance to see them perform. 

For this evening, they were joined by Coro Melisma, a large chorus from Göteborg, Sweden.  They came to Lucca with wonderful harmonies, full sound, vocal runs, and their dry, Swedish sense of humor.   Each group performed individually at first but later as an ensemble singing everything from swing to pop to something you might expect from a Swedish group – a three minute mash up of Abba songs.  A fun evening to kick off a busy weekend.  (video on IG two_parts_italy and on Facebook)

 Saturday, April 25th, was a national holiday in Italy, la Festa della Liberazione (Liberation Day), marking Italy’s liberation from Nazi Occupation at the end of WWII. 

There were local ceremonies to mark this important date in history, a wreath was placed at the war memorial, and, as a national holiday, many visitors came to celebrate.  

Another big event, the Santa Zita festival, was ongoing throughout the weekend.  An annual celebration for Lucca’s own very popular saint, the festival has two main components.  The first takes place inside the Basilica San Frediano where Santa Zita (yes, the actual saint’s body) is placed front and center so that people may pay homage to her.  

Santa Zita in the San Frediano Basilica

And because Santa Zita is known for the miracle of the flowers, the second event fills the Piazza in front of the church with a floral “island” and fills the nearby Piazza Anfiteatro with a flower market.  This is an event that I always look forward to, especially since my own superstition is that a visit to Santa Zita on this day guarantees that I will be in Lucca for the next year.  In my experience it is more effective than coins in the Trevi Fountain and I am not about to take a chance by skipping it!

Sunday afternoon brought more music, this time in Lucca’s Teatro del Giglio with a performance of Puccini’s opera Turandot, 100 years after it made its debut.

Turandot was Puccini’s final opera, as he died before its completion. The final scenes were completed by another Italian composer, Franco Alfano.

When the opera permiered, with Toscanini conducting, he stopped the performance at the point in the opera that marked the end of Puccini’s work, not performing those final scenes. The performance today chose to end in the same way, presenting the uncompleted work just as Puccini left it. The performance was wonderful with dramatic stage sets, unique costuming, tremendous voices, and of course a moving Nessun Dorma.

It seems there is always something happening in Lucca, especially at this time of year.