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A Rebel’s Sanctuary

Tuesday, August 17th, 2010

Hotel 4/5
Restaurant 5/5

Sanctum Soho is a pious affair for rock gods and movie stars. Or it’s a rebel’s lair, or one of those half-remembered dreams, depending on your state of mind. Launched by Mark Fuller of Iron Maiden fame, they’ve kitted out the rooms with so much boho love that trashing them would be like taking a bat to a limited edition Doors 7 inch. But I haven’t got to room 307 yet, with its many-mirrored columns and glass beaded wallpaper, pale pinks and satiny embers on the walls…

7.00pm. There is a Catholic sanctuary next door, and they honoured it when they put up those large gold letters at 20 Warwick Street. The coupling of Sanctum and Soho does wonderful things to the mind before you really know what you’re getting. You think of one of those chirpy Vegas haunts where love-struck Romeo’s get married. I look over my shoulder, and the girl who’s coming in with me is neither love struck, nor in need of a shiny rock. But I’ve promised her good food, and I’ve already handed out one too many compliments.

Daliesque paintings on the walls make my eyes reel as I pull her right into Restaurant No.20. It’s a phantasmagoria of crocodile-skin and slivers of purple glass with the whole bar reflected against bronze-gold leather banquettes. Dinner will be a healthy dose of fine art; the plates of veal and duck, the treacle tart and rose champagne are laid out on veneer tables, and one laughing Blonde applies lipstick as a rather stiff, sulky rock-god swills his glass. But dinners at Eight, and it’s only 7.23.

We had just been to see Nolan’s new movie, Inception. Time was in my mind, and time seemed to slow as we accelerated up to the roof garden on the Fifth. ‘You mustn’t be afraid to dream a little bigger, darling’ I say after considering an aperitif at dusk with a cigar and a copy of Le Monde.

This is first and foremost London’s last sanctuary for smokers, looking out over Soho the way I looked out through the mists of the Neva from the Hotel De L’Europe in Petersburg. The smoke curls through the cigar lounge, and rises above the al fresco Jacuzzi where I didn’t see Al Pacino shouting at the Plasma TV. But I did see some surreal black and white footage of some Nuns, and we ordered something dark in a glass, and I realized that positive emotion trumps negative emotion every time. It’s better to breathe oxygen than carbon monoxide – but that’s why the plants are there.

8:22. We order our starters. Baby Spinach and Cashel Blue Cheese Salad, Charcuteri Balsamic Red Onions and Walnuts; mid price range. Seriously – five out of five, or Helen of Troy to Agamemnon’s Clytemnestra –  such is how I compare the Redhead by my side with a girl I saw in the Roof Garden. The Redhead goes for Foie Gras Terrine and Grape Chutney. She is disappointed and leaves most of it. We don’t talk about it, but her glass of rose – Sancerre, La Croix 2008 – is empty, and our Sommelier/waitress looks upset when she fills it up. After trying the 30day Sirloin, my instincts heighten and I realize that the Redhead is smiling at the Barbary Duck Breast, and the Confit Duck Tortolloni has stuck itself between her teeth. High-five then, and a glowing review, especially after our stomachs are lined all pink and creamy with strawberry trifle. First one I ever tasted, and I’ll be damned if they didn’t put a bit of Rockafella JD in it, just to keep us neat.

9.40. Time ticking on and the night-manager Angelo shows us his best suite. It’s got a circular bed that Joss Stone slept in. Here’s the trick: iPod docks and soundproofed walls so you can leather the speakers. Wii consoles, rain showers, guitar amps, stand-alone baths with magic curtains; and he tells us that for no extra charge, a figure resembling a monk from next door will knock on your door at any hour you wish and shake up a Martini. It sounded absurd when he said it so nonchalantly-like, and then turned on his heels and we flew down the elevator shaft into a room full of bright blue armchairs and a monster cinema-screen on the wall. ‘They take private bookings… worked here a lot during the world cup’ he was saying, but Angelo suddenly reminded me of someone I met on holiday once. He had the same courteous smile, and the way he lifted his eyebrows and the way his eyes sparked like the bar cabinet behind him…

I waited for the dream to collapse; I always thought the Redhead was too good to be true…

I didn’t have that aperitif the next morning; the paper was in English; there was no swaggering out of the room of shimmering mirrors like Travolta (though I unconsciously quaffed my hair up). It was 11.38, and before I left, I spun a coin on the table, just to check I wasn’t still dreaming.

The Redhead wasn’t there anymore, and on the table, a silver box contained fragrant roses…

For reservations, please go to www.sanctumsoho.com.

20 Warwick Street, Soho, London W1B 5NF


BBC Proms: Gergiev’s Mastergroup

Monday, August 9th, 2010

Image by Chris Christodoulou

Mahler 4 followed by Mahler 5: Thursday night at the Royal Albert Hall was a sell-out. All seats were taken for the appearance of Valery Gergiev’s World Orchestra for Peace, the orchestral master group that Georg Solti put together to mark the UN’s half-century. They have played together only twelve times in the fifteen years since then, but who could tell? Those who rose to their feet for ten minutes following the Rondo-Finale of Mahler’s Fifth were applauding the effervescent beauty of Gergiev’s translation. Carefully exploited silences; the intricate interplay between woodwind, strings and horn; the subtle rendering of sounds worked up into one pure mood – maddened, profoundly melancholic, sadistically ambivalent.

Most of the Russian’s ‘moments’ came towards the end, however. The Fourth Symphony – compared by Mahler to a ‘forest with all its mysteries and its horrors’ – was never quite tragic enough. It’s supposed to end with a child’s vision of heaven; and yet these children are not pure, and what Mahler meant by ‘child-like’ didn’t carry forward. In Mahler’s text, the children suffer intensely, but in their suffering prove sublimely callous. In the first movement, they lead a ‘guiltless, patient, a lovely lamb to death!’ The Finale’s soprano is too white, too empathetic to the cries of oboe and low horn to remind us of that this paradise shimmers with milk and blood, an ambiguous, even perverse heaven where ‘Saint Luke is slaughtering the oxen’.

Gergiev obviously saw all this ‘Heavenly Life’ as a passing fancy, an appetizer to the Fifth’s more grounded theme. If Mahler’s work is a self-portrait – the artist never too far removed from the art – then his life was certainly more interesting when he composed this famous Fifth symphony, unleashing the impulsive power of the brass to devastating effect. The Fifth was started in early 1901, when he met and fell feverishly in love with Alma Schindler. It was finished in the summer of 1902, six months after he was almost killed by a sudden hemorrhage. And these extremes of emotion are compounded in the five movements – boundless optimism suddenly shaken with a convulsive terror.

Timur Martynov, with his bold trumpet solo, ramped up the first movement before the ‘suddenly faster-passionate-wild’ brass burned in agonizing duet with the violins. The frisson of danger subsides into the second movement, but the lonely stroke of the timpani, and the Siberian bleakness of the muted trumpet is too much too soon, and we plunge head-first into hell-on-earth without even a glance at eternity. After the second part comes the most popular of Mahler’s works; The Adagietto is a feverish protestation of his love for Alma. And what Gergiev did was steep it in a tender sensuality. The second violins took centre stage, quietly undressing their sounds before the first strings came back with more warmth, a gentle masculinity. The tempo was perfect, and Gergiev found just the right sentiment to expose Mahler’s masterpiece.

With Mahler, the details usually matter. Gergiev did well with the big-movements, the tragic poise – his talent too rich to waste on painstaking calculation. He spared us the perfection of style and structure often associated with Mahler, and gave us a raw freshness that few conductors manage to rake from it.

More Mahler at The Proms
Saturday 21 August, 7.30pm Prom 48
Wednesday 1 September, 7.30pm Prom 62
Friday 3 September, 7.30pm Prom 65

For full Proms listings, and to book tickets, visit www.bbc.co.uk/proms.


Summer Anthem – Quintessentially Music Competition

Wednesday, August 4th, 2010

The Swedish House Mafia is a collaboration of three superstar disk jockeys and producers: Axwell, Steve Angello and Sebastian Ingresso. They are fast becoming one of the most identifiable music brands in Sweden. They wear their hair long and look contented, the way leather-clad clubbers look in the VIP area of one of those impossible-to-get-into Parisian night clubs. They’re aware of the cliché that comes with the territory; what it means to be a brand as well as a band with a flair for turning rousing Euro-House into a mainstream commodity.

But what do they really do? In short, they make, mix and play an assortment of House tunes that are popular in Stockholm. They rank highly in the fresh wave of super producers that have recently emerged on the scene, having worked with Madonna, Kylie, NERD, Justin Timberlake and Moby, and they know how to sell the hedonistic lifestyle like few others can. Self-consciously cool,  their ‘making it up as we go’ bohemian spirit plays a large part in their philosophy. Their act is a combination of DJ set, theatre, party, demonstration – and the appeal of three rising stars that are very much in tune with each other.

Many cite their massive success is simply down to the music itself; the euphoria in the segue that follows an expert fusion of dissimilar melodies and beats… Listening to their debut single ‘ONE (Your Name)’ – currently #7 in the UK charts and featuring the unmistakeable vocals of Pharrell Williams – it’s the beautiful simplicity of an incredibly catchy synth line that is quickly turning it into one of the hottest underground soundtracks of the summer. Undoubtedly increasing their already substantial cult following ‘One’ is a great radio-friendly introduction to get us revved up about their forthcoming album.

Swedish House Mafia have a 16-week residency at Pacha in Ibiza this summer with Masquerade Motel.

Quintessentially Music, in association with Swedish House Mafia, are giving away three signed copies of the single ‘ONE’, along with an exclusive t-shirt.

For your chance to win, simply send an email to james.bath@quintessentiallymusic.com along with your full name. The competition closes Monday, 9th August at 10.30am.

The winning name will be selected and notified by email on Tuesday, 10th August.


Briony’s Inspiration

Friday, July 9th, 2010

Briony_Anderson_main

Briony Anderson is the new darling of British art. Her first solo exhibition – twenty or so oil paintings exploring the ‘act of observation versus the act of looking’ – held in London last month, proved an art collectors dream. The big cats, including Kay Saatchi and Indian collector Satish Modi, turned up, looked, looked again, and must have felt the same surge of excitement as those who first saw Damien Hirst’s iconic dot paintings.

The paintings themselves were inspired by portraiture commissioned in the 18th and 19th centuries. The central figures have been omitted, and what we are offered is a complete re-rendering… a new idea, poetry for prose.

Let me remember what it is that I really saw…

Beneath the hanging lanterns, a large canvas is alive with tension – loose, expressive brushwork in which many different moods battle against each other, a tendering that surprises me. It speaks, I think at first, about the calm within the conflict, the peace in the storm. I stand there for a while. I think about the artist and what she meant by this mountainous fantasy, ‘From which he observes but does not participate’, and I make the active decision to hang about and get more champagne.

I have often been cynical of modernist art. Like an obscure poem, these paintings so often sing about the meaning in non-meaning, the beauty in nothingness, but explain nothing by it. This time, the observer is forced to find meaning, since the artist definitely means something by it… something that I was just beginning to grasp.

Meanings aside, Briony’s work strikes me as redolent of a unique inner life, the landscape exploited to express a melody that is all her own. I did not get a chance to meet her, but I imagined her as a girl with a capricious look in the eye, a passionate laugh… a cosmic dreamer perhaps.

It is no wonder the paintings sold so well, or that the salt of the art world spilled out onto the balcony, champagne in hand, musing on what they had just seen, returning to that favourite piece where Kay Saatchi had stood, and scratched her head in surprise. There is indeed a rhythmic, fluid beauty to her work that pleases the eye. ‘Distant Viewpoint, 2010’, reminds of Van Gogh’s ‘Crows above Cornfield’; a little later on in the day perhaps, when the storm has fallen and the birds are swarming towards the artist in every direction – a roaring beauty within the dark greys, and blues and whites – all expressing something within themselves: madness, hope, a window to eternity.

Briony’s work is an expression of the human spirit in colour. Bold, triumphant, beautiful – it makes nature less real only to steal from it something that is truly effecting.

For more on Briony, please Click Here.


I Dreamt of a Beach Town

Thursday, June 24th, 2010

Greenwich_main

I am a not too discontented citizen of New York City, of a modern metropolis that is not lacking in taste, or zeal; where the people trip along the pavements and don’t look up to see the blackbirds, winging their way across the glittering facades of the business district. Here, the exteriors of the apartments are not lost in smoke, and the ruddy complexion of the boutiques along the avenues draw an alluring crowd.

But oh for the countryside! And the green grandeur of older days when I sent my boat racing along the pond. When the larger boats, white as the crest of a wave, swam into blue distances. And wasn’t that place just along the road, through the thicket and out to where the horizons suddenly open up? I remember you – East Hampton Long Island – and your marble wharves and cottages that lingered on the waters edge; the large oaks that twinkled against purple skies; the Marina where I played and Three Mile Harbour; those swinging cocktail parties where Errol Flynn was known to wander in with a stiff cocktail when my grandfather was still alive.

I’m in downtown Manhattan sitting in the courtyard of the The Greenwich Hotel, where De Niro dreamt of Italy inside Tribeca’s urban wild. “More like a classy home than a hotel…” they say, with the pink lampshades and the raucous fires and the new-age chandeliers inside. They have even imported the bliss of Asia for market-weary city-slickers – the Shibui Spa, where coconut and citrus perfume breathes above the lantern-lit pool, between the age-old bamboo wood where you lie face down and that frantic New York existence is reduced to the clear accord of ‘unimagined luxury’.

I heard about this place, the curves and lines of the rooms as preciously ornamented as the boulevards outside. The dark greens and yellows of the balcony, where I take coffee, and the water that falls on pressed shoulder blades as I wash away the day’s excess. I will dine alone tonight, with silver spoons at Locanda Verde, and I will remember my dream of Beach Town, where the antique wooden sailing sloop sailed into the night. And then I will go, on the liner that takes you there, and snatch some breakfast at the restaurant Cittanuova

The wind curls in the pines, and the indigo straights shimmer inside my glass of cognac. I remember you, East Hampton Long Island.

For more information, please go to www.thegreenwichhotel.com.


Revolution at The Dorchester

Thursday, June 3rd, 2010

Grill_main

Britain’s reputation for good food is precarious. The British traditionally do ‘words’ a lot better. Ask for sauce on your meat, and you often get two options; “red” or “brown “ – both options awake with poetic possibility, insinuating something beyond the reaches of the palate.

It’s precisely the elusive quality of our food that makes it so charming, and on frequent occasion, spectacularly unpopular. But, hail The Dorchester for daring to flirt with this reputation, and for their aspirations towards the beautiful, in both word and the meaning conveyed therein. Ex-Rhodes W1 chef Brian Hughson is at one with this hidden destiny, and his libido for all things British simmers brilliantly against a backdrop of checkerboard Scottish upholstery, lampshades, and Gibsonesque warlord murals.

Put simply – The Grill at The Dorchester has the punters raving. The Chef’s masterclass demonstration is an a la carte menu that has the capital’s bon-vivant’s scuffling along the marble-paved cloisters before flinging themselves down in front of Hughson’s elegantly seared scallops with sardine ‘pie’ and cauliflower purée. His signature dish is a finger up at all the European promiscuity going on outside. Aside from this inciting incident, go there for the following major chord combinations: Carpaccio of Angus beef with steak tartare, gremolata and sourdough croutes; sea bream with garlic and shallot confit, clam vinaigrette and poached Scottish langoustines; and melt-in-the-mouth pork belly with electric crackling, pork fillet and tulle-licks of mash.

With a heaving dining room even in January, an ambience singularly fresh and unimposing – business schmoozing and high-profile luncheons are refreshingly bohemian in nature – and a wine-list heart-achingly fashioned by wine master Christian Stivert, we shove a fork in the amuse bouche of asparagus velouté and foam…and groan – ‘if food be the music of love, play on’.

For more information, and to book, please visit www.thedorchester.com/the-grill


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