Skip to main content

Caprice at the Four Seasons Hotel, Hong Kong

Went to Caprice just after Christmas 2005.
Hkg_021_320x400_weblarge_1





It's the "posh" restaurant at the new Four Seasons Hotel in Hong Kong. The decor is very glitzy - with chandeliers and thick carpet. The centrepiece of the restaurant is its open plan kitchen - kind of an interpretation of the gastropubs that you would find dotted around London. Trying too hard I thought.



How was the menu? OK - classic French restaurant menu though nothing was written in French ... shame as that's one of the little things that reminds you "This is a French restaurant". Or was it a French restaurant?



And the food? Everything was cooked well, but not exciting enough to warrant a postcard home. My mum and sister ordered the Bresse chicken dish for two. It's carved at the table and served as two courses. It looked good but I was told the dish tasted of chicken.



And the service? Yes, interesting. The four of us arrived and I had to attract the attention of one of the garcons to get served a drink (surely not, that's the Four Seasons hotel!). While my dad and I ordered the Billecart-Salmon Rose, the maitre d' brought something different to the table ... needless to say, I'd politely suggested "Were you not going to serve us the Billecart-Salmon?" Many apologies later, a fresh bottle was opened for us.



And if you are going to serve us salted and unsalted butter, then you'd better tell us - that's what the waiters would do at Le Cinq at George V in Paris, so why not in Hong Kong?



I think there's much polishing that Caprice would need to do.



Comments

Popular posts from this blog

Dialogues des Carmélites at the Royal Opera

Michael Levine's set design for Dialogues des Carmélites was minimalist. Actually, was there any set design? I suppose the director Robert Carsen was clever at introducing formation of human figures in many different ways to suggest the context of the opera. It kind of worked. Blanche, sung by Sally Matthews, was pretty good. Though I did find the whole work quite tedious - I think the intimate nature of the dialogues needed a small and intimate performing space i.e. not the Royal Opera House. The ending was worth waiting for. Dramatic. Poignant.

Der fliegende Holländer at the Royal Opera

I have managed to avoid all the reviews as I didn't want them to taint my experience of the new production of Der fliegende Holländer at the Royal Opera. The long overture was accompanied by a seascape - essentially water running down a curtain across the stage forming the sea. The set was clever without cluttering the stage. A moving shadow represented the ghost ship - which had to be one of the most economical and convincing effects I have ever seen on the Royal Opera stage. Bryn Terfel was magnificent as the Flying Dutchman singing with lyricism and drama. Senta, sung by Anja Kampe, had a Wagnerian voice with her top note ringing through the auditorium. Even the supporting cast of Hans-Peter König (Daland), Torsten Kerl (Erik) and John Tessier (Steersman) was strong. The chorus was fantastic - with enough singers carrying the drama. Marc Albrecht at the helm in the pit got the orchestra to play dynamically without losing the details. I am hoping this Dutchman will return to the...

Saul at Glyndebourne

What a superb revival production directed by Barrie Kosky. The big choruses were done with the singers doing slo-mo mannerism action. Markus Brück was particularly fine with Saul, and the rest of the cast did a super job to bring this oratorio to life.  Laurence Cummings maintained dramatic momentum with the OAE while darting from the rostrum to the organ - including playing the solo intro on a spinning organ on stage!