Secondly, the book is a long overdue portrait of the real Mario Batali and of the real Marco Pierre White--two complicated and brilliant chefs whose coverage in the press--while appropriately fawning--has never described them in their fully debauched, delightful glory. Buford has--for the first time--managed to explain White's peculiar--almost freakish brilliance--while humanizing a man known for terrorizing cooks, customers (and Batali). As for Mario--he is finally revealed for the Falstaffian, larger than life, mercurial, frighteningly intelligent chef/enterpreneur he really is. No small accomplishment. Other cooks, chefs, butchers, artisans and restaurant lifers are described with similar insight.
Thirdly, Heat reveals a dead-on understanding--rare among non-chef writers--of the pleasures of "making" food; the real human cost, the real requirements and the real adrenelin-rush-inducing pleasures of cranking out hundreds of high quality meals. One is left with a truly unique appreciation of not only what is truly good about food--but as importantly, who cooks--and why. I can't think of another book which takes such an unsparing, uncompromising and ultimately thrilling look at the quest for culinary excellence. Heat brims with fascinating observations on cooking, incredible characters, useful discourse and argument-ending arcania. I read my copy and immediately started reading it again. It's going right in between Orwell's Down and Out in Paris and London and Zola's The Belly of Paris on my bookshelf. --Anthony Bourdain
Book Description
Bill Buford—author of the highly acclaimed best-selling Among the Thugs—had long thought of himself as a reasonably comfortable cook when in 2002 he finally decided to answer a question that had nagged him every time he prepared a meal: What kind of cook could he be if he worked in a professional kitchen? When the opportunity arose to train in the kitchen of Mario Batali’s three-star New York restaurant, Babbo, Buford grabbed it. Heat is the chronicle—sharp, funny, wonderfully exuberant—of his time spent as Batali’s “slave” and of his far-flung apprenticeships with culinary masters in Italy.
In a fast-paced, candid narrative, Buford describes the frenetic experience of working in Babbo’s kitchen: the trials and errors (and more errors), humiliations and hopes, disappointments and triumphs as he worked his way up the ladder from slave to cook. He talks about his relationships with his kitchen colleagues and with the larger-than-life, hard-living Batali, whose story he learns as their friendship grows through (and sometimes despite) kitchen encounters and after-work all-nighters.
Buford takes us to the restaurant in a remote Appennine village where Batali first apprenticed in Italy and where Buford learns the intricacies of handmade pasta . . . the hill town in Chianti where he is tutored in the art of butchery by Italy’s most famous butcher, a man who insists that his meat is an expression of the Italian soul . . . to London, where he is instructed in the preparation of game by Marco Pierre White, one of England’s most celebrated (or perhaps notorious) chefs. And throughout, we follow the thread of Buford’s fascinating reflections on food as a bearer of culture, on the history and development of a few special dishes (Is the shape of tortellini really based on a woman’s navel? And just what is a short rib?), and on the what and why of the foods we eat today.
Heat is a marvelous hybrid: a richly evocative memoir of Buford’s kitchen adventure, the story of Batali’s amazing rise to culinary (and extra-culinary) fame, a dazzling behind-the-scenes look at the workings of a famous restaurant, and an illuminating exploration of why food matters.
It is a book to delight in—and to savor.
Customer Reviews:
Fun, fun fun in the bowels of the kitchen.......2007-10-12
I read Bourdain's book and loved it. I also liked this one. Raw, honest talk from someone who has been there.
The autobiography part was fascinating (can such characters really populate elite restaurants!?) and the lowdown on furiously making food night after night was priceless. The last section was too blah blah about Mario Batali, although the scenes of Italy were intriguing. A must read for real food lovers.
A humorous read that made me hungry!.......2007-10-07
Who wouldn't want to go on Buford's journey? He's a great tour guide on his gasto-tour of the kitchens of the Mario Batali and Pierre Marco White. He shows that kitchens can be places that are filled with potential dangers and loads of passion. It took me awhile to get through this book, in part because I kept getting hungry and had to go make something to eat! I'm ready to go clamp the pasta machine to the counter and whip up some fresh pasta.
It's a pretty dense book to get through, and the author wanders away from the main story often. Most of the time, it's to an interesting place, but sometimes, it's just a tangent. But aside from a few of those as a distraction, I thought this was a great book.
Interesting but not what I thought it was going to be.......2007-09-19
I got this book because my husband heard an interview on the radio and thought I would like it since I love to cook. It was interesting but spent too much time, for me, on the politics of working in a restaurant kitchen and not enough on the workings of food in a restaurant. I bored with the personalities and gave up trying to figure out who was who.
I think I made the pages soggy..........2007-09-17
This guy, Bill Buford, is pretty amazing. Despite the danger of slicing off his hands entirely (an accident that he somehow manages to repeat) under various huge, sharp, professional knives, he insisted going (back again and again) to Italy to learn about things so obscure even professional chefs wouldn't have much idea about.
If you're looking for a book about Batali, this isn't the most comprehensive one, but it's scathingly honest and if you really live and breathe food, you'll gain a whole lot more than goss about the inner workings of Batali's businesses. It gets a bit soppy at times - a bit too "Tuscany is beautiful, and Provence is the ultimate foodie heaven", but only fleetingly, and all can be forgiven once you read about the author's hilarious effort to cook a whole pig...
ZZZZZZzzzzzzzzzzzzzz.......2007-09-11
The chapters on Mario Batali and the dynamics of his kitchen were really interesting and engaging. I was intrigud by the sections on Marco Pierre White as I had just read Gordon Ramsey's autobiography in which his tempestuous relationship with White plays a significant role. The rest of Buford's book is just too tediously, self-indulgently written to the point where it killed my interest in the underlying subjects of pasta making and butchery (I ended up skimming page after page as I just couldn't take it). It reminded me of a computer spitting forth every bit of information in its memory regardless of relevance or interest. Just too many tedious, boorish details.
Book Description
From 828, when Venetian merchants carried home from Alexandria the stolen relics of St. Mark, to the fall of the Venetian Republic to Napoleon in 1797, the visual arts in Venice were dramatically influenced by Islamic art. Because of its strategic location on the Mediterranean, Venice had long imported objects from the Near East through channels of trade, and it flourished during this particular period as a commercial, political, and diplomatic hub. This monumental book examines Venice's rise as the "bazaar of Europe" and how and why the city absorbed artistic and cultural ideas that originated in the Islamic world.
Venice and the Islamic World, 828–1797 features a wide range of fascinating images and objects, including paintings and drawings by familiar Venetian artists such as Bellini, Carpaccio, and Tiepolo; beautiful Persian and Ottoman miniatures; and inlaid metalwork, ceramics, lacquer ware, gilded and enameled glass, textiles, and carpets made in the Serene Republic and the Mamluk, Ottoman, and Safavid Empires. Together these exquisite objects illuminate the ways Islamic art inspired Venetian artists, while also highlighting Venice's own views toward its neighboring region. Fascinating essays by distinguished scholars and conservators offer new historical and technical insights into this unique artistic relationship between East and West.
Customer Reviews:
Dissapointing.......2007-10-06
What a dissapointment of a book when the subject has such visual and aesthetic potential. My gripe is mainly with the imagery - paintings are almost invariably reproduced in a size between postage stamp and post-card, when what one would like are full-page reproductions, with details to illustrate the costume and artifacts of the islamic world which began to turn up in Venesian art in this period. Buy it if you want an informative text, but definately not if you want a visual feast.
The Silk Road Adorned.......2007-05-13
For centuries The Most Serene Republic of Venice was the the western terminus of the fabled Silk Road. The city's warehouses were the repository of every luxury that Persia, India, China, Siam, the Levant, Byzantium, and the Ottomans had to offer. This book is a wonderful companion to the Met's glittering exhibition of art, illuminated manuscripts and decorative objects, which give a sense of Venice's singular place in the history of the Mediterranean. Viva San Marco!
Venice and Islam.......2007-05-13
This book is excelent. This book is the catalog of the exhibiton that
is on tne Metropolitan Museum of New York.
A scholarly catalogue.......2007-04-19
This book is the catalogue for a traveling exhibition held at the Institut du Monde Arabe in Paris in 2006 and at the Met in New York in 2007. It is a very complete study of the influence of the islamic world on the Republic of Venice, encompassing all forms of art, painting, architecture, ceramics, textiles, engravings, books, and even religious artefacts (mosque lamps for example). All these works of art are the results of intense cultural and economic exchange between both worlds and the catalogue emphasizes this very well. A scholarly publication well served by wonderful illustrations. A very detailed checklist of all the works in the exhibition (medium, dimensions, location) makes this book a definite reference on the subject.
Average customer rating:
- Calculations are only as good as your numbers
- Pants on fire?
- Accepted History & Chronology Must Be Changed.
- Very Interesting
- History as Science Fiction
|
History: Fiction or Science? (Chronology, No. 1)
Anatoly Fomenko
Manufacturer: Mithec
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Similar Items:
-
History: Fiction or Science? Chronology 2 (Chronology)
-
History: Fiction or Science? Astronomical methods as applied to chronology. Ptolemy's Almagest. Chronology III
-
Discovering the Mysteries of Ancient America: Lost History And Legends, Unearthed And Explored
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Before the Pharaohs: Egypt's Mysterious Prehistory
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They Cast No Shadows: A Collection of Essays on the Illuminati, Revisionist History, and Suppressed Technologies
ASIN: 2913621058 |
Book Description
Recorded history is a finely-woven magic fabric of intricate lies about events predating the sixteenth century. There is not a single piece of evidence that can be reliably and independently traced back earlier than the eleventh century. This book details events that are substantiated by hard facts and logic, and validated by new astronomical research and statistical analysis of ancient sources.
Customer Reviews:
Calculations are only as good as your numbers.......2007-08-03
Yes, we can all agree that mainstream history is nearly 100% BS due to politics, economics, ego, problems with dating techniques, and various conspiracies. Agreed. But, I've been researching the distinct possibility that human history (in terms of civilizations) are much more ancient than we've been told, so coming across this book was very interesting to me. I wondered how Fomenko could be wrong (if at all) because he is very persuasive in his presentations. Then it dawned on me. If at previous times in prehistory, due to the various catastrophies that are well documented (comets, asteroids, planetary disruptions, plasma discharge, pole reversals, etc) the Earth was in a different position in relation to the sun, different tilt on its axis, different orbit, different rotation (in terms of velocity and DIRECTION), and the continents were in different positions, then would this not cause the ancients to see the sky (constellations) differently? In other words, is Fomenko making erronious assumptions about the physics of the Earth in pre-history, which then corrupt his data with regards to dating the relevant astrology? The last event to seriously disrupt our planet occured roughly 3500 years ago, according to other good researchers, so is it possible Fomenko has been confused by this? The vastly different physics of our planet in the not so distant past may explain this confusion, which is not to say the "mainstream" version of history is correct; on the contrary. I am not an expert in these fields, but wanted to see if this idea could spark discussion.
Pants on fire?.......2007-07-19
Will people ever read before spamming? Yes, Jesuits could not rewrite world history alone, they had help. Anyway, Dr Prof Acad A.Fomenko does not point to jesuits as the driving force of world wide history manipulation in published volumes 1,2,3;, actually he barely mentions the poor devils. Check it with 'Search inside' feature, please. China is rarely mentioned either, in fact, Dr Fomenko is completely eurocentric. Right, his theory contradicts all mainstream schools of history, because in their actual state they are all built on blatantly erroneus chronology. You don't need a mysterious cabal (conspiracy) to falsify history, the falsification is its modus operandi. It is inherent to history(ians) to falsify (distort) events, as it is inherent to humans to boast as it is inherent to power (authority) to legimize itself by referrring to glorious past made to its own order. Dr Prof Fomenko and team have identified scores of instances of such manipulation in Russian, European, etc.. history, and delivered valid statistical proof thereof. His own 'reconstruction' is completely another story. Forget c14 as a valid method of dating. W.Libby has initially discovered a brilliant method of INDEPENDENT dating. Too bad, c14 method has become a joke after a forced marrige with dendrochronology with consensual chronological scale inbuilt. Radiocarbon method can't stand blind tests, but is so very productive as a rubberstamp.
Accepted History & Chronology Must Be Changed. .......2007-04-09
There is no doubt that history as most know it is a sham, & institution's version of History both University & Church is fradulent & inaccurate. Everything was established with an agenda, The real "Dark Ages" are now when we have access to incredible amounts of information past authorities & more important 'common folk' didn't have but our institutions & educators are slow to evolve because of what has ignorantly & arrogantly been taught for too long. This is on many subjects not just Chronology.
For anyone to question "Why would a Mathematician have anything credible to say of History?" The answer is from Dr. Fomenko's preface in the book: "It would be worthwhile to remind the reader that in the XVI-XVII century Chronology was considered to be a subdivision of Mathematics." These volumes could possibly be some of the most important works to date & should be read by everyone with an interest in History, especially professors & educators who have a duty to the public. I have read both books & must say that 'Chronology 1' has some very eye opening & revolutionary information. Even if these volumes are part true the implications are profound & opens the doors to further investigations & questions which must be done. I speak several different lanquages & must say the logic Dr. Fomenko uses with "inflection" of words & words being read from left to right in one region & right to left in another then written backwards, the removal of vowels & get down to basics of words, or different cities & locations having the same name etc. is correct. Vowel usage has always been optional & varied, actually complicating linquistics & study. The first thing one has to understand is that words never had a fixed spelling in history like we do now, the spelling of words was mutable & regional, as well as names & titles of people were vast, varied & changed, NOTHING WAS FIXED or understood linear. Matters of Life & Death as well as financial profiteering yesterday & today were & are made with ignorant, illogical & conspiratorial views of history & reality, it's time people get closer to the Truth & society collectively grow up.
Very Interesting.......2007-03-07
It is a good proposal and I believe it will mature into something even better in the future. I think it deserves to be read.
History as Science Fiction.......2007-01-10
Anatoly Fomenko has written a very intriguing book, full of pictures, charts, and computer 'proof' of his thesis: backwards of AD900 we don't really know what happened or when. Between AD900 and AD1600 there is more certainty, but there is still a lot of fuzzy ground, and things don't get reliable until we get past the 1600's where the printing press made it very difficult for the perpetrators of this timeline manipulation to change anything that had been committed to print. The Dark Ages did not happen. Books were burned for a reason. One organization has doubled the actual length of its existence by expanding the real chronology. Read why.
I had always wondered why Christ died about AD33 and yet men waited until the 11th century to form the Knights Templar, the Cathars, etc and go after the Holy Land by force. Why the 1000 year gap? Turns out there wasn't more than a 10-12 year gap and he proves it using astronomy. This also implies that the planet is not as old as we have been told, and current Christian and other creationist scientists are already championing that idea without being aware of Fomenko's book. The two groups, creationist scientists and the Russian mathematical analysts corroborate each other. Fascinating.
Of course, all this flies in the face of what we have been told traditionally is the 'proper' chronology of western civilization, and most readers will experience 'cognitive dissonance' in reading this book. It means that our history going backwards from AD1600 becomes progressively more incorrect and unreliable until it cannot be trusted at all... in the space of 700-800 years.
Naturally, the curious, open-minded reader will want to know WHO did this, WHY, and did any of the events we think of as really ancient ever happen?
Dr. Fomenko is a respected scientist/mathematician at Moscow State University who has already answered these questions to the satisfaction of his initially skeptical colleagues. Most of them are now believers, a few still refuse to believe (the usual diehards), and of course the western press has ignored Fomenko's work -- for obvious reasons when you read the book. The ones who perpetrated this chronology ruse have a lot to answer for. They are still with us. That's why this book is a well-kept secret.
I gave the book a 4-star rating because I was unable to check out some of his claims; those I checked were as he said. But if even 1/3 of his claims are true, this punches a big hole in what we think is our history, the meaning of western civilization, our educational process (for repeating the ruse as gospel), and the trustworthiness of the organization that perpetrated this ruse, well-intentioned or not.
This book relates to current research into a Young Earth paradigm, to John Keel's discoveries about our planet, and Fr Malachi Martin's insights (in his now out-of-print books). We are indeed sheep who are manipulated and kept ignorant -- for a reason. While knowing what these men have to say may be the "booby prize" (as in: 'what can you do with this knowledge?'), it will provide interesting reading. Didn't someone say: "...and the Truth will set you free."?? For you to judge if this book contains the truth.
Amazon.com
"As a chef," says Michael Chiarello in At Home with Michael Chiarello, "I can either build on a classic recipe or deconstruct it and put it back together with a new identity." The Napa Valley-based TV chef and author takes his own message to heart in this collection of 135-plus recipes for imaginative entertaining. Chiarello's formulas, for the likes of Grilled Salmon and Spinach Salad with Corn Juice "Zablione," Turkey Osso Buco, and "Short Stacks" with Shredded Chicken and Balsamic BBQ Sauce, do reflect his ceaseless invention; but unlike some other chef's recipes, these are cook-friendlier, with flavors rooted in "homier" Italian and American culinary traditions. His chapter on pasta and rice dishes, with the likes of Lasagna of Roasted Butternut Squash, and Bordetto of Shrimp-Stuffed Pasta Shells, is particularly good.
The book also provides useful advice for easier, more original party-giving in, for example, Entertaining 101, which includes counsel on choosing a dining area, scaling recipes, and wine do's and don'ts, among other topics. Readers should know that many of the attractive dishes require a kitchen workout, and that invention occasionally overruns best taste, as in, for example, a dish of fennel-flavored pork tenderloin with a dressing of molasses, sage, and balsamic vinegar. Still, the majority of formulas, which include tempting sweets like Molten Flourless Chocolate Cupcakes and Freeform Cheesecake Poured Over Fresh Fruit, should make guests very happy as well as expanding the cook's repertoire. With alluring photos, the artfully produced book should, in itself, get the entertaining-at-home urge going. --Arthur Boehm
Book Description
Celebrated television, cookbook, and restaurant chef Michael Chiarello is a master of simple, casually elegant cooking and a fabulous host. In this cookbook packed with great recipes, gorgeous photographs, and inspiring entertaining ideas he shares his secrets for celebrating in style (and having fun doing it too!). Whether hosting four around the kitchen counter or a hundred for a cocktail party, readers will find everything from appetizers and main courses to desserts and drinks (over 130 recipes in all), time-saving tips, an all-important section on stocking the pantry (great for impromptu gatherings!), whimsical menus, and creative settings and table arrangements. A holiday cocktail party throws together quickly with bowls of crunchy Fusilli Snack Mix and Crispy Sausage-Stuffed Olives, all washed down with citrusy margaritas. Roll out the red carpet for an at-home movie night featuring Pop Culture Popcorn, Giant Bean Cassoulet with Fennel-Spiced Chicken, and Chocolate Mousse Cannolis along with the latest video release. Even a sit-down dinner can be a relaxing affair with Forever Roasted Lamb with Herbes de Provence, Lemon-Oil Smashed Potatoes, Garlicky Vegetables Primavera, and, for dessert, Molton Flourless Chocolate Cupcakes. Uber-casual Chiarello inspires calm and confidence in even the most jangle-nerved hosts, inviting everyone to think like an entertainer and relax like a guest.
Customer Reviews:
Michael Chiarello.......2007-06-11
I love him, his receipes, his TV shows. Easy to make recipes.
A Beautiful, Practical Cookbook from a Creative Chef.......2007-03-30
Whether standing around the kitchen with another couple or serving cocktails to a hundred, readers will appreciate celebrated television, cookbook and restaurant chef Michael Chiarello's ideas for casually elegant entertaining. Included are 130 simple yet stylish recipes, creative menus and time-saving tips, as well as thoughts about setting and table arrangements and even suggestions on stocking the pantry for impromptu guests.
A beautiful, practical cookbook from a creative, inspirational chef.
Very impressive.......2007-01-13
I really enjoy watching Michael Chiarello on TV, and this book is a joy to read too. I have tried making a couple recipes in the book and they are wonderful. If you enjoy watching him, you will enjoy this book. Gives helpful hints on cooking and entertaining. I am very glad I bought the book.
Another Success!.......2006-02-26
Am an admitted Chiarello fan but also a serious, experienced cook. Found this new book to be as good as his last one. Love the pantry recipes - having these extras onhand make the ordinary extraordinary just like he promised. Best section is the side dishes. If you are looking for new dishes for your vegetables, this is a great source. Most are good enough to stand on their own and do in this carnivore's home frequently. If you like things just a little different - buy this book. The recipes are clear, the writing entertaining and your friends & family will be impressed!
Good recipes, beautiful photography and plenty of unique ideas on serving........2006-01-26
To be honest I don't watch many of Michael's shows but the book is beautiful and perfect for those who are constantly on the lookout for entertaining recipes and ideas.
I like how the book is organized: Michael gives you detailed instructions on preparing for a party: all the way from what to do one and two days before to the hour before. This will be helpful for those of us who have their hands full with kids, work and balancing the demands of a household with preparing for a party.
There are imaginative ideas for serving and garnishing: Spoonfuls with Polenta Bites and Caramelized Mushrooms served in individual spoons; Pumpkin Risotto served in a Chinese spoon as an hors d'oeuvre; even the inside a squash for an individual serving and in a serving bowl on a buffet. The picture of a Prime Rib of Swordfish will make your mouth water and the result makes it well worth trying!
-EV/Cruising Cuisine-
Average customer rating:
- A minor let down
- A SPLENDID TREASURE FOR AFICIONADOS AND SCHOLARS
|
Art in Rome in the Eighteenth Century
Edgar Peters Bowron
Manufacturer: Merrell
ProductGroup: Book
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ASIN: 1858940982 |
Book Description
Grand work sof art in all media-oil and fresco, bronze and marble, terracotta, and porcelain, drawings and prints,t extiles, silver and mosaic, jewlery and furniture-were created in Rome during the eighteenth century to embellish Roman churches, palaces, fountains piazzaz, gardens, and galleries, as well as for export. This definitive history of eighteenth-century Roman art, architecture, and decorative art captures the grand scale of diverse artistic expression of this century and documents the fashion of Neoclassicism that it inspired.
Customer Reviews:
A minor let down.......2001-12-08
A good catalogue of catalogues broad base book, but if you are usedto Konemann books for the same money it is not in the same league.
We are in debt that this period has finally been covered, so a steller effort. The details and research are flawless.
But come on,page 295 fig 102 Carlo Maratti "Triumph of Clemency" a milestone hit of this period by anyones standard, the size of a credit card, in very poor black and white, yet on page 172 we have a commode at least 4 by 4 in full color, in Sotheby auction catalogue format, this book is a catalogue of art objects not an Art book be very aware of the distinction. A lot of really good paintings are black and white, and small while high brow 18th century garage sale objects get full color press.(being a smart ass)
I mean didnt Chiari or Conca do some ceilings somewhere, break it into two books, go heavier into the painting and sculpture, enlarge, add, and color more pictures, do some full page details,put the damn furniture under the Home Depot section of another book, and cut down on all the text, we get the picture you are experts ,so can we get the picture.....thank you though it is a great book wonderful coverage.
I apologize a lot of time went into this book I think too many good cooks spoiled the broth,there are so many great paintings from that period we will never see. A great job Thanks for helping all of us get off the Rococo to Impressionist highway at the 18th Century Roman exit.
A SPLENDID TREASURE FOR AFICIONADOS AND SCHOLARS.......2000-12-17
Rome, forever beckoning, forever fascinating. And, as we're reminded in this landmark volume, Rome during the 18th century was the birthplace of countless art treasures. Such a plethora of richness was due, in large part, to wealthy travelers doing the Grand Tour who eagerly offered patronage, and the flourishing academic environment - the Accademia di San Luca, the French Academy, the Accademia dell' Arcadia.
Thus, a virtual mother lode of work in all media was produced, not only to be shipped to the opulent homes of the visiting aristocrats but to adorn the Eternal City's churches, palaces, fountains, piazzas, and gardens.
It was in this climate that artists such as Canova, Maratti, Piranesi, Baroni, David, and Fuseli flourished. Art In Rome presents some 500 glorious illustrations accompanied by edifying texts penned by some of the world's foremost scholars. It is a volume to savor, to treasure, and to enjoy over and over again.
We find Antonio Canova, perhaps best remembered for his reclining portrait figure of Pauline Borghese as the victorious Venus. Here, we are reintroduced to his skill in the qualities of classicism as shown in "Theseus with the Dead Minotaur."
Originally a stonemason, he turned to sculpture after moving to Venice in 1768. He was to become the most influential sculptor of the Neoclassical period.
There is Maratti (Carlo Maratta), the leading painter in Rome during the late 17th century, and Fuseli, a Swiss-born painter, draughtsman, and writer on art. who came to Italy where he became enthralled with the works of Michelangelo.
The list of artists represented is lengthy; the visual pleasures found in these splendid illustrations are many. Art In Rome captures much that has previously been given scant attention in the annals of cultural history.
Book Description
Move over pasta and pizza, here come panini, bruschetta, and crostini! The world of sandwiches, Italian style. These heavenly bread-based creations include recipes for breakfast, lunch, and dinner, antipasti, party foods, and delicious desserts and indulgences for any time of the day.
Customer Reviews:
Still love it........2007-03-25
I bought this book over ten years ago, after I saw the chocolate sandwich on the cover. Tried it and LOVED it, as did my son. From there I just worked my way through the book and I can't remember being unhappy with anything I made from it. Surprised by the negative reviews posted just under mine but I guess if its not what you're expecting, then you're going to be disappointed.
That said, it's a fabulous sandwich book.
What was the point ???.......2007-03-09
I could of gotten better recipes off the web and for free.
Not what I expected.......2007-02-12
This recipe book was recommended with the panini grill - but it has very few grilled recipes. Not what I expected at all.
Not a good italian panini cook book.......2007-01-10
This book is not quite what I thought it was going to be. If you are interested in more dinner/lunch panini (italian) sandwich type cookbooks look elsewhere.
Hot sandwitches.......2007-01-04
A lot of good recipies to try, not what kids would like
Book Description
Celebrate Italian style with Mary Ann Esposito's new collection of recipes. Mary Ann, best-selling author and host of public television's popular cooking show Ciao Italia, shares recipes and menus for every occasion. From a pasta buffet for a crowd to an informal Christmas Eve family dinner, her easy-to prepare dishes are presented in her trademark style -- with reminiscences of growing up in an Italian-American household.Celebrations Italian Style includes charming folktales, written by Mary Ann and illustrated by acclaimed artist Tomie dePaola, and glorious color photographs of Mary Ann's recipes.
Mary Ann offers a unique blend of recipes and menus culled from her family archives and from today's Italian kitchen. Start Thanksgiving Dinner by adding an American classic to an Italian standard in Pumpkin Risotto. Savor Mary Ann's fondly remembered rehearsal dinner escarole-and-meatball Wedding Soup, or Nonna Galasso's Cheese Rind Soup, flavored with leftover ends of Parmigiano-Reggiano cheese.
Two chapters are entirely devoted to breads; one for the special breads of Christmas, Easter, and saints' days, such as Gubana, Easter Dove Bread, and the Eyes of Saint Lucy, and the other for everyday breads such as semolina, whole wheat, and dinner rolls. Easy-to-preparemain courses include Little Pork Purses filled with Fontina cheese, prosciutto and leeks, a dramatically packaged Chicken in Paper, and Spicy Cold Beef Rolls with artichoke hearts, bell peppers, and capers.
There are Italian desserts for every occasion cookies, cakes, tarts, and puddings -- Chocolate Pistachio Biscotti, raisin-and-nut Little Christmas Cakes, and simple fruit desserts such as Cantaloupe and Bananas with Ricotta.
Customer Reviews:
Celebrations, Italian Style.......2007-01-12
The best cookbook ever! My favorite cookbook by far and each recipe in here is delicious, (i've tried just about all of them!). highly reccommend it, and now purchase this book for everyone I know who enjoys Italian food and cooking!
Remember Grandma's cooking?.......1997-11-26
Mary Ann Esposito has dotted her collection of Italian-American recipes with stories from her childhood, reminding me of my own family's history. These recipes are practical, requiring easily found ingredients, written in an explanatory style. There are many little "hints" to turning out the dish in fine style, serving suggestions, new ways to incorporate Italian cooking methods into everyday meals. The Torta Nuziale (Wedding Cake) is a masterpiece! Buttermilk, almond oil, hazelnuts, coconut combine to create a dense cake that will become a family favorite. The cream cheese icing is easy and tasty. Sra. Esposito has given us a handbook of Italian-American cooking, spiced with her personal stories. It is a combination that makes for good reading.
A wonderful way to recapture fond Italian memories.......1997-06-13
When I received "Celebrations, Italian Style", I was so very overwhelmed with fond and wonderful memories of my mother. The explanations of the special holidays/celebrations were exactly as I remembered them as a child growing up. These recipes produce the same mouth-watering aromas that used to fill the whole house. You knew the minute you approached the house that Mama was cooking up something special. Each time I prepare one of these recipes, I feel my mother is right there beside me. When I read this book I am completely absorbed by the foods, the smells and the traditions that I hope to pass on to my own children. I highly recommend this book to anyone wishing to be taken back to recapture their favorite Italian memories. Enjoy!!
Book Description
For well over a century, the G. Schirmer edition of 24 Italian Songs and Arias of the 17th and 18th Centuries has introduced millions of beginning singers to serious Italian vocal literature. Offered in two accessible keys suitable for all singers, it is likely to be the first publication a voice teacher will ask a first-time student to purchase. The classic Parisotti realizations result in rich, satisfying accompaniments which allow singers pure musical enjoyment. For ease of practice, carefully prepared accompaniments are also recorded on CD by John Keene, a New York-based concert accompanist and vocal coach who has performed throughout the United States for radio and television. Educated at the University of Southern California, Keene has taught accompanying at the university level and collaborated with Gian Carlo Menotti and Thea Musgrave on productions of their operas.
Customer Reviews:
Excellent For Beginner Sopranos.......2007-08-08
I think all sopranos know this is the first book! Ofcourse it's great, these are the songs that build our voices and charater to become better sopranos and performers!
If you are a true Singer, this book is a MUST.......2007-04-10
Apply this and bring it to all of your voice lessons. Singing Arias assists in your singing of ANY song and ANY Genre. If your teacher is unable to get you to reach this point, I suggest a new teacher.
Classic Beginner Repertoire..........2004-04-07
Affectionately known as "Old Yeller" (so-called because of the yellow Schirmer cover), the Schirmer edition of these songs has been a staple at voice studios in the United States and the U.K. Similar editions of this repertoire have appeared by various companies, though this one continues to be the best seller. The reason for this is simple - these songs are immediately accessable to the beginning student, not only for their beauty, but the simple and modern arrangements.
There is something for every aspect of technique in this book. One can spend many years, in fact, just digesting and singing from this book alone. They range from moderate in difficulty, to difficult, to quite advanced. I would advise the beginner to start with a less advanced piece, such as "Nel Cor piu non mi sento" or "Sebben Crudele", then build the voice with something like "Per la gloria", "Caro mio ben", and "Gia il sole", and them attempt the harder works like "O del mio dolce ardor" and "Il mio bel foco (Quella fiamma)." One sees beginning students dismiss all the pieces as "beginner repertoire" and go straight to the harder ones first. Unless a singer can hit all notes with proper technique, has near perfect pronunciation, and has emoting the meaning of the song down to an art (and truly, this is an art) he or she should not even attempt to approach the more difficult pieces. So often are these pieces performed badly and too early in a singer's progress.
Contrary to popular opinion, the original versions of many of these songs (including some of the Scarlatti works) have been lost or cannot be duplicated faithfully with a piano. Granted, the Paton edition contains more songs, additional lyrics to several songs, and more accurate translations, but try getting a timid voice student enthusiastic about singing what sounds like a Bach cantata on a respirator? I find the arrangements on that compilation a poor attempt to make the Baroque melodies sounds more "authentic" by affixing cliché chords of the era and bizzarre ornamentation. The result: a bland and often overbearing arrangement. (I use that edition solely as a reference book, for which it is excellent - not for performing.) The arrangements on this version take the melodies and let them sit organically with the arrangement - ornamentation is left for the singer to execute (where it should be), and the result is indeed inviting.
We currently have a few recording of different voice types singing these works. Cecilia Bartoli (either a soprano or mezzo-soprano depending on the day and who you ask) recorded a selection of these pieces and other melodies of the period for EMI a decade ago called "Se Tu M'ami". That recording used these arrangements, and I highly recomend it as an example of what these pieces can truly be. She plays with the works, making them sound fresh and poignant: a good study for those using this book. Equally satisfying is "Aria Antiche" by the great Verdi baritone Renato Bruson, though not for his interpretation. It's the voice itself that excites on that recording. A welcome example of what these songs can do for a student. The tenor Richard Tucker, on his "Taste of Italy", includes many of these pieces, though I feel they deserve a more intimate approach (almost akin to the German lieder) than Tucker affords. Bartoli gets it just right in this respect. All of these recordings are available through Amazon.
A few more notes: all of these songs may be performed by a male or female singer without alterations to the lyrics. Some people have tried to differentiate which are the "male songs" and which are the "female songs." The only factor in this is what sounds best. "Per la goria", though written for a female character, I prefer for males. "Se tu m'ami" I prefer for females. Both these songs could go either way, however. A second note, if you can play piano and have access to one during practice, I would suggest you stay away from the accompaniment CD. The tempi are almost always much too fast (I would break out in uncontrolable laughter listening to someone attempt to keep up with the piano during "O cessate di piagarmi"), and the dynamics are non existent.
I highly reccomend both this edition, for singing from, and the Paton edition, for reference. Pick either the medium high or medium low version (low if you can hit up to an E above middle-C; high if you can go as as far as the A above middle-C), and be happy with the feeling that you made a good investment for you vocal future.
Don't do it!.......2003-10-11
Please don't buy this book. The editions are awful and completely out of date. I'm a full-time teacher of singing & I cringe when singers bring this in. Try "28 Italian Songs" edited by John Glen Paton. It has the same songs, but the editions are much better! Good luck.
An absolute essential for the serious voice student.......2001-08-21
My voice teacher insisted I purchase this book and I am glad I did. We use it each week for development work, vocalizing, and learning new pieces. These songs are incredibly useful for working out the kinks you may have with other pieces, as well as just being a pleasure to sing for their natural beauty. I have a second copy of the book with the CD; I agree with the other reviewers that the CD accompaniment is way too fast. I have Cecilia Bartoli's CD, referenced by another reviewer, also and I have used it to help learn or refine some of these songs. Even so, the accompaniment CD has been useful for me in practice since I can't accompany myself. If you have a choice, I would get the version with the accompaniment CD. If you don't like the CD, you're not out more than a couple of extra dollars over what you pay for just the book.
Book Description
Simple Recipes from the London River Cafe
Deliciously simple, delightfully sophisticated
London’s hot-spot River Cafe has been seducing guests with its completely irresistible renderings of authentic regional Italian food for almost twenty years. Now, cofounders Rose Gray and Ruth Rogers, bestselling authors of the River Cafe cookbook series, present Italian Two Easy, a follow-up to their immensely popular Italian Easy, sharing 150 additional quick and easy recipes for everyone who loves Italian food but does not want to spend ages preparing it.
With just a small number of fresh ingredients and minimal effort, you can re-create the flavors of Italy in your home kitchen with recipes such as cucumber salad with mint and mascarpone, linguine with clams and white asparagus, beef tenderloin with red wine and horseradish, zucchini scapece, and hazelnut truffle cake. Organized into fourteen chapters, including Really Easy Soups, Salads, Tomato Pastas, Roast Meat, Italian Vegetables, and Chocolate & Coffee, the recipes are designed to save home cooks time at the end of a busy day without ever sacrificing flavor. From a dozen ways to highlight fresh mozzarella—most ready in a matter of minutes—to instructions for perfect, simply grilled fish, meats, and vegetables, Gray and Rogers’s Italian Two Easy will help bring your weeknight Italian meals to a new level.
Featuring 100 stunning full-color photographs illustrating the artistry that goes into each dish, Italian Two Easy makes it simpler than ever to achieve enviable results with the greatest of ease.
Customer Reviews:
London Food Icon on the River.......2007-02-23
Having been to the restaurant twice in my adult life I can not only recommend the London River Cafe as a destination place but now I can actually produce some sensational, yet quite easy, recipes in the here and now. Sometimes our palette can only be satisfied with the real thing but the new book, "Italian Two Easy", is as close as you can get. I highly recommend the book.
More Great, Simple Recipes. Buy It!!!.......2006-06-15
`Italian Two Easy, Simple Recipes from the London River Café' by proprietor / chefs, Rose Gray and Ruth Rodgers is the sixth cookbook by these ladies, and I welcome it with almost as much anticipation as I did the next installment of `The Lord of the Rings' or at least the DVD release of same.
As the title suggests, this volume is the second of a pair of volumes of `Easy Italian' recipes, the first published about two years ago, copyrighted in 2004. This volume actually improves on the earlier volume in that I found the layout of the first volume very annoying, to the point where it detracted from the value of the book, in spite of the fact that the recipes were almost uniformly excellent.
Gray and Rogers reaffirm two major themes with this volume. First, they celebrate the genius of the Italian pantry with its rich collection of wines, olive oils, cheeses, salt cured fish, capers, breads, pasta, sausages, and cured meats. All of these products are centuries old, enhanced just a bit by the modern methods for canning beans and tomatoes. These commercial, yet artisinally prepared products are such great ingredients that one can assemble fabulous dishes with very little effort. And, that is what Mmes. Gray and Rodgers' recipes are all about.
The second main behind their books is that their recipes follow a very typically English approach to recipe writing. As I wrote to Ms. Diane Jacob, author of `Will Write for Food', there seems to me to be three types of recipe writing. First is the Julia Child model of `Mastering the Art of French Cooking' which covers every detail of cooking technique in exquisite detail. The second is the Joel Robuchon style found in the `Simply French' collaboration with Patricia Wells, where the point of a recipe is often to demonstrate some salient aspect of an important ingredient technique. The third is the Elizabeth David style which is light on asides or voluminous comments on technique or ingredients. This is the style that has become so successful for most recent and contemporary English writers such as Jane Grigson, Nigel Slater, Nigella Lawson, Tamasin Day-Lewis, Gray and Rogers, and their protégé, Jamie Oliver. Now this is not the style of recipe writing you want to deal with when you are just starting out, unless it happens to be in Slater's and Day-Lewis recent large cookery manuals, `Appetite' and `Tamasin's Kitchen Bible' respectively. This is also not the style of cookbook you want if you wish to dig deep into the heart of Italian cuisine, as Gray and Rodgers do not (at least in this book) go into the techniques of either bread, pasta, or sausage making. For these techniques and important insights into the backbone of classical Italian cooking, I refer you to the grand dame of Italian cooking writing in English, Marcella Hazan and her `Essentials of Classic Italian Cooking' and her most recent `Marcella Says'.
As I have said of Jamie Oliver's books, Gray and Rogers' books are primarily celebrations of the simplicity of the Italian cuisine, although Oliver's exuberance comes through just a bit better than from our ladies. One thing you will not get from Gray and Rogers is a reflection of the typical Mario Batali statement that the Italian cuisine is the cuisine of poverty. While hams and cheeses and sausages may have been a necessity 200 years ago, in England and the United States, these Italian specialties are pretty dear. Prosciutto di Parma and Parmesano-Reggiano both run to $16 or more dollars a pound or more.
So, if you know your way around the kitchen and can afford `the good stuff', genuine imported Italian ingredients, then I heartily recommend this and all of the other five Gray / Rogers volumes, especially if you are fond of entertaining or like to cook every day, but don't want to spend three hours in the kitchen every day. These books demonstrate why it is so easy for Rachael Ray, for example, to put together fast meals based on the Italian pantry, but these recipes are, unlike Ms. Ray's fare, tested in restaurant experience.
Some of the recipes do require some Italian ingredients that are still not that easy to come by. One, for example, is bottarga, the sun-dried roe of the gray mullet. I have never searched for it, but I have also never seen it in my local megamart, although I suspect the big New York City food emporia such as Zabar's are sure to carry it. I was pleasantly surprised to find that the appendix of suppliers in the back of the book were all American sources and not UK sources.
If I were to pick one especially strong point of the Gray / Rogers volumes, it would be their vegetable recipes. I have read and reviewed a number of excellent books on vegetable recipes, most especially Jack Bishop's several books, and I still find unique recipes among the River Café cuisine, especially in dishes which combine two or more vegetables and therefore don't easily fit into a book organized by vegetable. My only caveat is that since this book is all about the recipes and nothing but the recipes, it sometimes lets some bad advice slip by as when it suggests you discard the stems from a head of broccoli. I happen to love broccoli right down to its tougher stems, which one can always peel, so I suggest you be a bit more frugal here.
The second best aspect of the River Café books is their wealth of simple pasta recipes.
The bottom line is that these River Café cookbooks are easily one of the best sources of quick Italian influenced books I have seen anywhere, without the annoying and cloying Rayspeak chatter from Ms. Rachael. One could do worse than to fill your entire kitchen library with Gray and Rogers cookbooks, with Marcella Hazan's works in the library to fill in the background.
Book Description
Divas and Scholars is a dazzling and beguiling account of how opera comes to the stage, filled with Philip Gossett’s personal experiences of triumphant—and even failed—performances and suffused with his towering and tonic passion for music. Writing as a fan, a musician, and a scholar, Gossett, the world's leading authority on the performance of Italian opera, brings colorfully to life the problems, and occasionally the scandals, that attend the production of some of our most favorite operas.
Gossett begins by tracing the social history of nineteenth-century Italian theaters in order to explain the nature of the musical scores from which performers have long worked. He then illuminates the often hidden but crucial negotiations opera scholars and opera conductors and performers: What does it mean to talk about performing from a critical edition? How does one determine what music to perform when multiple versions of an opera exist? What are the implications of omitting passages from an opera in a performance? In addition to vexing questions such as these, Gossett also tackles issues of ornamentation and transposition in vocal style, the matters of translation and adaptation, and even aspects of stage direction and set design.
Throughout this extensive and passionate work, Gossett enlivens his history with reports from his own experiences with major opera companies at venues ranging from the Metropolitan and Santa Fe operas to the Rossini Opera Festival at Pesaro. The result is a book that will enthrall both aficionados of Italian opera and newcomers seeking a reliable introduction to it—in all its incomparable grandeur and timeless allure.