Tag Archives: 3* Michelin

Sant Pau | Sant Pol de Mar | Jun ’14 | “playful surrealism”

31 Aug
  • Rating: 17.5/20
  • Address: Carrer Nou, 10, 08395 Sant Pol de Mar, Barcelona, Spain
  • Phone: +34 937 60 06 62
  • Price per pax: ~€193 ($254 at 1 EUR = 1.31 USD)
  • Value: 2.5/5
  • Dining time: 180 minutes
  • Chef: Carme Ruscadella
  • Style: Creative Catalan
  • Michelin Stars: 3

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SURREALISM. Surrealism is alive and well in Catalonia, only domesticated on a plate at Sant Pau. The kitchen of Carme Ruscadella cooks in a whimsical way that echoes her great Catalan artistic predecessors, but through the necessary precision to maintain 3 Michelin stars forestalling the excesses of Dali, a fascination with communicating geometrical shapes evoking Miro but departing from his primodial soup aesthetic with its liking for geometric precision.

THE ROOTS OF SURREALISM at my meal at Sant Pau:

  1. Fusion: (a Dali-esque technique recalling his 3-dimensional works like Lobster Telephone): “Padrón and rice croquette” Two typical Catalan tapas, the padron pepper and the croquette, were fused into a padron croquette. Seductively mute and provocative, a recently-birthed Venus.
  2. Whimsical descriptions: “Lobster pizza: raw and cooked vegetables, creamy mozzarella”: Lobster “pizza”, overflowing a dough base, had none of the flat pizza geometry, instead forming a tower of ingredients. To describe it as “pizza” was accurate in the technical sense that there was dough underneath, and in the sense that the flavors were broadly what we’d recognise as margherita pizza. The description was off-beat. It was quite a change from my last major meal at Asador Etxebarri, where all the dish descriptions were literal and minimalist (mirroring the food). It was as whimsical as Mugaritz, but the dish descriptions at Mugaritz were literal, minimalist, and the surprise came from the menu description itself: “7 Spice Rattle”; “”Fifth Quarter Octopus”. For “Lobster Pizza”, the description was doubly absurd – firstly, no one does a lobster pizza; secondly, that wasn’t a lobster pizza.
  3. Atypical Geometric Constructions:Gambes on Sailor’s Toast: tribute to the local sailors cuisine”: Instead of serving the dish with prawns on top, the bread is served with prawns wrapped around it.
  4. Chimera: The Dragon at the end, was a chimera of 7 different textures, each sheet whimsically sculpted to resemble dragon-parts.

*(My favorite Food-Text Interplay at Per Se is the clever linguistic pun – “pearls” in “oysters and pearls” being tapioca pearls)


As a meal for showcasing artistic vision, Sant Pau is first-class. But tastewise, much of the meal was merely pleasant, with nothing that remains as a strong impression two months later. It is not the case at Sant Pau that dishes are composed to be eye-candy without having a strong taste-backbone – frequently the more visually stunning dishes were the ones that tasted better. Instead, the clunkers were dishes like “John dory and curry: courgette, eringui and potatoes”, and “Vegetal Dim Sum”, dishes in the International Style that tasted pleasant and were precisely executed, but seemed at Sant Pau to lack fireworks in both aesthetics and tastiness.

As a diner my overall impression was that, besides the stupendously delicious bread, every morsel of food at Sant Pau, taste-wise, was precisely calculated to be pleasant. The strongest impressions I carry are the riot of colours and the geometric precision of the dishes – a vibrant surreal feast for the eyes, the literal feast more muted. On the whole, I found Sant Pau worth the trip, there was a sense of play and mischief here I haven’t found elsewhere.

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Sant Pau bakes some of the best bread that I have had. Crusty (+++) , and full of browned flavor, it was among the top 2-3 on the monthlong Europe trip I’ve been chronicling, if not actually the top. I could not resist asking for more, and more, crusty bits (5/5)

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  • Tomato and strawberry velvet, manzanilla, quinoa (4.25/5)
    • tomato/strawberry, gazpacho, manzanilla sherry, and black quinoa, served in a cocktail glass

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  • Padrón and rice croquette (4.5/5)
    • Two typical Catalan tapas, the padron pepper and the croquette, were fused into a padron croquette. Seductively mute and provocative, a recently-birthed Venus with a bit of cheese inside the padron pepper. Why isn’t this combination more popular? Delicious.

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  • Vegetal Dim Sum (4/5)
    • Chive dumpling, with a hint of Chinese ginger (a la xiaolongbao sauce), with a nice sour tomato-ish sauce.

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  • Norway lobster and coconut gnocchi: in tempura with shiso sauce (4.5/5)
    • The gnocchi, gelled as if agarified, a translucent sauce with a pesto-like sauce made of Shiso.
    • This was a good dish, the langoustines (they described it as “langoustines” when serving the dish) nicely seasoned, though it had less of the firm bite of the ones at Ledoyen.

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  • Lobster pizza: raw and cooked vegetables, creamy mozzarella (4.5/5)
    • Basil, mozzarella, tomato, squash blossom. As mentioned, it was superficially plausible to be served a lobster pizza, but the full effect of surprise was completed only when seeing the dish, since it had undergone at least one reimagining.
    • The tastes, while good, was no more than exactly a “lobster pizza”, which did not fire my culinary imagination beyond comfort food. The bread was a robust biscuit cracker.

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  • Miso and foie cubes: champignons, vegetables, umeboshi, lemon (4.25/5)
    • Seared foie, green peas, crisp champignons.
    • The miso was given a bit of sausage-y, unctuous meatiness from the foie.

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  • Gambes on Sailor’s Toast: tribute to the local sailors cuisine (4.25/5)
    • The prawns were savory, a seafood toast an intense taste of seafood stew. It brought me to the docks of Sant Pol.

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  • Pirinese foal loin, black garlic, banana: medium-rare roasted (4.5/5)
    • Horse meat (why not?) with banana, a surprisingly good accompaniment with savory black garlic soil.
    • However, the meat was tender and relatively flavorless, unsurprising since it was a young foal. (veal often suffers from the same problem, the lack of distinctive taste of the meat) It was prepared well though.

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  • Cheese for June – “Núm. 30 Second Series”: Serrat Gros, 3 combination with gamatxa wine and almonds
    • PRIMER JUEGO: Con cerezas bañadas en garnacha de Allela y almendras
    • SEGUNDO JUEGO: Dos cordones, de mazapán con garnacha y de queso
    • TERCER JUGEO: Macaron de almendra y garnacha relleno de queso
    • Serrat Gros: Queso artesano y de pastor (Ossera, Alt Urgell). Elaborado con leche cruda de cabras de raza alpina. Coagulación láctica, pasta blanda, piel enmohecida. Madurado en cava durante 8 semanas.
    • The first (undressed cheese) was notable for good cherries, juicy without being cloyingly sweet (4/5)
    • The second, with marzipan in a spiral was okay.(3.5/5)
    • The third, a raspberry macaron had good fruit flavor, contrasting with the cheese well (4.5/5)

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  • Pre Dessert: Calisay passion (4.5/5)
    • Passionfruit sorbet and Calysay, the tropical fruit liqueur, a refreshing trope.

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  • Cube: berries, shiso ice cream (3.75/5)
    • While I admire the Mondrian-esque construction, the shiso gelatin with raspberry, coconut, and a solid pillar of apple (I suspect this is important in its structural integrity) was taste-wise nothing special

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  • Tender almonds kiss, sea water (4.75/5)
    • The simplest dish, and the best (for some reason, the simplicity recalls a magical dessert of coconut and carrot at Asta in Boston)
    • Almond cream, fleur de sel, olive oil (fruity and green), with seawater-vanilla ice cream. Dotted with fresh almonds. Superb.

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  • Raisin tomatoes sponge: curd cheese, oregano, ratafía (4.5/5)
    • Tremendously sweet tomatoes (that were intensely raisin-ish, without a trace of tartness),  with sheep’s milk yoghurt, and coca – a sweet pizza-like pastry. The tomatoes had been oven-roasted, and not one bit of sugar was added – very surprising, given how sweet it was. Ratafia (a sweet liqueur) was in there somewhere (tomatoes?)
    • This was a clever dessert-pizza concept dish: the tomatoes functioning more as oversized raisins, the sheep’s milk yoghurt mirroring mozzarella, oregano mirroring basil (for the lobster pizza).
    • http://en.wikipedia.org/wiki/Coca_(pastry)
    • http://en.wikipedia.org/wiki/Ratafia
    • While Googling I also found an advert for a Tomaccio: an intensely sweet raisin tomato: http://www.raker.com/doc/raker.tomaccio.handout.pdf. Was this what I was served?

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  • Black and Green Olives, Aragón, sevillanas, sweet wine (4/5)
    • Olive oils, different types of olives blended with different kinds of chocolates. Minimalist, but I enjoyed the fruity-olive taste with chocolate. Pleasant

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  • The Dragon (4.25/5)
    • White chocolate
    • Black chocolate
    • Puff pastry, angel hair, pine nuts
    • Chocolate cookies
    • Lemon cookies
    • Licorice and sherbet philo
    • Mint brick
    • While reposing with a coffee in the garden, I was served the first in Sant Pau’s mythical beasts dessert series: The Dragon
  • Limoncello jelly – I was also given a tin to take home. Delicious.

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Akelarre | San Sebastián | Jun ’14 | “not a fan”

31 Jul
  • Rating: 13/20
  • Address: Paseo Padre Orcolaga, 56, 20008 San Sebastián, Gipuzkoa, Spain
  • Phone: +34 943 31 12 09
  • Price per pax: €190 ($255 at 1 EUR = 1.35 USD)
  • Value: 1/5
  • Dining time: 150 minutes
  • Chef: Pedro Subijana
  • Style: Modernist
  • Michelin Stars: 3

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I have two warnings to gourmet-travellers who are considering whether or not to go to Akelarre.

The first is that the Classics menu is a relative disappointment. Akelarre offers three menus, one based on seafood (Aranori), one based on meat (Bekarki)*, and one a series of Akelarre’s Classics. I ordered the Classics menu, thinking it was a menu of signature dishes. Akelarre has a reputation for turning out creative dishes, and I was hoping to get a meal featuring its creative signatures. I found it to be more Classic in the other sense**, with a very classical dish profile (risotto, pasta, beef, lobster salad). Yes, there were some interesting twists on them – a foie-oxtail tiramisu was interesting – but generally they seemed needless elaboration on top of the classical flavor profile. I was disappointed in the Classics menu, and I think I would have enjoyed myself much more with the other two menus, which seemed more creative, as I found out over lunch by noticing what the other tables were being served.

*(Reference: Entry on “Akelarre”, Where Chefs Eat, Joe Warwick,)

**(This double-meaning seems accidental, for that menu is indeed a compilation of Akelarre hits that have graced the Aranori and Bekarki menus in previous years. They seem to have selected a conservative set of dishes as their “classics”.)

The second is a warning about ingredients. I was served frisee leaves in the lobster salad, that had clearly reddened at its stems. This is a tell-tale sign of old-leaves that have been prepped a long time in advance (maybe hours or days ahead, who knows.) That it made its way to my plate is either a failure of Quality Control from the kitchen, or ridiculously zealous cost-saving from the kitchen. Neither reflects well on Akelarre. I choose to believe the former, since the whole raison d’etre of haute-cuisine is to sample great ingredients, or at very least, better-than-normal ones. I hope my dish was an isolated lapse from the kitchen, and that this is not a systemic pattern at the restaurant.

My meal here plodded with the ordinary. It was less accomplished than a disappointing Arzak meal I had the previous day. While I might return to savour the view (Akelarre is situated beautifully on the Basque shore), I would not order the Classics menu, and in the mean I hope Mr Subijana can ensure that less-than-optimal ingredients will not leave his kitchen.

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  • Sea Garden
    • Prawn’s Sand (4.5/5)
      • Delicious. Sweet, salty, prawny
    • Oyster Leaf.
      • with local wine jelly. Tasting remarkably like oyster.
    • Mussel with “Shell” (4.75/5)
      • Shell of cocoa butter
    • Sea Urchin’s Sponge
    • Beach Pebbles (Shallot and Corn) (4.5/5)
      • Nice corn flavor
    • Codium Seaweed Coral (goose barnacles tasting tempura) (4.5/5)
      • Supposedly tasting like percebes.
      • Good

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  • Lobster salad with Cider vinegar (4.25/5)
    • The lobster was well-prepared, savory and appropriate on the lobster claw, tail and other assorted parts. The whole emphasis on the luxury-ingredient, lobster, made it seem like hotel cuisine.
    • Upon inspection however, I found oxidised salad leaves. Not just one, but multiple oxidised leaves, the red ends of which were not trimmed. That this found its way to my plate in a 3* restaurant is very questionable. Presumably, Chef Subijana does not intend to send out days-old frisee salad leaves (after all, they are one of the cheapest ingredients, a fraction above the price of air). Who then prepares the salad leaves? His sous chef? And how can Mr Subijana allow this dish, using clearly old salad leaves to leave the kitchen? I am forced to conclude that either the Quality Control of the kitchen has dropped, or Akelarre is economising on even the cheapest ingredients (then how can a diner trust that the kitchen is providing the best?)
    • Neither possibility reflects well on the kitchen. This is not a failure of technique (which would be understandable), but of ingredient-quality, the foundation of haute-cuisine. That the days-old leaves made it to my plate, would be questionable at any Michelin-starred restaurant. Even more so at 3* Akelarre.
    • Very disappointing.

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Reddened stems

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  • Pasta, Piquillo and Ibérico Carpaccio, Mushrooms and Parmesan (4.25/5)
    • A carpaccio of pasta, not entirely successful, for the dough-sheet had a starchy texture in the middle, probably a bit undercooked.
    • The truffle had little taste (understandably, given they were not Australian truffles and we were in June), but was redeemed by the earthier dark mushrooms.

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  • Rice with Snails and Periwinkles in Tomato and Basil Film (3.5/5)
    • Carnaroli rice.
    • A lukewarm risotto rice, a bit crunchy, seemingly undercooked, with some sausage-like meat (periwinkles and snails).

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  • Whole-Grain Red Mullet with Sauce “Fusilli” (3.75/5)
    • Red mullet fillet, head and bone praline, liver and onion. Fusilli stuffed with parsley, soy, ajo blanco sauce
    • Whole-grain = use the whole red mullet, head, bones liver
    • The red mullet was good, though a residual shiny sheen of oil on its skin was a bit thick for my taste. The conceit of using fusilli for the different sauces was creative, though the jelly tasted like tasteless water, and it was hard to get into the sauce.

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  • Carved Beef, Tail Cake, “Potatoes and Peppers” (3.75/5)
    • Tail Cake with Foie
    • Coppered Potato and Piquillo peppers
    • A tiramisu of foie and oxtail, bitter. And some beef with jus, and pepper and potato crisps. Okay. Very classic flavor profile. I guess I can’t say I wasn’t warned. I guess I assumed classics meant signature dishes. Given Akelarre’s reputation for creativity, I was hoping for their signature creative dishes, but what I got was classic dishes with a little twist.

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  • Gin-Tonic on a Plate (3.75/5)
    • Jelly of gin and tonic, juniper sauce (the gin parfum). Mix as desired
    • Bitter jelly, with lemon ice cream. It was okay.

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  • Warm Red Fruit Cake, with Candied Fennel (4/5)
    • A nice fruit/spice cake, flavor profile like British mince pies, except with a bit more raspberry. Good fruit spice.

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Arzak | San Sebastián | Jun ’14 | “un-Basqued”

26 Jul
  • Rating: 16.5/20
  • Address: Avenida del Alcalde José Elosegi, 273, 20015 San Sebastián, Guipúzcoa, Spain
  • Phone:+34 943 27 84 65
  • Price per pax: €217 ($291 at 1 EUR = 1.35 USD)
  • Value: 1/5
  • Dining time: 130 minutes
  • Chef: Elena Arzak
  • Style: Modernist
  • Michelin Stars: 3

Notable links:


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Arzak has had mixed reviews in the last few years. Michelin continues to rate it highly. But reviews by some food bloggers (Andy Hayler, Elizabeth Auerbach) are less complementary. I was determined to enter Arzak with no expectations, and approach Elena Arzak’s cuisine with an open mind. (and I do not think comparisons to the Arzak of Juan Mari are relevant at all.) Where would this Banco de Sabores take me?

It turns out, I was transported in an Asian direction, unintentionally or intentionally. More specifically, Chinese cooking. A soy-sauce-inflected seabass, nut & seed sauces for pigeon, a scorpionfish dumpling and a sardine sphere that hinted at dim sum, sesame seeds infused with soy and wasabi. Regardless of whether my guess of Chinese experimentation on the part of Chef Elena is correct, I also noticed a lack of an identifiably Basque style to the cooking. And this is perhaps what disappointed me a little about Arzak. The oriental features of the meal were not particularly strong (the nut & seed sauces for the pigeon aside), and I ended the meal thinking that Arzak would have had a stronger meal had they chosen to put their own spin on some dish rooted in Basque country.

2014-06-13 12.40.03Indeed, a 2004 report by the lady “lxt” mentions how Arzak builds on traditional Basque ground:

Under no condition does Arzak fall under the category of those fickle travelers who bounce from corner to corner in their attempt to fit the “current trend.” Perhaps someone dining at Arzak for years may feel nostalgia toward the times when its cuisine was more in accord with the restaurant’s rustic décor, but it hasn’t lost its “personality,” and its development represents nothing but a steady, undeviating, long evolution of contrasted flavors, precisely articulated structures and decisive details, as a result of a highly developed aesthetic intuition while standing sturdily on the raw ground of tradition, letting each dish convey a unique rhythmic movement of a beautifully harmonious ballad. Elena managed to break “the traditional box by sliding out from beneath the roof and extending into the landscape” (Philip Johnson) rather than breaking the foundation of the old “house” completely to rebuild the new cuisine. – lxt

Dining at Arzak 10 years later, it feels as if the pressures to remain innovative has created a restaurant abdicating its Basque roots, experimenting with both oriental gestures and the trappings of modernism. It’s a new ship, this ship of Theseus, and one that’s not recognisably Basque.

*(A special mention for the service, which was excellent)

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  • Scorpionfish mousse with katafi (4.25/5)
    • Scorpionfish in a wispy noodled croquette. Not bad.

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  • Bitter raspberry (3.75/5)
    • Melon-ham cork, raspberry mixed with a bit of apple. Visually interesting, tastewise though ingredients were fairly normal.

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  • “Gilda” of carrots and ssam-jang (3.5/5)
    • Carrot and black olive

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  • Sweet chilli pepper and sardine sphere (4.25/5)

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  • Chorizo with tonic (3.75/5)
    • Ginger ale with ham taste. Ham taste a bit muddled under the ginger ale.

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  • Cromlech, manioc and huitlacoche: Crispy manioc hydrated with huitlacoche stuffed with a preparation of onion, green tea and foie gras (4/5)
    • A bit unwieldly to eat, since the foie gras et al. was underneath a manioc/yuca pastry creation. The fin made a it impossible to flip it over. I settled for flipping it onto its side, and eating it with an undersized spoon.
    • foie’s richness was cut by caramelized onions.

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  • Lobster “Sea and Garden”: Grilled lobster with a crispy star shaped crepe and fresh greens (4.75/5)
    • The best dish of the meal, lobster with tomato water. A star-shaped crepe. A side dish of zucchini (?) roasted with paprika. Spinach leaves with juniper. And various sesame seeds, infused with soy and wasabi, to get a rainbow of different colours.
    • The main axis was the lobster-and sesame seeds combo, enhanced with tomato water. The visual effect was quite stunning.

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  • Ovo-lacto: Egg with semi-crunchy shell and baobab accompanied by “lactic leaves” and curds (3.25/5)
    • A poached egg with crispy milk, and a circular dab of gorgonzola-idiazabal. The idea presumably was to showcase the intersection of milk and egg, two common proteins. But it tasted undistinguished, remaining just a poached egg, a bit of cheese, and milk.
    • The kitchen might also consider not putting so much powder on the crisp itself. While raising it to my mouth, I happened to inhale at the same time, breathing in a lot of powder, and coughing.

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  • Fish steak with potatoes: Fillet of seabass lightly marinated with gin and served with several flavors of potatoes (4/5)
    • Seabass in a light soy sauce. With dehydrated potato films (green potato, blue potato) and candied pistachios.
    • A dish reminiscent in presentation to The Fat Duck’s Sound of the Sea, only this one outdoes it with a visual movie of waves!
    • The seabass was a bit fishy – which I didn’t like, and actually very similar to a Chinese steaming of whole seabass in soy sauce. It was in fact, disregarding the potato films and the candied walnuts, a very Asian-influenced preparation. What did the additional ingredients add? Little – the potato films were mostly tasteless, there for eye-candy and texture, while the candied pistachio bits had crusted sugar on them – good bar snacks, but very little reason to be on the same plate with seabass.
    • I found Fat Duck’s Sound of the Sea to be successful because of the entire marine theme of the plate, but with only one marine item on Arzak’s plate (seabass), the rushing of waves did not enhance the dish. I think these extrasensory items, really only work if all the ingredients transport you to a certain remembered place. Arzak’s avant-garde dishes are at best rooted only in Arzak, and so the visual movie transported me nowhere, and was actually a bit of a distraction.
    • To the extent I was transported, I was transported by the taste of soy, to a crowded outdoor Chinese restaurant, eating a steamed fish in soy. Not really the seaside!

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  • Pigeon and seeds: Pigeon breast over a selection of dried fruits accompanied by an elaboration of seeds like pumpkin, grape or sunflower (4.25/5)
    • Pumpkin seed sauce: delicious. Grapeseed sauce (green dabs): delicious. Sunflower towers: nice. Pigeon leg, with papaya-black-olive-almond, sprinkled with chives: Not bad. Pigeon: with orange sauce. Good.
    • Reminded me of the nut candies I used to gorge on as a kid during Chinese New Year, mixed with pigeon.

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  • The big truffle: Large cocoa and sugar truffle with a creamy chocolate and carob filling (4.5/5)
    • Cotton candy surrounding a creamy filling, with chocolate poured on it. With orange flavor. Comforting.

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  • Black lemon: Crispy black lemon image with a sweet citrus cream interior sprinkled with the same fruit (3.75/5)

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  • Ice-cream assortment (4/5)
    • Carrot ice cream and carob ice cream

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  • Ferreteria
    • A nice selection of visually stunning odds and ends for mignardises. Though the tastes did not wow.
    • Coca-cola gelatin and pop rocks, Bolts, keys, screws. Other stuff.

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Azurmendi | Larrabetzu | Jun ’14 | “liquefaction”

15 Jul
  • Rating: 19.5/20
  • Address: Legina Auzoa, s/n, 48195 Larrabetzu, Vizcaya, Spain (exit 25, N637)
  • Phone: +34 944 55 88 66
  • Price (after tax + tip, coffee): ~€150 ($204 at 1 EUR = 1.36 USD)
  • Value: 5/5
  • Dining Time: 165 minutes
  • Chef: Eneko Atxa
  • Style: Modernist
  • Michelin Stars: 3

Notable reviews:

  1. (2014) Elizabeth Auerbach review
  2. (2013) Vedat Milor review
  3. (2012) Bruce Palling review


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Azurmendi has had one of the fastest three-star rises anywhere in the world. Eneko Atxa’s greenhouse of sustainability, a short 15 minute drive from Bilbao, was awarded 1* in 2006, 2* in 2010, and finally 3* in 2012. In fact, leaving aside the expansion restaurants of celebrity chefs like Robuchon, Ducasse, and Keller – Azurmendi may in fact have the fastest three-star rise for an original chef proprietor anywhere.

Azurmendi is named for both the mothers of Eneko Atxa and Jon Eguskiza, the chef and maitre d’ of the restaurant respectively. They were brought up in the Basque village of Amorebieta-Etxano. Eneko Atxa’s uncle, Gorka Izagirre, is “the largest proprietor of Txakolin in the Basque region.” [1] . Atxa has trained at Martin Berasategui, Asador Etxebarri, and Mugaritz. He also considers Yoshihiro Murata of 3* Kikunoi Honten in Kyoto a major influence:

“There was another Three Star Michelin chef that had a big impact on me in 2005. I learned a lot from Yoshihiro Murata the famed kaiseki chef at Kikunoi Honten, Kyoto) as I worked with him in Japan. I had been talking with him for a few days and asked him if I could witness his creative process in the kitchen. In response, Muratasan told me to meet him at five in the morning so I imagined he would take me to his kitchen and we could cook together. We got into his car and surprisingly, we didn’t go to his kitchen but instead to one of his producers. We had some tea and then spoke for two hours about which produce he should use because of the seasonality. It made me realize that factors like seasons and availability of various products was so important. We visited one who provided vegetables, another who dealt with general produce, who also knew things such as when the best fish are available and why. This was a very valuable lesson to me as I opened my first restaurant at the end of 2005. I was always very clear about what I wanted to do in my own kitchen – to make something from the local produce that had a universal message.” – Bruce Palling


Right when I stepped into Azurmendi, I was given a tour of three spaces (along with snacks) before settling into my table for the afternoon. The first was the environmentally sustainable greenhouse, growing an admirable variety of herbs. I was served six snacks there, some with a “found” quality, akin to a fairytale. The second was a picnic basket of three little bites in the main foyer. The third was the kitchen tour, with two further snacks. And finally I was ushered into the dining room to begin the meal proper. Elizabeth Auerbach mentions that the kitchen considers this the “four acts” of Azurmendi. It is unique among the restaurants I have visited – not least because it requires an integrated compound to have all these spaces to walk around in.

The end effect is that the diner ends at the table well-disposed to the kitchen, for adding a new experience to his memories. I had, for instance, a mix-up with the rental car company that caused me to be an hour late, but I had forgotten all my worries by the end of the tour around the greenhouse, garden, and kitchen.


I wish to draw attention mostly to Azurmendi’s liquefaction effects, which have not been remarked upon sufficiently. I consider this a signature effect of Atxa’s cuisine. I was served a “bonbon” (for definitional purposes: liquid held in a thin solid receptacle), at least eight times over the course of my meal at Azurmendi. Normally, this would be nothing more than a pleasant effect. This is what the modernist spherified amuses-bouche and mignardises at Le Squer’s Ledoyen achieve – an amusing diversion, they bookend Le Squer’s more substantial and celebrated classically-based cuisine.

But Atxa seems a veritable master of liquefaction. There are two major differences I have noticed between his approach to liquefaction and those of other chefs. The first is the variety of textures, and receptacles he uses for his liquids. His signature truffled-egg uses the natural yolk-membrane to hold both hot-truffle jus and gently poached yolk. In the greenhouse, I was served a guacamole cream bonbon with a thicker shell. He uses souffle pillows to hold ham-liquid (in the picnic basket, in the garden) and garlic cream (in the kokotxas). Somehow, he spherifies idiazabal cheese (with alginate? but the spheres are huge…). For his milk dessert, he crafts eggs with creme-caramel filling. Clearly, he has mastered a whole range of techniques for liquefaction and containment of such liquids. He has at least five good ones.

The second major difference is flavor. I do not know his techniques, but the liquids in his spheres are somehow more intense than those of other chefs. (Does it have to do with centrifuging?). In fact, this is a strength not just in the liquids, but in all of the dishes, the flavors tend to belie their minimalist and sleek geometric presentations, with flavors that dance on the tongue.


If Atxa’s cooking seems minimalist, it is – in terms of flavor profile of some of the dishes. Many of the snacks in the greenhouse were two-note bites (e.g. carrot in balsamic, tomato in vinegar, sunchoke skin with lime). While this is to be expected for the simpler greenhouse snacks, it (sometimes) makes a reappearance in his cooking at large. And so we enjoy dishes such as the lobster-chive, where a cornet of lobster tartare sits upon a roasted out-of-shell lobster, in chive oil and chive puree. Or his signature truffled-egg, which is precisely its stated two ingredients. Duck a l’Orange – is duck and orange. His successful dessert of strawberries and roses, is precisely strawberries and roses. This is ingredient-minimalism even beyond that of L’Ambroisie, typically 3-5 apparent principal ingredients; Atxa apparently can sometimes make do with just 2.

Minimalism of flavor profile, requires a great deal of conception and execution to pull off successfully. Atxa is not always successful in this. He hits extremely high heights (the perfectly roasted out-of-shell lobster; strawberries and roses) but can also overplay the unctuous nature of his creations (duck a l’orange, kokotxas). But it is exciting to witness his creations, in the dishes where he sets himself these two-flavor constraints.

Minimalism also expresses itself in radial symmetry in his dishes (nearly all of them). And since minimalism is a perfectionist’s errand, the spirit of a meal at Azurmendi is the opposite of the jazz restaurants (e.g. L’Arpège or André).


The general philosophy of Azurmendi is sustainability. Azurmendi was sustainably constructed (see this video on Azurmendi’s construction), and Eneko has mentioned his desire to be the most ecological restaurant in the world:

“The one thing that was always very clear to me was although I conceived of Azurmendi as a restaurant, I also wanted to be my home, so everyone involved has to think of themselves not as a cook or a waiter but everyone who formed part of the project had to behave like a host. And that is all of the members and staff. There will always be a host to greet our guests and then we start with a small walk. We are happy for people to arrive in electric cars because we have a free service for them to recharge.

We try and encourage this whole attitude within this complex. We have been in touch with the American authorities to see if we qualify as the most ecological restaurant in the world as we are definitely the most advanced one in Europe but we don’t know yet if we quality on the world level too. We are not completely sustainable at the moment but that is definitely the path we are striving to achieve.” – Bruce Palling

But a puzzle about Azurmendi and Chef Eneko’s philosophies remain – one specifically about his culinary philosophy – for someone who worked at Etxebarri, why does he not have a wood-fired grill in his kitchen?

“After further conversing with him I understood that he considers the a la brasa method, however subtle and nuanced it is, as is the case at Etxebarri, not suitable for a top end destination.  He thinks that dishes cooked a la brasa lack refinement. This is strange because I think the very opposite. For example, Etxebarri’s cooking brings out the taste of the great ingredients, whereas sous vide eliminates textural differences between and within categories ( I am talking about meat) in favor of a cloth-like soft and UNIFORM texture.” – Vedat Milor

The flavor of smoke appeared in the fisherman’s rice, but only as if by some sort of flavor sorcery, for there was no smoke to the eye. From my meals at Etxebarri, grilling can elevate a solitary ingredient, and can be seen (with a lot of aesthetic distance) as the culmination of culinary minimalism. Perhaps the final judgement is a visual-aesthetic rather than a culinary one, for the beautiful sculpted dishes of Chef Eneko’s art seem to inhabit a different aesthetic plane from the robust ingredient-dishes at the temple of Etxebarri. Both types of cooking yield great tastes (and Chef Eneko is a master of intensifying tastes), but the sculpted cuisine offers him a greater leeway to create a visual art. Thus the centrifuge over the wood grill.

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  • Appetizers in the greenhouse:
    • Tomato poached with vinegar (3.25/5)

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  • An elixir of (orange, pomelo, hibiscus) (3.5/5)

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  • Pumpkin-parmesan butter biscuit. (3.5/5)

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  • Avocado bonbon – coloured to mimic the seed of the avocado – in a dried avocado shell. (3.5/5)

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  • Roasted sunchoke skin, stuck on the stem with lime gel (3.25/5)

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  • Carrot, marinated in balsamic vinegar (3.25/5)
  • A bunch of herbaceous snacks, which were more interesting rather than delicious, reminding me of Blue Hill at Stone Barns (Pocantico Hills, New York) with their amuse of vegetable crudites. But these one-note snacks were peripheral players, prefiguring the playfulness of Atxa’s vision. These were not chords (hinting at a future dish), let alone fugues (completed dishes), but rather minimalist note tinkering.
  • The fun was to stumble across these dishes, as if these wonders had been placed by Providence along our path through the greenhouse. It was a novel concept (and also one that requires a surrounding bit of nature). Of those I would class the avocado bonbon as the cleverest, relying on a visual similarity between the bonbon and an avocado seed – and the ensuing texture of guacamole on the tongue enjoyable. The sunchoke skin, with its visual similarity to bark, was also very interesting.
  • It was in a way, a logical extension of New Nordic cuisine, which seeks to bring the forest floor to your table. Azurmendi brought us to “nature” (a greenhouse), and served us dishes. In the future, some enterprising chef might even plate full dishes in nature. Alinea (see Ruth Reichl’s 2014 report) and Atelier Crenn in the US have experimented with “found” dishes, using carrots.

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  • Appetizers in the garden:
    • Bread and ham (5/5)
      • This really kicked off the meal. An intense hit of umami, liquid ham, hit the palate as soon as the bread pillow cracked. The senses were jolted with the first protein of the day. The meal had started.

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    • Homemade Seasoned Anchovy (4/5)
      • This was fairly good, but our perceptions of saltiness being what it is (very personal), I felt it was oversalted for my taste. I preferred the salting of Asador Etxebarri version.

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    • CaipiriTxa (4/5)
      • A liquid Caipirinha cocktail bonbon, only with Txakoli instead of rum. Good. You will note that at this point, Azurmendi has already served three bonbons. (avocado, ham, caipirinha)

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  • Appetizers in the kitchen:
    • Red bean soup (4/5)
    • Blood sausage croquette (4/5)

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  • Hazelnut, peanut, almond and mushroom leaf (5/5)
    • Atop a mushroom leaf covering three nuts.  Clockwise from 10 o’clock: hazelnut, peanut, almond
    • Hazelnut turned out to be a pigeon foie gras (5/5)
    • Almond was amaretto liqueur (4.5/5)
    • Peanut was peanut butter [possibly with addition of foie?] (5/5)
    • A big part of Atxa’s aesthetic seems to be stylised set pieces. Here, a tree leaf covers three nuts. Before, a picnic in the garden. Before that, found plantstuffs in the greenhouse. All of the nuts had great mixtures of sweet and unctuousness, from the butters and foie.

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  • House steamed bread with olive oil (5/5)
    • One of the simplest bites, but among my top memories of the place. A simple steamed bread with Andalucian olive oil, but the bread had a milky sweetness and a pillowy texture, similar to a Chinese mantou (steamed bun). It was unexpected that I would find a similar steamed bun tradition in Basque country.

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  • Egg from our hens, cooked inside out and truffled (5/5)
    • A video of Eneko Atxa preparing the dish: http://www.youtube.com/watch?v=IqpS3UPQ30w
    • Hot truffle jus is syringed into an egg yolk. The temperature cooks it through, poaching the egg.
    • This is essentially a two-note dish, a modern interpretation of the scrambled eggs and black truffle combination. I thought this very clever. The bonbon effect was at play for the Fourth time again, as truffle and egg exploded in the mouth upon contact. A conceptual masterpiece.
    • One wonders if it can be replicated with white truffle. Would it be desirable to replicate it with white truffle?

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  • Bloody “Mar” (4.5/5)
    • A video of Atxa preparing the dish: http://www.youtube.com/watch?v=yyh9L14bSZ8
    • Vodka, black pepper, tomato, with sea urchin and celery.
    • Really strong sea urchin flavor, which was complementary to the cocktail. A bit difficult to figure out how to eat this dish, I settled for taking a bite of the wafer (halving it), then sipping the cocktail, then finishing the other half with the remaining cocktail. I found the concept and flavor pairing compelling, but the presentation unwieldly.

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  • Tomato, cheese and basil tartlet (4.25/5)
    • Vegetable tartlets, with skinless tomatoes, tomato emulsion, and the roasted skinlets of tomato. Finished with idiazabal (sheep’s cheese) bonbon. By the side, a idiazabal cheese sorbet.
    • Good. Sweetness of tomato cut the richness of idiazabal. Strangely, for a strongly flavored cheese, I remembered the idiazabal bonbons as having a bland milkiness. Profound tomato flavor.
    • I was advised to eat one tartlet first without the idiazabal sorbet, and the second one with.

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  • Roasted lobster out of the shell on oil herbs and sweet chives (5/5)
    • A great lobster dish. A lobster tail taken out of its shell, perfectly roasted to give it a crunchy browning outside, with a cornetto of stuffed lobster tartare on top. Chive oil and chive emulsion. The out-of-shell lobster was perfectly roasted to give it the crunch, while retaining softness within. The cornetto was delicious.
    • I remember most the impeccable technique, to impart that crunchy browning to the lobster, while maintaining a good inner texture.

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  • Traditional Fisherman style charcoal-grilled rice (5/5)
    • A strong smoky flavor, a hearty dish of the juices of little clam, with cream of sea urchin, and oysters smoked in charcoal. Eating this, I was transported somewhere near a burning wood campfire, eating with fishermen at the end of a fishing trip.
    • This presented a different side of Atxa’s cooking. Whereas I admired some of his other dishes (like the Bloody Mar) more with the head, this grabbed me by the gut. I craved this dish.

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  • Duck Royal “a l’orange” and orange blossom aroma (4.25/5)
    • The scent of orange zest was sprayed when the dish was served. The “orange segment” was sculpted of foie, covered in orange jelly. In the centre, a terrine of meat (and foie?).
    • While I enjoyed and appreciated the technique involved in reimagining and executing the dish (orange segment especially), the tastes were dominated by the savory parts of foie and meat terrine. I rationed my little real orange bits, and the orange jelly on the foie “faux” orange segment, to provide a fruity respite from the onslaught of unctuousness. This dish felt unbalanced, as if the kitchen had cranked up the dial on fattiness to 11/10.
    • Perhaps as an improvement, a lighter intermezzo course would have worked well between the Fisherman’s Rice and Duck a l’orange.

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  • “Kokotxas” with potatoes (4/5)
    • Kokotxas – an ingredient I would become very familiar with over the next few days – was first introduced to me here. It is the cheek of hake, the most gelatinous part of the fish, and sought by gourmands for its melt-in-the-mouth texture.
    • It was here confit with olive oil, and the gelatin was used for an emulsion with chilli pepper and chipotle garlic. On it, the bonbon-liquidising element made a sixth appearance, with the potato souffle pillows containing a burst of garlic cream.
    • Heavy. The 4th of 5 heavy courses, the gelatinous kokotxas were indeed enjoyable, but the dial on heaviness remained at 11/10 thanks to the garlic and cream.

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  • Confit and roasted baby pig, crunchy pork ear and pumpkin in different textures (4/5)
    • Suckling pig, a croquette of pig’s ear, with slivers of raw pumpkin wrapped around pumpkin cream
    • The suckling pig was drier than I would have liked. Here we can make another observation: in an echo of the earlier snacks at the greenhouse, Atxa can minimise the basis ingredients of his “signature dishes” down to 2. I think of the egg (truffle + egg), lobster (lobster + chive), and now the pork (pork + pumpkin). I do not think it is a coincidence. Atxa’s minimalist tendency expresses itself presentation-wise in sleek geometric lines (think the cornetto) and radial symmetry (this dish); taste-wise in paring down ingredients to two principal actors, with maybe a minor third ingredient for certain accents.

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  • Dry Croissant of Fruits and Creamy Cheese Ice Cream (5/5)
    • Fruit meringue and thyme-cheese ice cream. Tremendous and inventive flavor.
    • The bare bones of a larger idea about thyme and cheese?
    • The sensuous curves evoking the nearby Bilbao Guggenheim.

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  • Strawberries and roses (5/5)
    • With violence, and dry ice, the vase containing a solitary rose exploded into wafts of “smoke”, carrying rose perfume.
    • The delicate crunch of rose petals (shredded and whole), with marshmallow of rosewater, strawberry sorbet and wild strawberries. For me it was indescribable, the delicate vegetal crunch of the shredded rose, along with the light rosewater marshmallow, which captured for me the lightness of the flower. It was given body by the strawberries. Independent of the theatrical presentation (which was much appreciated), this dish had the highest gastronomic merit: the metaphorical lightness of roses was made literal with textures of marshmallow and shredded rose.

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  • Egg and dairy products, Farmhouse Milk Ice Cream, Butter Toffee, “homemade eggs” milk skin and gelée of yogurt (5/5)
    • “It has made me fall in love with vanilla” – that was what I wrote. Bed of toffee butter, cubes of yoghurt gelatin, dehydrated spiced milk. Dehydrated milk bits, milk ice cream, along with for a seventh time, eggs with liquid creme caramel filling.
    • The vanilla in the ice cream was accentuated by its supporting cast. It was the star. The taste of spiced milk; the sour of yoghurt; the richness of toffee butter. A homage to milk.

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  • Petit fours
    • Hazelnut
    • Golden – buddha hand, flan
    • Chocolate jelly
    • Marshmallow, chocolate dip
    • Hazelnut bonbon
    • White chocolate
    • Passionfruit

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Auberge du Vieux Puits | Fontjoncouse | Jun ’14 | “perfect masterpieces”

10 Jul
  • Rating: 20/20
  • Address: 5 Avenue Saint-Victor, 11360 Fontjoncouse, France
  • Phone: +33 4 68 44 07 37
  • Price (after tax + tip, wine and champange): €190 ($258 at 1 EUR = 1.36 USD)
  • Course Progression: 4 amuse – 5 main – 1 cheese – 1 dessert – 3 mignardises
  • Value: 5/5
  • Dining Time: 180 minutes
  • Chef: Gilles Goujon
  • Style: Creative
  • Michelin Stars: 3

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The hour-long drive from Carcassonne to Fontjoncouse passed through a number of rural villages, many the colour of light sand. Dwindling in population as we got further and further from the highway, and each successive village seemed increasingly unlikely to contain gastronomic temples. Finally we were confronted with a short 15 minute segment up a windy and secluded mountain path, and arrived in the smallest town of them all – Fontjoncouse (population: 131 [2008]). But as we approached the scenery changed. A multinational crew, hallmark of a Michelin starred restaurant, was preparing for lunch service.

And in this remote corner of France, I had a fine-dining meal, where for the first time, I thought every course was perfect (i.e. 5/5). In fact, in a trip that featured so many memorable meals, L’Auberge du Vieux Puits (Inn of Old Wells) stuck out as one of the most memorable. I would rate it as my favorite meal this France trip, out of a galaxy of multiple-Michelin-starred restaurants we tried (L’Arpege, L’Ambroisie, Ledoyen, Le Parc Franc Putelat).

A comment on Gilles Goujon’s working method: Chef Gilles Goujon chooses to focus on a few dishes at a time, and each of dishes represent a single idea developed to a very high level. And the fruits of his labour are his perfect masterpieces.

Gastronomically, the sauces here are some of the most intense sauces I’ve ever tried – there is no concession to modernity or corner-cutting in the preparation of these fantastic sauces. Many of the dishes evoke rustic French and Catalan cooking, and the flavors are clear and shine through with intensity. Most chefs would be happy with creating some of the most delicious dishes known to the diner. But Gilles Goujon has presentation strategies that elevate these dishes to an even higher level. His tools are elaborate sugarwork (a pearl containing smoke, polished to lustre; fake-cherries and fake-lemons for dessert; a crystallised courgette flower to evoke a Mediterranean salad), and interactivity: few dishes are served “complete” straight from the kitchen to the diner’s table – instead, the diner has to either take part in serving the meal, or witness the finishing of the dish before his/her eyes. I smashed a pearl with a hammer to release its smoke, and cut open an egg to reveal its “rotten” truffle puree core. I watched as a spoon of saffron cream was dissolved by the pouring of a bullinada fish stew, and witnessed cream being poured into a vol-au-vent. The diner does not just tuck into the dish with forks and spoons, we are active witnesses to the dish being finished, participants to a theatrical show. One feels here a playfulness and sense of mischief.

The Auberge du Vieux Puits is a rare place: most restaurants are skilled at extracting flavors, but presentation is secondary. What I mean by secondary is not that the presentation is not wonderful, but that the presentation technique in non-essential. For example, in my post on Ledoyen, I posted a video of Le Squer making his turbot dish for home-viewers. At the end, his “zebra” truffle stripes are dispensed with, since they are just ostentatious ornamentations; Le Squer merely spoons some mashed truffle over the finished turbot. At Auberge du Vieux Puits, in the best dishes like the “rotten egg” dish, the temporal element of presentation is all-important. We are meant to feel the surprise of seeing rotten egg come out the egg. In the oyster dish, we are meant to see the pearl in all its glory, but the “finished” presentation is a cracked pearl. The “bullinada” being poured into the spoon; yields a “finished” presentation that will look messy, but half the fun and excitement is seeing it being poured.

(Another type of restaurant has dishes with good presentation, but poor flavor. Pete Wells, the NYTimes critic, recently wrote a good critical piece on this phenomenon)

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As a last comment, I think that the chef is one of the bravest in France. It takes a certain kind of bravery, perhaps even foolhardiness, to open a restaurant in the middle of mountainous nowhere. For 5 years from 1992-97, the Auberge saw little business, and was forced to throw out almost all of its purchased produce, since Chef Goujon did not believe in serving frozen food.

There seem to be four sources of information for Gilles Goujon’s career, two Slate articles written by Nicolas de Rabaudy on chef Goujon’s backstory (http://www.slate.fr/life/75572/gilles-goujon-fontjoncouse-trois-etoiles-aude [2013]) and (http://www.slate.fr/story/11493/un-grand-chef-inconnu-gilles-goujon-fontjoncouse-aude [2009]), a Quora post by Julien Vache on the promotion of Chef Goujon to three Michelin stars, and finally a French Wikipedia article also fills in on some other details (without attribution though) such as his motivation for becoming an MOF (to bring more publicity to this remote restaurant).

I won’t belabor the biography, but in short order: Gilles Goujon trained as a chef under Roger Verge at the Moulin de Mougins, and then Gerald Passedat at Le Petit Nice. At 30, he decided to take on a failed village hostel called Auberge du Vieux Puits for the equivalent of 34,000 Euros. The mayor of Fontjoncouse had believed that the only way to attract visitors to his sleepy village was to create a destination restaurant. For 5 years, Goujon and his wife Marie-Christine had almost no customers, since the Auberge was situated in a remote corner of France. Since he did not believe in serving frozen food, he would throw out a lot of fresh produce, and by his own admission, was despairing of the situation. To create a higher profile for the restaurant, he trained and won MOF honours for himself in 1996. The restaurant began to attract a local clientele from Narbonne, Carcassonne and Montpelier, drawn by both Goujon’s growing reputation and his very reasonable prices (15-25 Euro set menus). In 1997, he was awarded a first Michelin star,  increasing customers by 35%. In 2001, he was awarded a second star, increasing customers by another 53%. A misstep in 2008, chronicled by Julien Vache, temporarily delayed his ascension to three-star ranks. But in 2009 (for the 2010 guide), he was notified that he would be awarded three Michelin stars.

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  • Amuse bouche (5/5)
    • White shell, liquid truffle ball. (5/5) An intense burst of truffle flavor. Liquid truffle is one of the great truffle preparations of the world, especially when bitten into, a la bonbon.
    • Snail and garlic in choux-pastry (4.75/5)
    • Goat cheese millefeuille (4.5/5)
    • Tartlet of carrot and cumin (5/5)
    • All of them had well-developed, well thought-out flavors.

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butters: beetroot + pink pepper, seaweed + oyster jus, Espelette pepper

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  • Gillardeau Oyster, Seawater Jelly, Sugar Pearl Containing Smoke, and Cream of Chives (5/5)
    • “With a hammer, please smash the pearl”. A waft of intense wood-smoke arose.
    • First class sugar work, a pearl which was very lifelike.
    • A piece of art, evoking joy of discovery of the unexpected. The pearl was the first surprise, the interactive smashing and presentation of the smoke the second second surprise. By subverting expectations twice, once on serving the dish to the table (with sugar pearl), and once on interacting with the dish (by smashing said pearl), Chef Goujon created a masterpiece.
    • Texturally, the uniform texture of jelly and the diverse textures of meaty Gillardeau oyster, gave it a great contrast of textures. Superb in presentation and conception

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  • En hommage à Roger Vergé. <<Le Poupeton>> fleur de courgette chrystal farcie d’un sorbet tomate basilic, marinade catalane aux anchois de l’Escala et huile d’olive maturées (5/5)
    • A crystallised courgette flower, with tomato basil sorbet in the center atop a Catalan marinade with anchovies and mature olive oil.
    • The first thing about the dish, is that it feels conceived first with the Catalan marinade of Mediterranean ingredients – chopped tomatoes, courgettes, red pepper, and black olive – in a “tartare”.
    • But that is not the first sensation to hit the mouth. It is the cold of the tomato-basil sorbet, which shone with tomato flavor. The sweetness and the cold, mixed with the “tartare” of various ingredients, became a delightful taste of a cold Mediterranean salad, with the coldness taken literally.
    • Aesthetically, this was crowned with a crystallised courgette flower (which was amazing to behold), and overlapping slices of courgette. This symbolised the delight I feel when seeing great flowers, each flower telling of the beautiful qualities of the land. The terroir here was the Mediterranean. In presentation and taste, this dish was inspired in conception and perfect in execution.

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  • L’oeuf poule Carrus <<pourri>> de truffe mélanosporum sur une purée de champignons, briochine tiède et cappuccino à boire, une râpée de truffe tuber aestivum (5/5)
    • The signature “rotten egg” dish of the restaurant. A complicated dance of steps. First an egg is presented on top of mashed mushrooms.
    • Then to the side, a dish of truffle milkshake and truffle brioche is served. It will remain there.
    • Back to the main dish, with the fork, one splits the egg open, to reveal a filling of a thick, opaque, black truffle sauce. The egg has gone bad!
    • A sabayon is poured over the split rotten egg.
    • And the pièce de résistance: truffle (summer truffle) is shaved over the plate, which has been filled with the dried grass that lines chicken nests.
    • The aesthetics of the dish are impeccable. The plate evoked a nest in which the rotten egg was found. In the center, a piece of interactive art. Splitting the egg, the pungent smell of truffle (I can only imagine how it will taste in black truffle season) was of a piece with the pungent smell of rotten egg. The yellow sabayon brought colour of the “yolk” halfway back to normality, symbolising a resuscitation of the dish. The dish evoked a rustic French farmhouse. The discovery of a rotten egg is usually an unqualified “bad thing” to happen, but Chef Goujon has given us happy memories of a delicious rotten egg, in his own way revaluing this “bad thing”, and has made a jewel of a common event in rural farm life.
    • Gastronomically, this dish was perfectly conceived. The egg was delicious, and the accompanying truffle milkshake and truffle brioche were infused with strong fungal flavors. Mushrooms and egg; two of the most common ingredients: but in the hands of a master chef like Goujon, they are transmuted into the highest art.

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  • Filet de rouget barbet, pomme bonne bouche fourrée d’une brandade à la cébette en “bullinada”, écume de rouille au safran (5/5)
    • With a saffron mousse on a spoon, mounted above the plate, a Catalan fish stew – the “bullinada” is poured in a concentrated stream onto the saffron mousse, filling the plate with one of the most complex fish stews, a hint of sour, tangy, fragrant, and submerging the mussels, onions, peppers, and potato stuffed with red mullet puree with the stew.
    • The red mullet was perfectly done. Soft and seared perfectly. I had taken a bouillabaisse eating tour of Marseille two years earlier, but was left disappointed by the quality of fish stew on offer. I could not believe what I was eating. This was by quite some distance, the best fish stew I had ever eaten, a true celebration of the Mediterranean terroir. I had found what I had not found in portside Marseille, in a inland mountain village two years later.
    • Most of the dishes I had eaten so far evoked a sense of place: The rotten egg, a French farmhouse; The courgette flower, the Mediterranean salad; this dish, the treasures of the Mediterranean sea; The oyster was the only one which seemed to come from a particularly fertile corner of Chef Goujon’s mind, a creation all of his own.

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  • Filet de Saint-Pierre contisé à la truffe mélanosporum, oreille de cochon et artichaut rôtis au jus de volaille, réduction acide-amer de Noilly
    • I did not have this dish: but it was a John Dory, stuffed with black truffle, with roasted aritchoke, and a darkly rich chicken jus. “Pork herb”.

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  • Vol au vent d’autan <<contemporain>> comme une capitelle aux morilles, crêtes de coq, rognons de lapin et sol l’y laisse, réduction de rancio sec crémée (5/5)
    • A vol-au-vent is typically a hollow puff pastry, but here Chef Goujon chose to represent the hollowness by putting four sides of puff pastry around a mound of morels, topped with a mushroom foam. To the side, local Musseron mushrooms from the Aude region, rabbit kidney, sweetbreads.
    • A thick cream was poured in the middle of the vol-au-vent, suppressing some of the mushroom foam, mixing with it, and seeping out from under the construction to mix with the savory offal ingredients. I was left licking the cream sauce after this dish was done.
    • Superb: again, multiple innovations in this dish: vol-au-vent as 4 sheets of pastry vertically stacked together with foam within, pouring the sauce downward to mix with the foam for interactivity (notice that the puff pastry sheets had minimal contact with the sauce, minimising sogginess), and coating the offal and mushrooms. Tremendous. A genius at work.

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  • Chariot de fromages, affinés surtout des Corbières… mais aussi d’ailleurs (5/5)
    • One of the most comprehensive cheesecarts I have ever seen; overwhelming almost in its comprehensiveness of Aude cheese. I had a number of first rate cheeses from this cart, though my transcription of the names is admitted spotty. If anyone can read the descriptions better than I can, please let me know.
    • From left to right: (Cow) Bleu de Driola [sic] (5/5, sweet and tangy) ; (Cow) Laguiole 18 months (5/5); (Sheep) Le Claoosoo [sic] Fromagerie Hyelzas (5/5); (Goat) Crottin (3.25/5); (Cow) Bamalou; (Goat) Cendrie Feume la Balneutier [sic]; [Goat] Crottin. (5/5)
    • Local cherry jam


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  • Faux citron de Menton délicatement cassant, sorbet citrus bergamote et kumquat du Japon du Mas Bachès, crème thym citron, sablé fleur de sel (5/5)

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  • Salut vielle branche: de genévrier, poires confites en chutney, fruits du mendiant et crème de baies de genièvre (5/5)

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  • Fausse cerise finement cassante, sorbet noyau, tiramisu mascarpone à la pistache sur un clafoutis sablé et jus de mélasse à la verveine (5/5)
    • Three desserts, all in the theme of evoking the original ingredient. A false Menton lemon, with bergamot sorbet, kumquat and cream with thyme and citrus, was indistinguishable from the real article for a split second when it was first presented.
    • Then, a cherry with tiramisu mascarpone, cherry compote, and shortbread platform.
    • Then, a chocolate branch, with juniper cream, and pear chutney. By its side, a tall glass of fruit sorbet.
    • All of these desserts were hugely imaginative, and delights to eat and behold.

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  • Les mignardises du Vieux Puits (5/5)
    • Chocolate caramel; orange chocolate
    • Lime basil macaron
    • Rhubarb tart with strawberry mousse

Ledoyen | Paris | Jun ’14 | “last order”

27 Jun
  • Rating: 20/20
  • Address: 1 Avenue Dutuit, 75008 Paris, France
  • Phone: +33 1 53 05 10 00
  • Price per pax (after tax + tip, some champagne): €290 ($395 at 1 EUR = 1.36 USD)
  • Course Progression: snacks – bread service – 1 amuse – 3 mains – 1 cheese – mignardises (1st round) – 3 desserts – mignardises (2nd round)
  • Value: 5/5
  • Dining Time: 160 minutes
  • Chef: Christian Le Squer [wiki-biography]
  • Style: Classical with Modernist Touches
  • Michelin Stars: 3


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[Edit (Jan ’15): we need not have feared, Chef Le Squer has moved to 2* Le Cinq and is producing all of his signature hits there].

Farewell, Christian Le Squer and your wonderful Ledoyen. We stepped into Ledoyen without knowing it would be our last meal at the place, in its current incarnation. The reason for that last meal, is that head chef Christian Le Squer is quitting Ledoyen, and his last service will be on June 30th. For 15 years he has headed Ledoyen, and for 12 of the 15 years of his tenure Ledoyen has been a 3-star restaurant. Only this year in 2014, has he been awarded 5 toques from Gault-Millau. But what a meal we had there: we encountered a restaurant performing at the top of its game.

[Le Squer will be replaced by Yannick Alleno (lately in charge of the 3* Le Meurice in Paris before quitting to start his own company, and having Le Meurice taken over by Alain Ducasse). Le Squer plans to cook in his 1* restaurant etc… in the 16th arrondisement until the end of 2014, until which he will try to crown another venture with 3 stars.]

One regret is that I’ll not get to taste the spaghetti dish at Ledoyen. Here’s a picture from Luxeat. That is one of the stunning dishes of world cuisine. It was out, because Le Squer doesn’t do them with non-aromatic mushrooms – only morels, or white truffles, or black truffles. (the black truffles are the one recommended by the maitre d’) I will have to find them at Le Squer’s next venture.

I found the blend of modernist and classical touches here delightful (though the modernist touches on the amuse were a bit weaker than the classical dishes). There is very little new I can say that a lot of other bloggers have said besides [e.g. Andy Hayler, Ulterior Epicure], the classics menu was perfect in execution, and perfect in conception. Ledoyen’s classics menu is perhaps one of the touchpoints for a gastronomic education. A second regret is that I won’t get to try Le Squer’s modernist menu.

Might I also repeat how much I enjoy haute-cuisine in Paris? It is not just the divine food, it is the history of the dining spaces I eat in – a couple of days ago, we sat in the room of the old L’Archestrate, and the previous day, we sat in the quarter-century-old setting of L’Ambroisie. Today, the two-century-old Ledoyen. One might succumb to Stendhal syndrome…


During the late 18th century, it was a haunt of Louis de Saint-Just and Maximilien Robespierre and they dined there on 26 July 1794, two days before their execution. Napoleon and Joséphine de Beauharnais reportedly met at the restaurant and the restaurant was also a favourite of artists and writers such as Danton, Marat, Degas, Monet, Zola, Flaubert and Guy de Maupassant. A mid-19th-century account states that the restaurant was also the breakfast place of duellists, who, after shooting at each other in the Bois de Boulogne, reconciled over breakfast at Ledoyen. – Wikipedia

In mid-1999:

“Yes, there had been early warning signs of turmoil in the haute cuisine. First came news that Mme. Ghislaine Arabian, the highest-ranking woman chef in France, had been forced to leave her ill-starred two-star kitchen at Ledoyen in the park of the Champs-Élysées after she angrily fired one of her young cooks on camera during the making of a television documentary.” – Jeffrey Steingarten, “Is Paris Learning?”, It Must’ve Been Something I Ate.

The Breton Christian Le Squer took over the kitchen right after Mme. Arabian in 1999, and Ledoyen held its two-star rating, and elevated to its third star in 2002.


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  • Amuse
    • Spherified rosewater (3.5/5) – subtle, not sweet let alone cloyingly sweet which is a credit to the kitchen, good taste
    • Spherified olives (4.25/5) – recalling el Bulli? Good olive flavor
    • Poppy seeds and lettuce roll (3.25/5)
    • Foie, cherry, crab mousse (?) (4.5/5)

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Salty crackers. Squid crackers.

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Olive; whole wheat; baguette; Bordier butter

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  • Amuse: Fresh melon, verbena, almond jelly, sprinkling of fresh almonds (3.5/5)
    • A bit lacklustre. From what I remember, the sweet melon dominated.

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  • Grosses Langoustines Bretonnes, émulsion d’Agrumes (5/5)
    • One in the shell, one within a breaded and fried dumpling. Acidulated olive oil + vinaigrette
    • The langoustines were sweet and firm in both, the kitchen able to get the great texture in very different preparations. It paired brilliantly with the acidulated foam.

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  • Blanc de Turbot de Ligne juste Braisé, Pommes Rattes Truffées (5/5)
    • A rectangle of turbot, with just-mashed potato, and a truffle-butter sauce.
    • The mashed potato chunks, not really mashed potatoes in the puree sense we have come to know it, but chunks of potato that have been mashed, were swimming in a most decadent truffle butter sauce, beneath a foam. On top, a conceit of plating, stripes of black truffle bits. The turbot was two filets stacked on each other, though right at the start, so it wasn’t evident when I cut it.
    • Since we weren’t in black truffle season, the truffles used were frozen. This decreased the truffle aroma, but increased the evident decadence of the butter sauce with turbot, which had its gelatinous texture well brought out. This was clearly a perfected dish.
    • Truffles: Ledoyen under Christian Le Squer may have been a winter play
    • A video of Le Squer making the dish: http://www.francechef.tv/recette-blanc_de_turbot_juste_braise_emulsion_de_pomme_ratte_truffee.html

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  • Ris de Veau en Brochette de Bois de Citronnelle Rissolée, Jus d’Herbes (5/5)
    • A whole lobe of sweetbread, skewered by lemongrass, roasted, and sitting on a bed of beans. The sauce was made of 9 different herbs, very good
    • The sweetbread had a soft creamy texture, the generous portions allowing me to savor each bite – the texture of this lobe was reminiscent of another roasted-but-soft-inside ingredient, foie. Their two soft textures explain why they are so prized. A sweet glaze outside, the inner lemongrass skewers giving the sweetbreads a vague Thai flavor. Fantastic

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  • Les Fromages (5/5)
    • Eaten in order from clockwise from 12 o’clock:
    • The maitre d’, going off my three choices of St Felicien, Mimolette and Beaufort, rounded it off with the Banon. Nothing to say, except that the cheese mini-tasting sequence was absolutely superb, each cheese playing off the other (5/5). The Banon in particular was a welcome palate-cleanser in between the sweet-potato-ish Mimolette and the salted-egg Beaufort. This may be the very greatest cheesecart I’ve ever tasted.
    • Saint-Félicien (5/5) – seeking something close to my beloved Saint-Marcellin, I got a superb Saint-Félicien
    • 46 month old Mimolette (5/5) – from North of France. A hard cheese, its sweetness resembling a sweet potato
    • Banon goat cheese (4.5/5)
    • 24 month old Beaufort (5/5) – sweet, salty, starchy, with the mouthfeel of salted egg, a truly marvelous cheese, which contrasts completely with the creamy textures of younger Beauforts. Unique.

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  • Mignardises 1:
    • Spherified pineapple (4/5)
    • Pistachio macaron (4.5/5)
    • Raspberry stuffed in strawberry (4/5)
    • Passionfruit pastry (4.5/5)

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  • Yeast ice cream / White caramel film / Meringue / Silver Leaf (5/5)
    • “Chef wants you to have this, in order to ‘shock the palate’ “. The yeasty flavor (which yeast? what proportions, if a mixture?) was pronounced, capturing a hearty, bready flavor. For such a thin film, the caramel flavor came through strongly.

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  • Croquant de Pamplemousse cuit et cru (5/5)
    • One of the best no chocolate/ no cream desserts I have tasted.
    • From bottom up, 4 layers of grapefruit celebration, in increasing order of abstraction away from the fruit:
    • First a sweet confit grapefruit skin to form a fruit leather base, to capture some of the bitter tastes of the fruit
    • Second fresh grapefruit, to give the tastes of the original fruit
    • Third sorbet, to refresh the palate, and give a cool temperature mouthfeel.
    • Fourth a grapefruit sugar glass to give a crunchy texture.

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  • Chocolat / Framboise, Cacao légèrement Fumé (5/5)
    • A perfect classic chocolate/ raspberry combination, a classical bookend to the meal as the amuses were modernist.

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  • Mignardises 2:
    • Chocolates and Caramels (5/5)
    • Kouign Amann (5/5)
      • A very strong end to the meal.
      • We had feared the kouign amann was soggy from the caramel, but it was perfectly crisp.



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Homard au Naturel en Gelée de Sucs de Carapace

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Daurade Royale Snackée, Câpres et Tomates Acidulées

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Grillade de Pigeon, Fleurs de Navets

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Fouetté de Chocolat Blanc en Crumble Acidulé

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Givré de Citron Vert, Fruits du Marché


  • Ledoyen (December 2012): Gastromondiale:
    • ON THE LANGOUSTINES: “This is a house classic. I have eaten this dish at least ten times and, if I could, I would eat it every day.  The langoustine quality here is a close second to what I can find in the great seafood temples of Spain (Galician langoustines) or in La Taupiniere in Brittany (another victim of the Michelin guide’s palette challenged inspectors). Probably they are fresh frozen and sent to Paris immediately. But they are still succulent and sweet, although a bit less firm compared to langoustines that have not seen any ice.  LeSquer prepares a brilliant mousse-like olive oil-agrumes infusion with the two large langoustines, one encased with kataifi and deep fried, and the other appropriately cooked a la plancha, as they do in Spain.”
    • ON THE SWEETBREADS: “This is always a masterpiece, a 20/20 dish.  It is light, creamy, and intense and excellent quality.  The whole lobe of milk-fed veal sits on a lemongrass or citronelle stick.  The lobe is glazed with jus, crispy dried sweetbread crumbs and lemon peel. Salfsify sticks are cut in a rectangular shape and braised with butter. The herbal sauce is rich, complex and refreshing (due to the agrumes jus and raspberry vinegar used in deglazing). The sweetbread is crisp outside, but very juicy inside. This is an exceptional, 20/20 dish.”

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L’Ambroisie | Paris | Jun ’14 | “timeless. …?”

20 Jun
  • Rating: 20/20
  • Address: 9 Place des Vosges, 75004 Paris, France
  • Phone:+33 1 42 78 51 45
  • Price per pax (after tax + tip, a bottle split among three): €430 ($585 at 1 EUR = 1.36 USD)
  • Typical Course Progression: Amuse 1 – Amuse 2 – Starter- Main – Optional Cheese – Dessert – Mignardises
  • Value: 2/5
  • Dining Time: 180 minutes
  • Chef: Bernard Pacaud / Mathieu Pacaud
  • Style: Nouvelle-cuisine
  • Michelin Stars: 3


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It seems timeless, as if it has existed at the beautiful Place des Vosges forever. But that is an illusion. 27 years ago in December 1987, Bernard and Daniele Pacaud moved the then-2* L’Ambroisie to an old silversmith’s shop, at the Place des Vosges. In the 1988 Michelin Guide, 2* L’Ambroisie was elevated to three Michelin stars, a rating it has kept until today.

We were greeted and ushered into the first dining room by Madame Pacaud. It was cosy, and the lighting came from a Baroque chandelier above our heads. A candle was lighted, an arrangement of fresh flowers. “This might be the most romantic dining room in Paris”. And on the table, salt and pepper shakers (I rarely, if ever, see them at haute-cuisine establishments). That said to me, the diner’s enjoyment is paramount.

Just as rare: No tasting menu. Starter, main course, dessert.

I wanted to dine at L’Ambroisie, precisely because of that gesture; a throwback to an earlier age. Until now, my dining experiences at restaurants considered to be at the top end; restaurants capable of creating transcendental meals, were limited to restaurants with a short history, about 10-20 years at the most. In the United States, the 3* restaurants are unfailingly young (The French Laundry, the Daniel of Daniel Boulud [from Le Cirque], and the Le Bernardin of Gilbert Le Coze, being the three oldest 3*’s in the United States). The other seven (Per Se, Eleven Madison Park, Brooklyn Fare, Jean-Georges, Masa, Alinea, Meadowood) are considerably younger.

What other restaurants are like L’Ambroisie? Such a combination of (A) storied history and (B) a preserved cooking style exist only at a handful of restaurants, and (C) at the 3* level is truly, truly rare: Paul Bocuse in Lyon, and Jiro’s sushi outlet in Tokyo are the only other top restaurants that immediately come to my mind. Troisgros, birthplace of nouvelle-cuisine, seems to be experimenting in an Asian fusion style in its third-generation.

I wanted to experience nouvelle cuisine: as in its heyday in the 80s and 90s, when it was still considered the state-of-the-art. How was the food? Intense. Perfection, or very close to it, with every dish. Each dish seemed a minimalist masterpiece to the eye, comprising four or five principal ingredients. It had all the intensity of the best of classical French haute-cuisine, with none of the heaviness. Many of these dishes deserve to be painted and hung as portraits.

And I think it is at L’Ambroisie that I have found the surest hand for caviar. By that I mean, the caviar isn’t fetish-ised and the show-stopper everytime it is served. It is a very sure chef who can relegate the caviar to the supporting role for an asparagus and egg dish, or the supporting role for a line-caught sea-bass with young artichokes. And yet the instinct is precise, and the caviar plays a first-class supporting-role. I am glad to have caught the Pacauds’ cooking (Bernard Pacaud, or his son Mathieu Pacaud who is taking over). To me, L’Ambroisie is the ultimate French haute-cuisine experience.

The food seems timeless. But not events off-table: Surprisingly, L’Ambroisie is going to open a second branch in a Macau casino. It is assured that “the Pacauds will be regularly cooking at the Macau restaurant”. To ensure quality, they need to put a senior chef (perhaps even one of the Pacauds?) in Macau. Will this harm the L’Ambroisie flagship in Paris? One hopes not. But in this corner of the Place des Vosges, it seems even the masters of nouvelle cuisine have been touched by the nouveau riche.

Rating: 20/20

(We switched plates so that we could each try as much of the L’Ambroisie menu as possible. My impressions follow)

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  • Amuse: Choux, Quenelle of cream and caviar, Ginger on top (5/5)
    • Top class. The caviar (well-distributed in the quenelle) paired perfectly with a very light cream. Excellent choux. Elevated by the globules of fish oil from the caviar. A little ginger spiced it out. I don’t think I can tire of such a great combination of choux-cream-caviar

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  • Amuse: Ravigote d’écrevisses aux petits pois, émulsion à la coriandre (5/5) [sic?]
    • Crayfish and green peas, with a fava-fennel soup. Anise-like flavors. A sweet cream soup (veloute?) from fava and fennel, with aforementioned light anise flavors, made for a refreshing bite. Needless to say the crayfish was of first-class sweetness, texture and colour, the peas juicy.

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  • Feuillantine de langoustines aux graines de sésame, sauce au curry (5/5)
    • A L’Ambroisie house signature, these sweet langoustines were done to a texture soft to the front bite,  and yet maintained some resistance to the back bite. Covered with a sesame crisp, just done vegetables, and a curry sauce.
    • A superb flavor combination, especially the delicate curry sauce which did complemented the langoustines superbly.

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  • Chaud-froid d’oeuf mollet au cresson, asperges vertes et caviar golden (5/5)
    • Say what you like about L’Ambroisie and its prices, they are generous with the caviar. When they put a spoonful of caviar, they put a spoon-FULL of caviar. Also I noticed that they don’t use mother-of-pearl unlike most other restaurants. I have heard that L’Ambroisie sources its caviar from both Iran and China. I didn’t inquire, but this was top class stuff. Delicious and decadent, firm globules of rounded salinity.
    • The hot-cold boiled egg, which is boiled to ensure a solid white but runny yolk, and cooled down to ensure the yolk stops cooking, is perched on pieces of asparagus with watercress puree, and a heap of caviar. This was possibly the best asparagus dish of the entire trip, acquiring the salt from the caviar.
    • By the side, an egg with (I believe) watercress sauce, with another spoon of caviar. Superb.

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  • Marjolaine de foie gras au pain d’épices, cristallines de rhubarbe (4.75/5)
    • A foie gras “marjorlaine cake” (multilayered cake) with crystallised rhubarb, and gingerbread as its constituent layers. Lemon confit (preserved lemon) and fresh strawberries.
    • Foie gras terrines can be overwhelming unless intelligently paired with sour fruit, since it is of a uniform buttery texture. Here, the biscuit from gingerbread and crystallised rhubarb gave variation to the texture of the terrine. It was a delight to eat, with none of feelings of satiety that can result. Further, the lemon confit and strawberries had sour tastes that cut away from the unctuousness of foie. A really good foie cake.
    • This recalled a great foie terrine I had at Eleven Madison Park in New York, the fruity contrast then coming from umeboshi.

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Fresh flowers

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  • Escalopines de bar à l’émincé d’artichaut, nage réduite au caviar (4.5/5)
    • Another L’Ambroisie house signature. Three pieces of perfectly filleted “bar” (translated as “seabass”) on top of slices of artichoke heart, on a reduction of nage (white-wine, butter, fish broth) and dotted generously with caviar.
    • Luxury ingredients, played with a delicate hand. It was perfect for its conception, reduced and perfected to its ultimate form. It was very good, though the whole dish’s flavor combination did not blow my mind. (except for the nage with caviar). I did not sense, for example, an especial harmony between the bar and the artichokes.
    • One lady going by the name of “lxt” elaborates on the bar:

It is hard in general not to fall in love with this aristocratic and refined fish, whose tender meat seems to be pampered by nature as if only the best of two worlds – hermaphroditic, the fish produces eggs, claiming its female origin, until later in life its ovaries dry up and it switches hormones to produce sperm – can deliver this extraordinary softness and piquant, delicate taste, but when it is a line-caught specimen, delivered the same day and handled with extreme care, sea bass becomes a real treat. The extraordinary preparation of the sea bass at L’Ambroisie secured its fluffy texture – characteristic of extremely fresh fish, the flesh of which generally becomes slightly firmer the day after the catch, which is not always a negative, since its taste still remains superb, providing the fish was stored properly (another advantageous quality of sea bass compared to other no-less-glorious species like turbot, for instance, whose taste and texture deteriorate rapidly with time) — and the skin tightly embraced the flesh so that every cell of its pattern was glittering in the artificial light almost decoratively, while the moist, tender and cushiony meat added a sensual legato to the tableau. –

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  • Viennoise de dos de sole au vin jaune, étuvée de morilles et “demoiselles” (5/5)
    • Spectacular. Dover Sole with an amazing vin jaune sauce. The sauces were really intense, incredible. Asparagus, fantastic. Chanterelles. Who doesn’t love them? A combination of three perfect elements that was executed as precisely and perfectly as conceivable.
    • Side plate: Chanterelles with fresh almonds. The chanterelles were as tasty as the fresh almonds were crisp. I’m sure I’m not alone in loving the baby-delicate, slightly-vegetal crunch of fresh almonds. These were perfect. (5/5)

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  • Navarin de homard et pommes de terre nouvelles de Noirmoutier au romarin (4.25/5)
    • Bisque-ish sauce, great new potatoes, fantastic lobster. I did not however glimpse the X-factor in this dish.

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  • Côte de veau glacée au jus, meunière d’asperges vertes au vieux comté (5/5)
    • A side of milk-fed veal, with a tremendously perfect jus, asparagus and an old Comte covering on top of the asparagus. The asparagus was perfect. The veal, too, had an amazing melt in the mouth texture I did not know was possible from veal, recalling a meatier otoro. The veal as with all young animals lacking in taste in order to produce a great texture, needed the jus to unify taste and texture.
    • The savory dark, sticky jus, was almost bitter in its intensity and darkness. Perfect.
    • With another side of girolle (chanterelle) mushrooms.

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  • Assortiment de desserts et pâtisseries:

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  • Parfait glacé à la réglisse et framboises (5/5)
    • A raspberry-licorice sorbet. Refreshing.

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  • Dacquoise au praliné, giboulée de fraises de jardin (5/5)
    • A tremendous dacquoise (a cake made with layering nut-flavored meringues with cream). Here the meringues sandwiched a hazelnut cream. The meringues were light, and contrasted beautifully with the cream. It was every bit the equal of the legendary chocolate tart, the two were like yin (chocolate) and yang (hazelnut)

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  • Tarte fine sablée au cacao, glace à la vanille Bourbon (5/5)
    • The legendary L’Ambroisie chocolate tart – the chocolate as light as air, melting on the tongue like a cloud, it was perfect with a vanilla ice cream. A classic, intense combination.
    • Both tarts were tremendous.

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  • Gaufrettes légères au mascarpone, melba de fraises des bois (4.5/5)
    • A really good strawberries and cream –  marscapone, wild strawberries, wafers. Refreshing.

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Mignardises: Chocolates, hazelnut sponge, rum raisin…

Other Notable Write-ups:

  • L’Ambroisie (2004): Vedat Milor (Gastromondiale) Write-up on e-Gullet: http://forums.egullet.org/topic/57414-french-haute-cuisine-dead-or-alive/
    • There is an extended disquisition by a learned lady named “lxt”: Perhaps it is just an old habit of mine to attempt to characterize all establishments through a prism of current and historical stylistic influences, interweaving threads of commonality among the arts, music, and food, or perhaps style is what defines any creation, and it, or rather its presence is not only a hallmark, an imprint of imagination, but a clear representation of a personal expression and philosophy, but I’m not generally settled until I identify a chef’s style. For instance, Passard is the most vivid representative of Minimalism in food, while his former student Barbot (L’Astrance) is primitivist. While Berasategui’s cuisine gives the impression of a French contemporary influence with his overuse of quiet, cautious flavors, Gagnaire’s contemporary style is more vocal and is closer to Glen Brown’s approach (not Kandinsky’s, as Beaugé suggested in Francois Simon’s “Pierre Gagnaire: Reflections on Culinary Artistry” nor is it minimalist as stated in the same book) in how he treats “savage” recipes and ingredients (the beef aspic dish), eliminating the element of “rough brushstrokes” while introducing a gracious refinement of “lines,” and in how both of them use the historical context (e.g. Gagnaire’s classic turbot in buttery cream turned modernistic with a spike of African melegueta pepper). Piege seemed to be struggling to stray away from the Baroque of Ducasse’s style on my visit to Les Ambassadeurs, and Senderens (Lucas Carton), the father of minimalism, aside from an occasional tiredness, maintains some elements of restrained Art Nouveau, just like the décor of the restaurant itself.  L’Ambroisie, however, seemed to be the hardest one to “file” not due to its lack of style – to the contrary, there was something very personal and expressive in Pacaud’s cooking – but because it didn’t seem to fall under any of the existing categories of predefined stylistic formulations. His cuisine doesn’t posses that indefinable “animalism” that cannot be resolved intellectually because it is addressed not to our intelligence but to our senses only, nor does it rely on a theme and thirty variations, with set forms and complicated constructions built on key relations and symbolism, nourishing our curiosity more than our senses. Neither conservative (with classical grandeur and heaviness of individual dishes) nor avant-garde (gathering together smaller, interlocking units [dishes] of shorter breath while corresponding more closely to the overall tasting flow), with a good instinct to weave all components of an individual dish into an enjoyable unity, his style seemed to represent a work of “realism” composed by a romantic whose imagination and invention were accompanied by the supervision of an alert critical mind. 
  • L’Ambroisie (2005): Vedat Milor write-up on Gastromondiale (copied from the eGullet forum?): http://www.gastromondiale.com/2008/09/lambroisie—-paris.html
    • I especially liked this passage: “Arguably, to call this tiny place located in one of my favorite squares on earth, the regal Place des Vosges, a “restaurant” is misleading. In fact, L’Ambroisie is rather an institution which is quintessentially French, and one that can only be found in Paris. Like all institutions grounded in historical traditions, L’Ambroisie has its set of unwritten rules and codes of behavior. One salient rule is that customers at L’Ambroisie are perceived less as passive recipients of gastronomic delights whose needs have to be pampered at all costs, but rather as potential partners and friends of a culinary institution who will internalize the culture over repeated visits. It is therefore the client who should adjust his expectations to suit the mores/norms of the restaurant and not the other way around. To some, especially some non-French more steeped in individualist traditions, this attitude is seen as elitist and nationalist, and their first visit to L’Ambroise (if they have managed to get a reservation) is often the last one. Yet for others, the type of classic traditions that this restaurant epitomizes and stands for are perceived as a magical escape from the dictates of modern fads and realities of the marketplace, and they appreciate the type of professionalism and perfectionism that is expressed in this institution. Thus for many people, including this writer, the first visit to L’Ambroisie is the beginning of a journey whose rewards increase with each repeated visit and whose pleasures, both culinary and intellectual, may be savored long after the end of your meal.”
  • L’Ambroisie (2010): Some very nice photos from Adam Goldberg: http://www.alifewortheating.com/paris/lambroisie-revisited-paris
  • L’Ambroisie (2012): A review from Vedat Milor on the cooking of son Mathieu Pacaud: http://www.gastromondiale.com/2013/01/lambroisie-and-ledoyen-close-to-perfection.html
    • “Chances are that, just like a lucky man who can bed a different lady every night for 30 consecutive days and then will even forget their names, if you are privileged enough to dine in 30  three star restaurants in a given year, you will no longer remember what you ate where.  To continue with the above analogy, the first few experiences will be enchanting, but then you will grow tired and feel the need to settle…Well, not to settle with one, but with a few… With those with true character and identity. L’Ambroisie and Ledoyen are among my two favorites, not only in Paris, but possibly in the world, among three star restaurants. I can enumerate the three reasons. 1.   In general, these restaurants serve great ingredients, better ingredients than what I can buy in the best local markets in the States. Ingredients.  I have seen frozen fish, canned seafood, and average quality meat in many three star restaurants (even great technique cannot hide the flaws).  I am not saying that all ingredients are the best of the available category in L’Ambroisie and Ledoyen, but I insist that they achieve a very high level on average. 2. These restaurants do not bombard me with 20+ courses and fill my blood with sugar at the end of the meal.  After the amuse, I get a few courses, maybe four, and I can remember them and salivate for months after the meal. I believe it is much more difficult to turn a duck breast into a memorable dish than to serve corn mousse, jellified espelette peppers, argan oil, powderized feta, and crystallized geranium in a cornet. 3. The meal has a true identity. I understand fully that it is French haute cuisine, inspired by classical dishes, rooted in a culinary tradition, with some twists.”
  • L’Ambroisie (2013): Good photos from Luxeat: http://www.luxeat.com/blog/lambroisie/