Food

Smart Italian restaurants in cultural destinations are like buses: you wait ages for one and suddenly two come along at once. I recently praised Locatelli at London’s National Gallery. Returning to the city, it is the turn of Cicoria at the Royal Ballet and Opera, Covent Garden; a joint under the aegis of Angela Hartnett, well-known for her upscale restaurant Murano in Mayfair, her casual chain Cafe Murano and her frequent appearances on the box. Surprisingly few of the world’s great opera houses have given much thought to catering, although things are improving. I ate very well recently at Madrid’s Teatro Real and you can push the boat out with caviar at the Met in New York.

The New York Times recently released its annual list of America’s Top 50 restaurants – and the perfectly predictable honorees highlight just how beholden the restaurant industry is to the tastes of a would-be cosmopolitan class. The casually refined, vaguely ethnic-fusion cuisine that you stumble upon even in America’s most provincial places is rife. From New York to Los Angeles and everywhere in between, America’s restaurant industry has never been more diverse. Yet somewhat counterintuitively, it’s also never offered more of the same. Often, these restaurants propose some mix of French staples (think mother sauces, patisserie) or Italian comfort food (pasta, pizza) fused with Latin, Asian and/or Middle Eastern flavors.

There’s a famously untranslatable expression in Virgil’s Aeneid: lacrimae rerum. Latin scholars, always fond of threshing things out, have devoted reams of analysis to proving just how untranslatable it is. As is typical of academics, however, they go to lots of trouble to establish its utter untranslatability – and then turn around and translate it anyway. When pumpkins aren’t being cozy, they generally denote a sense of emptiness or artifice Word for word, lacrimae rerum means “The tears of things” (or, depending on your school of thought, “The tears for things.”) But each scholar has his slant on the sadness.

Eleven Madison Park, perhaps the finest of New York’s fine-dining establishments, is adding select meat dishes back to its prix fixe menu after an ill-fated foray into veganism after the pandemic. Chef Daniel Humm announced the move in the New York Times, citing all the predictable reasons for ditching a plant-based menu. First and foremost: the finances. “It’s hard to get 30 people for a corporate dinner to come to a plant-based restaurant,” Humm told the Times, noting the negative feedback from diners over the years. Still, he framed the move in moral terms, explaining how he didn’t “realize that [the vegan menu] would exclude people.” To this, I can only muster an eye roll.

Does your museum feel tired and run down? Is the entrance unwelcoming? The bookshop shabby? The restaurant a mere café? If so, call Annabelle Selldorf, the German-American architect whose talent and sensitivity have made her the go-to person for reviving weary museums. Her recent transformation of the Frick in New York has been widely acclaimed and she will soon start work on the Wallace Collection in London. But the latest masterwork has seen Selldorf sprinkle her fairy dust on the Sainsbury Wing of London’s National Gallery. Those with long architectural memories will recall how in 1984, the then Prince of Wales christened the proposed new wing of the Gallery “a monstrous carbuncle on the face of a much-loved and elegant friend.

You will be familiar with the 1930s line, “Whenever I hear the word culture, I reach for my gun.” Whenever I hear the word culture I reach for the nearest restaurant. Culture makes me hungry and there is no better place to post-mortemize the latest exhibition or concert than from a comfortable seat in a local joint. For 19th-century progressives, railway stations were the most in-your-face examples of a new and better world. “The railway station is the highest monumental and artistic expression of the industrial and commercial genius which so specially characterizes the era in which we live,” César Daly proclaimed in 1861.

Chet Sharma – physicist, DJ and award-winning chef – only needs to sleep for four hours a night. “I inherited [this gift] from my mother,” shrugs the Londoner when we talk one morning before lunchtime service at his restaurant, BiBi. “She has unlimited energy!” Raised in Berkshire, England, to parents with Indian heritage, Sharma has a master’s degree in clinical and experimental medicine from University College London, as well as a master’s in physics and a PhD in condensed-matter physics from the University of Oxford. It was during those seven years studying that he also moonlighted as a cook and a DJ. “I’d do university in the morning, dinner service at a restaurant [at night], and at 11 p.m.

July, and the morning sun blazes over fields of pick-your-own strawberries. The black bears scope out the blueberry patches in the national parks. Skin-destroying raspberry canes trail across the path, ready to spring out and scratch the faces of passers-by. The berrying season is upon us: scratched faces and stained clothing are on the cards. Have you ever seen a child pack a handful of wild raspberries away into a shirt pocket for safe keeping? I hope so. It’s one of the joys of life. Their faces, on seeing the inevitable results, are completely worth the ruined outfit. However, if you don’t have any young relatives to cheer you up with their berrying misadventures, pick-your-own farms aren’t just pick-your-owns but pick-me-ups.