Who is Fabrizio Brienza.  Born in Campobasso, in southern Italy, in 1969, Fabrizio Brienza studied graphic design in Florence before launching a modeling career in Milan — walking for Armani, Valentino, Versace, and Dolce & Gabbana. He moved to Miami in 1997, ran the nightlife scene in South Beach, and broke into acting with his debut in The Versace Murder (1998). Hollywood followed: The Adjustment Bureau alongside Matt Damon and Emily Blunt, Duplicity with Clive Owen, A Walk Among the Tombstones with Liam Neeson. He currently recurs as Nico, the underboss to Chazz Palminteri’s character, in Godfather of Harlem on MGM+. Between film sets, he is the doorman at Paul’s Casablanca, one of New York City’s most storied and selective clubs. He was recently featured in the Louis Vuitton City Guide for New York and appeared on the cover of The New York Times. With his unmistakable accent, his Versace fur coats, and a philosophy built entirely on refusing to sell out, Brienza is one of those Italians New York simply does not forget.

Actor, model, nightlife icon — who are you today?

We’re from the South of Italy — I’m from Molise — and we have all the talent in the world. We’re self-made. We live life, we learn from it, and acting comes naturally. And being Italian in New York? It’s like driving a Ferrari down Park Avenue. You are always two steps above everybody else. Being Italian is the best thing in the world. You don’t know it when you’re in Italy, because you’re always surrounded by Italians. When you travel the world, you realize: you are the cashmere of the human race.

How did your relationship with america begin?

As a kid I used to write letters to the Italian ambassador to Hawaii because I wanted to become a surfer and move there. He actually wrote me back — I still have the letter. I never made it to Hawaii. But America was always in here. I grew up watching American movies, I always loved that energy — that sense that anything is possible. In Italy, if you want to do something and you’re not the son of the Prime Minister or the nephew of the Pope, they cut your legs every single time. In America, if you’ve got the guts, they promote you. That’s the difference.

Was being italian a lever or an obstacle?

A lever. Always. You don’t realize it when you’re home, because you’re surrounded by Italians. Then you travel the world — you meet everyone else — and you understand that you are the cashmere of the human race. Italian is premium goods. It’s silk. The rest of the world is polyester. And look at Sean Connery: fifty years of career with a Scottish accent, playing every single character. I understood late that my accent wasn’t a limitation. It was my brand.

You turned down l’Isola dei Famosi. Why?

They contacted me and I said no immediately. I don’t like reality TV, I’ve never been a fan. Unless it’s a competition where you actually have something to show — Top Chef, something like Anthony Bourdain — then fine. But putting a group of people in a room to gossip, fight, and sleep around? That’s a sell-out. Sure, you get popularity. But for what? I only do projects that fulfill me. That I actually want to do. I don’t sell out just because. In Miami, once you’ve built your reputation, you name your price and they pay it. In New York, every day is the first day of school. It doesn’t matter who you were yesterday.

How much does reputation count in new york versus raw talent?

I’ve lived all over America — Los Angeles, San Francisco, Las Vegas, Miami, New York — and every city has its own logic. In Miami, once you build your reputation, you name your price and they give it to you. In New York, every day is the first day of school. They don’t care who you are or what you did yesterday. You could be the president, the best at whatever you do — today is a new day and you start over. I experienced it myself.

Social media: how did you get there and what did it give you?

At first I didn’t want to do it. I thought it was for thirteen-year-olds doing stupid dances. Then during Covid I shot that video. Governor Cuomo had said you could only eat outside. There was a full blizzard. It was nine-thirty at night and I was already in my pajamas. A friend called: “Fabrizio, look outside.” I said forget it. Then I said OK. I put on the fur coat, we set a table outside the restaurant, the pizza guy made a pizza, I’m drinking a beer in the middle of a snowstorm: “Thank you, Mr. Governor, this idea of dining outside is just fantastic.” Thirty million views in three days. From that day on, I went viral multiple times. Social media is the best shop window in the world. They pay me to be myself. What’s the best job in the world? That’s it.

What would you tell yourself — the guy who arrived with $300 in his pocket?

I should have come to New York sooner instead of staying in Miami for seven, eight years. I had the best time of my life there, don’t get me wrong. But when HBO cast me in that film with Andy Garcia and the producers said “come to Los Angeles, we want to help you” — I didn’t go. I stayed in Miami, doing the clubs, the parties, having fun. That’s the one regret. But then again, I don’t really regret anything, because you only learn from mistakes. If I tell you don’t do that, you’ll do it anyway. You have to go through it. It’s all life experience — and as an actor, it makes you richer. It refines you.

What are you working on right now?

I just finished Zips, a short film with Australian producers — mob story, going to all the festivals. And I’m on Godfather of Harlem on MGM+ — Forrest Whitaker, Vincent D’Onofrio, Giancarlo Esposito, Chazz Palminteri. I play his underboss. It’s the story of the sixties and seventies, the Italian mob and the Black community fighting for control of Harlem. I was just featured in the Louis Vuitton City Guide for New York, I was on the cover of The New York Times, and I’m possibly doing something with John Turturro. A lot of things are cooking. I’m very excited.

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Federico Desimoni intervened at the microphones of New York in the podcast Portraits, led by Claudio Brachino, offering a broad reflection that interweaves right, food culture and geopolitical markets. A dialogue that starts from its legal formation and arrives to the international perspectives of the Balsamic Vinegar of Modena IGP, passing through the crucial role of the consortia of protection as pretexts of a collective interest.

The professional path of Desimoni is rooted in the right: “I started as a lawyer, I also supported the state exam and worked in a law firm. The very first part of my professional life was that of the approach, and that’s where my path starts.” A training that today is decisive in its role as the leader of the Consortium, especially when the theme is the protection of geographical indications.

Legal sensitivity, he explains, is anything but accessory: “It counts a lot, because the theme of protection is an integral part, indeed perhaps the main part, of the work of consortia. Not by chance are they called protection consortia: their first function is to ensure and safeguard the name”. But it’s not about defending a brand as a private asset: “There is not only a right of intellectual property in a classical sense, but a collective right: we do not defend the interest of a single company, but that of a community of producers working in a particular territory”. It is in this dimension that the Balsamic Vinegar of Modena IGP becomes, in its words, “a public good, a collective interest”.

Often the term “consortium” remains abstract for the general public. Desimoni clarifies it precisely: “The consortium is a legal entity provided for by law, which arises when more companies in the same sector join together to carry out a common part of their activities. In Italy we are perhaps the most advanced country in the regulation of this model, which then became also European. In our sector, after IGP recognition in 1999, a law defined that the interests of the denomination could be represented by a consortium of protection, recognized by the Ministry. From that moment the consortia perform functions that are partly private but above all public, because delegated by the state”.

The two fundamental guidelines remain “the protection of the name and intellectual property rights” and “the promotion and communication of the product in the world”.

Governance also reflects this balance between public and private. “The consortium is composed first of producers, but can include the whole supply chain: in the case of the Balsamic Vinegar of Modena can also join producers of must, which is the raw material, or bottlers”, explains Desimoni, underlining how the majority remain firmly in the hands of producers, who economically support the consortium through a contribution proportional to the product.

“The system is democratic: there is an assembly, a board of directors, technical committees, and the votes are in part proportional but with corrective that allow the cohabitation of large and small companies”. An asset operating under the constant supervision of the Ministry, with periodic checks and renewals.

Basically, in the story, it is also the distinction between PDO and PGI, often misunderstood. «The PDO is closely linked to the territory also with regard to the raw material, while in the IGP the bond is mainly human and reputational: the product is historically made in that place, but the raw material must not necessarily come from the same territory”.

Two different models, both protected by the European Union, that tell different production models.

When you arrive at the heart of the theme, the Balsamic Vinegar of Modena, the tone becomes almost identity. “There is no balsamic vinegar that is not Modena or Reggio Emilia. It is a product with a millenary history, born as a condiment based on cooked must, called “balsamic” both for its sensory qualities and for the alleged healing properties”. A global success that today results in impressive numbers: “We export 92% of production and about 50% goes outside Europe”. Also thanks to a versatility that makes it universal: “It matches everything, it easily enters the kitchens of different cultures and is also in line with the new trends: zero alcohol, totally vegetable”.

In this scenario, the United States is a strategic pillar. “It is a fundamental, irreplaceable market. In the United States we export almost 30% of the production, about 25 million liters”. But there is also an emotional dimension: “It is the market where the great international reputation of the Balsamic Vinegar of Modena was born in the 1980s, starting from New York. There is an economic, commercial but also very strong affective link”.

Tensions on duties tested the sector: “The most difficult phase was that of uncertainty, those six to eight months that upset the market.” In spite of this, the sector maintains, even if they “increase the values, but reduce the incomes” because of the increasing costs that producers are encroaching. The priority remains one: “Do not affect the final consumer, in order to avoid the original product being replaced by imitations, especially in the United States, where imitative products are numerous”.

The final look is aimed at 2026 and communication. “We are working a lot on the link with Modena, on identity: we have made a short film, already presented in several American cities, and in 2026 we will launch a wider digital campaign entitled “Modena Balsamic Genius”. We want to communicate that there is a unique genius, rooted in the tradition and producers of Modena”. Because the Balsamic Vinegar of Modena is not a simple brand, but “an indication of origin that is guarantee of originality”.

L’articolo Federico Desimoni: «The Balsamic vinegar of Modena IGP is a collective good, not only a product» comes from IlNewyorkese.

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In this in-depth conversation with ilNewyorkese, Cristiana Pegoraro retraces the key stages of her career, which began at the age of four in Terni and unfolded through Salzburg, Berlin, New York—via Australia—while continuing to take her across the world. Music has no borders, and Cristiana Pegoraro understood this from a very young age. With great humility, she speaks about the role of study and discipline, the importance of connecting with audiences, the transformative power of music, and the responsibility artists have to inspire peace and beauty. She also shares her bond with Umbria and with Saint Valentine, and finally reveals the less visible side of an artist’s life: the daily, often unseen effort that makes the magic of the stage possible.

How did your passion for music begin, and how did your journey start?

My passion for music began immediately. I started playing the piano at the age of four because, in kindergarten, I was lucky enough to meet a music teacher who let us move our little hands on keyboards. It was love at first sight. Shortly afterward, I began taking lessons with a private teacher, and it didn’t take long for me to realize that this would be my life. I believe it was a passion I already carried within me, which blossomed the moment I touched a keyboard.

From the Conservatory of Terni to international stages: how did you build your artistic path?

I was born in Terni, and since I started very early, I studied there, graduating at sixteen with top honors, distinction, and special mention under the guidance of Maestro Elio Maestosi, who made me fall even more deeply in love with music. But Terni soon felt a bit limiting to me, because I’m someone who loves to challenge herself, to see and to discover. So after graduating, I went to study at the Mozarteum in Salzburg—one of the finest music schools in the world—with the renowned professor Hans Leygraf, where I spent five years. I was the youngest student in the class and the least experienced. Many of my classmates were up to ten years older and already winners of major international competitions. I learned an enormous amount.

At the same time, I continued my advanced training in Vienna with the great pianist Jörg Demus. I then studied at the Universität der Künste in Berlin, and from Berlin I made the leap across the Atlantic to New York. I’ll make you smile: I got there via Australia. I won a selection that brought twenty pianists from all over the world to the Sydney International Piano Competition. There I met a very talented pianist. I was looking for new experiences and a new teacher, and he suggested a Russian professor in New York, Nina Svetlanova, one of the last heirs of the great Russian school founded by Heinrich Neuhaus. So, via Australia, I packed my bags and arrived in New York. A life full of adventures and discoveries that ultimately brought me here, to the Big Apple.

A life on the road. Have you ever felt tempted to stop and remain in your comfort zone?

Never. Every achievement that might have seemed like a destination was always just a starting point toward another goal. I never stop; I’m always seeking experiences that allow me to grow. I’m not someone who settles easily, and I can’t stay in the same place for too long.

How important are talent and training in reaching the highest levels?

A musician is very much like an athlete. We share the same ideals, values, and type of training—only we speak a different language, the language of music. Talent is the starting point, because without it you can’t go far. But it’s only part of the journey, and I would say a relatively small part. What follows is an immense amount of work, knowledge to acquire, and hours upon hours of daily practice. Like an athlete, we train our muscles—though less visibly—and we train our minds, our self-control, and our sensitivity, because performances must be as convincing as possible. Training plays a huge role in this path.

What is your relationship with the pursuit of perfection that often accompanies excellence?

I’m a perfectionist by nature. Everything I do must align with my own standards, and I always aim for very high results. The piano certainly falls into this category. “Obsession” might be too strong a word—I prefer to call it passion. Passion for achieving what I strive for and for maintaining the level I’ve reached, which is sometimes even harder than getting there in the first place. I enjoy challenges, but I try to face them with both passion and humility. Humility is essential. Putting yourself on the line means acknowledging your limits and working to overcome them, with the desire to do well and to share the beauty and meaning behind music with as many people as possible.

What do you feel in the moments just before a concert begins?

Excitement. I feel at home on stage—that’s where true sharing begins. I’m happy to share my music. The piano becomes an extension of my body and my personality. And when we have beautiful instruments that allow us to work on nuance and detail, the excitement grows even more. It’s like laying yourself bare, letting emotions flow. I guide the instrument, and in a way, I also guide the audience. In my concerts, I tell stories; I don’t just sit down, play, and leave. Creating a dialogue with the audience is essential to me—speaking, storytelling, playing, sharing. That moment on stage is my greatest joy.

How important is it today to explain music and engage in dialogue with audiences?

Extremely important. A certain level of musical literacy has been lost over time—one that once allowed audiences to attend a concert and immediately grasp both the interpretive art of the performer and the meaning of the program. For various reasons, this knowledge has declined, and I believe it’s crucial to bring audiences closer to the music being performed. Language helps: explaining, telling stories, sharing anecdotes. Sometimes I even make people smile, because classical music isn’t sad, rigid, or outdated—it’s alive, and often full of humor. Engaging with the audience means taking them by the hand and leading them into the piece I’m about to perform. It helps them understand what I will later express through notes.

In November, at Carnegie Hall, you dedicated a highly successful concert to the theme of peace. What did that mean to you?

As an artist, I feel a responsibility to share meaningful messages from the stage. In that moment, I have people’s attention, and I can try to inspire them. That’s why my concerts often revolve around specific themes, and today peace is a central one. Being able to convey this through music and through the example of great composers is fundamental. The Carnegie Hall concert, presented by the Permanent Mission of Italy to the United Nations, was deeply emotional and very important to me. I frequently collaborate with the United Nations on initiatives like this.

Bringing a message of peace to a stage like that, in front of UN representatives and an international audience—New York is a true melting pot—and feeling united as brothers and sisters through music was incredible. I certainly won’t change the world with a single concert, but I can try to inspire my audience to reflect and to become better people. It’s a small journey that each of us can take toward peace, starting with inner peace, through the beauty of music. Music is a universal language that transcends all barriers and speaks directly to the human heart and soul.

The concert also focused on the theme of an inner journey. How did you structure it?

The program was conceived as a journey—the journey of life: departure, discovery, challenge, dialogue, joy, love, passion, and wisdom. I grouped the pieces according to these themes and connected them to the lives of great composers. Take Beethoven, for example: what an immense challenge his life was. To begin losing one’s hearing at the age of thirty is a tremendous tragedy, yet he overcame it in a brilliant and inspiring way. His life is an example. Perhaps, in our own small way, we can do the same.

Humility, depth, and exploration emerge strongly from your story. How central are they to your vision of art?

They are essential. I love to communicate, and I constantly strive to improve myself. The further I go, the more confident I feel in my role—not only as a pianist, but as someone who shares messages of beauty and depth through music. Life is a precious gift, and it would be a waste to live it superficially. If I can help someone feel calmer, happier, or more inspired, then I feel fulfilled.

After many years around the world, you returned to represent your homeland as an ambassador for Umbria. What does that mean to you?

You never forget your roots. When I return to Umbria, I recognize the scents, the flavors, the colors—it truly feels like coming home. I travel the world, but I never forget where I come from. Sharing this beautiful land with so many people fills me with pride. Carrying Umbria in my heart wherever I go makes me very happy.

You are also an ambassador for Saint Valentine worldwide. What does this role involve?

When people hear “Saint Valentine,” they immediately think of February 14, chocolates, roses, and romantic dinners. But Saint Valentine was a real historical figure, and his relics are preserved in the Basilica of Terni, my hometown. He was a saint who performed miracles, and there is historical evidence that many people are unaware of—even icons found in Russia depicting him. The Valentinian Cultural Center of Terni appointed me as an ambassador to the world. Through my art, I promote the true figure of the saint, bringing Valentine’s Day back to its origins.

Of course, there is also the theme of love, which I consider the most important thing in life. I carry this message into my concerts. I also composed a piece dedicated to Saint Valentine, Colors of Love, which became a video filmed inside the basilica. It’s my way of promoting my city, my region, and the figure of the saint.

How has the perception of Italians in the United States changed over time?

At the beginning of the twentieth century, Italians arriving in America were immigrants searching for a better life. They endured enormous sacrifices and humiliation. Today, Italians who come to the U.S. are highly educated and often hold prominent positions. The quality of what we export is extremely high, and “Made in Italy” is a powerful global brand. One thing remains true: when you say, “I’m Italian,” people respond with great admiration. Italy is seen as a beautiful country, rich in history, culture, traditions, extraordinary food, and a wonderful climate. We are privileged—being Italian is always an advantage in the world.

Is there something I didn’t ask you that you would like to share?

Perhaps the reality of an artist’s life—what it truly involves. Many people see us only in the final moment, on stage, happy to do what we love, and that’s certainly true. But behind the scenes there is a life made of immense sacrifice, along with the challenges of constant travel: endless trips, delayed flights, lost luggage, time zones that disrupt your body. All of this makes the life of an artist quite complex.

An artist loves what they do, but they are also a professional. Every day you have to earn your place. Our path of study is extremely demanding, and when we step onto the stage, there is an enormous amount of work behind every performance. I wish this effort were appreciated as much as the performance itself. Unfortunately, in Italy artists are not always valued as they should be. In other parts of the world there is greater recognition, while in Italy we sometimes seem like an overlooked and underestimated category. Yet art is fundamental to life and education at every age. Artists should be supported and valued, because through art we strive to make life more beautiful.

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The entrepreneur and vice president of the Sbarro Health Research Organization, Giancarlo Arra, has recently been appointed to the Board of Directors of Sons and Daughters of Italy, the largest foundation that represents Italian Americans in the United States. An unexpected appointment, which Arra lives as an opportunity to strengthen the relations between Italy and the USA, creating a scientific, philanthropic and entrepreneurial bridge, with particular attention to the young people of South Italy. In this interview we retrace with him the value of this investiture, his commitment together with Antonio Giordano and the role of the new generations in renewing the image of our country in the eyes of the Italian American community.

What was your first impression when you heard about the appointment in the Board of the Sons and Daughters of Italy?

It was a surprise for me. Being chosen among many entrepreneurs, to many people working between Italy and the United States, is a great satisfaction. An unexpected appointment, really.

What reality is the Sons and Daughters of Italy today in the United States?

It is a foundation that represents all Italian Americans in the United States: We are talking about an organization representing 26 million Italian Americans. Entering is not only a personal recognition, but a commitment: contribute to the growth of our community, promote Italian excellence and enhance new generations. That is why I thank the director of the foundation.

The appointment came for his commitment to research as vice president of the Sbarro Health Research Organization.

Exactly, SHRO is an organization that finances scientific research and, together with Professor Giordano, gives the possibility to many researchers — Italian and non-American — to work in a competitive environment: counts over 60 patents and three drugs.

What contribution does Sons and Daughters of Italy make?

The main contribution is to help relations between Italy and the United States. Not only in the scientific field, but also in the philanthropic and entrepreneurial one, to create a bridge especially for the young people of the South. My role will be to create connections between the two countries in various areas. In the Mezzogiorno in particular there is a huge potential, from creativity to culture, from ideas to skills. Now I feel the burden and duty to show that the Sbarro Healt Research Organization is replicable in the South, investing resources and feelings and creating new tools for talent.

His commitment and that of Antonio Giordano have always been aimed especially in South Italy. What can Sons of Italy give for the South?

Yes, we have the common commitment to voice the South. We want to make it clear that there is a fort of extraordinary talents, but they must be able to make themselves known also in a competitive and meritocratic environment like the American one.

The foundation can give a huge potential support. I have been working for years between Naples, Philadelphia and other international scientific capitals and I can testify that American vision is based on a clear principle: to create a territory to invest in. Italy is stronger when the Mezzogiorno grows. And the opportunities America has given me through SHRO show something: when you create the right conditions, the results arrive.

And what can the Mezzogiorno give to the United States?

The South must not only receive: it can export ideas, innovative models, creativity and a cultural force that Americans deeply appreciate. I can testify that abroad interest in our territory is growing exponentially. My vision is that the Mezzogiorno can become an innovation platform, a hub capable of connecting Europe with North America. Our young people are a huge added value. I invest on them and I am convinced that they will contribute to the success of this goal

What is the need to make Italy better known to Italian Americans today?

Many Italian Americans continue to see Italy as a country of forty years ago, when it is extremely competitive today. My role will be to help the new generations become known for what they are building.

In this sense, organizations such as SHRO and figures like you show that Italy produces excellence that is also recognized in the United States.

The idea is to give voice to what we have done with the Barro, but extending it to internationalization in many other areas: philanthropic, entrepreneurial and not only. This is the concept.

Can this bridge between Italy and the USA also serve to bring back talent, after a training experience in America?

Absolutely. Many of our researchers, with the creation of Sbarro Italia, have been able to make a working experience in the United States and then return to Italy, being able to continue the path started in America. They avoided that shock that often proves when you return without a support. We tried to bring our American model to Italy.

On the professional and human level what is the greatest teaching that Italians must take from the USA?

America can teach meritocracy, which unfortunately we do not fully have in Italy. And it can offer huge cultural and entrepreneurial opportunities. American training is still probably the best in the world today.

And what is the main feature that Americans can learn from Italians?

We Italians have an important inner strength. We do not have the same structures and the same “guided path” that exists in the United States, and this gives us a great inventiveness, which is what really distinguishes us.

He has defined the appointment in the Board of Sons of Italy a “point of departure”. What do you mean?

Now that I was nominated, it is time to build a solid reality for Italians and Americans. We have to create a matching that is useful on both sides of the bridge. Because it is true that many Italians want to go to the United States, but it is equally true that Italy has a huge tourist and cultural attraction. You have to do a job that works for those who want to work abroad, but also for the Italian territory.

So this perspective also concerns Americans looking at our country?

Absolutely. We must bring benefits not only to people, but to the territories. It must be a perfect dout des. We have to work for this.

L’articolo From the landing to the Sons of Italy: the vision of Giancarlo Arra for a stronger Italy in America proviene da IlNewyorkese.

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The Business Care International Award 2026—a prestigious honor promoted by Business Care in Rome and New York and now in its eighth edition—was officially presented yesterday at the Italian Chamber of Deputies.

The award highlights individuals, institutions, and organizations that have distinguished themselves through ethics, innovation, culture, and sound business practices, contributing to the improvement of society. The 2026 edition is poised to be especially significant, featuring the recognition of the “Magnificent 10”: seven internationally renowned figures and three emerging young talents who embody Italian excellence worldwide.

The presentation featured remarks by Massimo Veccia, President of the award; jury members Fabrizio Ferragni, Paolo Liguori, Silvana Mangione, and Alessandro Masi; MP Christian Di Sanzo; and Business Care board members Alberto Milani and Andrea Vento.

During the event, Veccia announced a major new addition: the introduction of the section “Icons of Made in Italy Who Illuminate the World,” dedicated to brands, production hubs, and talents that strengthen Italy’s global reputation. The decision reflects the evolving landscape of international trade and the need to combat Italian Sounding, emphasizing authentic Italian excellence that brings quality and national identity abroad.

Fabrizio Raimondi of the Parmigiano Reggiano Consortium was the special guest. He highlighted how Parmigiano Reggiano stands as a true icon of Made in Italy—a product symbolizing Italian identity, beloved worldwide, and often considered by Italians abroad as the “taste of home.” The sector generates over 50,000 jobs and more than €3.2 billion in consumer value. For the first time, exports have surpassed domestic sales, confirming the product’s international prominence and its status as a genuine flag of Italy. Raimondi also emphasized its importance for the regions of origin: “it supports local communities, keeps production districts alive, counters depopulation, and creates value that cannot be relocated.”

According to Fabrizio Ferragni, “in a historically complex and fragmented moment, this award serves as a compass for those working to protect the nation’s wealth.” Paolo Liguori added that, in the era of artificial intelligence, it is “essential to recognize the value of human intelligence that fuels Italian ingenuity in culture, art, and design, reaffirming that people remain at the center of the world—and of business.”

The award will also integrate new projects, produced directly by Business Care with the support of its partners, dedicated to the fields of art, music, and research. The official ceremonies will take place on March 19, 2026, at the Chamber of Deputies, and on November 12, 2026, in New York at the Consulate General of Italy.

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From 18th-century Naples to international theaters, their work blends theater, movement, music, and light, transforming the stage into a living artist’s workshop before the audience’s eyes. Now, after years of touring across Europe and Asia, Teatri 35 is coming to the United States with Chiaro Scuro, a performance inspired by the masterpieces of Caravaggio.

How did your artistic project begin and evolve into the show you’re bringing to America?
Gaetano Coccia: This project started quite a while ago. Our company was founded in 2010, and since then we’ve been developing a project based on the technique of tableaux vivants, a theatrical practice that dates back to the 18th century. We didn’t invent anything new—this form already existed and was particularly popular in Naples at the end of the 19th century. What we did was reinterpret it, giving it a different artistic direction.
Originally, tableaux vivants were static images: actors recreated a painting and remained still for an extended time while the audience admired them as a living artwork. We wanted to transform that stillness into movement—into performance. On stage, the audience doesn’t just see the finished painting; they witness its creation. The actors use fabrics and materials to suggest shapes and colors, and the image comes to life before their eyes. We don’t wear period costumes or pre-made outfits: we build the composition live with drapes and cloth, as if we were the painter’s own palette.

How did the opportunity to bring this show to the United States come about?
Gaetano Coccia: Completely by chance. Lia Adelfi, president of the Dante Alighieri Society of Michigan, is Neapolitan like us and had heard about our company. She reached out to propose bringing our show to the U.S. From that first contact came the idea of including us in the Institute’s November program. So, almost by accident, we ended up organizing this American tour.

This will be your first U.S. tour, right?
Gaetano Coccia: Yes, our first. We’ve traveled extensively, especially in Eastern Europe and more recently in India, but never to the United States. It’s a thrilling moment for us—an important and completely new experience.

Returning to your work, would you say your performance is more an interpretation than a faithful recreation of the paintings?
Gaetano Coccia: Absolutely, it’s an interpretation. We’re never identical to the original—both for technical and artistic reasons. Some poses are physically impossible to hold for long on stage; other times, we simplify the composition to focus on a detail. For instance, in Saint Francis in Ecstasy, the saint is held up by an angel in a complex pose: we preserve the essence of the scene but adapt it to the realities of live performance. Sometimes we also reduce the number of figures to help the audience focus their attention.

How do you develop your performances? Is it a collective process or more director-driven?
Francesco Ottavio De Santis: It’s very much a shared process. As in any creative endeavor, there’s discussion—and sometimes disagreement—but that’s part of the dynamic. We decide together which artist to work on, and everything develops around a musical structure, which is fundamental for us. The music guides the movements, defines timing, the pauses, the moments when the scene freezes into a painting. We don’t script everything on stage—many gestures arise spontaneously—but that spontaneity comes from years of shared understanding. And yes, sometimes we argue, but that’s a sign the creation is alive.

Why did you choose this artistic form, and why Caravaggio in particular?
Francesco Ottavio De Santis: It happened almost by accident. We didn’t set out to create a show of tableaux vivants. It grew out of our work in physical theater—exploring the body, its relationship with music and space. During some stage exercises, working with a few props and pieces of cloth, we began to play with Caravaggio’s images. We were struck by his ability to capture the precise moment when an action is happening—or has just happened. In that sense, Caravaggio was a director before directors existed: his painting is already theater.

The title of your show, Chiaro Scuro, recalls Caravaggio’s signature use of light and shadow. How important is lighting in your performances?
Gaetano Coccia: It’s essential. Caravaggio’s entire visual identity is defined by his use of side lighting, and that’s something we recreate on stage. A single spotlight, set just two meters off-center, can instantly evoke his atmosphere.
We often use a black velvet backdrop to cancel out depth and restore the two-dimensional quality of his paintings. Then there are the colors—red, white, and black—the three dominant tones in his palette. Together, these elements recreate the visual sensation we want the audience to feel. It’s like stepping into Caravaggio’s workshop, where, as legend has it, a beam of light entered from the ceiling to illuminate the scene. Our goal is to bring that same magic to life.

Does your show also explore Caravaggio the man—his troubled life and personality?
Gaetano Coccia: No, we don’t go into his biography. This isn’t a historical or biographical play about the “tormented” artist. We tell Caravaggio’s story through his paintings, not through his life. Of course, those who know his story might recognize certain echoes—like in The Death of the Virgin—but that’s not our focus. We aim to convey the visual and emotional power of his art, not the narrative of his existence.

How would you define your artistic style?
Francesco Ottavio De Santis: Ours is a theater of mimesis, but not of imitation. We don’t recreate a “fake” reality—we create a real effect of truth. We reconstruct what might have happened in Caravaggio’s studio, without tricks or illusions, and that’s what gives the image its emotional impact.
We’re not chasing visual resemblance alone, but the emotional charge Caravaggio embedded in his canvases. We want to bring back the life within those images—the vibration of the creative moment, the tension between light and shadow.

What are your expectations for this American tour?
Gaetano Coccia: We’re very curious and excited. The first performance will be on November 8 at the Marygrove Theater in Detroit, followed by another on November 10 in Indianapolis. We can’t wait to see how American audiences respond to our work.
We’ve toured extensively, but bringing our show to America has a special allure. Every time I’ve been here, I’ve felt a deep enthusiasm for Italian culture, and that makes me think our show will be warmly received. Expectations are high—but in a good way, the kind that gives you energy and pushes you to give your best.

The post Caravaggio’s Workshop Comes to Life: Teatri 35 Brings Its Living Paintings to Detroit appeared first on Good Morning Italy.

Born in Brindisi and artistically grown between Naples and Milan, Stefano Miceli is today one of the most authoritative and cosmopolitan figures of the international music scene. Conductor, pianist and teacher, has lived in New York for over a decade, where he alternates artistic activity with academic and philanthropic. Speaking at the New York microphones in the podcast Portraits of Claudio Brachino, Miceli retraced the stages of a career marked by a continuous dialogue between Italy and the United States, between tradition and innovation, between art and civil commitment.

“I am very Italian” says Miceli. «I was born in Brindisi, I attended the Conservatory of Naples and then I lived and worked, as a musician and as a cultural agent, between Bergamo and Milan. Eleven years ago I moved to New York for professional reasons, I teach at university here in New York, but since the 1990s I had an intense relationship with the United States. It was a choice in line with my way of living music: international by nature, but with a deeply Italian soul”.

A double membership that has never become a detachment: «I do not miss Italy, neither on the human level nor on the professional one, because my life is still intertwined with the Italian one. Perhaps if I had lived a net bill, I would have questioned myself more about staying or not.”.

Miceli is called “plant by birth and director for a natural evolution”. He began playing the piano at five years and at sixteen debuted in New Orleans, in an America that already seemed destined to cross his way. “Only later, after about ten years of career at the piano, I became conductor. The piano gave me a personal and introspective perspective, the direction, instead, opened me to the collective dimension.

On stage, the pianist is only: even in front of five thousand people, he remains in dialogue with himself. It is a recollection, almost a celebration of one’s interiority. As director, however, the task is opposite: represent all this without having a tool in the hands, coordinating dozens of minds and sensitivity. It is an act of sharing and responsibility”.

A balance that Miceli explores also outside the podium, when he holds conferences for companies on the role of the conductor as a model of leadership: “Motivate, inspire, enhance the talents of a group: they are qualities that belong both to music and to life”.

Thursday 6 November Miceli will be the protagonist of a special event: He will lead Mozart’s Requiem to St. Patrick’s Cathedral on Fifth Avenue. “It is a symbolic place for New York and the Italian Catholic community. The Requiem was not performed there since 1994. I’m excited to know that it has been sold out for months: it’s a signal of how much music can still unite. I like to think that when the audience doesn’t go to the theater, it’s the theater that goes to the audience. Directing in the cathedral will be a way to bring music to the heart of the city”.

On stage there will be a hundred artists between orchestra and choir, in a co-production between the Miceli Arts Foundation and St. Patrick’s Cathedral. “I also wanted to include Italian artists: the initial production provided only American musicians, but for me it was important to give space to our tradition. Among the soloists there will be Valeria Girardello, an extraordinary mezzo-soprano that sang at La Scala and the Phoenix. With her, some professors of the La Scala Philharmonic and musicians who have collaborated with me for years. It is a gesture of cultural friendship, but also a way to reaffirm the quality and identity of the Italian school in the world”.

The Requiem, for Miceli, is more than a musical masterpiece: is a reflection on the meaning of life. “Mozart wrote it while he was dying. It is a funeral mass that speaks of hope: It doesn’t close, but it opens. It represents the passage between life and spiritual ascent, a bridge between land and divine. It is the perfect music for the message we want to convey.”.

Beside the artistic career, Miceli carries on a constant commitment in the field of education and philanthropy. The Miceli Arts Foundation was born by the will of a group of non-Italian supporters – Iranians, Ukrainians, Americans – united by a strong philanthropic sensibility. “When they proposed to dedicate it to my activity, I would like to put in the statute a precise commitment: promote not only performative art, but also musical education. The foundation offers scholarships, collaborations with Italian Conservatives and an academy-laboratory, the New York Academy Orchestra, where graduates can grow in an international context. I tend a lot to include Italian students, because studying here is very expensive. It is a way to return what I received: When I studied at Catholic University in Washington, after the Conservatory of Naples, I learned more from comparison with students of different cultures than academic methods. Today I want to offer the same opportunity to the new generations”.

The link with Italy remains alive through its cultural projects. «For five years I have produced in New York the festival Music and Conversations with Stefano Miceli, a format that I will now bring in Italy. It is not just a concert, but a dialogue with the public. Before each song we talk about what the artist hears and how the listener lives that music. At Christmas we will make two events: one in Brindisi and one in Bergamo. It is a way to bring back in Italy a project born in New York and continue to build bridges between the two worlds”.

Being a “cultural bridge”, for Stefano Miceli, means more than traveling between two countries: it is a connection mission. «I receive many messages from young people who want to come to America. Being a bridge is not only helping someone, but creating shared paths, building projects that join the two banks. I believe culture is the true diplomacy of the world: a universal language that opens up conversations even where politics or economy do not arrive. Young people are the protagonists of this dialogue: they can open and close the bridges of the future”.

With the force, discreet but disruptive, of music and the depth of a thought that unites passion and responsibility, Stefano Miceli truly embodies that idea of culture as an instrument of dialogue and peace. “Of course, sometimes it is difficult” he admits. “But I deeply believe that giving cultural voice to young people means strengthening a link that goes beyond borders. A link that unites Italy to the world”.

L’articolo Stefano Miceli: discovering the master who will direct Mozart’s Requiem to St. Patrick’s Cathedral proviene da IlNewyorkese.

The post Stefano Miceli: discovering the Maestro who will conduct Mozart’s Requiem at St. Patrick’s Cathedral appeared first on Good Morning Italy.

Two and a half years of work, a constant confrontation with one’s limitations and the desire to translate life into music. Cristiano Cosa presents Cosa sono io, an album that stems from the encounter between personal reflection and philosophical references, with influences ranging from Bluvertigo to Heidegger. A work that marks a new awareness and invites one to look inside oneself in order not to lose one’s authenticity.

What inspired you to write “What Am I” and why this title?

I spent the last period of my life wondering exactly what the meaning of being was. Beginning to rummage through the shelves of my memories and opening myself to what I did not know, I knocked on the door of the father of existentialism, the thinker Martin Heidegger, who with his 1927 work “Being and Time” posed the same questions about it as I did. Thus, I tried to create a musical conceptual map in order to explore the question further. The title then is a pun on my last name, but at the same time it can be affirmation or unresolved question. One certainty in all of this is this: the songs were all born out of a feeling of reflection.

La copertina del nuovo album “Cosa Sono Io”

What was the creative process?

Inside this work are two and a half years of spasmodic research. Together with Francesco Gaudio, an irreplaceable figure in the musical project and a commendable sidekick at every stage of the album’s production, I experienced a journey of inner change that led me to embrace a new version of me. This journey allowed me to tune in to the most visceral part of my soul: only then could I conceive something recognizable.

If you had to choose one track from the album that most represents you which one would you choose and why?

I have asked myself this question before and have always given an unequivocal answer (what can you do I am a hardened Marzullian, he laughs): “To Not Die” could undoubtedly fly the flag for this album: there is all the rage and maddening determination to try to translate my life into music for a specific purpose: to achieve immortality.

Are there particular genres or musical influences that played a role in shaping the tracks?

Throughout this period, I have intercepted a variety of influences that have been absorbed so much that I cannot remember them clearly. Certainly on a musical level, Bluvertigo and Verdena’s alternative rock and Kings of Convenience’s indie gave an extra swerve and stimulus to my processes; on a literary/philosophical level, Pascoli’s concept of the Fanciullino combined with the existentialism of the aforementioned Heidegger sanctioned a greater awareness of what I was devoting the entire work to (the search for identity).

How much is autobiographical and how much is imaginative or symbolic?

Perhaps it is appropriate to affix a crasis in the answer to this interesting question: my intention was precisely to compose autobiographical songs sometimes lowered into an imaginative or symbolic dimension. Such is the case with Girandola, a track that encapsulates the concept of time in a basic object that can be traced back to childhood, or Cieli di Carta, a description of a bleak imagery and hellish scenario through the eyes of an unsuspecting and helpless child.

What role does copywriting play for you on a personal as well as professional level?

Writing is a lovable companion, it relieves boredom and fights the ills of existence, makes them more useful. Throughout the album phase, I have always continued to write in many different forms, from sonnets to poems, from novellas to soliloquies. This modus operandi has only added an increasingly capacious suitcase to my journey. Regarding song lyrics, I must reveal that the words nag me and make me sigh at the same time. But I love playing with them, as for example in Come Mi Viene in which I write and sing, “The hangers in the closet my questions” or “I’m a step away from me, and I never find myself” a phrase contained in La Vita Cos’è.

How would you define the sound of the album compared to your previous works?

Compared to my previous works, I think I have added a mature and authentic sound. For this I must always thank Francesco Gaudio and the impeccable work of Lucky Horn Entertainment, in the persons of Davide Ippolito and Simone D’Andria. The latter, in particular, is an important figure for me at all times. He ensures me great creative freedom and personal artistic support. I know that I am very lucky. What I can do is to reciprocate by doing my best.

Throughout your career you have collaborated with many artists. Is there anyone in particular who has had a defining impact on your music, who has enriched it?

About ten years ago, I met Roberto Angelini, a musician with superb taste and boundless experience. Meeting him definitely marked me, and that is why I made every effort to have him take part in my new record. I can safely say that Bob was the icing on the cake and embellished the sound of this album.

How do you think you changed from the beginning until “What am I”?

In the gestation phase of the album, I reflected on this several times: I think I had gone through countless artistic moments and phases, but I still hadn’t found a real identity. I sincerely needed a solid team to help me and to observe me from the outside, because I confess that I am so brainy and full of ideas that I can’t always run through one, resulting in being exaggeratedly scattered. After this album, I can say that I have a different awareness; it is credit to LuckyHorn Entertainment for charting a level professional path.

What do you want to communicate to the audience and what do you hope they hear from it?

I want to communicate the importance of looking within, seeking our own uniqueness, staying away from standardization and being authentic, sincere, leaning toward an exchange and not a clash. Until proven otherwise, we are the architects of our own destiny. I believe that in order to consciously live a life worthy of being called such, we must seek ourselves and not be afraid to delve into the meaning of ourselves.

What will it be like to return to NewYork?

New York is the stage of dreams. In 2023 I had the opportunity to sing in front of moved Italian Americans. It is an indelible image in my memory. Returning to a huge city and bringing my music is a pride I want to continue to deserve. Music after all has the power to take you everywhere even standing still. What can I say… New York, here I come!

What is your relationship with New York, what ties you to this city?

What ties me to New York is the desire to never settle, to be constantly evolving, never satiated with getting to know and improve. I would certainly spend an immersive period to fully understand its essence, but musically for me it represents innovation and modernity: everything that exists comes through New York first!

Who do you dedicate your latest album to and why?

I also wrote it on the back of the album cover: my personal dedication goes to my sister Angela, who even as a teenager pushed me to listen to so much different and unknown music. The best wish I can wish her is to keep searching and getting closer to her essence. For me, this is the road that leads to serenity; the only road close to happiness.

The article Cristiano Cosa: “Cosa sono io” between philosophy and rock comes from TheNewyorker.

L’ho scritto anche dietro la copertina del disco: la mia dedica personale va a mia sorella Angela, che già da adolescente mi spingeva ad ascoltare tanta musica diversa e sconosciuta. L’augurio migliore che posso farle è di continuare a cercare e ad avvicinarsi alla sua essenza. Per me è questa la strada che porta alla serenità; l’unica strada vicina alla felicità.

L’articolo Cristiano Cosa: “Cosa sono io” tra filosofia e rock proviene da IlNewyorkese.

The post Cristiano Cosa: “Cosa sono io” between philosophy and rock appeared first on Good Morning Italy.

“Elegance is everything less than dress.” A highly meaningful phrase that encapsulates a world of poise, gesture, grace and style. Since style cannot really be bought.

Giorgio Armani was the ambassador of all this because of the rigor, cleanliness and linearity he applied with utmost attention to detail, which he placed in his beloved profession. Accessories included and various residences expertly furnished. We are in conversation with Marco Eugenio Di Giandomenico who has so much to tell us.

“In the late 1980s, in my late twenties, I had a modeling experience in the U.S. for important Italian fashion brands. I had the opportunity to meet Giorgio Armani personally at a time of great development of his fashion house and of all made in Italy in the United States. I remember various moments of work and conviviality. He was attentive and caring not only to the models but also to all the staff involved in the various initiatives. He had an almost maniacal approach to work. Nothing escaped his notice, he got into the merits of every detail of the fashion shows, he personally controlled all aspects of organization, communication and promotion so much so that in each of his events he was always the Deus ex machina of any production process. Incredibly, it was a rare case in which creativity was perfectly combined with entrepreneurial spirit, managing to achieve from time to time results that were almost always more important than expected, than budgeted. Among the memories, one day, during one of his work breaks, he approached us models and between jokes said, “Marco Eugenio is so much more than fashion!” At the time I did not understand. Today, almost forty years later, those words resonate in my mind. Thanks to his great acumen perhaps he had already glimpsed what would later be my life path devoted to art.”

Today, what exactly are you involved in?

“For thirty years I have been working as an art critic and curator in Italy and abroad, with great human and professional satisfaction and with one foot always in the university world (Politecnico di Milano, Accademia di Belle Arti di Brera, Università Statale di Milano and various other universities) where I have always lectured in my subjects. The youthful experience of fashion has given me a lot. First and foremost, it allowed me to know my body and its communicative potential, as well as a canvas for a painter or a block of marble for a sculptor.Then it taught me the art of the show, of the relationship with the public, in pleasing any interlocutor, dispelling the insecurities and fears typical of a 20-year-old, especially in those years.”

Well, let’s come to us by going into specifics. Why ‘King’ George?

“Well, he founded his company at the age of 41 in 1975. The British press crowned him with that title, and from then on he became the “King of Fashion” in the collective imagination because of his inventions of style and elegance. The 1982 cover of ‘Time’ read, Giorgio’s Gorgeous Style, in a play on assonant words as if the splendor of style and stylings was inherent in its creator.”

Shall we go into the unstructured?

“A deconstructed jacket is a light, soft and flexible garment without or with reduced shoulder pads, inner canvas and padding that characterize more traditional jackets. A construction that reduces stiffness giving a relaxed and comfortable fit, suitable for a ‘smart – casual style – combining elegance and ease. Let us remember that it was a forerunner of ‘genderless’ by overcoming the classic stereotypes of ‘male’ and ‘female’. Simply put, he wrapped the wearer without padding with innovative and lightweight fabrics while indulging and enhancing the natural lines of the body. The result was…is! That of expression of natural sensuality without superstructures. Magnificent to immerse oneself in “a second skin” in extreme naturalness since elegance arises precisely from the dialogue between body and dress. Armani’s style and elegance are also sealed in the media by Richard Gere in “American Gigolo’ from 1980, a very famous film written and directed by Paul Schrader.”

Decrying worldwide success.

“Adding that Richard Gere was anointed a sex-symbol on a planetary level as he was able to express a new male sensuality conditioning the style of all subsequent generations. Lauren Hutton dressed in the pantsuit and flat shoes in extreme ease, enhanced the silhouette by decrying the dress in line with a new social position of the working woman, expressing herself in work activities equal to those of men.”

A few days before his death he had purchased the Capannina in Forte dei Marmi.

“That’s right, a real emotional gesture with a lot of going back to his roots. It was precisely at the Fort in the 1960s that he met his companion and later partner Sergio Galeotti. I take advantage by noting that the legendary venue founded in 1929 by Achille Franceschi and then in 1977 acquired and run by Gherardo and Carla Guidi, had been a wonderful setting for unrepeatable years full of dreams and aspirations later realized.”

Is it true that when Galeotti Armani died he declared that a part of him had died with such a loss?

“Without a doubt, as the sensitive man he was he suffered greatly from this. Undoubtedly. A great love affair with the one who had started the fashion house adventure.”

Opening up the universe to him. And to think that he had started out as a window dresser.

“Nooo, he wasn’t window dresser, he started by checking the window dressers at the Rinascente, which is a whole other job.”

Speaking of window displays, a few years ago he was caught on camera by much of the media putting the finishing touches on a mannequin in one of his boutiques.

“An image that went viral. I’ve said it before: the man he was. Simple, industrious, endowed with enormous ingenuity.”

Elegance is not to be noticed but to be remembered.

“His real ‘must’ that fits him like a glove “

Anything else to add?

“I would not burden more time by giving space for good rationality and good luster.”

Armani Style.

The article Extravagance and entrepreneurship: simply Giorgio Armani comes from TheNewyorker.

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Representing an entire basketball movement in the NBA isn’t an easy task, but Simone Fontecchio embraces it with the maturity of someone who understands the significance of his role — especially for young fans who see him as a role model.
The former Detroit Pistons forward, who joined the Miami Heat this summer, is the only Italian currently playing in the world’s most prestigious basketball league. Both on and off the court, he has become a point of reference for Italian basketball.

In this conversation, Fontecchio speaks openly about his journey — from the pride and responsibility of being an ambassador for Italian basketball to his growth through international experiences, from dealing with stereotypes about European players in the NBA to his love for Italy and the national team.
It’s a journey through past, present, and future, from impossible dreams that became reality to the challenges that lie ahead.

Detroit’s Consul General, Allegra Baistrocchi, called you an inspiration for young people. As the only Italian currently in the NBA, do you see that more as a source of pride or as a responsibility?

I’ve thought a lot about it this past year, and honestly, it’s a bit of both. I’m incredibly proud to represent Italy on such an important stage like the NBA.
I think it’s a truly unique league, not just in sports but globally, in terms of importance and visibility.
But above all, it’s a huge responsibility because I know so many young people, especially in Italy, are watching me — looking at my example, how I behave, what I do. So I always try to give my absolute best every time I step on the court.
It’s definitely a beautiful responsibility to have.

When you were a kid, was the NBA a dream for you, or did reality end up surpassing your imagination?

No, it was impossible to even dream about it. To be honest, I’ve always had a deep passion for basketball, ever since I was very young.
I’d watch games, play endlessly in my backyard hoop — but the NBA always seemed completely out of reach, so much so that I didn’t even dare hope for it.
I grew up fueled simply by love for the game and the desire to play as much as possible.
My dream back then was maybe to one day play in Serie A, the Italian league, which I watched a lot as a kid.
But the NBA? That wasn’t even in my wildest dreams.

Did you have a childhood idol, someone you looked up to?

Unfortunately, I didn’t experience the Michael Jordan era. I was born in ’95, so by the time I was old enough, he had already retired and then briefly come back in ’98, but I was still too young.
The first real NBA games I remember watching were Kobe Bryant’s.
Kobe was a reference point for my generation, and then, after him, LeBron.
Those were definitely the heroes, the idols we looked up to from this side of the ocean.

Kobe was also the American superstar with the closest ties to Italy, having grown up there.

Yes, and when I was around 19 or 20, I actually had the chance to meet him and chat a bit. That was an incredible experience for me.

You’ve traveled a lot — first Germany, then Spain, and now the NBA. You seem like someone who constantly pushes himself outside his comfort zone.

Absolutely.
I think that was the key turning point in my career — my determination to leave Italy at all costs. Going to Berlin, to Germany, was a huge opportunity.
It was a EuroLeague team that offered me real playing time, trust, and minutes — something no one had really given me at 24 years old.

My wife and I decided to take that leap together, with our oldest daughter, who was just eight months old at the time.
Looking back, it felt insane — leaving Italy during the height of the pandemic in 2020, with a baby, to go to another country.
But we went further and further, each move more challenging than the last.
Stepping outside my comfort zone was the best decision I could have made.

Looking at the NBA today, do you think the gap between the NBA and European basketball is still as big as it used to be? Back in the ’90s and 2000s, people used to say they were practically two different sports.

I think that gap is slowly narrowing, but to me, the biggest difference remains the sheer level of talent here.
The players in the NBA are by far the best in the world — there’s no question about it.

On top of that, the whole NBA environment is completely different from the EuroLeague.
The way the league markets and advertises itself is truly unmatched.
When you’re in it, you realize just how lucky you are to be part of it.

Detroit’s Consul General told me about a special celebration the Pistons started doing whenever you scored this past season. You often came off the bench and hit big shots, being a key factor in some games. How did this spoon-hand celebration come about?

There’s always that classic Italian stereotype — “pizza, mandolin, mozzarella.”
Some of my teammates started joking early in the season, telling me to do this hand gesture whenever I scored.

At first, I resisted, but by December I gave in and said, “Okay, fine, next time I’ll do it just to make you happy.”
Then there was a game where I scored a lot, and I did it multiple times — and from there, it just became a thing.

It’s fun, but honestly, as someone who’s been living abroad for five years now, stereotypes about Italians can really get under your skin.
Italian hand gestures are known worldwide, and people often ask you to “do the Italian thing” — it can be funny, but it’s still a cliché.
That said, in my case, it’s tied to my baskets and to something that united our team, so I see it as a positive gesture in the end.

Did you encounter any prejudices when you first arrived in the NBA?

Oh, absolutely.
Especially when you come from Europe — and even more so when you arrive at an older age compared to players coming in through the draft.
I got here at 26, and there’s a wall of stereotypes you have to overcome.

The classic image of the white European player: can’t jump, can’t defend, too soft.
Those prejudices definitely exist.
I acknowledged them and set out to break them down as quickly as possible.

How did you and your family adjust to life in Detroit?

Pretty well, overall.
The weather isn’t the best — in winter it’s constantly around minus 10 (14°F).
But we managed.

During the season, it’s really hard for me to be fully present with my family or to go out and explore.
There’s just not much time or energy for that.

We also have a baby — our second daughter, Luna, who’s under a year old — so we’ve mostly been staying home this past year.

I imagine your family had more interaction with Detroit’s Italian community than you did, given your busy schedule. Is that right?

Yes and no.
As I said, at this stage of our lives, we don’t interact much with the outside world — not intentionally, just because of where we’re at right now.
I’m always traveling, and my wife is constantly with the kids, so it’s tough.

But when we were in Utah for two years, we had the chance to meet so many wonderful people, both inside and outside the Italian community.
The love and support we received there was incredible.

Is there a particular opposing player who impressed you or gave you more trouble than others?

There are so many who are challenging to play against, but one of my favorites to face has to be Kevin Durant.
He’s just always impressive.

What’s your relationship with New York like?

New York is one of my favorite cities to play in. It’s such a fascinating place.
I always like to walk around a lot the day before a game whenever we’re there.
It’s a city I really enjoy.

And especially when it comes to food — I always take advantage of being in New York to have proper Italian meals.
It’s really hard to find truly good Italian food in the U.S., but in New York, there are a couple of places I go to regularly.

Going back to what we discussed at the start: as someone many young players look up to, what message would you like to send to kids in Italy who love basketball?

The way I grew up and approached basketball was always healthy and genuine.
So my message is simply to encourage young players to do the same — to play with passion and joy.

When you’re young, it’s all about enjoying the moment:
enjoying time with your teammates, the friendships you build, and the pure fun of the game.

I grew up like that — never thinking about playing in Serie A, or the NBA, or making money.
Those things came later, luckily.

The message is simple: have fun and enjoy the journey.

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