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SPECIAL PLANT-BASED Pop-Up: Dinner & Brunch at Glam

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Glam partners with Hong Kong’s Grassroots Pantry for an exclusive plant-based pop-up “Autumn in Shanghai”.

From Char-grilled Cauliflower Handles to Teff Pumpkin Gnocchi, the creative dishes by Chefs Hamish Waddel and Peggy Chen only feature seasonal, organic and locally sourced igredients, and most importantly, completely plant-based.

NOVEMBER 24 & 25
6pm-10:30pm
6-course shared DINNER at Glam
338pp + 10% service charge

NOVEMBER 26
12pm-3pm
4-course shared BRUNCH at Glam
298pp + 10% service charge

*Reservations encouraged

Bob’s Music Blog: November Crystal Chamber Music Concert – Haydn & Dvorak

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On November 26th at 4:00PM at Glam we will be treated to two of the most beloved string quartets in the whole chamber music repertory:  Joseph Haydn’s “Lark Quartet” and Antonin Dvorak’s “American Quartet”.

Ticket Type Event Details Price
Adult November 26, 2017 at 4:00 PM ¥ 85.00 CNY
Student November 26, 2017 at 4:00 PM ¥ 40.00 CNY

Joseph Haydn is lovingly known as Papa Haydn by composers and musicians.  Although he had no children of his own (that we know of), he is widely considered as the “father” of the symphony, the piano trio and the string quartet.  These three genres sprung up in the mid-18th Century at the end of the Baroque and beginning of the Classical eras and Haydn was the central influence in their development.

Haydn wrote over eighty string quartets and they span most of his musical life from his thirties until his late sixties.  The string quartets thus read like a textbook of the musical development of this great composer.  On November 26th we will hear what is arguably the most popular of his string quartets, the “Lark”.  Like most of the nicknames of Haydn’s works, the name “Lark” was given by his publisher in order to increase sales:  “Lark” was easier to remember than Opus 64, number 5!  The “Lark” was included in the very last group of six quartets (Opus 64) written before Haydn went on his first trip to London. The London trip, where Haydn heard his quartets played in concert halls rather than in more intimate chamber settings (like Glam!), brought about a fundamental change in Haydn’s compositional style.  Because of the acoustical requirements larger halls, his quartets became more demonstrative and concert-like.  Up to this point, Haydn’s quartets had been more “conversational”, intimate exchanges–sometimes serious, sometimes witty–between the four instruments.  The “Lark” is one of the last, and one of the greatest, examples of this earlier style.

If Joseph Haydn was a musical “father”, we might call Anton Dvorak one of his musical “grandchildren”.  After all Haydn and Dvorak were born in close proximity in what would later become the Austria-Hungarian Empire, and they both had an strong affinity for folk music–although Haydn’s interest was purely musical and Dvorak’s more nationalistic.  Closing the gap even more was the fact that Dvorak was one of the later Romantics, like Brahms, who felt that the early Romantics had gone too far in their move away from the classic tradition.  Dvorak therefor endeavored to preserve the classical forms and genres of Haydn, Mozart and Beethoven, like the string quartet, while preserving at the same time his romantic élan.  We can easily see the successful result of Dvorak’s efforts in the American Quartet that we will hear on November 26th.  If we simply look at the names of the movements, we would not be able to say really that the quartet was not one by Haydn.  Listening is another matter with Dvorak employing the longer, soaring melodies of the Romantics as opposed to the shorter motifs of the Classicists. Coincidentally, both quartets both make references to birds.  The Haydn of course has the lark singing away at the very beginning of the first movement.  Dvorak saves his bird, the American scarlet tanager, for the third, Scherzo movement.  The scarlet tanager used to wake Dvorak up very early in the morning when he lived for a summer in Iowa in the United States and he would curse it as that “damned bird”.  That damned bird has now achieved immortality!

Our musicians for the November concert are the award-winning Echo Quartet from the Shanghai Conservatory Middle School.  As all regular attendees of the Glam Chamber Music Series know, these middle schoolers are young masters who play at an absolutely professional level far beyond their years.

If you would like to familiarize yourselves with the music before the concert, please check out these Youku sites:

Haydn:  https://www.youtube.com/watch?v=4uYxn1M_O-4

Dvorak:  https://www.youtube.com/watch?v=_b_rwtDlUXA

I look forward to seeing you all on November 26th for this exciting performance!

Bob Martin

Loeffler, Klughardt & Holbrooke: All About September’s Chamber Music Concert

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Usually, we are treated to music by the magnificent students from the Shanghai Conservatory. From time to time, however, the professors come out to give us a rare treat. September 24th at 4pm at Glam will be such a moment (tickets and program below!).

Playing will be Jensen Lam, Associate Dean at the Conservatory and head of the Viola and Chamber Music Departments. He is the very founder of L’Ensemble les Amis (ELA) and the driving inspiration behind this Crystal Chamber Music series at M on the Bund. Jensen is an award-winning and internationally recognized musician and for ten years the principal violist of the Spanish National Radio Television Symphony, the pre-eminent orchestra of Spain.

We welcome back Juan Manuel García-Cano, Professor of Oboe at Suzhou University. Juan-Manuel is an award-winning musician as well and has played with major orchestras all over Europe and in Asia.

Joining us for the first time is Qiuning Huang who also teaches at the Shanghai Conservatory of Music. Qiuning studied at both the Shanghai Conservatory and at the prestigious New England Conservatory of Music in Boston. Also an award winning musician, Qiuning is frequently in demand in China and at music festivals across the United States.

The combination of Piano, Viola and Oboe is not common in the world of chamber music. It really does not appear until the last half of the 19th Century. But the sensual combination of these sounds makes for wonderful listening. We will hear three masterpieces from three composers who were famous in their day and, while no longer household names, continue to appear regularly in chamber music programs.

All three works we will hear have been inspired by poetry. The synthesis of music and poetry was very much in favor in the late 19th and early 20th centuries continuing an aesthetic trend that had been largely inspired by Franz Liszt and his thirteen Symphonic Poems.

The first work is Charles Martin Loeffler’s (1861-1935) evocative and languorous Two Rhapsodies for Piano, Oboe and Viola. The two movements, The Pond and The Bagpipe are inspired by Maurice Rollinat, a French poet and singer of the Decadent Movement. He sang his songs in cabarets such as the famous Le Chat Noir in Montmartre. (You can find the poem L’etang in French here: https://www.poemhunter.com/poem/l-tang-2/ ). With this music, we are clearly in the sumptuous sound world of Cesar Frank and Gabriel Faure with exotic hints of Debussy and Ravel. Loeffler, a violinist, was born in Berlin but claimed to be Alsatian because of his dislike of Prussian authorities. He moved to America and ended up sharing the Concertmaster position at the Boston Symphony Orchestra. He was highly regarded as a composer with his works being conducted by Richard Strauss and Toscanini. Highly cultured with refined taste, Loeffler was friends with the likes of Faure, Busoni, Gershwin and John Singer Sargent whose portrait of Loeffler I will show at the concert.

The late Romantic English composer, Joseph Holbrooke (1878-1958), would likely be much more famous today if he had not had such a difficult, hypersensitive personality. He became increasingly dismissive and contemptuous of both his audiences and critics and they eventually turned away from him. However, he left behind a formidable body of work that is gradually finding its way back into the repertory.   Holbrooke’s frequent poetic muse was the American, Edgar Allen Poe. Holbrooke wrote over thirty pieces of music, from large symphonic works to piano solos, inspired by the macabre American writer. We will hear his Fairyland based on Poe’s deliciously obscure poem of the same name. You can read it here: http://www.online-literature.com/poe/2161/).

Finally, We will hear the somewhat earlier German Romantic composer August Klughardt (1847-1902). He studied piano as a child and eventually became music director in a number of cities around Germany including Weimar where he befriended Franz Liszt. After that meeting Klughardt became of advocate of the New German Music movement as typified by Liszt and Wagner, although Klughardt‘s personal style retained some the classical elements of the music like that of Brahms and Schumann. The work we will hear is a suite of fantasies inspired by Reed Songs, a group of five poems by the famous Austrian Romantic poet Nikolaus Lenau. Lenau had also been a muse for Liszt in his Mephisto Waltzes. In these fantasies we can clearly hear the influence of Liszt and Wagner. You can read Lenau’s Reed Songs (Schilflieder) in German and English here: http://www.poemswithoutfrontiers.org/Schilflieder.html

So there we have it! Some very original programming with three professors, three composers and three poets all for the price of one! Mark your calendars. I look forward to seeing you all on September 24th at 4:00 pm at Glam!

Bob Martin

Shanghai Chamber Music Lovers – Shanghai Conservatory’s Atelier of Chamber Music
Crystal Chamber Music    Ensemble Les Amis-Shanghai

Sunday September 24th, 2017 4:00pm
Tickets 85 rmb includes a drink, Students 40 rmb

Charles Martin Loeffler (1861-1935)
Deux Rapsodies Pour Hautbois, Alto et Piano;
勒夫乐:《两首狂想曲》为双簧管、中提琴和钢琴而作
1. L’Étang 池塘
2.La Cornemuse 风笛

Joseph Holbrooke (1878-1958)
Nocturne Fairyland for Oboe, Viola and Piano
霍尔布鲁克:《仙境夜曲》为双簧管、中提琴和钢琴而作

August Klughardt,
“Schilflieder” for Oboe, Viola and Piano Op.28
(nach Gedichten von Lenau)
克鲁格下特:《芦笛曲》为双簧管、中提琴和钢琴而作
(根据雷瑙的诗歌)
1. Langsam, träumerisch 缓慢、如梦似幻
2.Leidenschaftlich erregt 激情的

III. Zart, in ruhiger bewegung 温柔的慢板
1. Feurig 火热的
2. Sehr ruhig 非常安静的

The Performers
Piano: Huang Qiuning 黄秋宁
Oboe: Juan Manuel Garcia-Cano
Viola: Jensen Horn Sin Lam 蓝汉成

Ticket Type Event Details Price
Adult September 24, 2017 at 4:00 PM ¥ 85.00 CNY
Students September 24, 2017 at 4:00 PM ¥ 40.00 CNY

September Events at M

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Whether chamber music, talks, DJs or film screenings, Glam & M on the Bund in Shanghai welcome the cooler months with the very best of Shanghai.

For tickets to The Last Confucian Liang Shu-Ming with Harvard Professor, Guy Alitto, on September 9th, please click here.

For tickets to A History of Future Cities with journalist, Daniel Brook, on September 30th, please click here.

For tickets to the Autumn Crystal Chamber Music concert, on September 24th, please click here.

Mid Autumn Delights~ M on the Bund x Pierre Marcolini

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In collaboration with Pierre MarcoliniM on the Bund has the perfect Mid-Autumn Festival gift!

-Pierre Marcolini “Clair de Lune” gift box (valued at ¥398)
-M Tea Cup & Saucer (valued at ¥298)
-M Teaspoon (valued at ¥65)
-Afternoon Tea at M on the Bund for 2 people (valued at ¥276 + 10% service charge)

SALES PRICE: 888 RMB

Available at M on the Bund or Pierre Marcolini shops.

*To pick up your Clair de Lune giftbox, please visit any Pierre Marcolini shop between September 15th and October 4th.
*For the M on the Bund Afternoon Tea and tea cups and teaspoons, please stop by before December 17th.


ABOUT MAISON PIERRE MARCOLINI 

Maison Pierre Marcolini was founded in Brussels in 1995 by Pierre Marcolini, renowned for his expert skill and passion for creating the world’s best chocolates. At present, Pierre Marcolini is the creative director of Maison Pierre Marcolini, where he has built a reputation not just for his chocolate but for his ethical standards, sourcing Grand cru cocoa directly from independent producers in Brazil, Cuba, Ecuador, Ghana, Madagascar and Vietnam. Other rare and exotic ingredients top off the Maison’s illustrious range of beans, including pink peppercorns from Morocco, pistachios from Iran, pepper from Sichuan, vanilla from Tahiti, rose petals, bergamot and lemons from Sicily, cinnamon from Sri Lanka, hazelnuts from Piedmont, nougat from Montélimar, and much more. A pioneer in the art of Haute Chocolaterie, Maison Pierre Marcolini creates exceptional chocolates and sweet treats, not to mention its famous macarons. The remarkable quality and refined nature of Maison Pierre Marcolini’s creations have made its retail outlets an instant global success, with over 30 stores in several countries, including Belgium, France, the UK, Monaco, Japan and Kuwait.

中秋献礼~ M on the Bund x Pierre Marcolini

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即日起,米氏西餐厅联合 PIERRE MARCOLINI 推出中秋限量礼遇。

– Pierre Marcolini 中秋限量月光礼盒 (¥398元/盒)
-米氏骨瓷茶杯及茶碟 (¥298元/套)
– 米氏镀银茶匙 (¥68元/把)
– 米氏双人下午茶套餐 (¥276元/两位 + 10%服务费)

售价人民币888元 

可至米氏西餐厅及 Pierre Marcolini 专卖店购买。

* 月光礼盒 – 9月15日至10月4日凭礼券到 Pierre Marcolini 专卖店兑换。
* 米氏骨瓷茶杯、茶匙及下午茶套餐于2017年12月17日前至米氏西餐厅兑换。


PIERRE MARCOLINI品牌简介

PIERRE MARCOLINI由同名创始人于1995年在布鲁塞尔建立,Pierre Marcolini先生以其卓绝技艺和执着热情闻名,作为品牌创意总监,他恪守对巧克力制作的严格标准,坚持采购优质原料,为此甚至跨越巴西、古巴、厄瓜多尔、加纳、马达加斯加以及越南等地,从世界各地种植园主手中直接采购可可豆。除此之外,Pierre Marcolini 先生对其它稀有、异域原料的选择也秉持严格的标准,力求选择世界著名产区的一流原材料。作为顶级巧克力工厂的先驱者,PIERRE MARCOLINI 巧克力品牌只制作独具匠心的巧克力、甜点,以及备受追捧的马卡龙。卓越的口感和超凡的品质使其精品店铺迅速拓展至30 多家,跨越多个国家(包括比利时、法国、英国、摩纳哥、日本以及科威特),取得了全球性的成功。

纪念香港回归20周年 《新民周刊》四页专访Michelle Garnaut

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沪港两地生: 精彩各不同

2017-06-28

撰稿|叶雪枫

雾蒙蒙的水汽笼在外滩的上空,为浦西的万国建筑群又平添了一份岁月沉积的厚重。近日上海入了梅雨季,雨淅淅沥沥,下个不停。外滩5号大楼,原名日清大厦,由日资的日清汽船株式会社与犹太商人共同出资,英国德和洋行设计,在1925年建成。抗战后的招商局、解放后的海运局、上世纪90年代的华夏银行都成为了它历史的一部分。独树一帜的日本近代西洋式外观,记录了它缔造者曾经的心志,如今也见证着商客往来、觥筹交错间的生生不息。

午后,我们来到大楼顶层的米氏西餐厅(M on the Bund),这是来自澳大利亚的Michelle Garnaut(下文简称“米歇尔”)新千年前就在上海开设的。我们2点半到的餐厅,米歇尔还未结束与两位导演朋友的洽谈——只闻其声,便觉生趣。后来,米歇尔笑言,40多年的餐厅生意让她认识了不少中、澳两地的朋友,其中也不乏名流,张国荣的姐姐便与她相熟。只是明星们来此,米歇尔很少自己接待,她并不想借机合影给餐厅打广告:“他们当然要付钱!”她大笑,“还应该付双份的……这可能也是我们餐厅至今明星络绎不绝的原因吧。”

端起精巧的咖啡杯四下张望,便能看到米氏偌大的阳台,天气虽不爽利,但我们还是为对岸赫然眼前的魔都天际线(陆家嘴建筑群)惊叹。为修缮当时已逾15年的内饰及空调、电线等设备,餐厅在2年前重新装修,西式的典雅与中式的细节处理巧妙结合,彰显着它雍容又不失轻快的色调。不一会儿,米歇尔出现在了我们的餐桌旁,她有些岁数,着装却与她的餐厅一般,色彩鲜明而不浓艳,一头金发,合着盈盈笑意的蓝绿色双眸:“不好意思,让你们等了这么久!”

米歇尔十分健谈:“香港是一座很棒的城市,但我在那儿的餐厅8年前就关门了。”由此拉开了她在沪、港两地的传奇故事。

在上世纪70年代,米歇尔教授经济和地理的老师们就告诉她,上海可能是世界上人口最多的城市。当时的澳大利亚人对中国并不了解,“Shanghai”(上海)这个词对小米歇尔来说没有具体的图景,但却充满了想象的空间。而中国是一个“很大、很大、很大”的国家,一个值得探索的有趣国度。于是,在中国逐步开放起来的80年代,怀揣着“去上海看一看”念头的米歇尔,为获得进入中国内地的签证,从澳大利亚的家乡远赴香港。

1984年,年轻的米歇尔第一次来到香港,人群熙熙攘攘、环境不敞亮,让她对那里的第一印象并不很好,但她还是选择留下,成为了一名厨师,一干就是5年,也渐渐融入了那里:“你知道,作为外乡人到一个地方生活,可能是深深地扎根于此,也可能仅是暂居。面对那些只是来去匆匆的过客,我会说那就度过一段愉快的时光吧。”而米歇尔自己则对这里有着更深的羁绊,她称其为“Strong Connection”(强联系)——与香港的联系,也是未来与上海,乃至中国这个国家的联系。

1989年,她在香港开设了自己的第一家餐厅(M at the Fringe)。回忆起那家小小的,不过只有65个座位的小餐厅,米歇尔很是动容:“这家店开在一栋很漂亮的大楼里,装修构思巧妙。因为我们是最初几家定位界于正规与休闲之间,又有高性价比的餐厅,在当地还蛮有名的。”待2008年关门,米歇尔已经营了它近20年,以至于她对香港的食客颇为熟悉:“香港一直很富庶,人们也乐于在美食上消费。香港的食物很好,水平很高。”米歇尔注意到香港精致的美食风格与当地人的性格形成了鲜明的反差:“他们很淳朴,嗓门蛮大。”她反复强调这几个形容词,以防我们的理解产生不必要的偏差,毕竟她“真的很热爱香港”。而如今,香港已成为了一座令其流连,无需以“工作”为重心的城市。

90年代,在香港积累了一定的工作经验,并游历新、马、泰、印尼等亚洲诸国后,米歇尔来到了上海。与她谈天,常会惊叹于她甚至比我们这些本地的年轻人更了解那个风起云涌的八九十年代。“1985年,我就来过上海,你很难想象当时和现在有多么不同。人们都穿着‘毛’式的衣服(Mao shirt)、军装。不过即使在那样的年代,上海依然有时尚的踪迹。”1996年,她从香港带来了她的厨师团队,成为了上海滩著名的和平饭店的主厨。“当时和平饭店的价格很高,平均五六千元一餐,而我的中国朋友告诉我,她妈妈的工资不过每月400元。”也是那时,很多人鼓励她开始自己的餐厅计划。

“我那时每年都来上海,心心念念要买一个老建筑开餐厅,我也不知道什么时候能实现,但一直有这个想法。”1997年,她开始四处寻找适合开店的店面,但3年过后,动辄上亿元的天价、不断消耗的精力和在香港攒下的钱,竟使得她的计划毫无进展——“这是一段糟糕的经历”。就在她疲累不堪、准备放弃时,一位朋友传来消息:“我知道外滩有一个店面,你可以考虑一下。”而那时外滩只有外地游客会光顾,门可罗雀,毫无生气,米歇尔很犹豫,但另一个消息改变了她的态度:浦东即将建成一个新的机场。一幅崭新的画面一下子在她眼前展开,上海的中心会从曾经的法租界转移到未来的金融中心陆家嘴,而比邻的外滩无疑前景光明。于是,就在新中国成立60周年,即1999年的1月,这个备受周遭质疑的“不会中文的外国女人”,在外滩5号风风火火第一次打开了她米氏西餐厅的大门——就像80年代香港的餐厅开业时,她不会预料到10多年后的“回归”,那一刻的她也很难料想到,她上海餐厅阳台前的景致会发生如此的剧变——20年后的今天,她已“悠然见南山”。

米歇尔说,管理一个有100多人工作的餐厅十分不易,有太多细节要关注。餐厅里最著名的菜色是“帕夫洛娃”(Pavlova,名字来自一位俄罗斯著名的芭蕾舞者安娜·帕夫洛娃),澳大利亚和新西兰都认为自己才是它的“原产地”。“在我们那儿,小朋友的生日常会吃它,其实不怎么‘上台面’。但我的生意伙伴一再坚持把它放在菜单上。”于是,米歇尔抱着试试看的心态“研制”了一款相对精致的帕夫洛娃——由蛋白饼底、奶油、新鲜水果做成的口感丰富(甜、酸、脆、软)、质地绵密的甜点。谁知,这道菜一经推出便大受欢迎,再也没有从菜单上撤下来。“这是仅有的一道我们从香港开业以来在每一家餐厅都会长期供应的菜色。”米歇尔笑着说:“以后要在我的墓碑上刻上一句,‘她使帕夫洛娃走向世界’。”

米歇尔回忆:在上海刚开业那会儿,“高架还未完全建好,好像只到西藏路吧,所以开车过来并不容易。”店里有络绎不绝的外国客人,也偶有上海客人到访。“他们开车过来,问我有6人桌吗?我问他们是否有预约,店里已经满座。他们对此十分不理解。”当时的上海还存着“未开化”的气息,哪里遇到过饭店满座的状况?亦不知“预约”为何?

米歇尔印象深刻的一次是,店里刚刚开门迎客,来了名本地大款,直接略过迎宾的服务生,冲入大厅,甩着大幅度的手势,嘴里大声嘟哝着:“来来!来来!”神情傲慢。说起如今店里的客人,米歇尔又做了个比较:“本地的客人不太会跟你直接抱怨,不满意就不会再光顾。但若是外国人,尤其美国人,十分生气时便会好好与你理论一番。”

被问及沪、港两地有什么区别时,米歇尔沉吟了片刻,随后她用了一些颇为“精准”的字眼加以形容:香港有活力、节奏快、激动人心,有一种自然美。香港人待人友善,但或因她外国人的身份,很难和她成为亲近的朋友,“这可能与他们的殖民历史有关”。而上海迷人、有神秘感,也很忙碌,是一座精致、时尚的都市。“很多人说北京最‘中国’,很有文化底蕴,但我觉得上海也有十分有趣的文化。”

她评价上海人颇有些“势利”,带着与生俱来的优越感,但生活中待人平易,很容易成为朋友。她坦言,其实两座城市有许多相像的地方,都受外来文化很大的影响,十分国际化,并且对外国人而言,这两座城市都足够“友好”,很难说她更热爱哪一座:“要知道中国是一个很大的国家,上海、香港完全可以并存。”

我们询问她如何能取得这样的成功,也好奇她未来的打算。米歇尔定了定神:“我的成功一部分是幸运,但更多是努力。”14岁时,她在家乡婚宴的厨房里帮工,在这一行摸爬滚打了40年。在上海的餐厅即将迎来20周年之际,她对餐饮业也有了更深的理解——一如既往、性价比高、保证品质,是她秉承的理念。她说自己不再年轻,比起“赚钱”,会更多思考“商业”对社会和环境的影响。如今,她将更多精力放在了社会公益上,也十分关心年轻人:“上海的年轻人很乐观,觉得自己可以做各种尝试,而现下,香港的年轻人则相对悲观,这让我有些失望,希望香港能找到自己前进的方向。”

恰巧在一周前,笔者有幸与一位来自香港的年轻人做了深入交流——就读于南洋中学六年级的柯智乐。南洋中学历史悠久,多名在港校友出资为母校设立奖学金。该校与香港的往来交流活动不断,今年4月,姐妹校香港中华基金中学的师生就曾到访。小柯同学的父母分别来自香港和上海,他本人是香港籍,但长期在上海求学,一家人的生活重心也在这里。他们深深融入了上海这座城市,依赖于四通八达的轨道交通而规避拥堵的地面交通,习惯了颇为“艰深”的内地基础教育,笑言他们爱去的路边摊因城市整治关门了;当然,他们也会在假期返港探望小柯的爷爷奶奶,为出生不久的二儿子从香港购置奶粉。小柯同学并没有明确回答笔者未来有何打算,“我想过好多次,但还没想出来”——只是于他而言,未来应该有了更多元的选择。

在与米歇尔的交流中,她与我们说起一个小段子:“SAR”是特别行政区的英文首字母缩写(Special Administration Region),而每每有人问她香港回归中国后,有什么变化时,她也常会回答“SAR”——“雨后如故”(Same After Rain,缩写也是SAR)。

依稀记得,20年前,中英交接的那个7月,香港也下着迷蒙的雨。雨后的大都会似一切照旧,但细雨润物,大地也会更加坚实。

Michelle Garnaut in Xinmin Weekly《新民周刊》

By | Uncategorized

沪港两地生: 精彩各不同

2017-06-28

撰稿|叶雪枫

雾蒙蒙的水汽笼在外滩的上空,为浦西的万国建筑群又平添了一份岁月沉积的厚重。近日上海入了梅雨季,雨淅淅沥沥,下个不停。外滩5号大楼,原名日清大厦,由日资的日清汽船株式会社与犹太商人共同出资,英国德和洋行设计,在1925年建成。抗战后的招商局、解放后的海运局、上世纪90年代的华夏银行都成为了它历史的一部分。独树一帜的日本近代西洋式外观,记录了它缔造者曾经的心志,如今也见证着商客往来、觥筹交错间的生生不息。

午后,我们来到大楼顶层的米氏西餐厅(M on the Bund),这是来自澳大利亚的Michelle Garnaut(下文简称“米歇尔”)新千年前就在上海开设的。我们2点半到的餐厅,米歇尔还未结束与两位导演朋友的洽谈——只闻其声,便觉生趣。后来,米歇尔笑言,40多年的餐厅生意让她认识了不少中、澳两地的朋友,其中也不乏名流,张国荣的姐姐便与她相熟。只是明星们来此,米歇尔很少自己接待,她并不想借机合影给餐厅打广告:“他们当然要付钱!”她大笑,“还应该付双份的……这可能也是我们餐厅至今明星络绎不绝的原因吧。”

端起精巧的咖啡杯四下张望,便能看到米氏偌大的阳台,天气虽不爽利,但我们还是为对岸赫然眼前的魔都天际线(陆家嘴建筑群)惊叹。为修缮当时已逾15年的内饰及空调、电线等设备,餐厅在2年前重新装修,西式的典雅与中式的细节处理巧妙结合,彰显着它雍容又不失轻快的色调。不一会儿,米歇尔出现在了我们的餐桌旁,她有些岁数,着装却与她的餐厅一般,色彩鲜明而不浓艳,一头金发,合着盈盈笑意的蓝绿色双眸:“不好意思,让你们等了这么久!”

米歇尔十分健谈:“香港是一座很棒的城市,但我在那儿的餐厅8年前就关门了。”由此拉开了她在沪、港两地的传奇故事。

在上世纪70年代,米歇尔教授经济和地理的老师们就告诉她,上海可能是世界上人口最多的城市。当时的澳大利亚人对中国并不了解,“Shanghai”(上海)这个词对小米歇尔来说没有具体的图景,但却充满了想象的空间。而中国是一个“很大、很大、很大”的国家,一个值得探索的有趣国度。于是,在中国逐步开放起来的80年代,怀揣着“去上海看一看”念头的米歇尔,为获得进入中国内地的签证,从澳大利亚的家乡远赴香港。

1984年,年轻的米歇尔第一次来到香港,人群熙熙攘攘、环境不敞亮,让她对那里的第一印象并不很好,但她还是选择留下,成为了一名厨师,一干就是5年,也渐渐融入了那里:“你知道,作为外乡人到一个地方生活,可能是深深地扎根于此,也可能仅是暂居。面对那些只是来去匆匆的过客,我会说那就度过一段愉快的时光吧。”而米歇尔自己则对这里有着更深的羁绊,她称其为“Strong Connection”(强联系)——与香港的联系,也是未来与上海,乃至中国这个国家的联系。

1989年,她在香港开设了自己的第一家餐厅(M at the Fringe)。回忆起那家小小的,不过只有65个座位的小餐厅,米歇尔很是动容:“这家店开在一栋很漂亮的大楼里,装修构思巧妙。因为我们是最初几家定位界于正规与休闲之间,又有高性价比的餐厅,在当地还蛮有名的。”待2008年关门,米歇尔已经营了它近20年,以至于她对香港的食客颇为熟悉:“香港一直很富庶,人们也乐于在美食上消费。香港的食物很好,水平很高。”米歇尔注意到香港精致的美食风格与当地人的性格形成了鲜明的反差:“他们很淳朴,嗓门蛮大。”她反复强调这几个形容词,以防我们的理解产生不必要的偏差,毕竟她“真的很热爱香港”。而如今,香港已成为了一座令其流连,无需以“工作”为重心的城市。

90年代,在香港积累了一定的工作经验,并游历新、马、泰、印尼等亚洲诸国后,米歇尔来到了上海。与她谈天,常会惊叹于她甚至比我们这些本地的年轻人更了解那个风起云涌的八九十年代。“1985年,我就来过上海,你很难想象当时和现在有多么不同。人们都穿着‘毛’式的衣服(Mao shirt)、军装。不过即使在那样的年代,上海依然有时尚的踪迹。”1996年,她从香港带来了她的厨师团队,成为了上海滩著名的和平饭店的主厨。“当时和平饭店的价格很高,平均五六千元一餐,而我的中国朋友告诉我,她妈妈的工资不过每月400元。”也是那时,很多人鼓励她开始自己的餐厅计划。

“我那时每年都来上海,心心念念要买一个老建筑开餐厅,我也不知道什么时候能实现,但一直有这个想法。”1997年,她开始四处寻找适合开店的店面,但3年过后,动辄上亿元的天价、不断消耗的精力和在香港攒下的钱,竟使得她的计划毫无进展——“这是一段糟糕的经历”。就在她疲累不堪、准备放弃时,一位朋友传来消息:“我知道外滩有一个店面,你可以考虑一下。”而那时外滩只有外地游客会光顾,门可罗雀,毫无生气,米歇尔很犹豫,但另一个消息改变了她的态度:浦东即将建成一个新的机场。一幅崭新的画面一下子在她眼前展开,上海的中心会从曾经的法租界转移到未来的金融中心陆家嘴,而比邻的外滩无疑前景光明。于是,就在新中国成立60周年,即1999年的1月,这个备受周遭质疑的“不会中文的外国女人”,在外滩5号风风火火第一次打开了她米氏西餐厅的大门——就像80年代香港的餐厅开业时,她不会预料到10多年后的“回归”,那一刻的她也很难料想到,她上海餐厅阳台前的景致会发生如此的剧变——20年后的今天,她已“悠然见南山”。

米歇尔说,管理一个有100多人工作的餐厅十分不易,有太多细节要关注。餐厅里最著名的菜色是“帕夫洛娃”(Pavlova,名字来自一位俄罗斯著名的芭蕾舞者安娜·帕夫洛娃),澳大利亚和新西兰都认为自己才是它的“原产地”。“在我们那儿,小朋友的生日常会吃它,其实不怎么‘上台面’。但我的生意伙伴一再坚持把它放在菜单上。”于是,米歇尔抱着试试看的心态“研制”了一款相对精致的帕夫洛娃——由蛋白饼底、奶油、新鲜水果做成的口感丰富(甜、酸、脆、软)、质地绵密的甜点。谁知,这道菜一经推出便大受欢迎,再也没有从菜单上撤下来。“这是仅有的一道我们从香港开业以来在每一家餐厅都会长期供应的菜色。”米歇尔笑着说:“以后要在我的墓碑上刻上一句,‘她使帕夫洛娃走向世界’。”

米歇尔回忆:在上海刚开业那会儿,“高架还未完全建好,好像只到西藏路吧,所以开车过来并不容易。”店里有络绎不绝的外国客人,也偶有上海客人到访。“他们开车过来,问我有6人桌吗?我问他们是否有预约,店里已经满座。他们对此十分不理解。”当时的上海还存着“未开化”的气息,哪里遇到过饭店满座的状况?亦不知“预约”为何?

米歇尔印象深刻的一次是,店里刚刚开门迎客,来了名本地大款,直接略过迎宾的服务生,冲入大厅,甩着大幅度的手势,嘴里大声嘟哝着:“来来!来来!”神情傲慢。说起如今店里的客人,米歇尔又做了个比较:“本地的客人不太会跟你直接抱怨,不满意就不会再光顾。但若是外国人,尤其美国人,十分生气时便会好好与你理论一番。”

被问及沪、港两地有什么区别时,米歇尔沉吟了片刻,随后她用了一些颇为“精准”的字眼加以形容:香港有活力、节奏快、激动人心,有一种自然美。香港人待人友善,但或因她外国人的身份,很难和她成为亲近的朋友,“这可能与他们的殖民历史有关”。而上海迷人、有神秘感,也很忙碌,是一座精致、时尚的都市。“很多人说北京最‘中国’,很有文化底蕴,但我觉得上海也有十分有趣的文化。”

她评价上海人颇有些“势利”,带着与生俱来的优越感,但生活中待人平易,很容易成为朋友。她坦言,其实两座城市有许多相像的地方,都受外来文化很大的影响,十分国际化,并且对外国人而言,这两座城市都足够“友好”,很难说她更热爱哪一座:“要知道中国是一个很大的国家,上海、香港完全可以并存。”

我们询问她如何能取得这样的成功,也好奇她未来的打算。米歇尔定了定神:“我的成功一部分是幸运,但更多是努力。”14岁时,她在家乡婚宴的厨房里帮工,在这一行摸爬滚打了40年。在上海的餐厅即将迎来20周年之际,她对餐饮业也有了更深的理解——一如既往、性价比高、保证品质,是她秉承的理念。她说自己不再年轻,比起“赚钱”,会更多思考“商业”对社会和环境的影响。如今,她将更多精力放在了社会公益上,也十分关心年轻人:“上海的年轻人很乐观,觉得自己可以做各种尝试,而现下,香港的年轻人则相对悲观,这让我有些失望,希望香港能找到自己前进的方向。”

恰巧在一周前,笔者有幸与一位来自香港的年轻人做了深入交流——就读于南洋中学六年级的柯智乐。南洋中学历史悠久,多名在港校友出资为母校设立奖学金。该校与香港的往来交流活动不断,今年4月,姐妹校香港中华基金中学的师生就曾到访。小柯同学的父母分别来自香港和上海,他本人是香港籍,但长期在上海求学,一家人的生活重心也在这里。他们深深融入了上海这座城市,依赖于四通八达的轨道交通而规避拥堵的地面交通,习惯了颇为“艰深”的内地基础教育,笑言他们爱去的路边摊因城市整治关门了;当然,他们也会在假期返港探望小柯的爷爷奶奶,为出生不久的二儿子从香港购置奶粉。小柯同学并没有明确回答笔者未来有何打算,“我想过好多次,但还没想出来”——只是于他而言,未来应该有了更多元的选择。

在与米歇尔的交流中,她与我们说起一个小段子:“SAR”是特别行政区的英文首字母缩写(Special Administration Region),而每每有人问她香港回归中国后,有什么变化时,她也常会回答“SAR”——“雨后如故”(Same After Rain,缩写也是SAR)。

依稀记得,20年前,中英交接的那个7月,香港也下着迷蒙的雨。雨后的大都会似一切照旧,但细雨润物,大地也会更加坚实。

BASMAT LEVIN X THE WALL AT GLAM

By | Uncategorized

The most colourful and vibrant Wall at Glam yet with Israeli artist, Basmat Levin. Come visit before it’s over…until the end of August!

Raised in Jerusalem, Israeli artist Basmat Levin has spent her adult life as a global nomad and is currently based out of Shanghai and New York. Her pieces clearly illustrate her perspective of the people she’s met and the places she’s been: they are a beautiful tableau of vibrant, colourful and striking faces and patterns. “My way of seeing the world is through colours and images and everything I see is translated through that lens.”

BASMAT’s work can be seen on walls all over Shanghai, in Leo Gallery, ArtCN Gallery, the Kee Club, Dunhill Twin Villas, restaurants such as Salute and Ginger as well as at her studio at M50.

 

 

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