White Wine

Abbacchio, a long-ago Roman term for a newborn lamb, is the prescripted dish of Easter. And older than history is the innocent, rousing scent of it roasting with branches of wild rosemary, curling out from the kitchen doors of the trattorie in the Trastevere on Sundays in the spring, beckoning one to table together.

These are Rome’s other artichokes. Softened rather than crisped in their oil bath, they are of an extravagant goodness.

Not so many springtimes ago, I knew it was a Roman birthday for which I yearned, convinced that the salve of the place would soften the edges of a long sadness. Arriving crumpled and unslept on that morning, I slid my two dusty bags under the purple flounce of the bed in my genteelly shabby room at the Adriano and bolted off to the Campo de’ Fiori. I needed lilacs. I explained to the flower merchant in the market my desire to bring più allegria—more cheerfulness—to my little hotel room, that I was preparing for a sort of birthday party. He amplified the girth of the sweet-smelling sheaves I’d chosen and dispatched his helper to carry the towering bouquets through the twisting streets back to the Adriano. His field of vision completely contained inside thickets of blossoms, the porter left me to play front guard, to scream commands and admonitions back at him, staging a droll farce that could happen only in Rome. Safe inside the hotel with the lilacs, I purloined a large metal wastebasket from the reception hall, tied up its middle in a length of green silk, and installed the great, weeping blooms at the foot of my bed. I raced back to the market to fill two baskets with tiny, blushed velvet peaches still on their branches and hung them from wall sconces and draped them over mirrors and bedposts and on the roof of the dour, mustard-colored armoire. I collected breads from the forno (bakery) in Via della Scrofa, not so much to eat but for the comfort of their forms and their scents. I unwrapped the Georgian candlesticks I always carry with me from their cradle in my old taffeta skirt, threw open the shutters to beams of a rosy moon, and the birthday room was ready. I’d collected a beautiful supper at Volpetti: a brace of quail, each reposing on a cushion of roasted bread—depository for their rosemary juices—olives crushed into a paste with capers and Cognac, a stew of baby artichokes, new peas, and fava beans scented with wild mint and called, mysteriously, la vignarola—the winemaker’s wife—and a small, white, quivering cylinder of sweet robiola (fresh handmade cow’s milk cheese). I laid the feast on the dressing table, serving myself only bits of it at first. But little explosions of goodness insinuated themselves, and the quiet supper urged me into the goodness of the moment. Hungers found, strategies resewn. Happy birthday. During the time I lived at the Adriano, I went each morning to the market in Campo de’ Fiori, stopping to chat with my flower man, he introducing me to the lady with the slenderest, most delicate asparagus, which I devoured raw, like some earth-scented bonbon, and the one with the baby blood-red strawberries collected in the forests of Lake Nemi up in the Alban Hills. A ration of these beauties I vanquished each afternoon between sips of icy Frascati from my changing caffè posts along the campo. With those weeks as initiation, I might have stayed the rest of my life in the lap of that neighborhood, that village within Rome so contained and complete unto itself, and surely would never have known a single lonely day. More than she is a city, Rome is a string of small provinces, fastened one to the other by old fates.

For nearly a century, the mattatoio, the slaughterhouse, of Rome was fixed, south of the city’s center and flanked by Porta San Paolo and the Piramide di Caio Cestio, in the quarter of Testaccio—a hillock formed by the dross of terra-cotta amphorae that held olive oil and other comestibles imported into the city. Of an eloquent, uncompromised Roman character, the quarter grew up simple little houses in whose kitchens were cooked the humble remains of the butchers’ art, transforming the offal into i piatti fortissimi—the strongest plates—to serve to the workingmen for lunch. Il mattatoio has long since been relocated, but the Testaccio still practices the most orthodox Roman gastronomic traditions, building dishes such as nervetti in insalata, a salad of poached calves’ feet, coda alla vaccinara, (see page 4), pajata, the grilled or braised intestines of a calf or an ox, and trippa. As prosaic as are the formulas for these dishes, the manner in which they are presented is also prescripted. First, if the proprietor in any one of the neighborhood’s tabernae—Romans swing easily in and out of Latin, as in this usage for taverns—doesn’t approve one’s general look or demeanor, he will point, steely, to a little sign marked COMPLETO, reserved, that is fastened, permanently, handily for such occasions, to a rope of salame suspended from the rafters. If he does deem to seat one, neither he nor his colleagues will be charmed if one speaks Italian. It is only the dialect of Rome that is shouted in the Testaccio. It seems best to communicate, through eye-rolling and hand-flailing, that one wishes all decisions to be made by the house, that one is armed with magnificent appetite, and that one shall remain serene and unrepining at whatever part of whatever animal may be set before one. Our place of choice to be fed like a Roman is called Da Felice, an unsigned post in Via Mastro Giorgio. We go always of a Saturday so we can always eat tripe. Soaked in water and vinegar, urging the nastiness from its pores, the tripe is poached before it is sautéed in a battuto (the fundamental vegetable, herb, and fat flavoring for a sauce) of pancetta, olive oil, and garlic, then braised overnight on the quietest flame in tomato, white wine, and wild mint. A Saturday ritual in the Testaccio, as well as in every genuine osteria and trattoria in Rome, la trippa is served in deep bowls, under a dusting of pecorino, with chunks of rough bread and a jug of Frascati. Food of the poor is this tripe, flotsam conjured into a flavorful, cockle-warming stew, one that a sage Roman wouldn’t trade for a big, bloody beefsteak, not even one flounced in truffles.

Roman ox butchers, known as i vaccinari, have been attributed authorship for this most characteristic dish of la cucina povera romana. Honored as savvy, inventive cooks, the butchers were and are wont to pot up the most particularly toothsome nuggets plundered from the great beasts. The tail of an ox, though it surrenders inconsiderable flesh, is of the tenderest texture and most delicate savor to be gleaned from the whole hulk of him.

A patently rustic treatment of the prawns that presses us to a dramatic sort of dance in front of the flame as we toss the fat, handsome things about in the hot oil, their briny perfumes dissolving up in great vapors around our heads. A bottle of fine Cognac perched on the kitchen shelf seems an occurrence as common in Rome as is the one filled with the simple white wine from the hills just outside its gates. Here, the bottle is used to a fine end, scenting the seething, sputtering flesh of the prawns inside their bronzed, vermilion shells.

People think risotto is a super-rich dish, made with tons of butter. But when it is made properly, the richness comes from the starchy rice and the stock. To make perfect risotto, really pay attention to what’s happening in the pan. As the risotto cooks, stir it with a wooden spoon in rhythmic movements that go across the bottom and around the sides of the pan. The rice should be constantly bubbling, drinking up the liquid as it cooks.

These leeks are also delicious cold, dressed with a mustard vinaigrette and served with sliced prosciutto and chopped egg.

This was one of our first Sunday suppers at Lucques. It’s a variation on the classic osso buco, which is traditionally made with veal shanks. I use the same technique, but for this lighter summer version I braise the lamb shanks in white wine and a combination of veal and chicken stock (as opposed to straight veal stock). The tender shanks are a rich counterpoint to the freshness of the shell beans and crunch of the haricots verts. Ask your butcher for lamb osso buco, but if you can’t find it you can use lamb shanks.

My very first chef position was at a twenty-eight-seat restaurant called Alloro, located in Boston’s very Italian North End. At that point in my career, my cooking experience was rooted mostly in French cuisine, but the owner didn’t seem to mind. When I asked him if I had to cook strictly Italian food, his answer was, “No, no, no! Cook whatever you want. We’ll just give it an Italian name.” The French bistro classic salmon with beluga lentils and red wine butter was abbreviated to “Salmone” on the menu, and other quasi-French dishes were likewise masked under short Italian names. The pasta dishes I made at Alloro also strayed from Italian tradition. For my version of the classic spaghetti alle vongole, I added generous amounts of onion, fennel, and olive oil, and sprinkled breadcrumbs toasted with thyme on top. I also finished the sauce with a spot of butter (the French influence again), which thickened and enriched it. In theory, I’m sure my version of spaghetti with clams would outrage purists in both the Italian and the French camps, but one bite ought to be enough to convince them they have lots to learn from each other. Though you might not think of it as such, the water in which you cook pasta is a valuable ingredient, in virtually any pasta recipe. Do your noodles seem a little dry once you’ve tossed them in the sauce? Rather than correcting the problem with stock (which can alter the flavor balance) or oil (which can add greasiness), add a little pasta water instead. Not only will it moisten the dish, but the starch in it (left from the cooking of the pasta) will also help bind the sauce to the noodles. Try it out; it works.

Call me boring, but I prefer my sweets on the simpler side, and I drive my pastry chefs crazy with my penchant for, well, plain vanilla. When it comes to custards, I’m a particularly staunch traditionalist. So, when pastry chef Roxana Jullapat told me about her coconut flan, I was skeptical. But its elegant and classic presentation charmed me instantly—a snow white cylindrical custard oozing with golden caramel syrup and surrounded by Elgin Marble apricots simmered in Beaumes de Venise, orange juice, and spices. Roxana’s coconut flan convinced me that there’s life beyond a vanilla pot de crème (which is also delicious! See page 235).

In Italy, there are many variations of semifreddo, which, literally translated, means “partially frozen.” Sometimes a semifreddo is made from sponge cake layered with slightly frozen cream; other times it’s cake-free, simply a lighter version of ice cream. At Lucques, we make this semifreddo from an uncooked “custard” base that has beaten egg whites (to make it buoyant and light) and whipped cream (to prevent it from freezing completely) folded into it. The result is a creamy frozen dessert that doesn’t require an ice cream maker or a true custard cooked at the stovetop. Strawberry and rhubarb are a classic combination, but though it’s tempting to temper the sourness of the rhubarb with sweet strawberries, I prefer the intense mouth-puckering quality of rhubarb on its own. This is a great party dessert since you can prepare all the components ahead of time.

The first incarnation of this dish did not include rice. Tasting it over and over again, I knew it needed a final element that would bring its flavors into harmony: nutty farro, meaty bass, pungent green garlic, sweet pea shoots, tart tangerines. I racked my brain for just the right thing, then remembered a sample of black rice I had stashed in my desk drawer weeks before. I had little experience with black rice—varieties of rice whose kernels are covered by extremely dark bran. The black rice I found was grown in the salt marshes of the Veneto, so I cooked it in an Italian style. As I would for risotto, I sautéed the rice in olive oil to seal the outer layer and toast it slightly. Then I deglazed with white wine, added water, and let it simmer away. When the rice was done, I found it solved my problem perfectly. The rice’s marshy origins gave it a subtle oceany taste, complementing the fresh fish and giving the entire dish a springtime-by-the sea coherence. What’s more, there was a visual bonus: the black rice was gorgeous to behold, coated in its own deep purple sauce.

White Sangria is something you really want in the summertime when nothing is going on and it’s hot and very humid outside. We developed this recipe about six years ago and have loved it ever since. Highly suggested for afternoon gatherings and finger foods.

Served under Soy-Syrup Roasted Duck (page 142), this super-tender cabbage perfectly balances the richness of the meat. But I love it so much, I eat it on its own, too. As always with fresh cabbage, I add the juniper berries at the end to lightly perfume the dish.

As quick as a stir-fry, this is my go-to fast food. My take on veal scaloppine uses ham, Riesling, and, best of all, lavender. The floral herb is similar to sage and works beautifully here. I prefer the aroma of the tiny purple buds on the flowers, but if you can’t find those, the leaves work well, too.