Risotto World Summit


Chef Vincenzo Perez Wins The Risotto World Contest 2014

Chef Vincenzo Perez (Dubai) is the winner of the Risotto World Contest 2014. 12 talented chefs coming from all over the world have participated to the competition that has been held in the Boscolo Etoile Academy (Tuscania). In the picture Vincenzo Perez is declared winner by the president of the jury Alberto Lupini (Italia a Tavola, Director). With him chef Riccardo Fanucci, second classified, and Simone Fracassi, Master Butcher and fine gourmand. In the Jury there were othr 2 quakified judges: Tano Simonato, chef-owner of Tano passami l'olio Milan, and Franco Pasqualin, gastronomy expert, specialised in truffles. The event has been managed by Chef Aira Piva, Manager of Italian Restaurant Consulting and presented by Maurizio Palazzo. The competitors used the rice by Principato di Lucedio.


Higlights from Risotto World Contest 2014


Chef Vincenzo Perez Wins The Risotto World Contest 2014

1st Place Vincenzo Perez for his award winning risotto "Cacio e pepe con carciofi e asparagi"
2nd Place Riccardo Fanucci for his "Verde Giugno".


Risotto World Contest and Official Launch of Risotto International Academy

Itchefs in collaboration with
Boscolo Etoile Academy
Tuscania June 11-12, 2014

Italian chefs from around the world in meet in Tuscania at the prestigious Boscolo Etoile Academy to compete. The jury, presided by Director of Italia a tavola, Alberto Lupini, will choose this year's winning risotto at a special awards ceremony to be held on June 12.

Regulations require strict adherence to traditional methods and include toasting the rice first and slowly adding broth.

Visiting chefs will also take part in the official launch of the Risotto International Academy and hold a workshop for Boscolo students on the challenges and advantages of working in Italian restaurants abroad.

The events in Tuscania are part of the fourth edition of itchefs' Italian Cuisine in the world forum which began in Vico Equense (Naples) on June 8.

Quality rice provided by:


The unique world contest of Risotto is back

Click here to Register into the Competitions!

Risotto is the most emblematic dish of contemporary Italian Cuisine in the world. It is an exciting celebration of a dish that, with its countless variations, is a universal messenger of Italian culinary traditions and lifestyle. The Risotto World Summit aims at reaffirming the history of this dish, its indisputable Italian roots, the reasons for its success around the world.

The Risotto World Contest 2015 Dubai Edition will be held at the World Trade Center during the 7th Italian Cuisine World Summit together with the Speciality Food Festival from the 27th to the 29th of October.

To apply for Risotto World Contest 2015 Dubai applicants must be:

  • Minimum 18 years old
  • UAE based professionals
  • Participants may be sponsored by a restaurant

The competing dishes will be judged by a jury of experts nominated by the organizers of the Risotto World Contest 2015 along with some of the master guest chefs attending the 7th Italian Cuisine World Summit. Chefs and restaurants who intend to be part of the Risotto World Contest 2015 Dubai Edition must apply by no later than 18th October 2015.
To apply for the Risotto World Contest 2015 Dubai Edition, please click here.


Risotto alla milanese: a true Italian golden story

by Rosario Scarpato

Mondine, rice weeders, were the protagonists of Bitter Rice,
a masterpiece movie directed by Giuseppe De Santis (1949)

Risotto alla Milanese is indubitably a dish born in the Po Valley, in that part of Italy that’s found to the North of the imaginary line drawn from La Spezia to Rimini. It’s the symbol of a great Italian city, Milan, and as many Italian dishes - for example those listed by Pellegrino Artusi in his “La Scienza in Cucina e l'Arte del Mangiar Bene” (The science in the kitchen and the Art of Good Eating) - it was given birth by the trade and the reciprocal influence between the various parts of Italy.
On a gastronomic level, Italy has always functioned as a big federation of distinct flavours. It has been more unified by diversities rather than uniformity. Italians at all times have had great respect for the territorial and cultural specificity, hence for the local dishes, including those of their neighbourhoods. Abroad, this Italian gastronomic federalism has been emerging, for the last twenty years, especially on the menus of the Italian restaurants around the world: Neapolitan spaghetti alle vongole with saltimbocca alla romana, lasagne from Emilia with cassata from Sicily, polenta from Friuli and piadina from Romagna or Tuscan pollo alla cacciatora. And on these “federalist” menus, Risotto alla milanese has been a great protagonist. Rice had always been boiled in water or in other liquids and aromatized with different substances, but the true revolution was “toasting” it in translucent onion and then little by little adding broth and, once done, enriching it with saffron and giving it a creamy texture with mantecatura of butter and cheese; only this can be called risotto!


Risotto alla milanese. A chronology

Rice fields in the Italian
province of Vercelli

The most important moment in the history of a dish with its own unmistakable mystique.


What’s Risotto alla milanese today, at the beginning, was a rice or otherwise spelt soup prepared with broth.


Riso Sabbath col zafran” – “Sabbath rice with saffron” was eaten by the Venetian Jews. According to the American authoress, Claudia Roden, Risotto alla milanese is a direct descendant from that dish. She bases her theory on Giuseppe Maffioli’s book, La cucina veneziana (Venetian Cooking), in which that author, among other things, traces “the tradition of making risotto with any and every sort of vegetable” back to the Jews. According to an other American writer, Clifford A Wright, “Riso col zafran” was a sort of saffron pilaf, known by the Jews and Arabs of medieval Sicily who travelled to the North of Italy”. As well as Maffioli, Wright cites among his sources Alberto Denti di Pirajno, the author of “Siciliani a tavola: itinerario gastronomico da Messina a Porto Empedocle” (Sicilians to the Table! a gastronomic itinerary from Messina to Porto Empedocle.)


It’s certain that in this year, in Sicily, rice was associated with yellow, as in the recipe for Riso or Farro (Spelt) alla Ciciliana listed by Messisburgo in his “Banchetti, composizioni di vivande et apparecchio generale” (Banquets, the Preparation of Food and Dining in General) (Ferrara, 1549), a yellow rice but without saffron. Sicily lies at the foundation of Risotto alla milanese. In 2004, the Milanese “Corriere della Sera” newspaper reported a legend according to which “the servant of a family from Palermo that had moved to Milan attempted to cook a rice ball but wasn’t able to give it shape and thus the yellow rice was born”.


Bartolomeo Scappi publishes “L'Opera dell'Arte del Cucinare” (The Work of Art of Cooking), in which appears a “Lombard rice victual”, consisting of boiled rice flavoured in strata with cheese, eggs, sugar, cinnamon, cervellata (an old Milanese cold cut, flavoured and coloured yellow with saffron) and pieces of capon. This dish was the forefather of the Risotto alla milanese that, according to Massimo Alberini, “preceded by centuries Naples’s sartù and Piacenza’s bombe, however little they like the fact.” (Corriere della Sera, 5.12.1997)


“The legend gives a exact date to the birth of Riso alla Milanese; 8th September 1574” is found in the Milan City Government Resolution of Recognition of Communal Denomination, for the traditional Milanese “panettone,” “michetta,” “cassoeula,” “risotto” and “ossobuco”. “That date had been set for the wedding of his daughter by the Belgian master glazer Valerio di Fiandra, who was working on the stained-glass windows of the Duomo, Milan’s cathedral, and for whom it apparently had a special meaning… During the wedding dinner appeared a rice dish coloured with saffron, a material that the crew of Belgian glazers, following Master Valerio, used to add to different colours to bring about particular chromatic effects. The rice prepared in that manner, perhaps as a joke, was enjoyed by everyone just as much for its flavour as for its colour; in those times pharmacological qualities were attributed to gold and, when this metal was lacking, to yellow substances”.


In his “Cuoco Galante”, Vincenzo Corrado, a Benedictine monk and great Neapolitan gastronomist cites a recipe for yellow rice cooked in stock with egg and cheese.


Antonio Nebbia, in his book “Il Cuoco maceratese” (The Cook from Macerata), a Central-Italian town in the Region of Le Marche Region, is the first to propose “sautéing the rice, after having let it soak in water for some hours”.


In the “Oniatologia, ovvero discorso de' cibi con ricette e regole per bene cucinare all'uso moderno” (The Discourse on food with recipes and rules for good cooking in the Modern manner), published in Florence, as Eugenio Medagliani tells us that we find a recipe “to make Milanese soup” in which to the rice boiled in salted water is added a good piece of butter and flavoured with cinnamon”.


“The anonymous Milanese L.O.G. in “Il cuoco moderno” (The Modern Cook) presents a recipe called “riso giallo in padella” – “yellow rice in a skillet”, which indicates that the rice is to be placed in sautéed butter and onions and “let to become golden brown to the point of being well toasted.” “To the rice – establishes L.O.G. – are to be added cervellato and marrow, and then is to be bathed in broth, in which saffron is to be dissolved.”


Francesco Cherubini, in his Milanese-Italian Dictionary, says that the rice must be “flooded” with good broth. Medagliani points out: “One begins to catch a glimpse of the approximate guidelines for the preparation of risotto alla milanese; however one is still at a considerable distance from the true concept, that is of 'letting it simmer in a good broth, which is stirred in a little at a time'”.


The famous Milanese cook, Felice Luraschi, published “Il Nuovo Cuoco Milanese” (The New Milanese Cook), in which “riso giallo” – “yellow rice” becomes “riso giallo alla milanese” complete with butter, saffron, ox marrow and grated grana cheese. (meda)


Pellegrino Artusi features Risotto alla milanese, in his “La Scienza in cucina e l'arte del mangiar bene”. In the seventh (1903) of the innumerable editions of this book of recipes there are two for risotto, the first without wine and the second with the addition of marrow and white wine. Artusi notes that the latter is heavier on the stomach but it is more flavourful. According to Medagliani, “the addition of wine gives an acidity that helps remove the marrow fat, which is more difficult to dissolve in the mouth than butter, from the palate, and furthermore gives the risotto more substance and rounds out its flavour”.


Giovanni Cenzato, a Milanese journalist and playwright, interpreting the Milanese palate wrote: “Risotto has to be well fatted and soaked, intense of herbs and brazen of flavour”. “And it is just this robustness that is the characteristic of Milanese cooking and wow to the one who tries to do away with it! And this same robustness is wedded to the honesty of this food, an honesty which is derived from its very simplicity”.


Grana Lodigiano

Giuseppe Fontana, head chef of the mythical Milanese restaurant Savini from 1905 till 1929, published “La Cusinna de Milan” (The Cuisine of Milan), in which appears the recipe for Risotto alla milanese in verse. At the moment of adding the cheese, chef Fontana says to Gina, the ideal interlocutress, who is cooking: “Gratta giò el granon” – “Now grate the granon.” He was talking about Grana di Lodigiano, Granone, the progenitor of all the Italian Grana cheeses, including Parmigiano Reggiano and Grana Padano, which had probably been used from the beginning on.


The years of autarchy. Mussolini’s Italy felt the brunt of the sanctions placed upon her by the League of Nations for the invasion of Ethiopia. Rice enjoyed a moment of splendour and the regime encouraged its consumption. A risotto was featured in Petronilla’s book of recipes, now a symbol of the economic cooking of that time, Petronilla was the pseudonym for Dr. Amalia Moretti Foggia della Rovere. The recipe calls for the sautéing of the onion to the point of blackening – a heresy, but it indicates the removal of the largest pieces – for the addition of a little pepper and for grana that is “Lodigiano.” And in order to make it “luxurious”, Petronilla suggests, probably with Scappi's Lombard victual in her mind, putting “in a pan butter and (once having cleaned and cut into pieces) sweet-bread, veins, crests and livers; then covering the entire dome of your yellow rice with these exquisite innards.


The great Italian writer, Carlo Emilio Gadda, publishes the article “Risotto Patrio” in “Meraviglie d'Italia” (Italy's wonders), whereby he established some of the dish’s cornerstones, beginning with the type of rice to use, that is large-grained Vialone.


Anna Gosetti della Salda publishes “Le ricette regionali italiane” (Italian Regional Recipes) on 2000 pages that then became the reference work for Italian regional cooking. Here can be found, according to Roberta Schira, that which most approximates the Perfect Recipe for Risotto alla milanese: never parboiled rice, its toasting obligatory, obligatory is also the onion, brought slowly to translucence and not sautéed on a high heat, successively removed from the heat or stirred, the marrow and the broth. The wine is optional; the saffron can be stigmas or in powder form but the mantecatura, as is called the last stage of the preparation, which consists of removing the risotto from the heat, of leaving it to repose for two minutes and of stirring in the final butter or olive oil and the cheese, and the “all’onda” (see Dictionary) consistency may never be substituted.

1984 circa

Gualtiero Marchesi launched his “riso, oro e zafferano” – “Rice, gold and saffron” the most modern version of risotto, immediately copied around the world. As Marino Marini remembers “at the last moment, he added four pieces of gold leaf to Carnaroli risotto”. There was no broth – there was water in its place – and the onion was sweated in the butter and then filtered.


Florence Fabricant on the Nation's Restaurant News spoke of the “mystique of risotto” and told how, since the beginning of the ‘80s, in Italian restaurants in the U.S.A., risotto, and more than any other one risotto alla milanese, had won popularity at the cost of fettuccine all'Alfredo and tortellini alla panna. In 2001, Beth Panitz, in the April 2001 issue of Restaurants USA, expressed her recognition that risotto was an extremely popular Gourmet Comfort Food


Risotto alla milanese, along with other types of risotto, reached the New Frontier of the Bella Cucina Italiana in the world: Asia. Hong Kong, Tokyo and then Bangkok, but also then the other great Asian cities such as Singapore, Beijing and New Delhi. There has been a new generation of Italian chefs, who have studied and worked in Italy, to carry it out there; many of them are members of GVCI. Risotto traces a fundamental path in the history of Italian cooking outside Italy, which, definitively, no longer is that cooking imposed by the Italian emigrants, by improvised cooks.


Risotto is granted the Resolution of Recognition of Communal Denomination (De.Co.) by the City of Milan as a typical Milanese product together with panettone, michetta, cassoeula and ossobuco. In Italy the De.Co. is a guarantee, stemming from a law granting the authority to Town and City Halls to establish discipline in the evaluation of the activity of the traditional production of foodstuffs. The great Italian gastronomist, Luigi Veronelli, was a serious paladin of the De.Co. The same year, Luca Gaggioli, the editor of “Ristorarte”, launched Giallo Milano – Yellow Milan, a project to re-evaluate the gastronomic and cultural roots of Risotto alla milanese.


Gourmet comfort food: a dictionary

What is important to know about risotto alla Milanese according some prestigious food writers and gastronomers.


A full-scale preoccupation for C.E.Gadda: “Butter, quantum prodest”, “quantum sufficit, no more, I beg you; it should not be a dip or a dirty sauce: It should just coat each and every grain; it should not drown them out”.


“The broth you use for risotto is not stock”, reminds us Craig Camp and it’s good to clarify this for the non-Italians. Rightly Camp specifies that “a stock is made by simmering meat or fish with bones and vegetables, then the resulting liquid is strained and often reduced to concentrate flavours. An Italian broth is often the by-product of making a main dish like Il Lesso da Brodo, a boiled beef main course that creates a wonderful broth”. He’s quite in agreement with Gadda’s prescriptions: “For the broth, boil beef with carrot and celery”. Ideal, for the great Italian writer, was that all three came from the Po Plain and that the bull was not “aged, spirited or Balkan of horns”. Some authors let a broth of beef and chicken pass, but the purists don’t admit it, and soup cubes are absolutely not admissible.

CERVELLATO (or Cervellata or Scervellata)

In Felice Luraschi’s recipe, this was a cold cut consisting of pancetta and pork brain, fat (often kidney fat), ox marrow, spices, among others, cinnamon, nutmeg, cloves and saffron together with grated Parmigiano Reggiano. All this was mixed and stuffed into gut once “dyed in saffron water”, as explained by Vincenzo Corrado in “Il Cuoco Galante” (1773). Roberta Schira maintains that “as the years passed, cervellato disappeared and was replaced by beef marrow, which had been an ingredient of the former, or by gras de rost”. (see below)


The presence of onion is an absolute must, according to food writer Roberta Schira. The onion is slowly brought to translucence without being coloured, suggests Anna Gosetti della Salda who also recomends to discard it eventually, when its essence has already been transferred to the butter. Gualtiero Marchesi in his recipe of Rice, gold and saffron says that the onion should be made “to sweat” in the butter and then strained. “It’s impossible to stew the onion and at the same time sauté the rice a rigueur”, observes Eugenio Medagliani. He adds: “In order to maintain the onion the rice can only be stewed”. So, “if we wanted to toast the rice, as should be done, the onion would only take on colour;... the solution can be found by cooking the two contenders separately using the most adequate method for each one”.


Gadda warns: “Risotto alla milanese must not be over-cooked, no, not at all! It should be served just a little more than al dente... the grains still individuals, not stuck to their companions, not softened into a slime, into a soup that could prove to be unpleasant.” The perfect point of cooking is, continuing with Gadda, reached in “twenty, twenty two minutes”. The way to stir is of fundamental importance. Some do it clockwise and others not, there are yet others who suggest that there’s even a biodynamic way of doing it. It certainly has to be done well, as Anna Gosetti della Salda suggests, but with gentleness, with a hollowed out cooking spoon (mestola bucata): “however, even if it sticks a little to the casserole you don’t have to worry considering that gourmets maintain that a truly good risotto el g'ha de savè de tàcaa giò (it must stick to the pan)”. But then there are yet others who are against stirring such as the chef-producer, Gabriele Ferron, from the Isola della Scala.


In Milan, risotto is traditionally eaten with a spoon. This is the manner recommended in the discipline of the Communal Denomination. Anna Gosetti also recommends serving it by pouring it “into a sizable dish and serving it with the rest of the cheese aside”.


The cheese traditionally used in the preparation of risotto alla milanese was Tipico Lodigiano, known as “il grana con la goccia” – “the grana with the drop,” because of the “tears” of serum that remain ever after months of aging. After having risked extinction, now it is produced in small quantity. But Grana Padano and Parmigiano Reggiano do work very well. In his times, Gadda remembers that the sober (and elegant) Milanese allowed the use of only a little bit of grated Parmigiano.


The “gras de rost,” in Milanese dialect, are the pan dripping of a roast; this ingredient was found in all the bourgeois homes at the turn of the XX century as Roberta Schira remembers, when quoting Ottorina Perna Bozzi, the expert in Lombard and Milanese culture.


Eugenio Medagliani, the mythical Milanese “calderaro umanista”, humanist potmaker, describes it as follows: “A sort of piece of wood used to mix the food in a pan and that is inappropriately named a wooden spoon. The handle is of a flat shape in order that it can be held comfortably yet firmly; the other end is wider and slimmer in order to be able to unstick the food from the corner of the cooking vessel. The invention of the hollowed out cooking spoon was born of the need of facilitating the mixing of the ingredients, used in the production of pastes, creams and also creamy risotto alla milanese”.


According to the criteria of the Communal Denomination (De.Co.), “risotto should be rather liquid (“all’onda”), with the grains still clearly separate yet held together as a creamy whole.” The "onda" is also the reason why risotto can so easily be overcooked. Therefore, it’s recommended to make no more than seven or eight portions at a time. When the old Milanese trattorie expected a large number of guests, the risotto was prepared in various casseroles, each one started some minutes after the previous one; what was not served was set aside for making risotto al salto.


In the 14th century, in Italy rice was extensively cultivated only in the region around Naples. It had been introduced by the Spaniards, who had received it from the Arabs, by the crusaders or by Venetian merchants. Thanks to the close relationship between the Aragonese and the Visconti and Sforza families, the cultivation of rice was extended to a part of the Po Plain that belonged to the State of Milan, particularly in the area of Vercelli. Up until the 16th century rice was considered to be almost medicinal, but then in 50 years, the number of rice fields on the Po Plain went from 5.000 to 50.000 according to a Spanish census.


Which rice for risotto? Without any doubt, quality rice! Gadda has no doubts about it: “Large-grained Vialone, shorter and plumier than the Carolina grain”, but Carnaroli also works well as does quality Arborio (“not the one in the supermarket”, warns chef and food writer Marino Marini, “the one in my market”). “Never parboiled”, we are warned by Roberta Schira, “because the free starches contained in this make it impossible to perform a perfect mantecatura”, as is called the last stage of the preparation, which consists of removing the risotto from the heat, leaving it to repose for two minutes and of stirring in the final butter or olive oil and the cheese. But whichever rice it be, Gadda finishes by informing us that it should not be “entirely deprived of its pericarp.”


The word goes to Medagliani once again: “The risottiera is that tinned copper vessel that the Milanese have traditionally used for cooking risotto all'onda (minestra) for centuries... (like the old one in the photo). The brim of the risottiera opens toward the top so that it is easier to stir with a wooden cooking spoon. The semicircular wrought-iron handle is riveted to the top of the vessel. It has an extremity divided into the two sides of a spout in the shape of an up-side-down U, which allows the risotto to be poured directly into the serving dish”.


Technically, risotto al salto is a variation of risotto alla milanese accepted by the De.Co. (Communal Denomination) code. “It is prepared by flattening the rice with the hands onto greaseproof paper, until a pie is formed” It is then placed in a cooking pan in hot butter and it is cooked while the vessel is moved slowly until a crust is formed. It is then done on the other side.


Back to Gadda again: “With the first rains of September, fresh mushrooms in the casserole; otherwise, after San Martino, shavings of dried truffle done with a truffle slicer could find their way into the dish.” Neither of the two “manages to pervert the profound, the vital, the noble meaning of risotto alla milanese”. The De.Co. code allows the white truffle variation, as that of dried mushrooms and the third is traditional: risotto al salto.


Wine or no wine in risotto alla milanese? Roberta Schira writes, “The traditional recipes do not speak about it until the end of the 1800’s”. She adds: “Fading the rice into white or red wine seems to be a habit born of the disappearance of pan drippings (gras de rost) from risotto. The drippings already contained wine and hence the acidic component. When they were not available, wine was used, almost always red as a substitute”. According to Gadda, “two or more tablespoons of full-bodied red wine (Piedmont) do not step down from the obligatory prescription; however, they who care to do so may enhance the dish with that aromatic flavour which favours and speeds up their digestion.” Pellegrino Artusi, from the seventh edition of his “Science in the Kitchen and the Art of Eating Well” on, gives one recipe without wine and one with wine and marrow. On the other hand, the rules of the De.Co. say that it is important “never to add wine, which would kill the perfume of the saffron”. Anna Gosetti was of the same opinion, while Gualtiero Marchesi suggested using sour butter instead to balance out the gras de rost.


Rice is born in water and dies in wine according to the proverb, and especially in red wine. Barolo and Barbaresco form an ideal marriage, but Dolcetto and Pinot Noir too. If lacking, outside Italy, in the New World, Pinot Noir from Oregon, Australia and New Zealand are very satisfactory. In general, avoid wines that are excessively woody.


The Arabs brought “za’faran” to Europe from Persia. The Farsi word, “sahafaran,” (saffron) derives from “asfar,” which means yellow, due to the colour the stigmas assume once cooked. Around 1300, a Dominican monk brought it to Italy and it was cultivated in many places on the peninsula, starting with Sicily. Its Latin name is crocus sativus and very quickly it became the symbol for gold, happiness and wealth. “Today saffron is harvested in San Gavino in Sardinia and around L'Aquila in Abruzzo, above all on the Navelli Plain. According to many experts, Italian saffron and in particular that from Abruzzo, is absolutely the best,” writes Roberta Schira. The saffron from L'Aquila and that from San Gimignano are DOP. Recently, excellent saffron has been produced also in the Province of Arezzo. During the second fortnight of October saffron is harvested by hand; the elaboration of the stigmas is also manual. They contain an extremely high percentage of carotenoids, optimal natural antioxidants, and of vitamines B1 and B2, which contribute to the metabolisation of fats. Four or five pistils per person are the correct dosis.



The father of “unitary” Italian cooking thanks to his best seller
La scienza in cucina e l'Arte del mangiar bene (The Science in the kitchen and the Art of Good Eating). Pellegrino Artusi in Wikipedia.


Carlo Emilio Gadda

Great Italian writer of Milanese origin and also a gastronomy critic. Quotes are from “Riso Patrio. Recipe”, published in Italian in Meraviglie d'Italia, Mondadori, Milan 1965. Carlo Emilio Gadda in Wikipedia.


Cover of Regional
Italian Recipes
by Anna Gosetti della Salda

One of the most complete Italian cookbook that you can get. Well researched and written it contains more than 2160 recipes from every region of Italy.


The most influential Italian chef of the last 3 decades at least. His risotto recipes are in the Italian book Il Codice Marchesi (The Marchesi code), Marchesiana, Milan 2007.


Defined himself as a “humanist potmaker”, selling pots his whole life but was above all a well educated person, dedicated to the sciences of man. Historian, gastronomist, critic, writer, editor and discoverer of talent. The Milanese, the Lombard and the Italian cuisines held no secret from him. Quotes are from “Da riso a risotto” - “From rice to risotto”, an original article written for the GVCI forum.


Cover of La Gola
by Marino Marini

Gastronomist, author of books and publications, and librarian of the Scuola Internazionale di Cucina (International School of Cuisine), Alma di Colorno, Parma. Quotes are taken from the Chapter “Il risotto alla milanese” that will soon be published in his book “La Gola”, published by Food Parma.


Writer, culinary critic, food stylist and collaborator with Panorama, RistorArte, GolfLife, Uomini & Business and other Italian magazines and publications (http://www.robertaschira.com). Quotes are taken from “Risotto alla milanese: la ricetta perfetta”, published in RistorArte, The magazine of Design and Gastronomic Culture.