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Posts Tagged ‘Culture’

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

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

The Pearl of the Adriatic

Wednesday, September 21st, 2011

Within three hours of landing in Dubrovnik I felt as though I’d come face to face with the apocalypse, abandoned on an open stretch of the city wall, with no way down.

Lightning splitting the sky, sky getting darker, darkness signalling a torrent of water – the kind of torrent in which it’s difficult to separate raindrops from sea-spray off the back of raging white horses. I dared to take a quick picture to prove the ridiculousness of the situation, and the result looks as though my point-and-shoot has slipped into black and white mode – not your average photograph of the Pearl of the Adriatic, all emerald seas, creamy walls and terracotta tiles.

So we took the total drenching and the static electricity in our hair and laughed – a lot – as is only reasonable in these circumstances, where the only option is to make like Gene Kelly.

By the time we’d managed to slip down the steps back into the film set-esque Old Town, the laughing had changed. I was the idiot in shorts, my companion the one in flip flops, who’d decided to walk the wall without umbrellas or waterproofs on a Saturday afternoon in July when a storm was obviously going to hit. Ha! How stupid!

Now we were being laughed at.

But we caught Dubrovnik to ourselves for five minutes, strolling along streets now void of tourists and cruise-goers and prams and ice-creams and tables and chairs. Everyone had scarpered as soon as the first plip-plop warning signs had bounced from the polished paving, and no-one was going to let us inside, drips and all.

Starting to shiver, we made a dash for it and retreated back into our suite at the Excelsior Hotel, ensconcing ourselves in towels and bathrobes and the fruit bowl and pastries that had appeared during our ordeal – as though when the concierge had smiled at us on my way out, he knew the exact state in which we’d return, and had planted a recovery kit on the coffee table.

The next time I was aware of anything, it was half past five, I had a creasy cheek from a feathery pillow and had been awoken by the sun streaming through the shutters – the only sign of any sort of a storm the sopping clothes dumped in the bath tub.

Squinting onto my balcony, Dubrovnik was singing again – below, sun loungers had filled, with a glassy sea lapping quietly along. It seemed that the horses had gone to bed, just as I’d woken up, such were the Excelsior’s powers for ridding storms away into a foggy nightmare. It wouldn’t have mattered if the rain had persisted – we’d have spent longer running between our three bathrooms, bouncing between bed-sofa-bed-sofa-bed, and stretching out in our very own mini-gym. But once sun won the war against cloud, she wasn’t budging.

So we swam off the rocks, and in the pool, flitting between snorkel and goggles, sauna and steam room, inside and outside as we pleased, not needing to leave the hotel. We sipped Champagne and orange juice and fresh coffee for breakfast on the terrace, with poached eggs on toast and croissants and finely sliced gruyere.

Begrudgingly, almost, we strolled into town, dodging the crowds to slip into ancient churches and tiny art galleries, up and down endless stone stairs, glossy with a thousand years of footsteps. The Old Town turned out to be full of secret coffee shops, mountainous ice-cream parlours and shady corners serving gigantic pizzas, and a bizarre Bosnian restaurant named Taj Mahal – such is the quirk of Croatia. We talked with little ladies selling hand-sewn lace and home-grown lavender pouches and coo-ed at litters of kittens playing in the dust, between groups of teenagers smoking secretly around street corners.

Stopping for mid-afternoon beers at Buza, we ended up jumping from cliffs with children cooling off after school and settling in for sunsets sound-tracked by Coldplay and Carole King.

On the third day, a car arrived and whisked us to the other side of town, delivering our suitcases to a new room at a new hotel that was going to have to try very hard to beat its older sister. The Bellevue was all big views and its own secluded cove, with winding footpaths over the headland and water-polo matches in the sea. We cracked buttery langoustine and demolished lamb steaks and peach Panna Cotta in Vapor, with a chilled bottle of Trebbiano and a cool breeze through open glass doors.

A trip to the Žičara let the Dalmatian lurking along the coast reveal herself as the cable car zipped up its wire. Island after island rolling out across the expanse of water, turning hazy towards the Adriatic horizon, from the highest point over Dubrovnik – you can imagine the view, speaking for itself with a laid-back Croatian charm.

We relinquished to the draw of Nauticka and its truffles, scallops and John Dory, eating al fresco on the terrace with a moonlit view of the Lovrijenac Fortress. It was turning out that Dubrovnik was all about the seafood.

That is, until we sneaked a peek around Villa Agave. It had gone unnoticed before, sitting quietly next to the Excelsior, half falling over the cliff-edge but, behind ancient white walls, hiding a home for popstars and actors and rockstars– Kevin Spacey threw his 50th bash here, munching canapés beneath a canopy of stars and drinking Champagne on isolated paparazzi-defeating balconies. The Villa is all rustic timber and Mediterranean stone floors, softened by well-worn rugs, thick fabrics and four-poster beds.

I stood thinking that the only thing missing was a kitchen, to be swiftly reminded that with a private Butler on call 24/7, it’s simply a case of picking whatever you fancy, whenever you fancy it.

So that’s what it’s all about, in the end. Cruising in to Dubrovnik for a long summer at the Agave, and taking the odd storm in your stride with another bottle of Champagne and a giggle at the misfortune of anyone caught out on the city wall.

That’s what I’m aiming for anyway.

The Hotel Excelsior, Hotel Bellevue and Villa Agave are part of the Adriatic Luxury Hotel Group

http://www.alh.hr/

Art Goes Virtual

Thursday, January 27th, 2011

“VIP” is a common expression in the world of luxury – but this week it has been given a totally new meaning.  Saturday, 23rd January was the inauguration of the VIP Art Fair, but here the famous letters stand for ‘Viewing in Private’, and describe the world’s first major online art fair.

The founders of this ground-breaking fair are James and Jane Cohan, art dealers in New York, who, for the past 3 years, have been dreaming of and planning the fair which finally launched last weekend, and is scheduled to close on 30th January. With more and more transactions happening online – for example some galleries sell in a similar fashion to amazon.com and major auction houses accept online bids – it seems that art collectors don’t necessarily have to view works in person before knowing they love and want it. And so begins the online art fair.

The circuit is already so crowded with fairs from Hong Kong, London, Miami, Basel, New York, Dubai to Paris, that the cost of travelling and shipping make it almost impossible for galleries or collectors to see them all – in this climate it makes sense to go virtual. Although galleries still have to pay for booths, ranging from $5,000 – $20,000, the expense saved from not having to transport works is significant.

The fair’s first major success was in convincing big hitters like Gagosian, White Cube, Hauser and Wirth and an interesting range of younger galleries to buy booths and set up a display of works. Beyond that the basic logistics of the site were successful – the lay out and interface were extremely user-friendly allowing visitors to search galleries and chat with their staff 24 hours a day.

So was it a success? I would say yes and no. The major failing has been that due to high user demand the website has been incredibly slow, to the point that they have had to disable the chat feature, suggesting visitors email or call the gallery instead.  The problem with this is that specific prices are not listed, and not a lot of details are provided about each work; while you can see the artist’s CV and biography there is no actual description provided, meaning some works’ significance and purpose can, unfortunately, be lost.

Having said that, I think the idea of the online art fair is a major step forward. This fair has more than 1900 works on view, and the whole reason the website has had problems is because of overwhelming interest and demand – there have been a staggering 3.3 million views on the site, from 130 countries and it’s still  only half way through the fair.

Whether sales have been high is still unknown, but it cannot be contested that even if people aren’t buying online, they are being made aware of different galleries and different artists to investigate in the future.

Technological glitches aside, the Cohans should be proud of what they’ve accomplished and hopefully will do it again next year with a bit more experience under their belts.

vipartfair.com

Art Dubai Seals Position

Tuesday, March 30th, 2010

aran_gallery_main

18, 000 attendees, 30 countries, 72 galleries, 200 000 USD listed as a sale highlight figure. As Art Dubai 2010 drew to a close, the mood was resoundingly positive. Royals, international museum advisors and private buyers all snapped up works, and with a healthy smattering of galleries selling out completely, it seemed the buzz was back. With a rising number of Emirati artists showcasing work for the first time, attention turned to local talent and its burgeoning value.

The record number of fair goers were undoubtedly attracted by the impressive line up of art stars flown in for the four day fair including El Anatsui – the man behind the hundred thousand dollar cloth works – whose conversation was part of the Global Art Forum programme. Such a prominent artist’s presence is indicative of the fair’s increasing stature since its inauguration four years ago, as is a Van Cleef & Arpels sponsored exhibition. With such strong sales and international audiences acquiring regional talent, Art Dubai is seen as a fair gauge of where the Middle Eastern market is heading.

It seems the fair directors are well on the way to really fulfilling their ambition on becoming a premier East-meets-West platform for the global art community.

Image (C) of Art Dubai

Beirut gets back in touch with its traditional past

Monday, November 23rd, 2009

souklebanon_main

In a hidden corner of Beirut’s Souk el Tayeb, chef, writer and television presenter Kamal Mouzawak is successfully reacquainting the Lebanese with their native cuisine. No longer do they have any excuse to grab a slice of limp pizza at lunchtime when his new eatery, Tawlet II is serving regional food cooked up by the local producers who trade in the souk.

The restaurant only opened last week and so far looks set to fulfil Mouzawak’s aims of finding at least one way in which the clashing cultures of Lebanon can be united. Sunni, Shi’te and Christian food producers will take it in turns to serve up the foods on which they base their lifestyles. Dishes being served will of course vary according to the produce available on the day and the whims of the nominated chef, but will be focused on traditional Lebanese cuisine, with ingredients such as raw spiced meat, chick peas and maftoul (a couscous-like stew).

There are several other initiatives within the souk which are being implemented in an attempt to reconnect the Lebanese with their increasingly neglected cultural heritage. Weekly cooking classes will take place and special monthly guests will visit the Tawlet to showcase their own traditional styles, whether they are a celebrity chef, a food writer, or a health expert. The project ‘Seeds for Peace’ is designed to provide help and support to small manufacturers who have suffered as globalization suffocates artisanal producers and is one of several ideas which are being set up in Beirut at this time.

Whether this movement gathers speed in Lebanon remains to be seen but it certainly serves as a timely reminder that we could all benefit from learning about the origin of our everyday fare.

www.soukeltayeb.com

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