#Umberto Cesari

[lamilanomagazine]

Italia 1, torna l'appuntamento con "Pressing"

Italia 1, torna l'appuntamento con "Pressing". Mercoledì 4 gennaio, su Italia 1, in seconda serata, dopo la sosta per i Mondiali torna l’appuntamento con “Pressing”. In conduzione dello storico appuntamento targato SportMediaset la coppia composta da Massimo Callegari e Monica Bertini. In studio per commentare e analizzare la sedicesima giornata del campionato: Fabrizio Ravanelli, Ivan Zazzaroni, Riccardo Trevisani, Sandro Sabatini e Graziano Cesari per tutti i casi di moviola. In collegamento Walter De Maggio, Umberto Zapelloni e Fabrizio Biasin. In diretta Daniele Miceli per tutte le ultime novità di mercato. Gli spettatori potranno subito tuffarsi nelle emozioni dei post-partita: Pressing, infatti, sarà in onda dalle ore 23.00 su Mediaset Infinity, in chiaro per tutti, per accompagnare gli appassionati verso la diretta televisiva di Italia 1. Al centro del programma a cura di Alberto Brandi, goal, highlights, approfondimenti, commenti dei protagonisti, il dibattito sui temi più caldi dell’attualità calcistica.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[sandratognarini]

Agenda 2021/07 – Il buongiorno di Ramingare.com

Agenda 2021/07 – Il buongiorno di Ramingare.com

L’azienda vitivinicola “Umberto Cesari” presenta “Vincontro”, un ciclo di serate a tema a cadenza mensile Leggila su: Agenda 2021/07

[cento40battute]

Tra vini e vigneti

Tra vini e vigneti

L’anima nobile della Romagna Percorsi consapevoli e innovativi dedicati al vino: Umberto Cesari Wine Experience è la riscoperta di gusti e sentori attraverso la ricerca del benessere L’azienda Umberto Cesari, abbarbicata sulle colline di Castel San Pietro Terme che dominano l’antica via Emilia, e ambasciatore nel mondo del Sangiovese, offre ai suoi ospiti occasioni preziose per immergersi nei…

[snowwwwhiteeb]

"Ma l’amore, l’amore vero, l’amore intero, vuole una cosa e l’altra; vuole la fusione perfetta della sensualità e della tenerezza: anche per questo è raro." - Umberto Saba

[peppermintstranger]

Hello pepper! Could you help me find a FC for a latino/italian male around 25-27 years old, preferably an actor or if It must be a model I would really preferencia them nota looking todo ''modely" if that makes any sense? I need him to look friendly and kind of approachable and naive, i like Federico Cesari but he's too young

Hello there!

You have: Andre Bona, Michael Gioia, Jonathan Bellini, Cristiano Palmerini, Giuseppe Futia, Marco Bellotti, Umberto Villahermosa.

Hope it helps c:

[brahmino]

Always In The Same Way from Simone Bramante on Vimeo.

A video - for the Italian Winemaker Company Umberto Cesari - to celebrate the tradition of the grapes harvest, in the hills of Bologna. A wine production made as every year in the same way, since 1964.

[johnboothus]

Domestic Tourism Is Proving to Be a Lifeline for Many Wineries

From Napa Valley to Tuscany, this would normally be peak wine tourism season, a chance for wineries to build revenue by welcoming drop-in visitors for tours and tastings, booking advance dinner reservations and overnight stays, and prompting purchases of wine cases or club memberships. In 2020, the pandemic has changed much of that.

Travel bans, border closures, and concerns about safety have decimated the tourism industry this year, and wineries are feeling the effects. Most producers are reporting decreased tourism numbers for the 12-month period ended in July, which is particularly difficult for businesses that rely heavily on direct-to-consumer (DTC) sales.

However, the wine tourism outlook isn’t all bad: With consumers hesitant to hop flights between states or countries, many wineries have noticed an uptick in local tourism. By implementing and communicating new safety standards, attracting more domestic tourists, and garnering DTC business through e-commerce, wineries can weather the storm to prepare for better tourism conditions ahead.

Assessing the Damage

While tourism worldwide has taken a hit due to the pandemic, regional and winery-specific effects vary. For some, the effect has been devastating. At Pala Wines in Sardinia, tourism has been almost nonexistent since the pandemic hit, since 90 to 95 percent of the winery’s tourists are international. “We had less than 10 people coming [to the winery] in the past two months,” says Fabio Angius, the sales director for Pala.

Though it is currently winter in the Hunter Valley region of Australia, the pandemic just compounded an already-difficult year, shuttering cellar doors for two months during the fall tourism season. “The Hunter Valley has had a horror start to 2020 with the triple threat of drought, bushfires, and Covid wreaking absolute havoc on our industry,” says Christina Tulloch, the CEO of Tulloch Wines and the president of the Hunter Valley Wine and Tourism Association. The wine region is Australia’s most visited, attracting 1.4 million visitors per year, but international and state borders remain closed.

Diminished tourism isn’t just an immediate problem; it could have lasting effects on winery businesses, Tulloch explains. “Cellar door is a really important driver of future revenue as this is where we have the best success in recruiting members to our wine club and mailing list,” she says, “so when visitation drops our future earning potential also takes a hit.”

However, the spring’s bleak outlook, stemming from the sudden closure of nearly all hospitality and tourism businesses, has resulted in a common refrain from many wineries and regions: It could be a lot worse. Most agree that the summer months have not been as bad as originally anticipated.

“While for the first few months of the pandemic we weren’t able to host [visitors], I feel tourism has picked up,” says Ximena Orrego, the owner of Oregon’s Atticus Wine and a board member of the Yamhill-Carlton Growers Association. “We have hosted both local and out-of-state guests regularly in the last few weeks.” Atticus’s sales largely stem from DTC sales at the winery, and summer tourism is very important to Yamhill-Carlton wineries as a whole.

Down the coast, in California’s Santa Barbara County, wineries have also noticed an uptick in visitors as consumers seek out safe, socially distant, outdoor activities. Tourism typically generates 60 to 70 percent of Santa Barbara wine sales, so although the region is projecting that will be up 1 percent in volume, there is expected to be a 4 percent decline in supplier revenue and a 9 percent decline in supplier growth profit. “At this point, break-even should be considered a success this year while dealing with the pandemic,” says Alison Laslett, the CEO of Santa Barbara Vintners.

In mainland Italy, an early Covid hotspot, wineries are experiencing an influx of tourism as well. “Compared to 2019, our hospitality is down 67 percent — which is not bad considering the 80 percent decrease in Italy in general,” says Gianmaria Cesari, the owner of Umberto Cesari in Emilia-Romagna. The winery’s July numbers were better than expected, and overall revenue was up 22 percent year-over-year.

Looking Local

Much of this better-than-expected tourism can be credited to local or domestic tourists who can reach wine regions by car. Since many consumers are avoiding air travel, road trips to nearby destinations are seen as safer alternatives.

“We are seeing a flight to the wine country to both visit and buy when they are allowed to travel,” says Laslett. “People want an escape.” She adds that wine tasting is a relatively safe social activity, given that tastings are conducted outdoors, with plenty of space for visitors to spread out.

Cesari has noticed a distinct reversal in tourism demographics, compared to previous years. While the majority of Umberto Cesari’s visitors have been from the U.S. or northern Europe, locals from Emilia-Romagna have accounted for 67.4 percent of visitors in 2020, and 15 percent of the remaining tourists are Italian. “It is unfortunate that we will be unable to welcome guests from the U.S. this year, since Americans make up a large part of our international visitors,” he says, “but we are very happy to see an influx in domestic travel.”

In Provence, where tourism is only estimated to make up 20 percent of wine sales, tourism is down 26 percent based on hotel reservations, according to the Conseil Interprofessionnel des Vins de Provence (CIVP). However, the region has welcomed more French tourists, particularly since mid-July. “The only thing we can say for the moment is that the economic and touristic recovery is going faster than we thought, for the moment,” says Brice Eymard, the director of the CIVP.

Regions with an existing base of local or domestic tourism have had an advantage on this front; about 90 percent of Mendocino County’s wine tourism is domestic, so visits are only down 20 percent, largely due to reduced lodging capacity. “Mendocino County is a ‘drive destination’ for the San Francisco Bay area and the Sacramento region,” says Bernadette Byrne, the executive director for Mendocino Winegrowers. She says this helps because “people will continue to be wary of air travel and international travel.”

As overnight or day trips become lifelines for city dwellers weary of apartment living, other wine regions located within driving distance of major metropolitan areas have benefited. Much of Hunter Valley’s recent tourism has come from Sydney, which is located just two hours away. “The travel restrictions have meant they don’t really have as many options [for travel], so they’ve been rediscovering the Hunter Valley,” says Tulloch. “It’s been a great opportunity to show them how sophisticated and diverse our offering in-region is.”

In New York City, where weekend car rentals are a hot commodity, residents have been flocking to Long Island’s East End. “Judging by the size of our crowds, it is safe to say that yes, we have been able to attract additional tourism,” says Kareem Massoud, the president of the Long Island Wine Council and the winemaker for Paumanok Vineyards and Palmer Vineyards, who is quick to add that wineries are limiting capacities and spacing out tables per state mandates. Locals and other tri-state residents avoiding air travel have also prompted a bustling tourism season.

Recognizing this, some regions have launched initiatives to bolster local tourism. With borders closed to most international tourists until 2021, Tourism Australia has launched the “Australia, We’ve Missed You” campaign to encourage domestic travel with road trip itineraries. Santa Barbara Vintners is encouraging L.A. residents, who can get to the region in less than two hours, to visit with its campaign “West of France. Just North of L.A.”

Adding Safety Protocols

Of course, new health and safety standards have become important components of wine tourism efforts, with wineries enforcing mandates like social distancing, capacity limits, mask-wearing, and even temperature checks. Many wineries have introduced or expanded outdoor, safely distanced hospitality spaces, such as Boundary Breaks in the Finger Lakes, which constructed several new patios to add room for tables, or Charles Krug in Napa Valley, which added five new Wi-Fi-enabled cabanas to its property.

It’s also important to communicate these health standards to reinforce consumer confidence; Charles Krug produced a video of its safety precautions, while Discover Long Island has partnered with a physician as its official health and wellness ambassador.

Reservation-only policies have also been implemented at many wineries that previously welcomed walk-in guests. “This manages the flow and volume of guests at the estate, ensures social distancing, and allows time for thorough sanitization to maintain a safe environment for our employees and guests,” says Mark Matthewson, the vice president of hospitality for Sonoma’s La Crema, who predicts that this model will stay in place for the foreseeable future.

While reservations may cut down on the number of guests who may visit the winery at a given time, they also seem to increase guest spending. Byrne notes that Mendocino wineries have reported higher per-visitor sales recently. “The enhanced service with reservation-only, limited capacity, and a seated experience has resulted in increased sales,” she says. Charles Krug has experienced a similar boost; average spend per visitor is up 35 percent.

Safety-related changes to winery policies may result in other opportunities as well. At Cantine Florio in Sicily, which welcomed 50,000 visitors in 2019, the team now limits socially distanced tours to 10 people. “Smaller tours allow for more personal attention to each visitor, and they are really enjoying that experience,” says Giacomo Tarquini, the winery’s global marketing director.

Boosting Revenue Elsewhere

Even though wineries and wine regions are optimistic about the current state of wine tourism, they are still working to cope with lost tourism revenue, be it small or large. Luckily, it seems that few will resort to translating this into increased wine prices because they understand the need to be competitive in the overall wine market.

“In my eyes, increasing the prices in order to cover the losses is the worst reaction to have, so it’s one to avoid,” says Angius. Instead, wineries will likely take a long-term approach to recovery, viewing diminished tourism as they would a bad harvest and expecting to compensate with better sales in coming years.

For some, diminished tourism has underscored the importance of maintaining strong sales across diverse channels. “While we couldn’t open cellar door to the public,” says Tulloch, “the fact that we had wines listed with the major liquor retailers … combined with our wine club and mailing-list sales, plus export, meant we managed to make it through with all of our full-time staff intact.”

With less in-person DTC business, wineries have turned to remote revenue drivers, such as curbside pickup, low-cost shipping, wine clubs, e-commerce, and social media. Even in Provence, where online sales were not robust before the pandemic, e-commerce has emerged as an important revenue driver. “It has increased a lot,” says Eymard.

“The ongoing challenges are forcing wineries to use technology in new and improved ways,” says Laslett. At Landmark Vineyards, tasting room staff members are now conducting private virtual tastings with consumers.

Maintaining Resilience

Given the unpredictable nature of the pandemic, it’s difficult to know what the coming months and years hold for the state of wine tourism, and it varies from region to region and producer to producer. “The impact of Covid on all tourism industries will be far-reaching, and I suspect it will take a long time for recovery,” says Tulloch. “I suspect there is still a huge amount of damage to be done, and we will be counting the costs for many years to come.”

Regions that are relatively isolated without plane travel, including islands like Sardinia, face a tougher challenge. Angius expects that even Italians will stay in their respective regions through the end of the year, but he thinks that early avoidance of travel to Italy will fade. “People tend to forget, and we managed the pandemic very well, so now we have the image of a safer place,” he says. “We are already looking and planning for the new year with the eye of what’s good and what we have learned from this situation.”

Many industry members are looking at the potential advantages that the pandemic could lend to wine tourism, particularly the opportunity to connect with local consumers. “There may be long-term, favorable impacts for our industry,” says Massoud. “Since New Yorkers are not really traveling, the East End offers a culturally rich and naturally beautiful escape from the city.”

“We anticipate that domestic travel is where consumers feel the most comfortable,” adds Laslett. “We hope this resonates with would-be international travelers who want a beautiful wine country experience closer to home.” She also hopes that the increased amount of online wine sales will result in more consumers learning about wines and wineries from different regions and therefore planning wine country trips for the future. After all, the inability to travel might just make consumers want to travel to wine regions even more.

“We are sure that tourism will return to where it used to be, and eventually be even stronger,” says Cesari. “We believe that the months of lockdown have not changed people’s desire to travel.”

While 2020 has proven to be a difficult year for wine tourism, wine producers are used to staying tough in the face of challenges. “Covid has had a serious impact on our industry, to the point where some may have been questioning their survival,” says Massoud. “Lately, things have been looking up. Almost all of us are farmers, and farmers are resilient by nature. We know we will get through this.”

The article Domestic Tourism Is Proving to Be a Lifeline for Many Wineries appeared first on VinePair.

Via https://vinepair.com/articles/domestic-tourism-lifeline-wineries/

source https://vinology1.weebly.com/blog/domestic-tourism-is-proving-to-be-a-lifeline-for-many-wineries

[isaiahrippinus]

Domestic Tourism Is Proving to Be a Lifeline for Many Wineries

From Napa Valley to Tuscany, this would normally be peak wine tourism season, a chance for wineries to build revenue by welcoming drop-in visitors for tours and tastings, booking advance dinner reservations and overnight stays, and prompting purchases of wine cases or club memberships. In 2020, the pandemic has changed much of that.

Travel bans, border closures, and concerns about safety have decimated the tourism industry this year, and wineries are feeling the effects. Most producers are reporting decreased tourism numbers for the 12-month period ended in July, which is particularly difficult for businesses that rely heavily on direct-to-consumer (DTC) sales.

However, the wine tourism outlook isn’t all bad: With consumers hesitant to hop flights between states or countries, many wineries have noticed an uptick in local tourism. By implementing and communicating new safety standards, attracting more domestic tourists, and garnering DTC business through e-commerce, wineries can weather the storm to prepare for better tourism conditions ahead.

Assessing the Damage

While tourism worldwide has taken a hit due to the pandemic, regional and winery-specific effects vary. For some, the effect has been devastating. At Pala Wines in Sardinia, tourism has been almost nonexistent since the pandemic hit, since 90 to 95 percent of the winery’s tourists are international. “We had less than 10 people coming [to the winery] in the past two months,” says Fabio Angius, the sales director for Pala.

Though it is currently winter in the Hunter Valley region of Australia, the pandemic just compounded an already-difficult year, shuttering cellar doors for two months during the fall tourism season. “The Hunter Valley has had a horror start to 2020 with the triple threat of drought, bushfires, and Covid wreaking absolute havoc on our industry,” says Christina Tulloch, the CEO of Tulloch Wines and the president of the Hunter Valley Wine and Tourism Association. The wine region is Australia’s most visited, attracting 1.4 million visitors per year, but international and state borders remain closed.

Diminished tourism isn’t just an immediate problem; it could have lasting effects on winery businesses, Tulloch explains. “Cellar door is a really important driver of future revenue as this is where we have the best success in recruiting members to our wine club and mailing list,” she says, “so when visitation drops our future earning potential also takes a hit.”

However, the spring’s bleak outlook, stemming from the sudden closure of nearly all hospitality and tourism businesses, has resulted in a common refrain from many wineries and regions: It could be a lot worse. Most agree that the summer months have not been as bad as originally anticipated.

“While for the first few months of the pandemic we weren’t able to host [visitors], I feel tourism has picked up,” says Ximena Orrego, the owner of Oregon’s Atticus Wine and a board member of the Yamhill-Carlton Growers Association. “We have hosted both local and out-of-state guests regularly in the last few weeks.” Atticus’s sales largely stem from DTC sales at the winery, and summer tourism is very important to Yamhill-Carlton wineries as a whole.

Down the coast, in California’s Santa Barbara County, wineries have also noticed an uptick in visitors as consumers seek out safe, socially distant, outdoor activities. Tourism typically generates 60 to 70 percent of Santa Barbara wine sales, so although the region is projecting that will be up 1 percent in volume, there is expected to be a 4 percent decline in supplier revenue and a 9 percent decline in supplier growth profit. “At this point, break-even should be considered a success this year while dealing with the pandemic,” says Alison Laslett, the CEO of Santa Barbara Vintners.

In mainland Italy, an early Covid hotspot, wineries are experiencing an influx of tourism as well. “Compared to 2019, our hospitality is down 67 percent — which is not bad considering the 80 percent decrease in Italy in general,” says Gianmaria Cesari, the owner of Umberto Cesari in Emilia-Romagna. The winery’s July numbers were better than expected, and overall revenue was up 22 percent year-over-year.

Looking Local

Much of this better-than-expected tourism can be credited to local or domestic tourists who can reach wine regions by car. Since many consumers are avoiding air travel, road trips to nearby destinations are seen as safer alternatives.

“We are seeing a flight to the wine country to both visit and buy when they are allowed to travel,” says Laslett. “People want an escape.” She adds that wine tasting is a relatively safe social activity, given that tastings are conducted outdoors, with plenty of space for visitors to spread out.

Cesari has noticed a distinct reversal in tourism demographics, compared to previous years. While the majority of Umberto Cesari’s visitors have been from the U.S. or northern Europe, locals from Emilia-Romagna have accounted for 67.4 percent of visitors in 2020, and 15 percent of the remaining tourists are Italian. “It is unfortunate that we will be unable to welcome guests from the U.S. this year, since Americans make up a large part of our international visitors,” he says, “but we are very happy to see an influx in domestic travel.”

In Provence, where tourism is only estimated to make up 20 percent of wine sales, tourism is down 26 percent based on hotel reservations, according to the Conseil Interprofessionnel des Vins de Provence (CIVP). However, the region has welcomed more French tourists, particularly since mid-July. “The only thing we can say for the moment is that the economic and touristic recovery is going faster than we thought, for the moment,” says Brice Eymard, the director of the CIVP.

Regions with an existing base of local or domestic tourism have had an advantage on this front; about 90 percent of Mendocino County’s wine tourism is domestic, so visits are only down 20 percent, largely due to reduced lodging capacity. “Mendocino County is a ‘drive destination’ for the San Francisco Bay area and the Sacramento region,” says Bernadette Byrne, the executive director for Mendocino Winegrowers. She says this helps because “people will continue to be wary of air travel and international travel.”

As overnight or day trips become lifelines for city dwellers weary of apartment living, other wine regions located within driving distance of major metropolitan areas have benefited. Much of Hunter Valley’s recent tourism has come from Sydney, which is located just two hours away. “The travel restrictions have meant they don’t really have as many options [for travel], so they’ve been rediscovering the Hunter Valley,” says Tulloch. “It’s been a great opportunity to show them how sophisticated and diverse our offering in-region is.”

In New York City, where weekend car rentals are a hot commodity, residents have been flocking to Long Island’s East End. “Judging by the size of our crowds, it is safe to say that yes, we have been able to attract additional tourism,” says Kareem Massoud, the president of the Long Island Wine Council and the winemaker for Paumanok Vineyards and Palmer Vineyards, who is quick to add that wineries are limiting capacities and spacing out tables per state mandates. Locals and other tri-state residents avoiding air travel have also prompted a bustling tourism season.

Recognizing this, some regions have launched initiatives to bolster local tourism. With borders closed to most international tourists until 2021, Tourism Australia has launched the “Australia, We’ve Missed You” campaign to encourage domestic travel with road trip itineraries. Santa Barbara Vintners is encouraging L.A. residents, who can get to the region in less than two hours, to visit with its campaign “West of France. Just North of L.A.”

Adding Safety Protocols

Of course, new health and safety standards have become important components of wine tourism efforts, with wineries enforcing mandates like social distancing, capacity limits, mask-wearing, and even temperature checks. Many wineries have introduced or expanded outdoor, safely distanced hospitality spaces, such as Boundary Breaks in the Finger Lakes, which constructed several new patios to add room for tables, or Charles Krug in Napa Valley, which added five new Wi-Fi-enabled cabanas to its property.

It’s also important to communicate these health standards to reinforce consumer confidence; Charles Krug produced a video of its safety precautions, while Discover Long Island has partnered with a physician as its official health and wellness ambassador.

Reservation-only policies have also been implemented at many wineries that previously welcomed walk-in guests. “This manages the flow and volume of guests at the estate, ensures social distancing, and allows time for thorough sanitization to maintain a safe environment for our employees and guests,” says Mark Matthewson, the vice president of hospitality for Sonoma’s La Crema, who predicts that this model will stay in place for the foreseeable future.

While reservations may cut down on the number of guests who may visit the winery at a given time, they also seem to increase guest spending. Byrne notes that Mendocino wineries have reported higher per-visitor sales recently. “The enhanced service with reservation-only, limited capacity, and a seated experience has resulted in increased sales,” she says. Charles Krug has experienced a similar boost; average spend per visitor is up 35 percent.

Safety-related changes to winery policies may result in other opportunities as well. At Cantine Florio in Sicily, which welcomed 50,000 visitors in 2019, the team now limits socially distanced tours to 10 people. “Smaller tours allow for more personal attention to each visitor, and they are really enjoying that experience,” says Giacomo Tarquini, the winery’s global marketing director.

Boosting Revenue Elsewhere

Even though wineries and wine regions are optimistic about the current state of wine tourism, they are still working to cope with lost tourism revenue, be it small or large. Luckily, it seems that few will resort to translating this into increased wine prices because they understand the need to be competitive in the overall wine market.

“In my eyes, increasing the prices in order to cover the losses is the worst reaction to have, so it’s one to avoid,” says Angius. Instead, wineries will likely take a long-term approach to recovery, viewing diminished tourism as they would a bad harvest and expecting to compensate with better sales in coming years.

For some, diminished tourism has underscored the importance of maintaining strong sales across diverse channels. “While we couldn’t open cellar door to the public,” says Tulloch, “the fact that we had wines listed with the major liquor retailers … combined with our wine club and mailing-list sales, plus export, meant we managed to make it through with all of our full-time staff intact.”

With less in-person DTC business, wineries have turned to remote revenue drivers, such as curbside pickup, low-cost shipping, wine clubs, e-commerce, and social media. Even in Provence, where online sales were not robust before the pandemic, e-commerce has emerged as an important revenue driver. “It has increased a lot,” says Eymard.

“The ongoing challenges are forcing wineries to use technology in new and improved ways,” says Laslett. At Landmark Vineyards, tasting room staff members are now conducting private virtual tastings with consumers.

Maintaining Resilience

Given the unpredictable nature of the pandemic, it’s difficult to know what the coming months and years hold for the state of wine tourism, and it varies from region to region and producer to producer. “The impact of Covid on all tourism industries will be far-reaching, and I suspect it will take a long time for recovery,” says Tulloch. “I suspect there is still a huge amount of damage to be done, and we will be counting the costs for many years to come.”

Regions that are relatively isolated without plane travel, including islands like Sardinia, face a tougher challenge. Angius expects that even Italians will stay in their respective regions through the end of the year, but he thinks that early avoidance of travel to Italy will fade. “People tend to forget, and we managed the pandemic very well, so now we have the image of a safer place,” he says. “We are already looking and planning for the new year with the eye of what’s good and what we have learned from this situation.”

Many industry members are looking at the potential advantages that the pandemic could lend to wine tourism, particularly the opportunity to connect with local consumers. “There may be long-term, favorable impacts for our industry,” says Massoud. “Since New Yorkers are not really traveling, the East End offers a culturally rich and naturally beautiful escape from the city.”

“We anticipate that domestic travel is where consumers feel the most comfortable,” adds Laslett. “We hope this resonates with would-be international travelers who want a beautiful wine country experience closer to home.” She also hopes that the increased amount of online wine sales will result in more consumers learning about wines and wineries from different regions and therefore planning wine country trips for the future. After all, the inability to travel might just make consumers want to travel to wine regions even more.

“We are sure that tourism will return to where it used to be, and eventually be even stronger,” says Cesari. “We believe that the months of lockdown have not changed people’s desire to travel.”

While 2020 has proven to be a difficult year for wine tourism, wine producers are used to staying tough in the face of challenges. “Covid has had a serious impact on our industry, to the point where some may have been questioning their survival,” says Massoud. “Lately, things have been looking up. Almost all of us are farmers, and farmers are resilient by nature. We know we will get through this.”

The article Domestic Tourism Is Proving to Be a Lifeline for Many Wineries appeared first on VinePair.

source https://vinepair.com/articles/domestic-tourism-lifeline-wineries/ source https://vinology1.tumblr.com/post/626077935585083392

[wineanddinosaur]

Domestic Tourism Is Proving to Be a Lifeline for Many Wineries

From Napa Valley to Tuscany, this would normally be peak wine tourism season, a chance for wineries to build revenue by welcoming drop-in visitors for tours and tastings, booking advance dinner reservations and overnight stays, and prompting purchases of wine cases or club memberships. In 2020, the pandemic has changed much of that.

Travel bans, border closures, and concerns about safety have decimated the tourism industry this year, and wineries are feeling the effects. Most producers are reporting decreased tourism numbers for the 12-month period ended in July, which is particularly difficult for businesses that rely heavily on direct-to-consumer (DTC) sales.

However, the wine tourism outlook isn’t all bad: With consumers hesitant to hop flights between states or countries, many wineries have noticed an uptick in local tourism. By implementing and communicating new safety standards, attracting more domestic tourists, and garnering DTC business through e-commerce, wineries can weather the storm to prepare for better tourism conditions ahead.

Assessing the Damage

While tourism worldwide has taken a hit due to the pandemic, regional and winery-specific effects vary. For some, the effect has been devastating. At Pala Wines in Sardinia, tourism has been almost nonexistent since the pandemic hit, since 90 to 95 percent of the winery’s tourists are international. “We had less than 10 people coming [to the winery] in the past two months,” says Fabio Angius, the sales director for Pala.

Though it is currently winter in the Hunter Valley region of Australia, the pandemic just compounded an already-difficult year, shuttering cellar doors for two months during the fall tourism season. “The Hunter Valley has had a horror start to 2020 with the triple threat of drought, bushfires, and Covid wreaking absolute havoc on our industry,” says Christina Tulloch, the CEO of Tulloch Wines and the president of the Hunter Valley Wine and Tourism Association. The wine region is Australia’s most visited, attracting 1.4 million visitors per year, but international and state borders remain closed.

Diminished tourism isn’t just an immediate problem; it could have lasting effects on winery businesses, Tulloch explains. “Cellar door is a really important driver of future revenue as this is where we have the best success in recruiting members to our wine club and mailing list,” she says, “so when visitation drops our future earning potential also takes a hit.”

However, the spring’s bleak outlook, stemming from the sudden closure of nearly all hospitality and tourism businesses, has resulted in a common refrain from many wineries and regions: It could be a lot worse. Most agree that the summer months have not been as bad as originally anticipated.

“While for the first few months of the pandemic we weren’t able to host [visitors], I feel tourism has picked up,” says Ximena Orrego, the owner of Oregon’s Atticus Wine and a board member of the Yamhill-Carlton Growers Association. “We have hosted both local and out-of-state guests regularly in the last few weeks.” Atticus’s sales largely stem from DTC sales at the winery, and summer tourism is very important to Yamhill-Carlton wineries as a whole.

Down the coast, in California’s Santa Barbara County, wineries have also noticed an uptick in visitors as consumers seek out safe, socially distant, outdoor activities. Tourism typically generates 60 to 70 percent of Santa Barbara wine sales, so although the region is projecting that will be up 1 percent in volume, there is expected to be a 4 percent decline in supplier revenue and a 9 percent decline in supplier growth profit. “At this point, break-even should be considered a success this year while dealing with the pandemic,” says Alison Laslett, the CEO of Santa Barbara Vintners.

In mainland Italy, an early Covid hotspot, wineries are experiencing an influx of tourism as well. “Compared to 2019, our hospitality is down 67 percent — which is not bad considering the 80 percent decrease in Italy in general,” says Gianmaria Cesari, the owner of Umberto Cesari in Emilia-Romagna. The winery’s July numbers were better than expected, and overall revenue was up 22 percent year-over-year.

Looking Local

Much of this better-than-expected tourism can be credited to local or domestic tourists who can reach wine regions by car. Since many consumers are avoiding air travel, road trips to nearby destinations are seen as safer alternatives.

“We are seeing a flight to the wine country to both visit and buy when they are allowed to travel,” says Laslett. “People want an escape.” She adds that wine tasting is a relatively safe social activity, given that tastings are conducted outdoors, with plenty of space for visitors to spread out.

Cesari has noticed a distinct reversal in tourism demographics, compared to previous years. While the majority of Umberto Cesari’s visitors have been from the U.S. or northern Europe, locals from Emilia-Romagna have accounted for 67.4 percent of visitors in 2020, and 15 percent of the remaining tourists are Italian. “It is unfortunate that we will be unable to welcome guests from the U.S. this year, since Americans make up a large part of our international visitors,” he says, “but we are very happy to see an influx in domestic travel.”

In Provence, where tourism is only estimated to make up 20 percent of wine sales, tourism is down 26 percent based on hotel reservations, according to the Conseil Interprofessionnel des Vins de Provence (CIVP). However, the region has welcomed more French tourists, particularly since mid-July. “The only thing we can say for the moment is that the economic and touristic recovery is going faster than we thought, for the moment,” says Brice Eymard, the director of the CIVP.

Regions with an existing base of local or domestic tourism have had an advantage on this front; about 90 percent of Mendocino County’s wine tourism is domestic, so visits are only down 20 percent, largely due to reduced lodging capacity. “Mendocino County is a ‘drive destination’ for the San Francisco Bay area and the Sacramento region,” says Bernadette Byrne, the executive director for Mendocino Winegrowers. She says this helps because “people will continue to be wary of air travel and international travel.”

As overnight or day trips become lifelines for city dwellers weary of apartment living, other wine regions located within driving distance of major metropolitan areas have benefited. Much of Hunter Valley’s recent tourism has come from Sydney, which is located just two hours away. “The travel restrictions have meant they don’t really have as many options [for travel], so they’ve been rediscovering the Hunter Valley,” says Tulloch. “It’s been a great opportunity to show them how sophisticated and diverse our offering in-region is.”

In New York City, where weekend car rentals are a hot commodity, residents have been flocking to Long Island’s East End. “Judging by the size of our crowds, it is safe to say that yes, we have been able to attract additional tourism,” says Kareem Massoud, the president of the Long Island Wine Council and the winemaker for Paumanok Vineyards and Palmer Vineyards, who is quick to add that wineries are limiting capacities and spacing out tables per state mandates. Locals and other tri-state residents avoiding air travel have also prompted a bustling tourism season.

Recognizing this, some regions have launched initiatives to bolster local tourism. With borders closed to most international tourists until 2021, Tourism Australia has launched the “Australia, We’ve Missed You” campaign to encourage domestic travel with road trip itineraries. Santa Barbara Vintners is encouraging L.A. residents, who can get to the region in less than two hours, to visit with its campaign “West of France. Just North of L.A.”

Adding Safety Protocols

Of course, new health and safety standards have become important components of wine tourism efforts, with wineries enforcing mandates like social distancing, capacity limits, mask-wearing, and even temperature checks. Many wineries have introduced or expanded outdoor, safely distanced hospitality spaces, such as Boundary Breaks in the Finger Lakes, which constructed several new patios to add room for tables, or Charles Krug in Napa Valley, which added five new Wi-Fi-enabled cabanas to its property.

It’s also important to communicate these health standards to reinforce consumer confidence; Charles Krug produced a video of its safety precautions, while Discover Long Island has partnered with a physician as its official health and wellness ambassador.

Reservation-only policies have also been implemented at many wineries that previously welcomed walk-in guests. “This manages the flow and volume of guests at the estate, ensures social distancing, and allows time for thorough sanitization to maintain a safe environment for our employees and guests,” says Mark Matthewson, the vice president of hospitality for Sonoma’s La Crema, who predicts that this model will stay in place for the foreseeable future.

While reservations may cut down on the number of guests who may visit the winery at a given time, they also seem to increase guest spending. Byrne notes that Mendocino wineries have reported higher per-visitor sales recently. “The enhanced service with reservation-only, limited capacity, and a seated experience has resulted in increased sales,” she says. Charles Krug has experienced a similar boost; average spend per visitor is up 35 percent.

Safety-related changes to winery policies may result in other opportunities as well. At Cantine Florio in Sicily, which welcomed 50,000 visitors in 2019, the team now limits socially distanced tours to 10 people. “Smaller tours allow for more personal attention to each visitor, and they are really enjoying that experience,” says Giacomo Tarquini, the winery’s global marketing director.

Boosting Revenue Elsewhere

Even though wineries and wine regions are optimistic about the current state of wine tourism, they are still working to cope with lost tourism revenue, be it small or large. Luckily, it seems that few will resort to translating this into increased wine prices because they understand the need to be competitive in the overall wine market.

“In my eyes, increasing the prices in order to cover the losses is the worst reaction to have, so it’s one to avoid,” says Angius. Instead, wineries will likely take a long-term approach to recovery, viewing diminished tourism as they would a bad harvest and expecting to compensate with better sales in coming years.

For some, diminished tourism has underscored the importance of maintaining strong sales across diverse channels. “While we couldn’t open cellar door to the public,” says Tulloch, “the fact that we had wines listed with the major liquor retailers … combined with our wine club and mailing-list sales, plus export, meant we managed to make it through with all of our full-time staff intact.”

With less in-person DTC business, wineries have turned to remote revenue drivers, such as curbside pickup, low-cost shipping, wine clubs, e-commerce, and social media. Even in Provence, where online sales were not robust before the pandemic, e-commerce has emerged as an important revenue driver. “It has increased a lot,” says Eymard.

“The ongoing challenges are forcing wineries to use technology in new and improved ways,” says Laslett. At Landmark Vineyards, tasting room staff members are now conducting private virtual tastings with consumers.

Maintaining Resilience

Given the unpredictable nature of the pandemic, it’s difficult to know what the coming months and years hold for the state of wine tourism, and it varies from region to region and producer to producer. “The impact of Covid on all tourism industries will be far-reaching, and I suspect it will take a long time for recovery,” says Tulloch. “I suspect there is still a huge amount of damage to be done, and we will be counting the costs for many years to come.”

Regions that are relatively isolated without plane travel, including islands like Sardinia, face a tougher challenge. Angius expects that even Italians will stay in their respective regions through the end of the year, but he thinks that early avoidance of travel to Italy will fade. “People tend to forget, and we managed the pandemic very well, so now we have the image of a safer place,” he says. “We are already looking and planning for the new year with the eye of what’s good and what we have learned from this situation.”

Many industry members are looking at the potential advantages that the pandemic could lend to wine tourism, particularly the opportunity to connect with local consumers. “There may be long-term, favorable impacts for our industry,” says Massoud. “Since New Yorkers are not really traveling, the East End offers a culturally rich and naturally beautiful escape from the city.”

“We anticipate that domestic travel is where consumers feel the most comfortable,” adds Laslett. “We hope this resonates with would-be international travelers who want a beautiful wine country experience closer to home.” She also hopes that the increased amount of online wine sales will result in more consumers learning about wines and wineries from different regions and therefore planning wine country trips for the future. After all, the inability to travel might just make consumers want to travel to wine regions even more.

“We are sure that tourism will return to where it used to be, and eventually be even stronger,” says Cesari. “We believe that the months of lockdown have not changed people’s desire to travel.”

While 2020 has proven to be a difficult year for wine tourism, wine producers are used to staying tough in the face of challenges. “Covid has had a serious impact on our industry, to the point where some may have been questioning their survival,” says Massoud. “Lately, things have been looking up. Almost all of us are farmers, and farmers are resilient by nature. We know we will get through this.”

The article Domestic Tourism Is Proving to Be a Lifeline for Many Wineries appeared first on VinePair.

source https://vinepair.com/articles/domestic-tourism-lifeline-wineries/

[burde]

Umberto Cesari Resultum Sangiovese Rubicone 2012 🌿🍇🍒 • • • • • • • • • • • • limpido e nitido, marasca e vetiver , ciliegia durone menta e anice, sottobosco tra mirtilli e more e humus delicato , sorso che sorprende perchè appuntito e sottile ma di forza ed eleganza che unisce l’anima romagnola del Sangiovese solare con quella appenninica più fresca e corroborante. Tannino in puro stile 2012, di sostanza ma mai aggressivo , sfina il corpo del vino senza far pesare la beva. Di slancio su carni rosse ma anche preparazioni meno impegnative , basta che ci siano spezie anche esotiche... #andreagori #wine #vino #andreagorisommelier #vin #winelover #tasting #degustazione #assaggimemorabili #sangiovese #romagna #umbertocesari #igt #emiliaromagna #rubicone (presso Umberto Cesari) https://www.instagram.com/p/B_VS5fRqSEG/?igshid=dd0ibdmptkem

[mywinepal]

My 1st @vanwinefest seminar today is the wines from EMILIA-ROMAGNA in Italy. Featured wines:   Chiara Condello Le Lucciole 2015 Le Rocche Malatestiane Tre Miracoli Sangiovese Romagna DOC Superiore 2017 I Diavoli Sangiovese Romagna Superiore 2017 Medici Ermete Quercioli Lambrusco Sorbara NV Monte Delle Vigne Callas 2016 Lambrusco Selezione 2018 Poderi dal Nespoli Albana Secca Romagna DOCG “Campadora” 2018 Santodeno Sangiovese di Romagna DOC Superiore 2017 Trere Albana Secca Romagna DOCG “Arlùs” 2018 Sangiovese Superiore Riserva DOC “Amarcord D’un Ross” 2016 Umberto Cesari Rubicone Sangiovese Tauleto 2013 Rubicone Sangiovese Cabernet Sauvignon Liano 2016 https://www.instagram.com/p/B9Hk9CBBaP0/?igshid=i2pqq5lllgyu

[wanderingcanucks]

9L Bottle of wine from Umberto Cesari. A lot heavier than I expected and would be a great party bottle. Should we get one and share it. . . . #wandering_canucks #ladolceniente #thegoodlife #thesimplelife #love #people #travel #travelcouple #traveling #adventure #canada 🇨🇦 #amazingplanet #worldtravelpics #travelpics #travelpic #fantastic_earth #vacation #worldtraveler #passionpassport #globetrotter 🌏 #travelholic #beautifuldestinations #neverstopexploring #awesomeearth #wanderfolk #traveltheworld #igtravel 🏡 (at Umberto Cesari) https://www.instagram.com/p/Bwf_FWzFcou/?utm_source=ig_tumblr_share&igshid=1ih0nztlg8e2

[glinformati-blog]

Vinci gratis Umberto Cesari Experience per 2 persone - GLI INFORMATI

[andrewsommerhalder]

LCBO Adds New Wines to its Vintages Collection

Andrew Sommerhalder, a group controller at Envision in Toronto, has over three decades of business management experience and 20 years of accounting experience. A CPA and CGA, Andrew Sommerhalder enjoys trying wines in his free time from LCBO. Skilled in wine evaluation, he has some of the best recommendations from the distributor’s new wine collections. For some time, LCBO has been maintaining its Vintages Essentials Collection. This permanent collection consists of proven favorites both in stores and online. In fact, six out of every 10 bottles of wine sold in Canada belong to this collection. It features over 130 best-in-class wines, such as New Zealand Sauvignon Blancs, Pinot Noirs, and Chianti Classicos. In May 2021, the distributor added several more new wines to its Vintages Essentials collection. This includes the 2019 Antinori Bramito della Sala Chardonnay IGT. Hailing from Umbria, Italy, this wine features a yellow-gold color with the bright, crisp taste of hazelnut, lemon, apple, and sea salt. Coming in at $22.95, the variety embodies elegance. It is accompanied by the 2017 Umberto Cesari Liano Sangiovese Cabernet Sauvignon IGT, the 2016 Tommasi Amarone della Valpolicella Classico DOCG, and the 2017 Castello di Neive Barbaresco DOCG. These wines offer a range of flavors, from the black cherry and espresso found in the 2017 Castello di Neive Barbaresco to the figs and berries in the 2016 Tommasi Amarone della Valpolicella Classico.

[pangeanews]

L’epopea di “Pulp Libri”: quando il romanzo era rock. Francesco Consiglio dialoga con Fabio Zucchella e Umberto Rossi

La parola scritta tracima, inonda il web, ci fa affogare dentro fiumi di parole, migliaia di blog letterari, milioni di utenti social che scrivono, scrivono, scrivono. Tutti scrivono e l’editoria è in crisi. Sempre meno gente legge i giornali cartacei: gente anziana o di età matura. E quanto alle riviste letterarie, chi si ricorda di essersi recato in edicola a comprarne una? Credetemi, siamo in pochi, anche perché quel tipo di riviste non ha mai potuto godere di una distribuzione capillare. Ieri, all’edicola sotto casa, ho contato sedici riviste di gossip e due letterarie: L’indice dei Libri e La Lettura, la testata culturale del Corriere della Sera. Anche la rivista Poesia, fondata nel 1988 da Nicola Crocetti (80 anni questo mese), abbandona le edicole. Finita sotto il controllo della Feltrinelli, verrà distribuita nelle librerie.

Ciò significa che di letteratura si scrive poco? Nient’affatto. I migranti della scrittura hanno trovato i porti aperti del web e sono sbarcati a frotte: giornalisti licenziati o in cassa integrazione, critici senza lavoro, poeti senza lettori, aspiranti scrittori rifiutati perfino dalla Pizza&Fichi Editrice, ma anche tanti appassionati (mi ci metto anch’io, scrittore perennemente in cerca di uno ius soli letterario). Il web accoglie tutti, viva il web!

Oggi per Pangea ho intervistato Fabio Zucchella, caporedattore di una mitica rivista letteraria, Pulp Libri, e Umberto Rossi, uno degli articolisti più attivi e colti della redazione.

Pulp Libri apparve in edicola nell’aprile 1996, nata come inserto di Rumore, una delle più importanti riviste italiane di cultura musicale, e i suoi primi collaboratori provenivano dal mondo dei critici e degli appassionati del rock e della musica alternativa. Fin dalla grafica, Pulp Libri era un unicum, almeno in Italia, poiché richiamava alla mente riviste statunitensi di letteratura popolare che trattavano di fantascienza, racconti polizieschi, western, guerra e splatter. Tuttavia, non fu mai univocamente dedicata al genere pulp, ma, numero dopo numero, provò a indagare l’intero fenomeno della scrittura, dal classico al fumetto, dalle canzoni d’autore alle sceneggiature cinematografiche.

Marco Lanterna, ne Il caleidoscopio infelice. Note sulla letteratura di fine libro, ha scritto che Pulp Libri si connotava per “l’assolutezza critica (cioè l’assenza di calcolo o tornaconto), l’anarchia metodologica, il convincimento che si debba combattere per l’idea, anziché lasciar perdere secondo comode nenie fataliste, fosse solo per una questione di stile, di condotta, di etica”.

La versione cartacea ha cessato di esistere con il numero 104, nel luglio del 2013, dopo 17 anni di uscite bimestrali regolari. Oggi è pubblicata on line (www.pulplibri.it).

Pulp Fiction è un film del 1994 diretto da Quentin Tarantino. Pulp Libri nasce nel 1996. Suppongo che il titolo sia un omaggio al regista statunitense…

Zucchella: No, no. Quel nome non è stato un omaggio in particolare a Tarantino.

Ops, senti il glu glu dell’intervistatore? Colpito e affondato. Vorrei però capire se la rivista mirava a spingere scrittori legati a quel tipo di poetica comunque legata a Tarantino: storie sensazionali con venature grottesche, scrittura epidermica, un forte carattere di divertissement citazionistico.

Zucchella: Da lettore accanito dei Gialli Mondadori o di Urania, da parecchio tempo sapevo benissimo cosa fosse la vera pulp fiction, e il citazionismo postmoderno l’avevo già metabolizzato tramite Barthelme o Barth. Tuttavia, ci piaceva l’idea della “polpa della letteratura” da addentare e da gustare anche cruda, grezza (raw power…), quindi senza particolari mediazioni paludate. Da lettori (certo, un po’ specializzati) per lettori. Volevamo parlare degli autori che ci piacevano, all’epoca spesso dimenticati dall’editoria, degli eterodossi, dei cani sciolti, di quelli confinati nel ghetto delle riviste da edicola, perché pensavamo che in mezzo a quella cosiddetta spazzatura ci fossero cose molto interessanti. Per questo ci accusarono anche di snobismo.

Rossi: Spesso mi chiedevano per quale rivista scrivessi, e quando rispondevo Pulp Libri qualcuno storceva la bocca e rispondeva: “Ma a me non piace il Pulp!”, ovviamente pensando a Tarantino. In realtà la rivista parlava di tutto e il contrario di tutto. È vero che andavamo a trattare gli scrittori trascurati o ignorati o dimenticati sia dall’editoria che dalle pagine culturali dei grandi quotidiani, che già allora correvano appresso alle mode o erano impegnati in scambi di favori. Scrissi due articoli piuttosto sostanziosi su Steve Erickson e John Hawkes, che non sono mai stati autori di moda. E poi c’era sempre l’attenzione per le piccole, anche piccolissime case editrici, che per questo ci si erano affezionate. E poi in ogni numero c’era la rubrica di Renzo Paris che rileggeva i classici; non ci facevamo scappare neanche quelli…

Molti autori che scrivevano per Rumore, cominciarono a scrivere recensioni librarie con lo stile e l’approccio con il quale scrivevano quelle dei dischi. Il target di riferimento erano gli appassionati di rock che occasionalmente leggevano romanzi?

Zucchella: L’idea fu dell’editore di Rumore (e prima ancora di Rockerilla), Claudio Sorge, che mise in piedi una piccola redazione guidata da Claudio Galuzzi e coadiuvata inizialmente da me e da Marco Denti. Da tempo tutti, a vario titolo, scrivevamo di musica, avevamo un passato più o meno anche punk. Sapevamo che il lettore di Rumore sicuramente leggeva romanzi e guardava film: così provammo per un paio di numeri, se non ricordo male, con un inserto di libri e l’esperimento ebbe molto successo. Le cose partirono così. Dopo un paio di anni purtroppo Galuzzi venne improvvisamente a mancare, e il timone passò in mano al sottoscritto. In seguito la redazione comprese Claudia Bonadonna e Marco Philopat. L’approccio diciamo così ‘pop’ era complessivo, quindi riguardava anche il progetto grafico, realizzato da Giacomo Spazio. Poi naturalmente con il passare degli anni la rivista è cambiata (si è evoluta?), ma senza mai perdere di vista la sua natura essenzialmente “pratica”: un bimestrale da edicola che potesse fornire una guida ragionata e affidabile ai libri, a certi libri, cercando di presentare autori o filoni che ritenevo interessanti.

Rossi: Devo aggiungere che la rivista s’era fatta conoscere. S’era fatta un nome. Nel periodo in cui la versione a stampa non esisteva più e quella online ancora non era stata attivata mi capitava ogni tanto di incontrare persone, fisicamente o su Facebook, che dopo un po’, quando mi facevo sfuggire che facevo il critico letterario, mi chiedevano dubbiosi: ‘Ma non sarai mica quell’Umberto Rossi di Pulp?’. Mi resi conto allora che le nostre cose erano lette, e con attenzione. Pensa che ci sono diversi affezionati lettori che hanno la serie completa della rivista, e altri aficionados che, nel periodo in cui feci le funzioni di caporedattore, ci scrivevano per chiederci dove potevano trovare i numeri che gli mancavano. Quando con Gallo facemmo partire la pagina Facebook di Pulp che poi si sarebbe trasformata nella versione online attualmente in attività, non faticammo affatto a convincere gli uffici stampa a mandarci le copie per le recensioni. Erano tutti contentissimi che la rivista fosse tornata. E tutti la conoscevano. Tra gli addetti stampa Pulp Libri era una presenza familiare e tutto sommato rispettata. Specialmente negli uffici stampa della piccola editoria.

Una giovane redazione è un crocevia di speranze, illusioni, utopie e voglia di emergere. Ricordi qualche nome importante che ha scritto su Pulp e successivamente si è affermato come scrittore e come giornalista?

Zucchella: ‘Giovane’ non più di tanto, visto che quasi tutti avevamo superato abbondantemente la trentina. Per quel che riguarda speranze etc, non ti saprei dire: quasi nessuno di noi era un professionista; hanno collaborato soprattutto lettori, certo molto forti e un po’ ‘particolari’, che nella vita facevano altre cose: insegnanti, medici, fotografi, bibliotecari, traduttori, librai, pubblicitari, ricercatori universitari. Inevitabilmente non sono mancati personaggi (pochissimi, per fortuna) in cerca di visibilità e di appigli per costruirsi una carriera, ma sono stati più o meno cordialmente messi alla porta. Tra i collaboratori ci sono stati anche dei professionisti, con i quali c’erano (e ci sono) rapporti personali di stima: ad esempio Severino Cesari, Giuseppe Culicchia, Valerio Evangelisti, Paco Ignacio Taibo, Paul Virilio, Carlo Lucarelli, Niccolò Ammaniti, Tiziano Scarpa sono i primi che mi vengono in mente. Roberto Saviano, il Saviano pre-Gomorra, è stato un collaboratore molto presente e propositivo.

Rossi: Alla lista di mestieri elencati da Fabio andrebbero aggiunti anche un dirigente della sanità regionale e un tecnico di una ASL. Era un’umanità assai variegata quella che collaborava, anche se guardiamo solamente a chi scrisse per la rivista per anni, e non occasionalmente. Volendo riassumere, i collaboratori di Pulp si dividevano grosso modo in quattro gruppi: c’erano gli scrittori e i poeti; c’erano gli operatori dell’editoria (traduttori, editor, talent scout, etc.); c’erano quelli, come me e altri, di formazione accademica, con una laurea in lettere o lingue e letterature straniere in tasca; e c’erano i lettori forti se non fortissimi. E per me proprio la compresenza di queste tipologie così differenziate di recensori faceva della rivista qualcosa di unico.

Un vostro collaboratore mi ha detto: “Se anche massacravi un libro, ma argomentando la tua valutazione negativa, Zucchella non si faceva problemi a pubblicarla. Mai successo che un pezzo venisse respinto perché si osava criticare qualche nome illustre”. Eravate così fuori dal giro da non temere nessuno?

Zucchella: Sinceramente la questione di essere o meno nel giro – o di volerci entrare – non si è mai posta, almeno per il sottoscritto e per molti dei collaboratori. La stroncatura di per sé non mi interessava più di tanto, alla fin fine preferivo usare quello spazio per recensire un buon libro (o che comunque ritenevo tale). Ovviamente la rivista non era così ingenua né sprovveduta, certe storture del sistema erano un po’ sotto gli occhi di tutti, anche degli involontari addetti ai lavori come noi (ad esempio, credo che l’unica recensione negativa a un libro di Baricco la si poté leggere sul New York Times, a firma di Nick Tosches). Per qualche anno sulla rivista c’è stata una seguitissima rubrica intitolata “I ritratti dell’editoria italiana”. Daniele Brolli è sempre stato particolarmente lucido – o feroce, a seconda dei punti di vista – nel descrivere certi tic ‘culturali’, un certo mondo (o demi-monde) popolato di editori, agenti, autori, giornalisti, editor. Naturalmente i suoi “Ritratti” hanno causato problemi, sia a lui che a me. Ma era inevitabile.

Rossi: Di Brolli mi piace ricordare la sua serie di elzeviri sulla Pivano. Come ha detto Fabio, feroci. E secondo me, tutto sommato, giustamente. Comunque, se uno va a leggere un numero scelto a caso di Pulp Libri scoprirà che di stroncature non ne uscivano poi molte. Si cercava sempre di valorizzare il libro per quello che valeva; non si sparava il cannone per antipatie o per guerra di bande, come capita altrove. Diciamo anche che, dando spazio a chi veniva deliberatamente ignorato dalle pagine culturali e dalle rubriche mediatiche monopolizzate dalle grandi case editrici, di fatto operavamo, implicitamente, una critica all’andazzo del sistema. Questo non va trascurato.

Con il gran numero, sempre crescente, di book influencer, le miriadi di blog e un accesso sempre più facile ai palcoscenici del web, scrivere recensioni librarie è diventato un campo minato. Se stronchi un autore mezzo conosciuto, i suoi aficionados ti scatenano addosso una shit storm.

Zucchella: Da questo punto di vista seguo poco il web, e spesso vedo cose che eufemisticamente non mi piacciono granché. Di ciò di cui mi parli non so praticamente nulla – anche se mi pare il corrispettivo, ingigantito, di quello che accadeva vent’anni fa. Presumo sia l’inevitabile corollario dell’information overload connaturato alla rete, e della sua accessibilità.

Rossi: Quando facemmo ripartire Pulp Libri in forma digitale nell’estate del 2017 io mi misi d’impegno a contattare i vecchi collaboratori. M’ero segnato i nomi dei recensori su un quaderno, prendendoli da vecchi numeri della rivista, e li cercai caparbiamente con Google. Alcuni accettarono di tornare a scrivere e ancora scrivono per la rivista online; altri avevano mollato completamente libri ed editoria, per cui declinarono. Qualcuno, come Fabio Donalisio, lavorava per un’altra rivista. Alcuni mi dissero che ormai s’erano fatti il blog, che le case editrici i libri glieli mandavano comunque per le recensioni, e grazie per averli chiamati. Ecco, questo dei blog è stato il grande cambiamento, e non sempre da disprezzare. Ci sono blog validi, come ad esempio quello di Tommaso Pincio. Poi ci sono gli influencer: quelli che postano su Instagram la foto del libro con una composizione più o meno artistica intorno. E non siamo neanche sicuri che l’abbiano letto davvero. Tutte queste modalità nuove di fare critica (sempre che critica si possa chiamare, e non sia semplicemente pubblicità fai-da-te) hanno cambiato il quadro della situazione. Non è solo questione di essere attaccati dai tifosi del dato scrittore se lo valuti negativamente, o dai seguaci del blogger se contesti qualche sua esternazione; il problema è che ora c’è una grossa concorrenza derivante da questi nuovi canali di comunicazione, che in certi casi sono tenuti in gran considerazione dagli uffici stampa…

Tra tanti giovani, c’era Renzo Paris; che a tutti gli effetti potremmo definire il Grande Vecchio di Pulp. Come c’era finito?

Zucchella: Paris fu un contatto di Galuzzi, se non ricordo male. Obiettivo della sua rubrica (“Il tempo ritrovato”) era quello di togliere un po’ di polvere dai Sepolcri Imbiancati della Letteratura, di far rivivere l’attualità di certi classici.

Rossi: Fu Renzo a dirmi, un paio d’anni fa, che su Pulp Libri si recensivano i libri come fossero dischi. Diciamo che lui costituiva un contrappeso allo stile talvolta dadaista e talvolta rockettaro, di alcuni recensori. Come ha detto giustamente Fabio, lui rileggeva i classici. Ma non solo. All’inizio della collaborazione aveva destato interesse un libro che Renzo aveva scritto allora dove cercava di fare una panoramica della letteratura italiana del 2000, nel quale aveva trattato anche nomi e tendenze nuove. Insomma, Renzo teneva d’occhio anche i giovani leoni. E devo dire di aver letto ben pochi articoli su Houllebecq come quello che Renzo fece uscire su Pulp. La classe non è acqua.

Secondo te avrebbe senso oggi un ritorno di Pulp in versione cartacea?

Zucchella: Le condizioni sono drasticamente cambiate rispetto a 25 anni fa, com’è ovvio, sotto tutti i punti di vista. Cambiate molto in peggio, se possibile. Comunque penso di sì, avrebbe un senso.

Rossi: La vedo difficile. Stanno chiudendo le edicole. Parafrasando Bianciardi, la vita è agra per tutte le riviste. Per me la via giusta è quella della rivista online, magari gestita in modo più adeguato ai tempi. Pulp Libri sul web avrebbe ancora molto da dire e da fare, e per questo spero che continui a vivere. Ma per farlo deve giocare meglio la partita sui social, che piaccia o non piaccia sono uno spazio che va presidiato. Mi auguro che si comprenda questo.

Francesco Consiglio

  L'articolo L’epopea di “Pulp Libri”: quando il romanzo era rock. Francesco Consiglio dialoga con Fabio Zucchella e Umberto Rossi proviene da Pangea.

from pangea.news https://ift.tt/3jjFN5i

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Venezia 76: a Lina Wertmüller ospite al premio Kinéo

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Venezia 76: a Lina Wertmüller ospite al premio Kinéo

Venezia 76: a Lina Wertmüller ospite al premio Kinéo

Venezia 76: a Lina Wertmüller ospite al premio Kinéo

Dopo l’emozionante incontro a Cannes, in cui Lina Wertmüller ha ricevuto il Premio Kinéo con Giancarlo Giannini per il film Pasqualino Settebellezze (restaurato dal Centro Sperimentale di Cinematografia / Cineteca Nazionale diretto da Marcello Foti e presieduto da Felice Laudadio, grazie al sostegno economico di Paolo Rossi Pisu di Genoma Films), il Kinéo renderà nuovamente omaggio alla regista.

In attesa di ricevere l’Oscar a Los Angeles, Lina Wertmüller sarà presente alla 76. Mostra Internazionale d’Arte Cinematografica di Venezia, dove verrà celebrata per i suoi 40 anni di carriera il 1 settembre durante la cerimonia di premiazione.

In questo suo percorso verso la statuetta, la regista di Travolti da un insolito destino nell’azzurro mare d’agosto ha fortemente voluto includere anche la Mostra di Venezia alla quale è da sempre legata da un profondo affetto, rinnovatosi anche in occasione della presentazione del suo ritratto Dietro gli occhiali bianchi, documentario di Valerio Ruiz in concorso nella sezione Venezia Classici nel 2015.

Lina Wertmüller è stata la prima donna nella storia ad essere candidata all’Oscar come migliore regista nel 1977, proprio per il film Pasqualino Settebellezze. Il successo allo scorso Festival di Cannes ha accelerato l’iter della sua candidatura all’Honorary Award, che le sarà consegnato a Los Angeles il 27 ottobre al Dolby Theatre.

IL PREMIO KINÉO Il Premio Kinéo è un riconoscimento al cinema italiano votato dal pubblico, prevalentemente delle sale cinematografiche ANEC (sul sito www.kineo.info), e da una giuria internazionale di personalità eccellenti del mondo del cinema. Giunto alla sua 17^ edizione, si svolgerà durante la 76. Mostra Internazionale d’Arte Cinematografica di Venezia, domenica 1 settembre. Progettato nel 2001 al Ministero per i Beni e le Attività Culturali, contestualmente alle numerose attività per rilanciare il cinema nazionale, il progetto Kinéo debutta a Venezia nel 2002. Grazie a una stretta collaborazione con ANEC (Associazione Nazionale Esercizio Cinematografico), si è riusciti a coinvolgere e a dar voce a decine di migliaia di appassionati, rendendoli partecipi e valorizzando le loro scelte all’interno dei listini delle case cinematografiche. Oggi, il Premio Kinéo, premio del pubblico, continua ad essere promosso dall’Associazione Culturale Kinéo presieduta da Rosetta Sannelli, che lo ha ideato. Tra le istituzioni che hanno rinnovato il sostegno al Premio: ANEC, il Centro Sperimentale di Cinematografia, il Sindacato Nazionale Critici Cinematografici Italiani, la Biennale Cinema e la Direzione Generale Cinema del MIBAC, la Regione Veneto. I premi Kinéo 2019: Miglior film drammatico, Miglior commedia, Miglior opera prima, Miglior regista, Miglior montaggio, Miglior attore protagonista drammatico, Miglior attrice protagonista drammatica, Miglior attrice protagonista commedia, Miglior attore non protagonista, Miglior attrice non protagonista, Premio Kinéo Sncci Pubblico & Critica, Premio Kinéo Giovani, Premi Kinéo Speciali, Kinéo International Awards.

La Premiazione si svolgerà domenica 01 settembre alle ore 19:30 presso lo Spazio Regione Veneto dell’Hotel Excelsior. La Cena ufficiale esclusivamente per gli artisti, invece, si svolgerà a Cà Sagredo, che fu la casa dei Dogi Morosini, dove la direttrice Lorenza Lain ha voluto accogliere per la seconda volta i premiati.

I partner:

Banca Generali Private, l’evoluzione naturale per costruire insieme un sistema economico e finanziario più sostenibile, con nuove proposte orientare in tal senso e strategie inedite;

Umberto Cesari Exclusive Wine Partner del Premio Kinéo;

Stella Artois, la premium lager del gruppo Ab InBev vicina al mondo del cinema, accompagnerà gli ospiti del Premio Kinéo con il suo gusto unico ed elegante, da assaporare nell’iconico calice in vetro;

Eleonora Lastrucci, il brand personalizzato della Haute Couture;

Pegaso Università Online, leader europeo nella formazione online, per il secondo anno sponsor della Biennale College Cinema.

Un grazie speciale alla Regione Veneto e alla Biennale Cinema.

Cinefilos.it – Da chi il cinema lo ama.

Venezia 76: a Lina Wertmüller ospite al premio Kinéo

Dopo l’emozionante incontro a Cannes, in cui Lina Wertmüller ha ricevuto il Premio Kinéo con Giancarlo Giannini per il film Pasqualino Settebellezze (restaurato dal Centro Sperimentale di Cinematografia / Cineteca Nazionale diretto da Marcello Foti e presieduto da Felice Laudadio, grazie al sostegno economico di Paolo Rossi Pisu di Genoma Films), il Kinéo renderà nuovamente […]

Cinefilos.it – Da chi il cinema lo ama.

Chiara Guida