We make a giant panino to celebrate the best fresh Italian produce
And on Thursday, she joined us to make a 1.5m long panino.
Anna says that she created this dish to celebrate her Italian heritage, she says growing up people used to tease her at school for having salami sandwiches, but these days these types of sandwiches have actually become very popular.
The Little Italy Sandwich
Mortadella
Salami
Aged Prosciutto
Provolone Cheese
Sun Dried Tomato Strips
Artichoke Hearts
Grilled Eggplant Fillets
Grilled Zucchini
Roasted Pepper Strips
Green Olives
Arugula
Pesto
Balsamic Glaze
Layered inside fresh, crusty focaccia, this panino is a tribute to the rich Italian history of Leichhardt. One bite, and you're right back in Little Italy, where every ingredient tells a story and every sandwich feels like home.
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The Advertiser
3 hours ago
- The Advertiser
New La Bohème promises Aussie cast, 'dazzling fishnets'
Opera Australia is promising a "glittering reimagining" of La Bohème, Puccini's tragedy of star-crossed lovers in Paris, ahead of opening night at Sydney Opera House on Saturday. Performed by an all-Australian cast, the production moves the action of one of the world's most popular operas forward about 100 years from 1830s Paris to 1930s Weimar Republic Berlin. The company said opera-goers could expect the fresh take on the original bohemian love story to transport "audiences to the dazzling fishnets and fairy lights world" of the late Weimar era - a time of cultural flourishing in Germany. There would be glamorous costumes and grand sets to go with the "universal themes of love, friendship and loss", Opera Australia said. "La Bohème is a story that transcends time and place and has been moving audiences around the world for generations," it said. Opera Australia - the nation's largest performing arts company - hopes the fan-favourite can boost box office takings as it tries to turn around a 2024 slump in audience numbers and an operating deficit of $10.6 million. It is also trying to bounce back from 2024's loss of Jo Davies as artistic director, which it blamed on differences of opinion on artistic innovation and commercial imperatives. The company this week named Alex Budd, current director of Canberra Theatre Centre, as its new boss, seven months after Fiona Allan abruptly left the top job at the Sydney-based company. In announcing Mr Budd's appointment, Opera Australia said it backed him to strengthen its position as "the nation's premier opera company". Other key changes place Glyn Davis as board chairman and Italian maestro Andrea Battistoni as music director. Marking its 70th anniversary this year, Opera Australia has also recently announced a return to some of its milestone productions. Its Sydney 2026 program includes Moffatt Oxenbould's production of Madama Butterfly and Graeme Murphy's The Merry Widow. In Melbourne, highlights are the city's first new production of La Bohème in 15 years, as well as La Traviata directed by Sarah Giles. Opera Australia is promising a "glittering reimagining" of La Bohème, Puccini's tragedy of star-crossed lovers in Paris, ahead of opening night at Sydney Opera House on Saturday. Performed by an all-Australian cast, the production moves the action of one of the world's most popular operas forward about 100 years from 1830s Paris to 1930s Weimar Republic Berlin. The company said opera-goers could expect the fresh take on the original bohemian love story to transport "audiences to the dazzling fishnets and fairy lights world" of the late Weimar era - a time of cultural flourishing in Germany. There would be glamorous costumes and grand sets to go with the "universal themes of love, friendship and loss", Opera Australia said. "La Bohème is a story that transcends time and place and has been moving audiences around the world for generations," it said. Opera Australia - the nation's largest performing arts company - hopes the fan-favourite can boost box office takings as it tries to turn around a 2024 slump in audience numbers and an operating deficit of $10.6 million. It is also trying to bounce back from 2024's loss of Jo Davies as artistic director, which it blamed on differences of opinion on artistic innovation and commercial imperatives. The company this week named Alex Budd, current director of Canberra Theatre Centre, as its new boss, seven months after Fiona Allan abruptly left the top job at the Sydney-based company. In announcing Mr Budd's appointment, Opera Australia said it backed him to strengthen its position as "the nation's premier opera company". Other key changes place Glyn Davis as board chairman and Italian maestro Andrea Battistoni as music director. Marking its 70th anniversary this year, Opera Australia has also recently announced a return to some of its milestone productions. Its Sydney 2026 program includes Moffatt Oxenbould's production of Madama Butterfly and Graeme Murphy's The Merry Widow. In Melbourne, highlights are the city's first new production of La Bohème in 15 years, as well as La Traviata directed by Sarah Giles. Opera Australia is promising a "glittering reimagining" of La Bohème, Puccini's tragedy of star-crossed lovers in Paris, ahead of opening night at Sydney Opera House on Saturday. Performed by an all-Australian cast, the production moves the action of one of the world's most popular operas forward about 100 years from 1830s Paris to 1930s Weimar Republic Berlin. The company said opera-goers could expect the fresh take on the original bohemian love story to transport "audiences to the dazzling fishnets and fairy lights world" of the late Weimar era - a time of cultural flourishing in Germany. There would be glamorous costumes and grand sets to go with the "universal themes of love, friendship and loss", Opera Australia said. "La Bohème is a story that transcends time and place and has been moving audiences around the world for generations," it said. Opera Australia - the nation's largest performing arts company - hopes the fan-favourite can boost box office takings as it tries to turn around a 2024 slump in audience numbers and an operating deficit of $10.6 million. It is also trying to bounce back from 2024's loss of Jo Davies as artistic director, which it blamed on differences of opinion on artistic innovation and commercial imperatives. The company this week named Alex Budd, current director of Canberra Theatre Centre, as its new boss, seven months after Fiona Allan abruptly left the top job at the Sydney-based company. In announcing Mr Budd's appointment, Opera Australia said it backed him to strengthen its position as "the nation's premier opera company". Other key changes place Glyn Davis as board chairman and Italian maestro Andrea Battistoni as music director. Marking its 70th anniversary this year, Opera Australia has also recently announced a return to some of its milestone productions. Its Sydney 2026 program includes Moffatt Oxenbould's production of Madama Butterfly and Graeme Murphy's The Merry Widow. In Melbourne, highlights are the city's first new production of La Bohème in 15 years, as well as La Traviata directed by Sarah Giles. Opera Australia is promising a "glittering reimagining" of La Bohème, Puccini's tragedy of star-crossed lovers in Paris, ahead of opening night at Sydney Opera House on Saturday. Performed by an all-Australian cast, the production moves the action of one of the world's most popular operas forward about 100 years from 1830s Paris to 1930s Weimar Republic Berlin. The company said opera-goers could expect the fresh take on the original bohemian love story to transport "audiences to the dazzling fishnets and fairy lights world" of the late Weimar era - a time of cultural flourishing in Germany. There would be glamorous costumes and grand sets to go with the "universal themes of love, friendship and loss", Opera Australia said. "La Bohème is a story that transcends time and place and has been moving audiences around the world for generations," it said. Opera Australia - the nation's largest performing arts company - hopes the fan-favourite can boost box office takings as it tries to turn around a 2024 slump in audience numbers and an operating deficit of $10.6 million. It is also trying to bounce back from 2024's loss of Jo Davies as artistic director, which it blamed on differences of opinion on artistic innovation and commercial imperatives. The company this week named Alex Budd, current director of Canberra Theatre Centre, as its new boss, seven months after Fiona Allan abruptly left the top job at the Sydney-based company. In announcing Mr Budd's appointment, Opera Australia said it backed him to strengthen its position as "the nation's premier opera company". Other key changes place Glyn Davis as board chairman and Italian maestro Andrea Battistoni as music director. Marking its 70th anniversary this year, Opera Australia has also recently announced a return to some of its milestone productions. Its Sydney 2026 program includes Moffatt Oxenbould's production of Madama Butterfly and Graeme Murphy's The Merry Widow. In Melbourne, highlights are the city's first new production of La Bohème in 15 years, as well as La Traviata directed by Sarah Giles.
Perth Now
6 hours ago
- Perth Now
New La Bohème promises Aussie cast, 'dazzling fishnets'
Opera Australia is promising a "glittering reimagining" of La Bohème, Puccini's tragedy of star-crossed lovers in Paris, ahead of opening night at Sydney Opera House on Saturday. Performed by an all-Australian cast, the production moves the action of one of the world's most popular operas forward about 100 years from 1830s Paris to 1930s Weimar Republic Berlin. The company said opera-goers could expect the fresh take on the original bohemian love story to transport "audiences to the dazzling fishnets and fairy lights world" of the late Weimar era - a time of cultural flourishing in Germany. There would be glamorous costumes and grand sets to go with the "universal themes of love, friendship and loss", Opera Australia said. "La Bohème is a story that transcends time and place and has been moving audiences around the world for generations," it said. Opera Australia - the nation's largest performing arts company - hopes the fan-favourite can boost box office takings as it tries to turn around a 2024 slump in audience numbers and an operating deficit of $10.6 million. It is also trying to bounce back from 2024's loss of Jo Davies as artistic director, which it blamed on differences of opinion on artistic innovation and commercial imperatives. The company this week named Alex Budd, current director of Canberra Theatre Centre, as its new boss, seven months after Fiona Allan abruptly left the top job at the Sydney-based company. In announcing Mr Budd's appointment, Opera Australia said it backed him to strengthen its position as "the nation's premier opera company". Other key changes place Glyn Davis as board chairman and Italian maestro Andrea Battistoni as music director. Marking its 70th anniversary this year, Opera Australia has also recently announced a return to some of its milestone productions. Its Sydney 2026 program includes Moffatt Oxenbould's production of Madama Butterfly and Graeme Murphy's The Merry Widow. In Melbourne, highlights are the city's first new production of La Bohème in 15 years, as well as La Traviata directed by Sarah Giles.
Sydney Morning Herald
10 hours ago
- Sydney Morning Herald
The women shortlisted to replace Anna Wintour at Vogue
'No one can replace Anna' has long been the refrain among fashion's highest echelons. Not being a 500-year-old immortal like the Highlander, however, someone eventually must. Nothing – not even a diet of rare steak and daily tennis – can make a person live forever. And yet, Anna Wintour's 37-year reign at American Vogue was so formidable that many assumed she might go on editing indefinitely. Which is why June's announcement that she would be stepping back from her day-to-day duties at Vogue came as such a surprise – and why speculation over her successor is now at fever pitch. While Wintour still holds two powerhouse titles – chief content officer of Condé Nast and global editorial director of Vogue – relinquishing the hands-on editorship of US Vogue marks the end of an era. It also signals the fading of a golden age for glossy magazines, when seven-figure salaries, chauffeured limousines and lavish expense accounts were de rigueur. Her successor, taking on the newly created role of head of editorial content, will face a daunting challenge. With magazine sales in decline, they will need to combine journalistic rigour, marketing acumen and managerial diplomacy with formidable networking skills, elite hosting and fundraising prowess – not to mention the hide of a rhinoceros. 'This is an extremely challenging role, and it's a big reach to assume that any one candidate will possess all the necessary skills,' says one well-placed source in New York. 'We talk a lot about musical chairs in the fashion industry, usually in relation to the steady turnover of designers at luxury houses. This role is likely to feel like a game of its own – only instead of chairs disappearing, it's staff and budgets.' Multiple sources say that Vogue 's parent company, Condé Nast, hopes to make a decision before the next round of shows – New York Fashion Week begins on September 11 – suggesting an announcement is imminent. With rumours that the shortlist has been cut to single digits, we assess who might soon be wearing a smaller, meeker version of Wintour's crown. The frontrunner – Chloe Malle The current frontrunner, Malle, 39, studied comparative literature and writing at Brown University, landed her first internship at The New York Observer, and joined US Vogue in 2011 as social editor – despite admitting in a 2013 interview that she was 'hesitant … because fashion is not one of my main interests in life'. An instant disqualifier, surely?
