Sunday, August 20, 2017

Where to Find Pleasant Tourists in Venice

Ca' Pesaro - Foto di Giovanni Porpora courtesy Comune di Venezia
(Venice, Italy) Venice has been in the international news lately with reports about Tourists-Behaving-Badly: having public sex, jumping into canals, sitting on bridges and blocking the flow of foot traffic, riding bicycles, wearing beach clothing, etc. The New York Times recently published an article entitled: Venice, Invaded by Tourists Risks Becoming 'Disneyland on the Sea,' (someone needs to blow the dust off that headline) about how mass tourism is killing the city. The other day, The Guardian piled on with "I Don't Mean to Ruin Your Holiday, But Europe Hates Tourists -- And With Good Reason, and last month: "Imagine Living With This Crap: Tempers in Venice Boil Over in High Tourist Season." The Economist chimed in with Not Drowning But Suffocating, suggesting that splitting Venice from Mestre was the solution, as if that were an original idea.


None of this is anything new. Way back in 2008, out of frustration with the tourist flow, I wrote a piece called TIPS FOR MOVING AROUND VENICE, a condensed version of which was picked up by the Financial Times and published in their Weekend Magazine. In an article called That Was Then, This is Now: Venice, my words were paired with comments from John Evelyn's Diary, dated 1645:

1645: from John Evelyn, Diary “...add the perfumers & Apothecaries, and the innumerable cages of Nightingals, which they keepe, that entertaines you with their melody from shop to shop, so as shutting your Eyes, you would imagine your selfe in the Country, when indeede you are in the middle of the Sea: besides there being neither rattling of Coaches nor trampling of horses, tis almost as silent as the field.”
2008: from “Venetian Cat – Venice Blog” by Cat Bauer “Tips for moving around Venice: 
1. Stay to the right when walking (even if you are British). Pass slow-moving creatures on the left. 
2. Do not sit on the bridges, under any circumstances whatsoever. One person sitting on a bridge can cause a traffic jam for miles.
3. Before stopping, look both ways, plus, in front and behind ... Do not stop short. Someone could rear-end you.”

Henry James used to stay on the top floor of Pensione Wildner on the Riva degli Schiavone, which was thick with tourists even in the 19th century. Here is what he had to say about Venice back in 1881:
...The barbarians are in full possession and you tremble for what they may do. You are reminded from the moment of your arrival that Venice scarcely exists any more as a city at all; that she exists only as a battered peep-show and bazaar.
There was a horde of savage Germans encamped in the Piazza, and they filled the Ducal Palace and the Academy with their uproar. The English and Americans came a little later. They came in good time, with a great many French, who were discreet enough to make very long repasts at the Caffè Quadri, during which they were out of the way.
The months of April and May of the year 1881 were not, as a general thing, a favourable season for visiting the Ducal Palace and the Academy. ...They infest the Piazza; they pursue you along the Riva; they hang about the bridges and the doors of the cafés....
Photo: Savvy Backpacker
Now we have arrived in the year 2017, where, thanks to technology, a bunch of foreigners have become "authorities" on Venice, hawking self-published books and "expert" services, feasting off the moribund body of Venice from afar. They do not live in Venice, but try to control the local narrative, manipulating social media to promote their skewed view of life in a deeply complex city -- a Byzantine city that carefully guards her secrets.

So, not only have local residents been pushed out of Venice by foreigners buying properties and renting them out to other foreigners, we are also bombarded on social networks by opinionated foreign marketers who link their names to unsuspecting local individuals and organizations, trying to gain legitimacy for their superficial "Venice" brands. As the late Martin Roth said, "You see how art and culture can be controlled for political purposes without you realizing it."

Forbidden Behaviours from the Venice Comune
The Venice Comune has launched their own awareness campaign on social media called #EnjoyRespectVenezia, with Good Rules for the Responsible Visitor, and clear, simple diagrams of Forbidden Behaviour. Most no-nos should be obvious, like don't get drunk and jump off a bridge because you might land on a boat.

On Ferragosto, August 15, I decided to head over to Ca' Pesaro, Venice's International Gallery of Modern Art because I had missed the opening of David Hockney - 82 Portraits and 1 Still-Life exhibition. On my way over, I witnessed with my own eyes five out of six of the Forbidden Behaviors, including a bicyclist zooming down the Zattare. The only forbidden behavior missing that day was that no one happened to be diving off a bridge -- at least, not that I saw.

When I asked a father sitting on a bridge with his three kids to get up because they were blocking foot traffic -- specifically an elderly Venetian man with a cane and his wife who needed to use the handrail -- the father glared and ignored me until I took his photo. It is a €200 fine to sit on a bridge and block the flow of traffic, which, to me, is a rule the Comune should strongly enforce. In about 45 minutes I would have collected €3000!

Larry Gagosian by David Hockney
"I've known Larry for forty years, 
since he had a poster shop in Westwood. 
Now he's a big art dealer."
Anyway, when I arrived at Ca' Pesaro, I was pleasantly surprised to see the museum teeming with visitors, a whole other breed of traveler who had managed to get their families over to Venice's modern art gallery during their mid-August holidays. Ca' Pesaro is an enormous Baroque palace on the Grand Canal, built in the second part of the 17th century. Just the opportunity to enter and wander around such an imposing structure is worth the price of admission. There was a sign at the entrance apologizing for the lack of air conditioning, and I wondered if that was supposed to be a joke because the marble palazzo was so naturally cool.

Cat Bauer in the David Hockney chair
I made my way up to the David Hockney 82 Portraits and 1 Still Life exhibition, which is of interest if you are someone who wants to see who the 82 people he painted are -- some of the portraits have comments by Hockney, some don't. For the rest of us, there is a terrific hands-on project you can participate in, kids and grown-ups alike: You can create your own cut-out paper portrait, posed sitting in the Hockney chair.


You wander into the end room, where there are six different patterns to choose from for your pose, and two different angles of the chair. You settle down at one of the two tables stocked with colored markers, scissors and glue. It is up to you to color in the figure, which is blank, cut it out, and then glue it in the chair.

Cat Bauer - work in progress
It was great fun. There were all types of people, male and female, grownups and kids, young and old, black and white, brown and yellow -- everyone sitting at the tables and concentrating on creating their masterpieces. We were quiet and respectful, asking politely if someone was done with a certain color, trying not to jiggle the table with our strokes. We chatted softly amongst ourselves, remarking about how long it had been since we had done something creative with our hands. It was so human, not cyber -- I got enormous pleasure by just being in the same space and time with other human beings doing a simple human thing.

Cat Bauer Hockney finished product
After you finish your portrait, you tape it on the wall. Well, you don't have to tape it on the wall, you can take it home with you, but most people tape it on the wall, so there is a glorious gallery of self-portraits inspired by David Hockney, which, frankly, I found much more interesting than the portraits Hockney did himself.

Portraits inspired by Hockney
After taping my effort to the wall (it's the first one on the bottom left), I went downstairs to see where the controversial Judith II (Salomè) by Gustav Klimt had been hung. You regular readers will remember that when our billionaire mayor Luigi Brugnaro first came into office, he threatened to sell it to raise cash, causing all sorts of commotion.

Later, Brugnaro completely flipped his attitude and supported the painting -- it had a starring role in an exhibition called Around Klimt - Judith, Heroism and Seduction in the Candiani Cultural Center in Mestre on the mainland, with Brugnaro posing next to the painting. I wrote a post about it, which you can read here:

Klimt's Judith II (Salomè) Stars at Centro Culturale Candiani in Mestre (Venice)


After the exhibition ended, Judith returned to her home inside Ca' Pesaro, but in a more prominent location. I found Judith beautifully framed by a prominent doorway on the first floor, making her much easier to find.

Judith II (Salomè) by Gustav Klimt - Photo: Cat Bauer
So, if you are looking for pleasant tourists in Venice, head over to Ca' Pesaro. Not only will you be surrounded by civilized human beings, you will find many other sights for sore eyes, such as treasures by Chagall, Picasso, Kandinsky, Calder, Klee, Rodin, and many, many more.

The Oriental Art Museum is located, oddly, on the top floor of the palazzo (how it got up there is the subject for another post), and crammed with the priceless collection of Japanese art from the Edo period that Prince Henry, Count of Bardi hauled back to Venice from his travels to Asia from 1887 to 1889. The 30,000 exotic artifacts -- swords, daggers, silk-dresses, rare porcelain, Chinese art, Indonesian shadow puppets and more --  make the Oriental Art Museum another kid-pleaser.

Go to Ca' Pesaro for more information.

Ciao from Venezia,
Cat Bauer
Venetian Cat - The Venice Blog

Monday, August 7, 2017

In Memory of Martin Roth - Under One Sun

Martin Roth - Photo: Under One Sun
(Venice, Italy) Martin Roth, one of the most dynamic museum directors on the planet, has died. I had the great good fortune to hear him speak on more than one occasion, so this news shocks and saddens me.


President of La Biennale di Venezia Paolo Baratta
remembers Martin Roth

Following the death of Martin Roth, President of La Biennale di Venezia Paolo Baratta remembers him with these words:

Martin Roth was an extraordinary man of culture endowed with a vital and visionary energy. The collaboration between La Biennale di Venezia and the Victoria and Albert Museum, London, which he directed until last year, was born in a climate of generosity and enthusiasm. We remember him with deep affection and appreciation”.

Martin Roth was born in Stuttgart in 1955. He served as director of the Victoria and Albert Museum, London from 2011 to 2016 and had been recently appointed President of the IfA, the German Institute of Foreign Relations.

Venice, August 7th, 2017

From The Guardian - Photograph: Nick Harvey/Rex/Shutterstock

From The Guardian:

Martin Roth, former V&A director, dies aged 62
First German to head major UK museum oversaw record visitor numbers but left V&A after disillusionment with Brexit vote

... Roth was the first German to head a major British museum, leaving the V&A in 2016 shortly after it won the museum of the year award. That victory meant that Roth, after five years in charge, could leave while the museum was on a high. However it was a decision also hastened by his disillusionment over the Brexit vote....

Under One Sun installation by Elvin Nabizade - Photo: Cat Bauer
Martin Roth was the co-curator of the Azerbaijan Pavilion for this year's Venice Biennale International Art Exhibition. The pavilion is entitled, "Under One Sun. The Art of Living Together, and you can find it in Palazzo Lezze in Campo Santo Stefano. Roth was passionate about different cultures coming together in harmony, and used the country of Azerbaijan, with its multicultural society, as an example of people who had mastered the art of living together in peace. "Azerbaijan is a perfect example of a complex society which promotes acceptance of different languages and cultural backgrounds...living together mostly in harmony and equality..." Roth was criticized for working with the country, which has been described as "authoritarian."

Go to the Azerbaijan Pavilion for more information about the exhibition.

Victoria & Albert Museum, London, UK
Back on October 17, 2014, I wrote a post entitled Top International Museum Directors Meet in Palazzo Ducale, Venice and highlighted what Martin Roth had to say:

Martin Roth, the Director of the Victoria & Albert Museum, declared, "I believe in museums." He said a museum is never the same, and changes with the culture and politics. He said the V&A was a brilliant idea by Prince Albert, an ongoing World's Fair, and that a museum is an open institution for everyone; it belongs to us all -- from the taxi drivers, to the Queen, to the green grocer.

Since the UK has had such a huge influx of refugees, they have created exhibits to reflect those cultures -- "If you are a refugee, come to the V&A."

Roth said their Board of Trustees is completely independent, and he didn't like the US system where you buy yourself onto the Board. He said he had a friend in the US who was going to retire from a Board because it was "too dangerous." He said, "It's not supposed to be that way!"

Roth said the V&A was a local museum for a global audience, and that it attracted a lot of young people who came just to hang out. All museums in the UK are free. He said, "A museum is never a business, but you can run it business-like."
Click to read the entire post:

Top International Museum Directors Meet in Palazzo Ducale, Venice


Martin Roth made a deep impression on me. He was outspoken and courageous, with strong opinions and original thought that shocked the system. In a world that seems to have fallen asleep, I thought he was refreshing. Rest with the angels.

Ciao from Venezia,
Cat Bauer
Venetian Cat - The Venice Blog

Sunday, July 23, 2017

The Most Powerful Kiss in Art: Do you know what MAGISTER GIOTTO in Venice is?


(Venice, Italy) The husband and wife kissing in the poster for MAGISTER GIOTTO you see all over Venice are Joachim and Anne, the grandparents of Jesus Christ.

Joachim was a wealthy, pious man, and Anne was his beloved, but childless wife -- a situation that gave the couple much grief. Both were descendants of the house of David. Joachim was generous with his wealth, giving to the poor and making offerings to the temple. Then one day the high priest said he would not accept Joachim's offerings because he was childless, and, therefore, God must be displeased with him.

Joachim went off to the desert to fast and pray for 40 days and nights, while Anne sobbed and prayed at home in their garden. An angel appeared separately to both of them, and promised the devout couple that they would have a child, even in their old age -- and not just any child, but the mother of God. They were instructed to meet each other at the Golden Gate in Jerusalem.

The Meeting at the Golden Gate by Giotto
In 1305, Giotto di Bondone, one of the greatest artists to grace the planet, captured the moment that Joachim and Anne kissed each other for the first time after receiving the angelic news, and immortalized it in a fresco inside the Scrovegni Chapel in Padua. Some people interpret the kiss as the Immaculate Conception itself.

And the woman in black? There is much disagreement about who she is, but the theory I like the best is that she is Mary, the mother of Jesus, after Christ was crucified, witnessing the moment of her own conception.

Back in 2007, Tom Lubbock wrote an excellent piece for The Independent called, Bondone, di Giotto: The Meeting at the Golden Gate (1305) where he examines famous kisses in art, this kiss in particular.

I did not know any of that before I saw MAGISTER GIOTTO at the Scuola Grande della Misercordia.

Magister Giotto
MAGISTER GIOTTO is billing itself as an exhibition in an unprecedented format, a visual journey that tells a story with high-definition images, narration and music. It is not an interactive bombardment of the senses, but rather a 55-minute spiritual and intellectual experience that hopes to blow the dust off Giotto and fling him into the spotlight of the present.

Giotto is considered the first great artist to contribute to the Renaissance, and after you visit the exhibition, you will understand why.

Giotto press conference - Scuola Grande della Misericordia - Photo: Cat Bauer
MAGISTER GIOTTO is the first in a series of three exhibitions backed by Cose Belle d'Italia, a company founded by Stefano Vegni, VP General Manager of Citibank, Milan. The great Italian sculptor Canova is up next in 2018, followed by Raphael in 2019. Originating in Venice, the exhibitions will then travel around the world. From the Cose Belle d'Italia website:

Cose Belle d’Italia is a group that aggregates Italian companies representing Made in Italy excellence, acquiring, preserving and valorising them within an integrated system based on the perennial values of Italian beauty, culture and ‘the good life’.

The group operates across all sectors, creating value and promoting the propagation of excellence among its subsidiaries.

Fully owned by Europa Investimenti S.p.A., Cose Belle d’Italia was founded in 2013 following the definition of its ‘Manifesto’, which sets the key points on which the vision and mission of the company are based. The first acquisitions began in the spring of 2014.

Magister Giotto
Luca Mazzieri, the Artistic Director, said they chose Giotto because it is the 750th anniversary of his birth, and that he is an artist who is "much talked about, but not yet well-known."

The main exhibition consists of seven spaces on the first floor of the immense Scuola Grande della Misericordia, each with a different theme. Visitors are organized into groups of about 15-20 people that depart every 15 minutes. The visitors put on headsets, and the narrative starts, sort of like a documentary film that you wander through, with background music by jazz musician, Paolo Fresu.

The Italian narrator is Luca Zingaretti, one of the most well-known actors in Italy, who plays Salvo Montalbano in the Commissario Montalbano TV mystery series. (The TV show is based on the addictive novels by Andrea Camilleri, which I highly recommend reading. They are translated into English, with a creative solution when the characters slip from Italian into Sicilian.)

The themes of the seven spaces are:

1.  The Birth of the Myth 
2.  The Story of Saint Francis
3.  The Places of Giotto
4.  Giotto and the Painted Cross
5.  Giotto and Florence
6.  The Scrovegni Chapel
7.  Giotto and Halley's Comet

i
Envy by Giotto
The images are high-definition, blown up to reveal details not possible to see in situ; you are surrounded by images so that you can immerse yourself in Giotto's work. For instance, during the last decade, I have become fascinated by the deadly sin, "Envy," which Wikipedia defines as:
Envy (from Latin invidia) is an emotion which "occurs when a person lacks another's superior quality, achievement, or possession and either desires it or wishes that the other lacked it".
I was speaking about envy just before I went to see the exhibition, and then there it was -- wicked tongue, big ears, bag of money and all -- up there on the wall, so close that I could walk over and almost touch it.

Magister Giotto - Photo: Cat Bauer
I thought the exhibition was terrific. An immense amount of research provided by a cast of luminaries in their fields takes us through many aspects of Giotto's life, revealing an impressive amount of fresh information. Giotto completely transformed the art of painting. The Italian painter Cennino Cennini nailed it when he said, "Giotto translated the art of painting from Greek to Latin."  

Adoration of the Magi by Giotto
The exhibition concludes with the Giotto spacecraft mission in 1986, run by the European Space Agency. The spacecraft was the first to get up close and personal with Halley's Comet. The ESA named the spacecraft "Giotto" because the painter had seen the comet in 1301, and included it as the Star of Bethlehem in his Adoration of the Magi manger scene that he painted in the Scrovegni Chapel in Padua around 1305.

MAGISTER GIOTTO is at the Scuola Grande della Misericordia through November 5, 2017, and is a MUST SEE. Tickets are €18, but there are many discounts; for instance, the exhibition is FREE for residents of Venice every Tuesday. Go to MAGISTER GIOTTO for more information.

Ciao from Venezia,
Cat Bauer
Venetian Cat - The Venice Blog

Monday, July 17, 2017

Alice Neel, Uptown at Victoria Moro Gallery + Venice Biennale Honors Women who Direct

Mother and Child by Alice Neel (1938) - Photo: Cat Bauer
(Venice, Italy) Victoria Miro, "a grande dame on the Britart scene" recently expanded her domain to include an outpost here in Venice when she took over Il Capricorno Galleria close to Teatro La Fenice. Founded by her friend and fellow grande dame Bruna Aickelin in 1971, an impressive number of heavyweights like Lucio Fontana, Robert Rauschenburg and Cy Twombly have been mounted on the walls of the Capricorno over the years.

Hilton Als at Victoria Moro Gallery Venice - Photo: Cat Bauer
Before the Redentore fireworks on Saturday, Pulitzer Prize winning critic and author Hilton Als was here in Venice to present a new chapter of Alice Neel, Uptown, which he curated especially for the Venice gallery. Hilton Als fell in love with Alice Neel when he was fourteen-years-old, and went on his own from Brooklyn into Manhattan to see her show at the Whitney.

Childbirth by Alice Neel (1939) Photo: Cat Bauer
In 1938, Alice Neel (1900-1984) moved from Greenwich Village to Spanish Harlem in pursuit of "the truth," and painted friends, neighbors and people on the street as well as cultural figures connected to Harlem or to the civil rights movement. Als writes: "what fascinated her was the breath of humanity that she encountered."

Alice Neel, Uptown is at Victoria Miro Venice, Il Capricorno from July 15 to September 16.


Meanwhile, also on Saturday, over in the Portego of Ca' Giustinian, headquarters of the Venice Biennale, Antonio Latella, the new Director of Biennale Theatre dove into the archives and mounted an exhibition called Registe alla Biennale, or Women Directors at the Biennale, dedicated to the female directors who have left their imprint on Biennale over the years.


Latella says, "Today, we are often unexpectedly thrilled by dramaturgical or aesthetic shifts that our memory has already erased, while it is not uncommon that everything we see has been masterfully told before, as the history of the Biennale Teatro never ceases to remind us."


The 45th La Biennale International Theatre Festival directed by Antonio Latella runs from July 25 to August 12, 2017, and has a fascinating focus: Latella has invited only women directors.

Ciao from Venezia,
Cat Bauer
Venetian Cat - The Venice Blog

Sunday, July 16, 2017

Feast of Redentore 2017 in Venice - Same as it ever was



(Venice, Italy) One of the first articles I wrote for the International Herald Tribune's Italian supplement, Italy Daily, was about the Feast of Redentore, sixteen years ago. Over the years it seems that the amount of tourists who come here for the celebrations has increased, and the amount of Venetians who decorate their boats the old-fashioned way has decreased, otherwise it's the same as it ever was. I shot the video clip (above) last night (link: https://youtu.be/SewLn-aXSHg)

The weather was beautiful today, just like last year -- so today it's Redentore Flashback Summer:-)



Today is the Feast of Redentore in Venice! The Day in Pictures


After last night's spectacular fireworks display, today is the actual day of the Festa del Redentore, a purely Venetian holiday to give thanks for deliverance from the plague back in 1577.

You can read my previous thoughts about Redentore here:

Cat Bauer in Venice talks about the Festa del Redentore 


Since I have written about Redentore so often before, today is going to be a visual post. It is a beautiful day here in Venice, clear and hot, with throngs making their way over the floating bridge, their feet keeping the beat to the chimes of the Redentore bells, as the sunshine dances on the waves of the Giudecca Canal.

(Again, here is the link to the video, complete with bell chimes:

 https://youtu.be/Vj543_j1SwM



Everybody was up late last night because the fireworks don't start until 11:30pm, but that didn't seem to stop most folks from making the trek across to the Island of Giudecca to pay their respects inside the Church of Redentore, designed by the renowned architect, Andrea Palladio.


Once across the bridge, at the entrance of the church there are baskets full of shawls to toss across your shoulders if they are bare.


Inside, the church is all decked out for the special Votive Mass of the Redeemer, celebrated by the patriarch, as has been done for centuries.


Trays of candles flicker expressions of thanks.

Redentore Bridge - Giudecca view
This is the view of Venice from the entrance to the Church of Redetore. To arrive at the top, 15 spiritually-significant steps must climbed. The bridge stretching across the canal all the way to Venice reinforces the importance of the celebration. 


One of my favorite things to play is Pesca di Beneficenza, fishing for charity, or a lucky dip. You pay a euro,and a volunteer (or, today, a Capuchin friar, the Order in charge of the Church of Redentore) spins the barrel, and hands you a small, rolled-up scroll with a number or a word on it. Then you go inside to collect your winnings.


Everybody plays, young and old, boys and girls, men and women, and everybody wins something. If you draw a specific number, you get a specific prize, or else you get a grab bag kind of treasure. In the past, I have won some very useful items, like wooden stirring spoons, or a pad and pencil. 


Today my scroll said "tigre," or "tiger." Apparently, that was the designation for a type of grab bag. A boy about 12-years-old took my opened scroll, scurried away, and brought back a colorful bag tied by a pink bow. 

Here is what was inside my bag of loot, which I'm sure I would find very useful if I were a 12-year-old girl:


Meanwhile, the rowing regatta out on the Giudecca Canal captivated spectators on land and water. After all, what would a celebration in Venice be without a rowing regatta?


It was a beautiful, peaceful day inside the cocoon of the Venice lagoon -- something greatly appreciated, especially when much of the outside world seems stricken by turbulence.

Ciao from the Festa del Redentore in Venice,
Cat Bauer
Venetian Cat - The Venice Blog

Sunday, July 9, 2017

Fashion & Food: The Rose Room at The Met Opens in Venice

The Rose Room at the Met opening - Photo: Cat Bauer
THE SETTING

A hot summer night. We are in the outdoor garden courtyard and, later, the indoor dining room of The Met Restaurant inside the Metropole Hotel, a five-star family-owned hotel located on the Riva degli Schiavone in Venice. The Met Restaurant is headquarters for Michelin star chef, Luca Veritti.

THE TIME

It is July 7, 2017 at 7:00pm, the evening of the inauguration of the Rose Room, a casual, intimate nook inside The Met Restaurant.

THE PLAYERS

Gloria Beggiato is the owner of the Metropole Hotel. Gloria has "a thousand dreams and a thousand ideas," and an Alice in Wonderland glow about her. Gloria has long desired to transform The Met Restaurant into an eatery that reflects who she is -- her philosophies and her goals. When she met fashion designer Silvia Bisconti it was like a world burst wide open, a world of colors and emotions. Together they refreshed and expanded The Met, and created the Rose Room.

Gloria Beggiato
Silvia Bisconti is the "creative soul" of Raptus & Rose Atelier. Silvia looks a bit like a kindly Red Queen in Through the Looking Glass, and "likes to speak about Beauty." Silvia has used her fashion skills to dress The Met, and create the Rose Room, together with Gloria.

Silvia Bisconti - Photo: Eleonora Milner
THE COCKTAIL SERVED IN THE GARDEN:
perfect for a hot summer night

Rapture & Rose

Cranberry juice, Ferrari champagne and a slice of ginger, adorned with a rose bud and served with plenty of ice

Cat Bauer enjoying a Rapture & Rose champagne & cranberry juice cocktail

THE MENU

Verdure dell'isola di Sant'Erasmo, pane alle erbe, crema di formaggio, passion fruit e semi di zucca

Grachio reale, insalata di avocado, limone di Sorrento e cipolla di Tropea aromatizzata all'aceto di lamponi

*Risotto al pomodoro datterino, acciughe del Cantabrico, olio aromatizzato e basilico fresco

Filetto di San Pietro al rofumo di timo, zucchine alla menta e cialda croccante ai semi di lino

Biscotto croccante alla vaniglia, caffè Guatemala, mascarpone fresco e creema al Marsala

Sorbetto ananas, rosmarino, Alchèrmes

Proscecco Bareta Merotto
Incrocio Manzoni Serafini e Vidotto 2016
Vermentino - Giba 6mura 2015

*One of the best risottos I've ever tasted by Michelin star chef Luca Veritti
There is a touch of the Orient at The Met and the Rose Room, captured in the fabrics, the walls, the ceilings -- in the fashion worn by the staff.

Valentina Tommasi outside the Rose Room
Fashion fused with food. Cuisine with decor. The Rose Room is a casual alcove inside a Michelin star restaurant, where the cuisine is light, inspired by nature and reflects the seasons -- perfect for an aperitif, or a small, exclusive party.

Take a peek at the Raptus & Rose fashion show:



Have a look at the grand finale with Gloria Beggiato and Silvia Bisconti:



Go to the Met Restaurant for more information.

Ciao from Venezia,
Cat Bauer
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