QUINTESSENTIALLY | Insider | Peter Harmer

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Novelli’s Sharp Expression

Thursday, December 1st, 2011


“Shall we have some Champagne? Yes, I’ll open a bottle.” Jean-Christophe Novelli has just swept through his chef academy; his accent and charisma enough to kill any suggestion it may not be wise to indulge quite so much before a masterclass with the world’s sharpest knives.

A moment after we have all sat down he begins to confer on us his great artistry, and the exquisite fineness of these knives. An onion is dispatched with startling speed to be used in a novel take on Christmas gravy; he includes both cocoa powder and vanilla.

Jean-Christophe Novelli believes the knives, which he designed in conjunction with Ziganof, are the only knives anyone needs to express themselves in the kitchen. The Japanese cleaver, paring and carving knives offer all the versatility you need.

Soon after he grabs a carrot, and after what look like a selection of random incisions, he presents a perfect orange flower. With this demonstration of what is possible it is our turn. We make our way to our chopping boards, it feels like an old episode of the Generation Game; I expect Bruce Forsyth to burst out at any moment – he doesn’t.

At this point I should admit I was expecting to be underwhelmed with the knives. As a keen cook I have good quality knives which I keep as sharp as I can, I didn’t think these could be that much sharper; I was wrong. They are, in fact, extraordinary, the blade is perfectly balanced, incredibly flexible and as soon as you start to slice, terrifyingly sharp.

Made with Damascus steel, a technique developed in the Middle East but perfected in Japan for use in the famously sharp Samurai swords, the knives combine ferocious sharpness with flexibility.

The technique, which sees malleable steel folded over a harder, brittle core, produces impeccably sharp knives. The Japanese cleaver has a core of TG10 steel, the hardest possible, with 66 layers of steel folded over the top. It is proof that excellent craftsmanship is, in itself, an art.

Classes at the academy are as diverse as French and West African cooking. Any fears over the authenticity of what you are learning are immediately dispelled after talking to the teachers. I asked Felice, the Italian tutor, what he’d do with polenta and was given a recipe from his youth in Italy, “Cook a mountain of polenta and put one sausage in the middle, whoever can eat their way to the middle gets the sausage – that one sausage can last for weeks”.

Presented in an attractive box these knives, which are made to last a lifetime and more would make an excellent addition to even the most well-stocked kitchen.

www.jeanchristophenovelli.com/partnerships/ziganof-knives/


The Oldest Whisky in the World

Thursday, November 10th, 2011

Glenfiddich’s malt master’s hands are shaking, a look of love and fear flits across his face. If we were in a cartoon a bead of sweat would be rapidly forming on his brow. The reason? He’s pouring out a dram of one of the rarest whiskies in the world – and every drop of this light amber nectar is precious.

The whisky itself is splendid, it really is the drink of the gods and it seems they knew they were dealing with something very special; the cask was filled on New Year’s Eve 1955. My first impression of this 55-year-old dram was surprise. Despite its age it is an incredibly pale gold, the result of using a plain butt; a cask that has been filled two or three times before being entrusted with this, it’s final duty.

This lightness continues through the tasting. A quick swirl sets its aromas free – beautiful floral notes mixed with slight citrus are the first to play on the nose swiftly followed by a slight sweetness and smokiness. With anticipation building to breaking point we take our first sip. The flavours dance jubilantly on the tongue. Was that a hint of vanilla nestling among the sweet oak and slight smokiness? The excited hubbub gives way to awed silence as we take in quite how privileged we are to have tasted this whisky.

This remarkable liquid is being released in a very small bottling; just eleven are to be sold, to celebrate the 110th birthday of Janet Sheed Roberts (one for each decade of her life), the oldest living person in Scotland and granddaughter of the company’s founder William Grant.

The celebration of Janet Robert’s life continues in the design of this run. The beautiful leather box the whisky comes in is based around her travelling trunk and the bottle decorated with aquamarine – her favourite colour.

Attention to detail is the watchword here with the individuality and rarity of each bottle emphasised. The bottles are hand blown, hand numbered and come with an individual artwork inspired by Janet Robert’s graduation gown; she was also the first woman to graduate from Edinburgh Law School; a miniature of the whisky and a booklet detailing Janet’s life are also present.

The bottles are to go to auction individually with the proceeds to be donated to a selection of charities. The first of the eleven bottles will be at Bonham’s whisky sale in Edinburgh on December 14th with proceeds going to Water Aid, a charity dedicated to providing safe water for the world’s poorest families.

Whisky of this kind has become a hot investment opportunity. With some bottles adding as much as £10,000 to their value in just a decade. The unfortunate result of this trend is, however, that much of this whisky will never be enjoyed. Instead it will sit as a part of a large collection or accumulating value, a fate which, to me, seems a great pity.

This whisky, expected to sell for upwards of £30,000 per bottle is a fitting way to pay tribute to the extraordinary life of Janet Sheed Roberts.

www.glenfiddich.com


It’s Gin O’Clock

Thursday, November 3rd, 2011

Bonfire Night feels, to me at least, like the true beginning of winter. It is an evening for mulled wine, scarves and the smell of roasting chestnuts, a night to stave off the winter blues. The ‘ooohs’ and ‘aaahs’ that follow the explosion of the latest firework are sounds which massage the psyche, preparing it for the long nights to come.

Gin is the perfect accompaniment to this relaxation. One of its essential infusions, juniper berries, have been recognised for their soothing, restorative powers for centuries. As far back as the 11th century Italian monks were using an early relative of gin for it’s curative powers. These restorative properties came to England in the 1600s when soldiers fighting in the Eighty Years War noted the calming qualities of the spirit, a discovery that gave rise to the phrase ‘Dutch Courage’.

It seems fitting then that they should come together to create a perfect way to start your winter, and more specifically your Bonfire Night, with a bang. The Forge in Camden, is hosting a gin-making workshop where guests can learn the art of creating the perfect bottle of gin while enjoying canapés chosen to best compliment their tipple.

Lessons will be courtesy of Ian Hart of Sacred Spirits Company, a micro-distillery based in North London’s Highgate. Having already won numerous plaudits and awards for their remarkable gin and vodka, you can be sure that you’re learning from the best.

Guests will be shown how to create the perfect blend of fruit and spices for your gin. New flavours will also be on the agenda as the innovative distillers show you how to blend unconventional flavours such as nutmeg and frankincense; perfect for creating a modern spin on traditional gin that will see you through into Christmas.

This promises to be a real treat for gin lovers across the capital, so make sure you don’t miss out.

5th November, 2011
4:30pm – 6:30pm
Tickets are GBP 25

www.forgevenue.org


Noble Art comes to Cornwall Terrace

Tuesday, October 25th, 2011

Regent’s Park is a haven for Londoners who want some outside space; lunchtime picnickers, sunbathers, sportsmen and dog walkers congregate around its pitches, gardens and paths. However, every October these outdoor pursuits play second fiddle as the park is turned into a haven for contemporary art lovers.

The Frieze Art fair, during which around 170 of the world’s leading contemporary art galleries arrive in Regent’s Park, takes over this wonderful open space and offers a chance for Londoners to cast their eye over the best the scene has to offer.

Not only do the galleries pop up, but the entire park comes under its spell; sculptures spring up among the trees of the park’s southern edge while nearby houses have been turned into pop up galleries. Not least among these is the gallery that has taken over one of the opulent residences on Cornwall Terrace.

Following on from the huge success of the House of the Nobleman at last year’s fair, curator Victoria Golembiovskaya is back again with ‘The Return’; an exhibition which should inspire collectors to show more ambition when assembling their collections.

The show features pieces spanning the whole gamut of the art world. The pieces are as diverse as renaissance reliquaries and feature more abstract modern paintings from greats like Gerhard Richter and Damien Hirst.

The residence which is housing the exhibition is in one of the newly refurbished houses of Cornwall Terrace. Within this John Nash-designed townhouse the exhibition takes on a far more intimate nature. You feel like an invited guest within the home of a superbly original art collector.

The house is part of the general development of Cornwall Terrace. The terrace, originally commissioned in 1811 by the Prince Regent, has undergone an intensive refurbishment – the original 19 houses have been re-designed and restructured to create eight enormous, double-fronted houses. Created with a ‘no expense spared’ attitude the houses have been designed to appeal to different markets. For example, no 13 (a lucky number in Chinese culture) is decorated in an East Asian style, particularly emphasising red, also seen as a lucky colour.

The Grade-I listed, neo classical houses have an enviable position overlooking the vast open spaces of Regent’s Park and have been designed to house the very latest home technology.

With prices starting at £29m, Cornwall Terrace is set to once again become one of the capital’s most sought after residential streets.


Taymouth Castle

Tuesday, October 18th, 2011

Sweeping through the Scottish countryside it is easy to see why Queen Victoria fell in love with the Highlands after her visit to Perthshire’s Taymouth Castle. Stepping out of the car which whisked me through the sunshine to the grand entrance, there are few, if any, places I would rather find myself.

The reason Scotland’s weather is necessarily unsettled is clear; if the sun were to shine every day it would be, quite simply, unfair. You can keep the Riviera; I would rather be in a sunny Scotland any day.

Think of the Scottish Highlands and your mind probably leaps to surging rivers, huge lochs and challenging golf courses all set amid stunning countryside. Well, with Taymouth Castle you’d not be far off the mark, although you may not expect the spectacle afforded by the row of shining Porsches from the Porsche Club which were parked outside the front door.

Today’s castle was built in the nineteenth century on the site of a much older incarnation and was the home of the Campbell family. Visited by Queen Victoria on one of her first trips to Scotland in 1842 (the suite she stayed in can still be visited today) she was astonished by the preternatural beauty of the area and later bought nearby Balmoral as a personal residence.

The castle fell into disrepair with much of it at best a shell, and at worst in danger of collapsing entirely. Now, however, it is undergoing intensive work with the aim of restoring it to former glories and turning it into a luxury boutique hotel complete with luxury rooms, spa and, eventually, a Michelin-starred restaurant.

The restoration is a superb example of what can be achieved when historic buildings are treated sympathetically. The risk with this type of work is always that the buildings will feel like theme parks, with the character and originality sucked from them leaving an ill-judged pastiche. Thankfully this particular pitfall has been avoided. The rooms feel authentic, the atmosphere real.

The estate’s extensive grounds are also being given a makeover. The golf course which runs through the grounds to be extended and brought up to championship standard with the help of Scottish professional golfer Stephen Gallacher.

The major development on the estate is the building of luxury residences, which will offer owners their own piece of this Scottish idyll. There are plans for more than 100 bespoke residences located to ensure the grounds do not lose their essential character. With access to all the castle’s future facilities as well as a management service, it’s sure to be a great way to enjoy all that Scotland can offer.

For more info, please visit – www.taymouth-castle.com


Il Trittico

Tuesday, September 27th, 2011

The beginning of the Royal Opera’s new season has been pencilled into aficionado’s diaries for months, with one certainty: Puccini’s Il Trittico – a series of three one-act operas – will send them home happy, kicking off the season in excellent fashion.

The traditional view is that the masterpiece of the work lies in its final part. The comedic Gianni Schicchi, with the aria ‘O mio babbino caro’ is by far the best known of Il Trittico. Il Tabarro makes a slightly shaky part one, while Suor Angelica is a second part with an acquired taste. However, with new staging from Richard Jones and the mastermind of conductor Antonio Pappano, these conventional notions must surely be thrown out of the window.

This is the first Royal Opera performance of the complete trio since 1965, testament to the recently prevalent view that the work deserves to be rethought in a new production. In this case, though, the trio is added to the already popular production of Gianni Schicci, which tells a manic story of deception. The eponymous Schicci – played here by Lucio Gallo -swindles a greedy family out of their inheritance to further the cause of true love.

Here moved from Puccini’s original thirteenth century setting to the 1960s, the performance perfectly captures the joy and comedy of the opera. The cast throw themselves gleefully into the farcical scheming, and their enjoyment is infectious. Never has deception been so much fun.

For the production’s biggest surprise however, we must look towards the middle panel of Puccini’s triptych: the much-maligned Suor Angelica. It is here transformed by innovative production and a fantastic, heart-wrenching performance from Ermonela Jaho as Angelica, the young woman forced into a convent due to the perceived shame her pregnancy brought upon her noble family.

The opera’s traditional finale, a vision of the Virgin Mary and Angelica’s lost son, is usually perceived as the weakness of this piece. Here, however, a subtle shifting of the work is revelatory, bringing a believable tragedy to the story’s end.

As the first part of the evening, Il Tabarro – a story of a tragic love triangle, dark in both setting and theme – is the weakest of the set.

Despite the excellent performances of lovers Giorgetta (Anne-Maria Westbroek) and Luigi (Aleksandrs Antonenko), and Lucio Gallo as the cuckolded husband, it is overshadowed by what follows, not because of its own shortcomings but purely because of the excellence of parts two and three.

This is a fantastic set of performances offering a spectacular evening of opera: humour, murder, deception and suicide combine for an unforgettable experience.

www.roh.org.uk


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