Little Neighborhood Joints - Saturday, 2 November

This afternoon I took some time to look at the menus in the windows of some of the little (20-30 seats) hole-in-the-wall eateries in my 'hood that I hadn't previously perused. These aren't the kinds of places that you will likely find in the Michelin Guide, but they can be very warm and welcoming and deeeelicious. And close to "home!" I've learned to schedule just one or two "fancy" dinners for each trip - I'm often just too tired in the evening to venture far - and these little joints fill in the blanks very nicely! Not every neighborhood resto is a great find, but every once in a while....

I have a particular soft spot in my heart (and palate!) for duck - rare magret de canard, succulent confit de canard, spectacular foie gras, etc. And wouldn't you know, one of the windows I peeked in this afternoon was of a place just around the corner that specializes in duck! So Le Grapillon (32, rue Tiquetonne) it just had to be - click on this photo to enlarge it to look at their cuisine menu, and you'll see why! When I got back to the apartment I called them and was able to secure a reservation for 9 pm.

From the extensive drinks list on the red wall opposite me I chose a new (to me) aperitif: Kir Sauvignon avec Creme Chataigne - a white Sauvignon with chestnut liqueur. Yummy and fascinating! It was sweet, with hints of lemon from the Sauvignon, a bit floral (almost vanilla-y), nice depth from the chestnuts, and just a touch of astringency. I'm going to have to look for a bottle of Creme Chataigne at the airport liquor store before heading home!

I went with the daily special "entree" (first course): a couple of large home-made raviolis filled with "market mushrooms": sauteed cepes, trumpets and chanterelles. The raviolis were topped with a really delicious creme fraiche mushroom sauce - I used my bread to soak up every drop!

Next, the magret de canard: slices of rare seared duck breast with a slice of foie gras melting into them and a poultry glaze on top (I wish they had left this off), a little ratatouille bundle, a broiled tomato half, some potatoes, and a yummy red bell pepper sauce painted on the "veggies" side of the plate.

Picking a dessert from their extensive menu was just as hard - take a look! I chose the Iles Flottante, creme anglaise (soupy vanilla custard) with "islands" of meringue floating in it, toasted almond slivers and caramel on top. It wasn't the greatest I've had, but it did hit the spot and inspire me to make it again when I get home!






I thought I was done, but with my check my charming waiter brought a compliementary shot of Limoncello liqueur as a digestif - just the thing I needed before venturing back out into the slightly chilly night! My bill? 39.5 euros (about $55). I was satisfied!

There are a couple of schools at the end of my block, and adjacent to them is a chained-off completely pedestrian zone (this is a pedestrian neighborhood, but most of the streets can be used on a limited basis by delivery vehicles and taxis). This was the scene as I was walking home from dinner. Aaahhhhh....

I'm So Glad that I Didn't Leave at Intermission - Friday, 1 November

Those of you who know me well know that I'm not shy about skipping the second half of pretty much any performance if I don't like it or if the piece isn't engaging me or if I've just "had enough" - I feel as if I would get more value from my ticket money by leaving at intermission than by sticking it out.

Well, despite two rather weird pieces comprising the first half of tonight's production by the Paris Opera Ballet, I stayed. And I'm sure glad that I did.

The first piece was called "Darkness is Hiding Black Horses" by Japanese choreographer Saburo Teshigawara. It felt downright apocalyptic, with spurts of smoke rising from holes in the floor, dancers in ragged costumes, electronic music interspersed with sounds of beating hoofs, strange video projections, very isolated and sharp/jerky dance movements, long almost-motionless stances, and multiple dancers on stage all in their own "zone" and not interacting for most of the piece.  It was interesting for the first 5 minutes, but it went on for 20 more minutes.  Zzzzz.

Second, Trisha Brown's "Glacial Decoy" with no music. I didn't "get" this piece at all and the lack of music gave me pretty much nothing to focus on. Four women in white pleated long almost nightgown-like dresses, dancing mostly independently with movements that to my eye were highly repetitive and didn't communicate much. Short almost peek-a-boo entrances and exits from the wings. Video projections that didn't seem to relate to anything. Like I said, I just didn't "get" this piece.

Then finally, after intermission, a piece called "Doux Mensonges" (sweet lies) by Czech choreographer Jiří Kylián. The music was a cappella Gregorian chant and madrigals by Gesualdo and Monteverdi, beautifully performed by the eight singers of Les Arts Florissants on stage and in the pit.  Movement and music, dancers and singers, entered and exited on red-light-lit square platforms ascending and descending the stage. It was especially interesting to hear the music arise from below the stage and return to it - like things hidden and revealed and hidden again.  For one piece five singers stand on their platform in their little huddle (the platform is lifted only about half-way up so you see just their torsos) and they take one small step clockwise every measure or so, rotating as a group and thus changing the sound. Magical! Two pairs of dancers create absolutely stunning fluid images, suggesting (to me) risk and trust and danger and beauty and agony and peace and mystery. An abstract fabric "cloud" hung above the stage. Costumes were simple burgundy leotards with grey tops and tights. Again there were video projections - filmclips that appeared to have been made in the Opera Garnier and under the stage - I didn't think they added all that much, but they weren't obtrusive. I absolutely loved this piece, and it ended way too soon! Here is a video report showing a couple snippets from a rehearsal:  http://www.ina.fr/video/PA00001250416

And here's the partially-obstructed view from my seat in the front-most box on the side of the Orchestra section of the hall.  Not bad, hey?!?

One more tidbit of the "good news" variety: I found the handicapped entrance (climbing those front steps can be a bit daunting)! It was on the side of the building, as I thought, but it's on the west side (not the east, where I thought it might be, next to the restaurant). So the bad news is that I had to walk all the way around the building to find it. In the rain. But once inside an usher took me to a special small private elevator (he had to use a key to run it) that was unbelievably beautiful - I'm guessing that it's used for heads of state and other very special guests. I wish that I had had the nerve to take a picture inside it! But you'll just have to trust me on this.

Paris Shuts Down for All the Saints - Friday, 1 November

It's All Saints' Day. Although the French aren't particularly religious on the whole, they sure know how to celebrate a bank holiday. There's very little traffic and maybe 75% of the little shops are closed (of the ones I wanted to go to anyway!). Some streets have temporary barricades, limiting them to pedestrian and bicycle traffic from 10 to 4.

So it's a good day for quietly reflecting on the heroes of faith in our lives. And if you don't want to be quiet, may I suggest that you join me in bellowing Ralph Vaughan Williams' spectacular hymn setting of "For All the Saints."  http://www.youtube.com/watch?v=1OaBgaMcOvM

"For All the Saints Who from Their Labors Rest"
by William W. How, 1823-1897

1. For all the saints who from their labors rest,
Who Thee by faith before the world confess,
Thy name, O Jesus, be forever blest,
Alleluia! Alleluia!

2. Thou wast their Rock, their Fortress, and their Might;
Thou, Lord, their Captain in the well-fought fight;
Thou, in the darkness drear, their one true Light.
Alleluia! Alleluia!

3. Oh, may Thy soldiers, faithful, true and bold,
Fight as the saints who nobly fought of old
And win with them the victor's crown of gold.
Alleluia! Alleluia!

4. O blest communion, fellowship divine,
We feebly struggle, they in glory shine;
Yet all are one in Thee, for all are Thine.
Alleluia! Alleluia!

5. And when the fight is fierce, the warfare long,
Steals on the ear the distant triumph song,
And hearts are brave again, and arms are strong.
Alleluia! Alleluia!

6. But, lo, there breaks a yet more glorious day;
The saints triumphant rise in bright array;
The King of Glory passes on His way.
Alleluia! Alleluia!

7. From earth's wide bounds, from ocean's farthest coast,
Through gates of pearl streams in the countless host,
Singing to Father, Son, and Holy Ghost,
Alleluia! Alleluia!

8. The golden evening brightens in the west;
Soon, soon, to faithful warriors cometh rest.
Sweet is the calm of Paradise the blest.
Alleluia! Alleluia!