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Everyone has a favorite restaurant. Just ask. Diners are usually quite passionate about their choices. Response to our readers poll, included in this section, showed us that. But the criteria for a good dining experience varies from person to person. And it doesn't necessarily mean fine dining, although white-cloth places like The Prime Rib and Linwoods continue to wow. There are just as many devotees of such eclectic spots as The Chameleon Cafe and Peter's Inn, where chefs are dedicated to innovative food without the frippery. For us, we look at the sum of the parts—food, service, ambiance, and value. That's why, when you look at our list of 41 restaurants, you'll find a mix of settings and cuisines. We also decided that Annapolis restaurants are worthy of their own dining package, so you won't find them among this year's choices. Instead, we'll showcase them in our June issue. As we surveyed the restaurant scene, we looked at the new and the old on the list and rechecked quite a few others. You'll see some fresh-faced offerings: Cinghiale, The Dogwood and Woodberry Kitchen, whose heralded openings were greeted enthusiastically. Tabrizi's found its way on there, too, with chef Michael Tabrizi re-introducing his outstanding Middle Eastern fare. But some restaurants didn't make it for one reason or another. We'll certainly give them another visit for next year's list. We started our eating frenzy months ago. Senior editor Suzanne Loudermilk, dining critic Bianca Sienra, wine critic John Farlow and longtime foodies Mary Maushard and Linda Perlstein spread out to sample the fare of more than 50 restaurants. And eat we did. We're sated now and can reminisce about all the duck breasts, crab cakes, pomme frites in truffle oil, and desserts in martini glasses that are on today's menus. We also are appreciative of the focus on farm-to-table ingredients, and we applaud chefs like Spike Gjerde of Woodberry Kitchen and Galen Sampson of The Dogwood for making the most of local, seasonal products. What we really like, though, is that you can't pigeonhole Baltimore's dining scene. Take a look at this year's list. You'll see what we mean. There's something for everyone.
Aida Bistro & Wine Bar
7185-A Columbia Gateway Drive, Columbia, 410-953-0500. Moderate.
Deep in the heart of Columbia's dizzying maze of suburban cul-de-sacs, the sweet but sophisticated Aida lies tucked away in a nondescript shopping plaza, quietly providing pretty much everything you could possibly want in a neighborhood Italian restaurant. Aida successfully walks the fine line between bistro and cozy mom-and-pop operation by offering well-executed standards like toothsome homemade cheese ravioli and superb eggplant Parmesan alongside slightly more adventurous but equally satisfying specials like Caesar salad featuring grilled romaine and tempura Maine lobster, and seasonal entrées like grilled venison chops or quail stuffed with herbs, porcini, and Parmesan risotto. Whether homespun or high-end, the food delights with quality ingredients and careful preparations. Oenophiles take note: Aida makes good on its wine-bar designation by offering one of the most extensive and beautifully annotated wine lists around. Combine that with the pleasant, knowledgeable wait staff and lovely, low-lit surrounds, and it's no wonder Aida has become a mainstay of Columbia's dining landscape.
Aldo's Ristorante Italiano
306 S. High Street, 410-727-0700 Expensive.
It's not hard to find a good antipasto platter in Little Italy. But filet mignon topped with seared foie gras and smothered in a truffle and porcini sauce so good you'll sop up every bit? That's what Aldo's is for. The restaurant offers the standards, of course: pasta bolognese, tiramisù, an osso buco so tender you won't need a knife, though the tiny spoon offered to scoop out the marrow is a charming touch. Where Aldo's stands out is the dishes that reach beyond the Italian-restaurant trope, like the tournedos Rossini, and flavors that do not miss. Waiters provide attentive service in a series of intimate dining rooms that recollect a colonnaded, peach-walled storybook version of Italy more than they do Italy itself, but they are pleasant nonetheless. The wine list is vast, carefully selected, and diverse, though pickings by the glass are notably slim. Desserts delight, especially if you pass up the usual suspects and head for something custard-based. In particular, a marvelous zabaglione with strawberries ends any meal on a cheerful note.
Antrim 1844
30 Trevanion Road, Taneytown, 410-756-6812, Expensive.
If you make the trek out to the elegant 19th century Antrim 1844 country inn solely to savor Michael Gettier's six course, prix-fixe menu, you will be handsomely rewarded. A pre-dinner cocktail-and-hors-d'oeuvres gathering in the inn's antiques-gilded parlors will make you feel like a guest at the poshest house party around. Dinner keeps the festive vibe going with outrageously rich starters like airy salmon quenelles wrapped around silken foie gras, or the simple luxury of jumbo lump crab in a rich velouté. Entrees like delicate Dover sole beneath a luscious gratin of Comté cheese or the earthy cassoulet Toulousaine will leave you filled with pleasure. Classic French like this deserves a wine list equal to the food, and Antrim's has many treasures to pair with every course. All this is certainly worth the drive, but by evening's end, you'll wonder why you didn't book a room. Gettier's cuisine is most definitely special-occasion food, so even if you don't have a particular occasion to celebrate, invent one and go. And stay—your sleepy, sated body will thank you, and you can have that post-prandial nightcap in the cozy, fire-lit bar with impunity.
1501 Bolton Street, 410-383-8600. Moderate.
With its comfortable neighborhood vibe and easy-going menu, b continues to be one of our favorites for pretty much any night of the week. The bistro-style seating and ebullient noise level may not be the perfect match for a romantic dinner or for closing a deal, but it lends b a casual countenance that we appreciate. We regularly dine off the specials menu, figured prominently on the large chalkboard. It is there that you will find treasures like pumpkin ravioli served in a walnut and sage butter sauce, or pan-roasted duck breast. For starters, we're impressed with a simple salad dressed with roasted fennel and a zingy vinaigrette, or the never-overdone calamari. If you are interested in a quick but delicious meal on your way to other evening engagements, consider one of b's homemade pizzas. No matter what you choose, there is a focused selection of wine and imported beer on hand, including some hard-to-find labels, to complement your meal.
The Bicycle
1444 Light Street, 410-234-1900. Expensive.
Long after the frenzy for global fusion has supposedly passed, Bicycle chef/owner Nicholas Batey has found a way to make world cuisine better, fresher, more inventive than ever. He simply does it very, very well, blending quality ingredients from around the world into thrilling combinations that never taste passé. Take, for example, his appetizer of sashimi tuna and avocado tartare. Been there, done that, right? Uh, no. At a time when chefs are complaining about the lack of primo sushi grade out there, Batey's is glistening, firm, and succulent. He combines large hunks of it with cubes of creamy avocado and douses the vibrant mound of red and green with savory-sweet Balinese peanut dressing. The result is the best of its kind. The same can be said of his Mongolian BBQ beef short ribs, which feature lush, falling-off-the-bone meat in a sauce that manages to be not too sweet as well as brimming with subtle fire. With this fusion, no flavor overwhelms another, and no ingredient—from banana leaf to yucca—is used gratuitously. Service is quietly expert, capable of helping you negotiate your way through the food delights. That Bicycle also continues its marvelous tradition of offering 18 terrific wines for $18 every night, and that it's located in one of the sleekest modern digs around, makes it one of the best places in town.
The Black Olive
814 S. Bond Street, 410-276-7141. Very Expensive.
We were a tad dismayed one Friday night when, upon arriving at The Black Olive at a not-ungodly 8:30 pm, we had to press our server to give us the usual, eagerly anticipated tour of the bounteous refrigerated fish case, as if the waiter decided it was really too late to indulge in such fripperies. The wait staff seemed weary, and, although the place was full, it felt as if we'd arrived late to the party. But who can argue with the pristine items in that fish case—from bronzini to turbot and seemingly everything in between? And once we'd made our picks, our waiter luckily rebounded—quite well enough to minister to us with proper attentiveness as we plowed through platters of grilled sardines in grape leaves and supernal grilled calamari stuffed with cheeses, and then to perform an expert fillet job on our heavenly whole, sautéed Dover sole. That's what it's all about: fresh fish, a little lemon and olive oil, a proper application of heat. Add that to an award-winning wine list, and we're willing—for now—to overlook a less-than-enthusiastic reception. This is still the best place in town for simple, beautiful, fresh fish.
The Brass Elephant
924 N. Charles Street, 410-547-8485. Expensive.
This Mt. Vernon restaurant remains a classic. With its rich interior, excellent service, and menu that combines tradition and innovation, the Brass Elephant has justifiably become a mainstay of fine dining in Baltimore. The richness of the historic surroundings carries over into the food, which has deep, memorable flavors. A tomato heirloom salad alternates thin slices of red and yellow tomatoes with creamy mozzarella and a sprig of greens, although the granité atop the greens is almost too icy. The cheese plate features goat and cow's milk and an Oregon blue paired with figs, quince paste, and candied nuts. The pan-seared rockfish with sautéed peppers and a pancake laced with shrimp and scallions shows the restaurant's interest in traditional foods. The duo of lamb combines rack and leg meat and is excellent with the lamb jus and cannelloni beans. Apple strudel may seem an odd choice in a mostly Italian restaurant, but it is excellent with a flaky crust and deep apple flavor. The dark chocolate mousse torte is the kind of dessert to drown in—cake, mousse, and ganache. The fine food is matched by equally fine service, conscientious with a glad-you're-here attitude.
Brasserie Tatin
105 W. 39th Street, 443-278-9110. Expensive.
It's true that we have been disappointed in the past by some of our experiences at Tatin. We know what it is capable of and found on a couple of occasions that it simply didn't deliver. But we've been back a few times over the last 12 months and are happy to report that all is well again. Comfortable, high quality, classic bistro fare is once again the focus. It's just about the only place in town to indulge in frog legs nestled on a bed of spaghetti squash and drizzled with butter and parsley. But we really flipped for the mussels—they are big, juicy bivalves awash in an anise-infused creamy broth that reinvigorated our appreciation for this ubiquitous French restaurant offering. The eponymous tarte Tatin is decadent as well, bursting with baked apples and resting in a generous pool of caramel, all escorted by a dollop of apple sorbet. Consider indulging in one of the bar's Calvados selections, as this Normandy apple brandy is a no-brainer postscript to a thoroughly satisfying meal.
The Brewer's Art
1106 N. Charles Street, 410-547-6925. Expensive.
Go for the beer and the dessert at The Brewer's Art. Not necessarily together, though the chocolate torte does count ale among its ingredients. In a downtown brew pub with a lively crowd, the wide selection of good beers is no surprise but the good-to-the-last-crumb desserts are. The "real food" in between is good, but not exceptional, and the service can be slightly brusque. The pumpkin-leek soup with crème fraiche is an interesting, seasonal start—velvety thick and somewhat sweet, served in the shallowest of soup bowls. The Caesar salad is more traditional, though slightly dry, with white anchovies on top and Parmesan croutons throughout. The sirloin steak is delicious, if lacking tenderness, and great with the Cerberus Tripel, one of the six beers on tap that night. Accompanying the steak are healthy servings of dressed greens and rosemary fries. The suzuki, a lovely, almost sweet white fish served atop a potato croquette, is flavorful and unusual. Ah, but those desserts. The dried cherry and apple phyllo tart is luscious with crème anglaise and an apple butter and raspberry sauce. The chocolate tart is a masterpiece of dark chocolate cake, dark Proletary Ale, and chocolate ganache. These happy endings are a great match for the hoppy beginnings.
The Capital Grille
500 E. Pratt Street, 443-703-4064. Very Expensive.
Not everybody knows your name at The Capital Grille, but your server does and will welcome you soon after you're seated. This personal touch foreshadows the attention and atmosphere in this comfortably elegant steakhouse. It is also the beginning of a wonderful experience—great food in large portions, an impressive wine list, and lots of TLC in sophisticated surroundings. Much of the menu is beef—dry-aged at the Pratt Street restaurant, we were told. The signature 24-ounce porterhouse is a luscious cut that includes both the sirloin and the fillet. The swordfish jardinière is equally delicious, grilled perfectly and served with spinach, asparagus, and a light sauce. The Baltimore crab cocktail provides a great beginning, though the $19 price tag shocked us. Great lumps of melt-in-your-mouth crab are combined with avocado and tomatoes in a peppery mustard sauce, all served in a martini glass. Desserts don't disappoint. The coconut crème pie has an extremely rich, tart-like crust and a creamy center; the berries with cream combine blueberries, blackberries, and strawberries in a raspberry crème anglaise, served—again—in a martini glass. As much as the food is memorable, so is the service. The Capital Grille is impressive, especially for a chain restaurant, and it provides a capital dining experience.
The Chameleon Cafe
4341 Harford Road, Lauraville. 410-254-2376. Moderate.
There's no way to get around using the clichéd "hidden gem" tag for this adorable restaurant. Housed in a nondescript, corner rowhouse, next to a Safeway, the exterior belies the creativity in the galley kitchen. Diners get their first inkling as they traipse past the enticing aromas of the cooking station on their way to the intimate dining room in the back. Muted orange walls, colorful artwork and pale green tablecloths set a soothing stage for a flavor-packed evening. The food represents New American cuisine at its edgiest, offering clever, ethnic twists on old favorites. A gougère appetizer is stuffed with ricotta atop a salad of spicy arugula and pine nuts. Plump oysters are flash-fried in a cornmeal coating and served with sautéed spinach liquored up with Herbsaint. The food play goes on. Grilled duck breast embraces a lovely veal stock-tomato reduction, though the pink meat could have spent a few more minutes on the grill. Grilled trout arrives with steamed clams, a seemingly odd pairing that somehow works. Both dishes come with this season's vegetable darling, broccolini, sautéed perfectly, though the kitchen could have eased up on the salt shaker. A rich chocolate almond terrine and an apple-custard pastry give us a sweet boost.
1000 Lancaster Street, 410-332-7373. Very Expensive.
Charleston is a fine dining experience. The experience, however, at times overwhelms the dining. Charleston features a "tasting menu," from which diners choose a number of courses—meals are priced accordingly—each a "small-plate" serving that allows you to sample such fine fare as shellfish bisque, baby arugula with Stilton in a lemon-vinegar dressing, pan-fried wild rockfish, grilled lamb with pomegranates, country chicken, English cheese, and oysters fried in cornmeal, which are wonderful. The pre-fixe choice reduces the decision-making and offers some extras, such as a lovely cheese service. Dessert, however, is not counted as a course. At Charleston, the exquisite flavors and beautiful plates just keep coming—but each in its own time, with the proper plating and silverware. This is where the experience can detract from the food. Servers whisk plates on and off the table and replace unused knives throughout the meal. And the service, though highly competent, can be stuffy, even intimidating. We actually feel rushed sometimes, as if sitting over cocktails did not fit the house schedule. Nevertheless, with an extensive wine list, an innovative approach to dining, and artfully prepared food, Charleston continues to distinguish itself among area restaurants
Christopher Daniel
106 W. Padonia Road, Timonium, 410-308-1800. Expensive.
The menu has to win Best of Show for the most inventive descriptions in town—lobster cappuccino risotto, exotic mushroom reduction, gaufrette potatoes. Luckily, servers are knowledgeable about the kitchen's preparations. Start off with cashew-crusted lamb chops with hoisin barbecue sauce, and you won't be disappointed. Portions here will please hearty appetites, especially with the entrees. The Kurobuta pork chop with pecan stuffing and apple chutney is an immense, tender chop from a breed of pig often called the "Kobe beef of pork." The Oriental barbecue salmon with potato scallion spring roll is a creative offering, centering on an excellent center-cut fillet. Presentations are well thought out with plates in various shapes and sizes—rectangles, triangles, circles. Drizzles and dustings also give a nice finish. A flourless chocolate cake sits prettily in a swirl of raspberry sauce, while a French apple tart is rimmed by a flourish of cinnamon. Although there are crisp, white cloths on the tables, the setting veers to casual. There are even sandwiches on the menu if you have a hankering for a great burger or shrimp salad on Kaiser roll. But the prices say special occasion. You won't be disappointed.
822 Lancaster Street, 410-547-8282. Expensive to Very Expensive.
When Tony Foreman (along with wife and chef/co-owner Cindy Wolf) opens a new restaurant, buzz—controversy, kudos, general ruckus—is sure to follow. Foreman thinks of himself as an educator as much as a restaurateur, bent on raising the bar for local dining. Baltimoreans, equally known—deservedly or not—for their provincialism, sometimes balk at such educative attempts. So it is with Cinghiale, the Charleston Group's grandest exploit yet, a large and quietly spectacular rendering of an authentic Italian enoteca and osteria. Murmurs from the local fooderati included the usual grumbling about portion size (too small), noise (too loud), wine service (pretentious). The buzz increased when original chef Stefano Frigerio (formerly of Maestro) left and was replaced by Julian Marucci from Charleston—could the youthful Marucci match the former's rep? Well, here's our verdict, folks. Pre- or post-Marucci, Cinghiale is far and away the best upscale Italian in Baltimore, and it's way past time we got such a place. The food—featuring the robust and tomato-less cuisine of Emilia Romagna, Tuscany, and Umbria—is pure Italian and mostly sublime, with portions perfectly in accord with the rich earthiness of the dishes. The solicitous wine service (wait staff decants and tastes every bottle) is exactly what customers should expect from any venue that takes pride in its cellar (400 Italian bottles and counting). The bustle and noise from the gorgeous Patrick Sutton-designed rooms are in keeping with a place that's packed most nights with diners who don't care about any of the controversy. They're just there to enjoy a great dining experience, putting to rest once and for all, we hope, Baltimore's rep as a culinary backwater.
1026 S. Charles Street, 410-752-3810. Expensive.
Chef Levi Briggs has grown into the job of wielding the sauté pans at Corks quite nicely over the last year, interpreting owner Jerry Pellegrino's menu with skill and verve. Check out the merguez sausage corn dog appetizer, a spicy lamb sausage enrobed in corn batter and served up with a saffron aioli. Carnivores will stampede for the grilled bison flat-iron steak, which we enjoyed medium rare; it's slightly gamier and a bit leaner than beef, and just the ticket for a cold night. Its accompanying bacon and onion hash was a smoky, savory delight, as were the sautéed Brussels sprouts. If you hate Brussels, well, we pity you, because these are not to be missed. At the same time, vegetarians can look forward to vegetable egg rolls bursting with flavor and set in a purée of parsnips, finished with sweet-and-sour currant sauce. Wine director Chris Coker is on hand to guide you through the extensive North American wine list, and takes pride in the passel of offbeat bottles he has assembled. We're just about ready to start an office pool over when Pellegrino will spring for new carpet and some paint, but in the end, we're not going to quibble. The service is impeccable, the wines are engaging, and the food is great. Which, in the end, is all we really care about.
Della Notte Ristorante
801 Eastern Avenue, 410-837-5500. Expensive.
Dinner at Della Notte is a business casual experience. The food and service are serious while the atmosphere is comfortable. The inviting round dining room offers a view into newly chic Baltimore from Della Notte's many windows. Inside, the scene is all about food. The menu offers a wide selection of Italian specialties, such as the appetizer melanzane timbalo—stacked slices of roasted eggplant, tomatoes, cheese, and basil—which oozes with flavor. Follow up with the vitello, an entree of sliced veal tenderloin arranged attractively around a small mound of potatoes and onions, or whole, grilled bronzini. Served on a bed of vegetables, the fish has a slightly crispy, but not oily, skin that plays off the creamy flesh. Spinachaglio is a great way to "eat your vegetables." Zabaglione with sliced, marinated strawberries doesn't disappoint as Marsala slices through the velvety egg custard served in a martini glass. Competing for dessert honors is the individual round cheesecake, topped with a single raspberry and drizzled with chocolate.
The Dogwood
911 W. 36th Street, 410-889-0952. Moderate.
We've watched this sweet but ambitious little Hampden enterprise go from deli to cafe to full-blown restaurant, with an expansion this year that transformed the previously forbidding below-street venue into handsome and spacious digs for fine dining. And fine dining it is, with Galen Sampson, former executive chef at the four-star Hampton's at Harbor Court, at the helm of a kitchen devoted to cuisine of local provenance and to providing a culinary training ground for recovering addicts and the formerly homeless or incarcerated. We applaud the worthy mission, but Sampson's way with food is reason enough for a visit. The seasonal menu boasts vibrant flavors in lush combinations, like summer's grilled calamari with peak-flavor heirloom tomatoes and arugula, or fall's delicate starter of homemade pumpkin gnocchi with wild mushrooms, sage pesto, and fontina. Entrees feature prime organic meat from the likes of local Springfield Farm—say, a tenderloin of pork in cider jus—and seafood like Chesapeake oysters from the bay, thoughtfully prepared. On busy nights, the kitchen may back up, but the atmosphere and spirit of the place are so convivial, you won't mind too much. Consider eating here doing a good deed—with benefits.
The Helmand
806 N. Charles Street, 410-752-0311. Moderate.
The Helmand, perhaps more than any restaurant in Baltimore, is made for a first date. There's nothing distracting about the décor, which features Afghan crafts and low light. The plates beg to be shared. With entrees hovering around $11 or $12, even a grad student can treat. And The Helmand provides lots to talk about. Did you know pumpkin could pass as gourmet? (In a tasty yogurt garlic sauce, oh, yes.) When's the last time you went to a restaurant where the vegetarians ate as well as—or better than—anyone else? What's the difference between challow and pallow? (One's rice with cumin, one's with cinnamon; both are delicious sopping devices for the restaurants great sauces.) Desserts aren't great, but enjoy the delicious cardamom tea. Then, there's this to arm-wrestle over: Who gets to take home the leftover lamb dwopiaza?
Henninger's Tavern
1812 Bank Street, 410-342-2172. Moderate.
We're beginning to think that maybe the key to fine dining in Baltimore is to redefine the term "fine." Is it highbrow digs and valet parking, or is it more reliably to be found in comfortable neighborhood joints that consistently overreach? We'll leave that to a more substantial examination later, but in the meantime, we can attest that Henninger's is a fine choice to head for when you're tired of being hovered over. Hang out at the care-worn bar, or have a seat in the dining room that is styled in a way not entirely unlike your great-grandmother's. Tuck into the chunky lump crab cakes or Cuban-spiced pork loin accompanied by black beans and chimichurri sauce, wrapping up with a refreshingly bittersweet version of a flourless chocolate tart. Choose something to wash it all down from an intelligent selection of beers and wines, and you shall exit Henninger's quite satisfied, indeed. All that's left to do is find your car, as there is precious little after-hours parking in this densely populated section of Fells Point. Pity there's no valet.
The Iron Bridge Wine Company
10435 State Route 108, Columbia, 410-997-3456. Moderate.
The first question anyone in and around Baltimore may ask about Iron Bridge is likely to be: Is it worth the drive? The answer: Yes. Lucky are those who are close to supper at this very successful Columbia endeavor. Subtly lit fashionable environs, delicious food, and a broad array of wine choices combine to make the restaurant one of our favorite places to dine. On our last visit, we completely enjoyed our meal, ranging from chorizo sausage with a large, fresh baked, salt-encrusted pretzel and pickled onion to roasted rack of lamb with garlic custard, and an outstanding English pea risotto. The wine program, already impressive compared with many area competitors, seems to have become more focused of late with more iconic producers from every corner of the wine-producing world and more emphasis on old-world esoterica. In spite of proprietor Steve Wecker's attention being split by the opening of a second location in Warrenton, Virginia, Iron Bridge is an ironclad choice for a cozy meal with family, friends, or even a second date.
518 N. Charles Street, 410-727-1800. Expensive.
That old saw about blue being a bad color for dining rooms? Whoever came up with that bit of psychology obviously never ate at Ixia, where the electric, eye-popping blue color scheme thrills our senses and reliably jazzes our appetites every time we go. The space is more gorgeous than ever—loopy and luxurious with hot art, gauzes, beads, bangles, and judiciously applied gilding on mirrors and mantelpieces. Somehow, the effect is coolly elegant, not crazy. But maybe we salivate the minute we walk through the door because chef Kevin Miller's cooking, like the décor, just keeps getting better. Sumptuously comforting braised pork belly gets extra earthiness from chestnut purée and roasted garlic; Kona kampachi sashimi with yuzu and radish is art on the plate and in the mouth. More art: salmon prepared four ways (yes, Miller dubs it a "study of Scottish salmon")—in a tartare with chili and cilantro, pepper-seared with wild mushroom ragout, black-tea smoked and floating in dashi broth, butter poached on red lentils and chard. Wow. We floated on a food-lover's dream till late in the meal, when Ixia's longstanding bugaboo—service—reared its ugly head. Suddenly, we couldn't get our server's—or any wait staff's—attention; moreover, the dessert we waited ages for—coconut tapioca with mango sorbet— was wan and bland. We implore owner Un Kim to finally repair these flaws in what we've always found to be one of the best dining experiences in town.
Jordan's Steakhouse
8085 Main Street, Ellicott City, 410-461-9776. Very Expensive.
Jordan's doesn't try and compete with the big-boy, chain steakhouses, although if you order right, you'll get a great hunk of beef or fish. Instead, it focuses its individuality on a charming, speakeasy setting with live jazz nightly. The main room is plush with sink-into Victorian sofas and chairs and soft lighting from period lamps. The food, for the most part, supports the elegant mood. One night, you'll find a 6-ounce petite filet cooked as requested, medium rare, and butter tender with not a bit of fat. Another time, though, the New York strip, a prime cut, is gristled and over-charred. Mostly, the meal is a delight: tuna tartare with melt-in-your-mouth pearls of rosy tuna, oysters Rockefeller with applewood smoked bacon and creamed spinach, and the dish to go back for, grilled Caesar salad, a huge portion of grilled hearts of romaine with slivers of roasted tomatoes, pine nuts and Asiago and Parmesan cheeses. The crab cakes also are simply awesome. Desserts complement the hearty portions. The melted (it's supposed to be that way) gelato (we chose vanilla) with Grand Marnier and ripe, juicy strawberries, even in winter, is a palate pleaser. Chocolate pâté and crème brûlée also are worthy endings to consider.
Kali's Court
1606 Thames Street, 410-276-4700. Expensive.
Was it our imagination or just a bad night? Late last winter, a visit to this longstanding stalwart—easily one of the top seafood restaurants in town—left us wondering if something had gone terribly amiss. The food was wan and unexceptional, service was lackluster, even the romantic, candlelit dining room seemed to give us the cold shoulder. Perhaps we'd caught the very tail end of chef Rashad Edwards's tenure, just as he was leaving to take charge of Meli, the Kali Group's new venture at The Admiral Fell Inn. Whatever the reason, we were dumbfounded. And then, quick as you can say "grilled bronzini," everything changed. Right after the New Year, Damon Hersh, an equally longstanding favorite Baltimore chef (Louisiana, Red Fish), took over the kitchen at Kali's and seems to have seriously revitalized the place with his mere presence. Service is once again professional and enthusiastic, buoyed, it seems, by Hersh's creative sensibility and verve. Much of the menu remains the same, but Hersh has already introduced some knockout additions to the mostly seafood menu—a succulent little appetizer of quail stuffed with a Grecian medley of spinach, pine nuts, and feta, and nestled on a bed of black lentils; a deeply flavorful hunk of mahi mahi (not our favorite fish, until now) accompanied by crispy oxtail-stuffed dumplings and Brussels sprouts with smoky bacon—and plans to add more. Even those gorgeous digs felt as seriously sexy as ever. We say, "Welcome back," to both Hersh and Kali's.
25 Crossroads Drive, Owings Mills, 410-356-3030. Expensive.
When Linwood Dame opened his namesake restaurant more than a decade ago, it was praised for its innovative open kitchen, creative fare and sleek New York-style design. It's nice to know that Linwoods keeps standing up to the test of time. The chic look is the same, and the kitchen turns out inspired dishes for diners who travel to the suburban outpost. A wild mushroom tart and pan-seared diver scallops will get you off to a happy start. The restaurant claims its crab cakes are the "best in Maryland," and while we're not decreeing a winner, the two fist-size balls are all lump crab and will appease even the most finicky local. The beef tenderloin is a carnivore's delight with sliced, rare beef in a black-pepper sauce. It's the perfect partner for a cone of heavenly truffle-infused pomme frites. The kitchen also turns out glorious desserts, like custard-filled beignets—three miniature pastries filled with custard and served with a warm chocolate sauce—and pumpkin bread pudding in a properly decadent caramel sauce and lush pillow of fresh whipped cream.
Nasu Blanca
1036 E. Fort Avenue, 410-962-9890. Expensive.
Sometimes we think it's best to forget the quirky concept behind Nasu Blanca (half-Japanese, half-Spanish, and never the twain shall meet) and think of it as something else entirely, something less, well, conceptual: as an elegant, understated venue for equally subtle but striking cuisine. Okay, so the wine list is composed of nothing but very nice selections of sakes and Spanish wines. Similarly, the appetizer menu is carefully divided between "zensai," like a knockout lobster tempura or a silky dish of Japanese eggplant, and tapas, like a truly fine and simple pan con tomate (grilled bread rubbed with cut tomato, excellent olive oil, and garlic) and luscious white bean soup studded with chorizo. But get beyond those categories and the entrees reveal a certain loosening of strictures. To wit, a very American grilled strip steak paired with pimenton-sprinkled fingerlings, Cabrales butter, tempranillo reduction (Spain, no problem), and tempura Vidalia onions (Japan? Georgia? Say what?). Likewise, we're hard-pressed to guess the provenance of seared sea scallops with beet vinaigrette and mushroom ragout; all we know is it all tastes damned good. We love the food here; we love the hip downstairs bar with its scrumptious fancy cocktails; we love the sophisticated Rita St. Clair décor. So forget about the great Spanish/Japanese divide. They're just the two cuisines that chef David Sherman likes to play around with, and we're happy to mess around in his playground any time.
The Oceanaire Seafood Room
801 Aliceanna Street, 443-872-0000. Very Expensive.
The restaurant chain sets the stage for diners to be transported to a different time and place. The retro relish tray, sleek, red banquettes, and crooning music exude the 1930s and '40s. And it's not a leap to imagine you're onboard a luxurious ocean liner in a chic dining room heading toward an impressive destination—in this case, a mountain of food that will leave you wanting a deck chair afterward. Seafood is the star, with fresh fish selections changing daily. On a recent visit, diver scallops were magnificent, perfectly cooked specimens but the kitchen is too heavy handed with the Old Bay. It doesn't make sense since there's a can of the spice blend on the table if diners want to indulge. We also opt for the dressed-up wild rockfish with a tantalizing chipotle-honey glaze and yummy fried leeks. But the "oh, my" moment comes when the broccoli with Parmesan is delivered to the table. These Gulliver-size stalks could boost the veggie intake of many, many people. The potatoes au gratin, another huge serving, is addictive with the addition of white truffle oil. Save room for desserts. The tableside flaming of the baked Alaska is fun with delicious results, and the Key lime pie will make any Floridian proud.
1425 Aliceanna Street, 410-534-7296. Moderate.
There's probably no more stylish dining room in Baltimore than the one at Pazo, which manages to be at the same time industrial and elegant, soaring—with cathedral ceilings—and intimate. The food, too, covers a great expanse, from homey to daring, often in the same dish. The first hint comes to the table in the form of sunflower-seed crackers, which pull off both savory and sweet. Menu items seen many times before are reinvented in the best ways: smoky eggplant dip, an elegant dish that pairs braised lamb shoulder with perfectly chilled chops, an ice-cream sandwich nestled in brioche. It's sort of pretentious when the waiter announces that a journey through the small plates on the menu will "surprise your senses all night," but he's absolutely right. The word most associated with Pazo since it opened three years ago is "trendy," but in a good way. An expansive menu of treats you won't find anywhere else? Innovative cocktails? Consistent execution and service? While we're at it, free valet parking? These are some trends we'd be happy to see other restaurants follow.
Peter's Inn
504 S. Ann Street, 410-675-7313. Moderate.
The decor at Peter's Inn is cozy and odd. The trophies and wood paneling in the tiny back room evoke a 1970s rec room, the bulletin board advertising old pickup trucks for sale evokes a dive, and the giant mounted swordfish that peers over a framed print of Anne Frank evokes … who knows what? The menu is less idiosyncratic, centering on simple but never boring comfort food. On one recent visit, shrimp and grits were transported to a higher plane with discs of chorizo and a tomato "fondue," and the duck breast in a composed salad was so perfectly cooked as to be a revelation. The menu rotates each week and (unlike the ample beer selection) stays small, about eight dishes, some of which can pass as starters, but all of which are usually big enough for a meal. Typically, a constantly changing menu implies the chef is at the market selecting what's great that week, which makes it strange that, at Peter's, asparagus and fresh cherries might land on your plate in the middle of winter. But still. When the cherries are an extra bonus alongside a pitch-perfect dish of cappuccino-hazelnut gelato, shortly before the crazy-low bill arrives on a kitschy tourist ashtray, nobody seems to mind.
Petit Louis Bistro
4800 Roland Avenue, 410-366-9393. Moderate.
This charming restaurant revels in the ambiance of a friendly neighborhood wine bar in France, except there are no dogs accompanying their masters like you see there. You'll feel very cozy with your neighbors, though, since the tables are close and the noise level is loud. It's not a place for a private tête-à-tête. Instead, focus on the fine French comfort food and excellent selection of French wines by the glass and bottle. The wait staff is helpful on both accounts. You can count on Louis's famous onion soup, a flavorful broth with just the right amount of onion and gooey Gruyere, and the duck foie gras, classically prepared with a layer of duck fat on top and served with buttery crostini—although this rich dish isn't for the weak of heart. Bistro mainstays like steak frites with a generous mound of crispy fries, and coquilles St. Jacques in a light wine sauce are true to form. End in style with cups of French roast and a decadent chocolate pâté with crème anglaise, or a delectable crème caramel.
The Prime Rib
1101 N. Calvert Street, 410-539-1804. Very Expensive.
The Prime Rib is, of course, a Baltimore institution and the closest thing we have to a genuine supper club since the days when live jazz in Baltimore was as common as sno-balls in July. The tinkling of standards on that Plexiglas grand piano, the courtly waiters in their tuxedoes, the crazy leopard skin carpet, the lustrous black walls with their dramatically lit art . . . what more could you want in retro luxe? We admit there were times in the past when these glories made up for food that we sometimes felt was overpriced and underwhelming. But on recent visits, those monumental slabs of eponymous beef, the outrageously sinful deep-fried Greenberg potato skins, the intensely flavorful dry-aged New York strip were better than ever. Last visit, we strayed from the well-trodden, four-legged path and also ordered imperial crab-stuffed flounder—a retro dish if ever there was one—and were rewarded with the ne plus ultraof this succulently old-fashioned creation. And speaking of old-fashioned, now that Marconi's is defunct, where else can you get a hot fudge sundae for dessert? Don't forget, gentlemen: jacket required. Would you have it any other way?
720B Aliceanna Street, 410-659-0099. Expensive.
In a dining scene swimming in excellent seafood, Roy's holds its own. This Hawaiian-based chain showcases a menu awash in seafood and tropical influence. One of many restaurants in Harbor East, Roy's also offers diners a look at the passing scene and a bustling atmosphere that is noisy but fun. Roy's serves sushi and sashimi and some unusual seafood selections, as well as nontraditional preparations of more traditional fare. Take the calamari, for instance. It's probably not like any you have ever eaten. Slightly breaded and fried in a wok, it comes with stir-fried vegetables and a Mongolian chili kick. The blackened island ahi tuna, just warm in the center, provides a milder beginning. Some dishes, such as the ahi, are "Roy's classics," served in all its restaurant. Others are specific to a location, such as the spicy lemon-grass sea scallops. These silver-dollar-sized scallops, each perched atop a vegetable tempura roll, provide an unusual presentation and wonderful flavors. Another entree, a bacon-crusted ono, contrasts a heavy smoked flavor with a mild fish and plays off curry and black Thai rice with a bit too much coconut. The hot chocolate soufflé is a signature dessert large enough for two. The cake, with its hot, gooey center, is luscious with ice cream and raspberry coulis. It takes a while to prepare, so order early or enjoy the wait. It's worth it.
Ruth's Chris Steak House
multiple locations including Pier 5 at the Inner Harbor, 711 Eastern Avenue, 410-230-0033, and 600 Water Street, 410-783-0033. Very Expensive.
The theme of Ruth's Chris Steak House is abundance: lots of dressing on the salads, lots of inquiries from the wait staff about how you are doing, lots of butter sizzling on nearly every plate that comes out from the kitchen. If you've ordered a gigantic steak to nestle in that butter—and why else would you be here?—you're in luck. When it comes to meat, every bite at Ruth's Chris is perfect, most certainly if you order a strip or a T-bone. In a world where restaurants think they're doing customers a favor if they call a pinkish brown steak "medium-rare," this is a place that knows the value of red. Nothing else you order will be memorable—not the veggies, not the underseasoned potatoes, not the mammoth desserts. But you won't soon forget the beef. There are several branches in the area, including two downtown that are just blocks, but worlds, apart. The Water Street restaurant has the feel of an old-school club (albeit one that is happy to count everyone as a member), while the Pier 5 location lights up with tourists, younger diners, and a more modern décor. This is a national chain, still, so everything that arrives on the plate is exactly the same no matter where you're eating it.
2127 E. Pratt Street, 410-276-5480. Moderate.
Yes, it's impossible to find a parking space anywhere within shouting distance of Patterson Park's Salt; yes, the place is always crowded and loud; and, yes, those massive green lamps above the bar are, uh, peculiar. Oh, and then there are the foie-gras protesters, who seem to show up a lot. But all are tiny inconveniences in the face of Salt's awesomely sterling attributes. Little details, like the remarkable tomato tapenade and house-baked olive bread that arrive the minute you sit down, will instantly make you forget everything but the happiness of being here. With starters like homemade agnolotti stuffed with oxtail and tallegio, and dolloped with roasted grapes and Madeira . . . you won't care if you hiked a mile to get here. Entrees like creamy, chunky monkfish osso buco over toasted faro, smoky bacon, pine nuts, and grilled radicchio are worth wading through a sea of protesters. (Frankly, the dish that causes all the fuss—kobe beef sliders topped with foie gras—is likewise pure heaven.) And the crowds? They're here because, like you, they're eating chef Jason Ambrose's fabulous food and having a fine time. Come feel the noise. Even those crazy lamps start to grow on you after a while.
Sotto Sopra
405 N. Charles Street, 410-625-0534. Expensive.
Sotto Sopra can be considered a Baltimore stalwart, having first bowed in these pages back in 1996. But Riccardo Bosio's comfortable, attractive space continues to serve up fine fare that's worth going back for. We've noticed that the menu has tightened up quite a bit over the last year, and we believe it reflects a renewed focus from the kitchen. On our most recent visit, we eschewed the dining room for a more casual dinner at the bar. It was difficult to resist pigging out, as every menu selection beckoned our taste buds. After homemade pasta smothered in wild mushrooms and veal stock, and an impeccably prepared piece of pompano, we struggled to polish off the warm apple strudel with crème anglaise. But polish it off we did, dear reader, with the last dregs of our delicious bottle of chiaretto and a little digestive help from an amaro. We keep meaning to check out Sotto Sopra's Opera Night, when a prix-fixe menu of $55 is complemented by live opera singers. It sounds to us like great fun but sells out quickly, so call well in advance if you want to give it a whirl.
500 Harborview Drive, 410-727-3663. Moderate to Expensive.
We love a comeback story, especially when the narrative involves the welcome return of a successful and much beloved local restaurateur. Sometime in the 1990s, at the peak of his success, Michael Tabrizi left the business to explore other opportunities, leaving behind a legion of fans devoted to his Mediterranean cooking—his elegant, utterly authentic homemade hummus and baba ghanoush, his lamb-stuffed grilled grape leaves, his tabboulehs and kibbes and kabobs. Back then, such ethnic delights were relatively new to Baltimore; now, the cuisine of the Middle East is everywhere. But when Tabrizi moved into his new, stylish digs at 500 Harbor View last summer, food fans quickly learned that the Master was still, well, the Master. Tabrizi is back, and is, as the tagline goes, better than ever. His Middle Eastern favorites will remind you of why you fell in love with all those lovely mezze in the first place; his way with grilled seafood gives the local competition a serious run for its money; and his sophisticated French, Asian, and Italian-inflected entrees open up the repertoire just enough to keep things interesting. Add to that the quietly posh surrounds, the spectacular view (this may be the one place in town where view and food are evenly matched), crack service, a decidedly interesting wine list, and it's easy to see why we're expecting the Michael Tabrizi story to be a blockbuster hit.
8293 Main Street, Ellicott City, 410-465-4004. Expensive.
Enter the vestibule of the quaint, 19th century home turned restaurant and you'll feel like a family guest rather than just another paying customer. You're greeted enthusiastically as coats are whisked away and you're escorted to one of the six intimate dining rooms. The staff is solicitous but not obtrusive. And the pleasantness continues until you walk out the door with a wrapped, beribboned packet of biscotti "from the chef for your morning coffee." On our last visit, we settled into the intimate bar area with two tables for two and a fireplace casting a romantic glow with tiny lights. It didn't take long for our love affair with Tersiguel's to begin anew. How can you not be seduced by chickpea crepes filled with goat cheese and topped with sun-dried tomatoes, duck in two styles—leg confit and seared breast in a piquant apple reduction with red cabbage and spaetzle—and coquilles St. Jacques,plump scallops and red-beet risotto drizzled with a passion-fruit vinaigrette? The flavor flirtation continues through dessert with an ethereal pear tarte Tatin and a rich coffee brûlée. Isn't love grand?
2901 E. Baltimore Street, 410-327-3333. Moderate.
We've already sung the praises of Three… a few months ago, so this installment is simply an affirmation of what we already knew. And that is that Three…, the punctuation-laden Patterson Park bistro, is a great place to grab a meal and a drink. And there certainly is drink aplenty, from organic apple cider to intoxicating red wine from isolated villages like Montpeyroux, France. Food here is focused on small plates, allowing for a dazzling parade of flavors to cross your table on any given visit. On one such occasion, we helped ourselves to chick-pea soup, endive stuffed with grilled eggplant, roasted fingerling potatoes and arugula, roasted beets drizzled with fine extra virgin olive oil, a venison chop, fried cauliflower fritters, and a slice of Dangerously Delicious Key lime pie. As you can imagine, we were in a stupor at the end, and that has as much to do with the fact that our bill came to $86 after all that. Include the most expensive bottle of wine on the list, and our tab still clocked in under $150 for two absolutely stuffed and sated food lovers—two diners that will always be happy to return to Three…
Timothy Dean Bistro
1717 Eastern Avenue, 410-534-5650. Expensive.
About three years ago, Timothy Dean—protégé of the likes of Jean-Louis Palladin and Alain Ducasse—landed in Baltimore after a short but peripatetic career in some of the swankiest kitchens around. His charming, jazzy little Fells Point boite was an immediate hit, due largely to Dean's rich and imaginative cooking and his equally expansive, hail-fellow-well-met personality, often in evidence at the front of the house. But service problems and kitchen snafus had always dogged the place, and that unevenness was one reason TD disappeared from this list last year. Since we've always been big fans of Dean's New American and slightly Southern take on French cuisine (think fabulous butter-poached lobster with decadent macaroni and cheese, or foie gras with rhubarb and huckleberry sauce), we're delighted to report that those service issues seem to have disappeared, perhaps due to the hiring of a consultant a while back. And the food? Better than ever. Try the velvety Palladin chestnut soup with braised duck leg ragout and shallot confit to start; continue with a simple but divine free-range roasted chicken (a guy who's mastered this art always gets our nod) with white truffle mousseline; and, to finish (just in case you haven't sated your truffle fix), try the deeply decadent black truffle ice cream. A bonus is the eminently reasonable wine list studded with terrific bargains. TD himself is just as much in evidence as always, and still charmingly cagey about his recipes. Is it really plain old grapeseed oil that gives your spectacular crab cake that crispy, smoky goodness, Chef Dean?
The Wine Market
921 E. Fort Avenue, 410-244-6166. Moderate.
What a lovely, inexpensive way to spend an evening, strolling around The Wine Market's copiously stocked storefront wine shop is. Pick out a couple of good bottles, and then stroll over to the big dining room in back to sample them (for a delightfully reasonable corkage fee of $9, way below markup) with the restaurant's terrific, wine-friendly food. Small plates, like the three-cheese plate with quince paste and cardamom spiced almonds, or a killer house-made pork pâté with apricot brandy compote, vie with fabulous flatbread pizzas as perfect nibbles for sharing. More substantial starters—smoked trout Napoleon layered with wonton crisps and green apples is a standout—could comprise a light dinner paired with salad, but why pass up the chance to sample the meltingly good African barbecued lamb shank with plaintains, yams, and dried currant hash. Amble back to the wine shop and pick up, say, a nice South African pinotage, and you've got yourself a fine pairing. Ah, the possibilities are endless. Well, not quite. With 900 bottles for perusing, you've got precisely 899 pairings to go.
Woodberry Kitchen
2010 Clipper Park Road, 410-464-8000. Moderate.
It is into the current atmosphere of concept restaurants and stylized fine dining that Spike Gjerde has pitched the Baltimore dining scene a major curve ball. Along with sommelier and partner Nelson Carey, he has opened a place devoted to serving you supper: uncomplicated, unadorned, and decidedly unpretentious. This simple idea is married to a commitment to recyclable and renewable approaches that inform every aspect of the endeavor, from the reclaimed wood bar to partnerships with local producers who practice low-impact farming. We're already devotees of affordable favorites like fried squash rings, cider-brined pork chops, and especially carrots and their tops—succulent roots finished in a sauce derived from the greens. But we're looking forward to what warmer weather brings; Spike's dedication to local and sustainable farming means that his menu is highly seasonal, so don't become too wedded to any one dish. Nelson Carey has populated the wine list with organic and biodynamic offerings from around the world, and several local favorites as well. The atmosphere could be described as rustic minimalist, providing the warmth of a lodge but stopping well short of being overtly Yellowstone. Kids are welcome with a special menu of their own, and we're pretty sure this is the only joint in the area that employs a barista, ensuring the very last thing you taste from Woodberry Kitchen is as delicious and lovingly prepared as the first.


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Passkey.com Launches Event Registration Passkey.com, Inc. (www.passkey.com), a Quincy, Mass.based convention and group reservation management technology firm, now offers event registration as an integrated component of its group housing services.
Passkey.com President and CEO Roger Paradis unveiled the new offering at the International Association for Exposition Management Annual Meeting at the Miami Beach Convention Center in December, saying that the decision to add integrated event registration to the company's popular group housing services was based on "strong demand from customers."
Passkey.com is offering convention organizers and meeting planners three options for preregistration integrated with housing:
* Simple template-driven registration. This enables meeting planners to set up their own registration pages using predesigned templates, and offers a comprehensive selection of online reports.
* Custom registration. This lets planners design their own event registration pages, with Passkey.com's technical staff building pages to their specifications, with the look and feel they desire. Meeting planners may also select from a library of online reports to address specific needs.
* Linked registration. Passkey can connect directly to current event registration services through an application programming interface (API) solution.
Passkey.com's client list has grown to include 18 convention and visitor bureaus throughout the U.S.

subset: commoncrawl


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Shimano 105 RD-5701 Rear Derailleur $59.99
Like buying last year's Dura-Ace.
As 105 adopts all of Shimano's best features year after year, the latest 105 components eclipse Dura-Ace and Ultegra from just a few years ago that, at the time, cost twice what today's 105 does. Case in point–the Shimano 105 RD-5701 Rear Derailleur.
The pivots on the body of the 5701 derailleur are wider than the previous model, and are thus better to resist flexing and twisting when you shift under load. That's the secret sauce for better, faster shifting. As always with 105, this is a trickle-down design from Ultegra. So that ultimately means that it will work with 6700 shifters without problem. It will also work with older Ultegra (6600 and SL) shifters.
Compatibility aside, the differences between this derailleur and a Dura-Ace changer are many. The most obvious is that this 105 derailleur isn't as light. There's more metal, and the pulley cage is made from aluminum rather than carbon fiber. Also, the pulleys run on bushings instead of bearings. The cage design, along with the pulley cage placement, allows this derailleur to work with cogs as tall as 28 teeth -- nice for those who want a really low gear, yet still have fast shifting.
The Shimano 105 RD-5701 Rear Derailleur is designed to work with double chainrings and 10-speed cassettes. The total chainwrap capacity is 33 teeth, The limit screws are on the back of the derailleur, just above the barrel-adjuster, and can be accessed from the rear.
What community has to say
What do you think of the
Shimano 105 RD-5701 Rear Derailleur
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Sometimes cheaper is better!
Member since
- Familiarity: I've put it through the wringer
To me the RD is a workhorse. I live in the mountains so climbing is as natural as pedaling. I mainly stay in the big chainring upfront so the FD gets limited use unless I am really needing to gear down to climb. The cassette gets a workout and a wearing to say the least. I have never had a issue with the RD for the most part other than eventually it gets a bit out of tune but that is a simple adjustment fix. I highly like the 105 RD and you will too unless you just need to brag about your fully equipped DA bike!
Classic Shimano Quality
Duncan Poling
Member since
Crispy shifts and years of faithful service... what more can one say? No Ultegra or Dura Ace, but for the money... I will stick with 105.


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'Beasts' Star, Youngest Oscar Nominee, Poised After Nod
Nine-year-old became the youngest Academy Award nominated for best actress
Quvenzhane Wallis's parents have started her on the road to a successful acting career really young. After making a smart choice to star in "Beasts of the Southern Wild," one of the most critically acclaimed independent films of 2012, Wallis on Thursday became the youngest person nominated in the Academy Awards' best actress category. At just 9-year-old, Wallis is said to be taking the news in stride. "I woke up, and (my mother) said, 'You've been nominated! You're nominated!'" Wallis said of learning she's up for the award. "I was like, 'Oh my God!' But it was on the inside. It wasn't on the outside." Wallis has never watched an Oscar ceremony; but like any pre-teen, she would be excited to attended and meet "everyone from the Disney Channel and Nickelodeon – but not Nick at Nite." Wallis has been nominated for a Spirit Award and already has some awards under her belt, for her performance in "Beasts." (Associated Press)


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BVLGARI L'Essence
Eau de Parfum Spray 1.7 fl oz (50 ml)
Offers & Perks
Jasmin Noir is a flower of the imagination. It is white, immaculate, and conveys pure mystery, revealing intriguing sensuality at nightfall. A precious floral woody fragrance with ambery accents centered around one of the true perfumery jewels: the jasmin flower. |
BVLGARI Parfums USA Inc |


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Hand Wash Only
Re-Wax when Required
If out of stock, select size and click here to request
Private White V.C are proud to introduce the legendary and iconic: Twin Track Jacket in Apple Green Waxed Cotton.
The Twin Track is the only Jacket with dual sizing technology, the only outerwear garment that will take you from Autum through to Spring.
Made in Manchester, England from the finest British waxed cotton fabric from our good friends at British Millerain, the Twin Track encapsulates quintessential British quirkiness effortlessly and stylishly.
Starting with our twin track technology. The jacket carries a 6cm centre front fabric panel which enables the jacket to be worn over thick knitwear during the colder months, try a Private White V.C Guernsey or Frenchie Knit. For Spring, zip out the front panel for a more snug fit, perfect for wearing over thinner tops such as shirts or T-shirts.
We have included 4 front patch packets all with extended pocket flaps to create an envelope pocket for extra security. Top left chest pocket as worn is angled towards the centre front to enable easy access.
The 2 large lower pockets are lined in super soft micro fleece for warmth and additional comfort. All pocket stress points are secured with tonal bar-tacks and fastened with copper studs.
The top collar is made from lamb Nappa with under collar Vandyke top stitching detail. The collar stand is multi stitched with cord trim on the inside collar stand. There is also an additional shaped neck tab with a 2 stud adjustable fastening.
Belted at the waist with a copper blanket clip and adjustable stud fastening. The mustard coloured tweed lining (100% wool) ensures this piece is as warm as it is stylish.
* Made in Manchester - England *
You can view international shipping rates HERE
Please try item in the comfort of your own home. Feel free to return the item, you have up to 14 days to do so. Please see Delivery and Returns for more information/details.


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HONDURAS - N.P.R. radio reports on most violent country in the world
"Despite the call for Zelaya's return by nearly every other country in the hemisphere, Washington chose to back new elections, which were condemned internationally because of widespread violence and repression."
NPR radio report, part 1:
February 11, 2012
To listen: http://www.npr.org/2012/02/11/146668852/in-honduras-police-accused-of-corruption-killings
(This is the first of a two-part series about the roots of violence in Honduras)
Honduras is hot, mountainous and about the size of the state of Louisiana. According to the United Nations, the Central American nation is also the world's most violent country. A mix of drug trafficking, political instability and history has contributed to a murder rate that is now four times that of Mexico. The Peace Corps has withdrawn its volunteers. Contributing to the volatility are the police themselves.
NPR radio report, part 2:
by Annie Murphy, February 12, 2012
To listen: http://www.npr.org/2012/02/12/146758628/who-rules-in-honduras-a-coups-lasting-impact
(This is the second of a two-part series about the roots of violence in Honduras)
Honduras is a major stop for drug traffickers, and corruption is rampant. Many experts say things got markedly worse after the 2009 coup that ousted democratically elected President Manuel Zelaya. The fallout of that coup continues today.
'What Is This?'
When it comes to coups and dictators, Latin America has a difficult past. Today the region is largely democratic. Dictators and coups are supposed to be a thing of the past.
In Honduras, the last dictatorship ended in 1982, so the June 2009 coup that ousted Zelaya was a shock to the region and a surprise to world leaders, including Zelaya himself.
"The shooting started around 5:20 am. I went downstairs, and there were about 250 masked soldiers around my house," he says from his home in Honduras' capital, Tegucigalpa. "All you could see were their eyes. I said, 'My God, what is this?'"
The military whisked Zelaya out of the country on a tiny plane and left him in Costa Rica. "They took off, and there I was. The democratically elected president of Honduras, standing in my pajamas in the middle of a runway in Costa Rica," Zelaya says. "I said to myself, 'So this is that great new future everyone is talking about for Latin America?'"
After two years spent in forced exile, he returned home last year as part of negotiations for Honduras's re-entry into the Organization of American States, which it had been kicked out of after the coup.
The military coup that ousted Zelaya was ordered by members of the Supreme Court and carried out by the military. Zelaya had been pushing for a poll to gauge public interest in rewriting the constitution, and the court ruled that it was illegal.
Police Brutality
After ousting Zelaya, the coup government sent the army and police into the streets. They began arresting, beating and even killing anyone who protested against the new government. According to an official truth commission, they were responsible for at least 20 deaths in the immediate aftermath.
Edgardo Valeriano is a medical doctor and researcher. He'd never been political, but after the coup, he joined protests demanding democracy and Zelaya's return. Like many protesters, he was beaten. His skull was split open by batons, and police lashed him with chains. Valeriano says he feels like Honduras went back to the 1980s.
"I remember those years well. I was a student in medical school back then, and I remember how some students would show up tortured by the police," he says, "stories on the news about other young people that had been brutally tortured, whose bodies would turn up at different spots in the capital. There was an atmosphere of strong repression."
Former President Rafael Callejas ruled from 1990 to 1994, and his election marked the first time in 60 years that power was transferred peacefully between two major parties. He believes Zelaya is too brash, but says illegally ousting him has had huge repercussions.
"We're in a crisis. We went back 20 years. We lost again the issue of democracy," Callejas says. "Who rules in Honduras now? Really? Who rules? The people? The system? Or strength? I mean, that's the question that has to be solved."
U.S. Reaction To The Coup
For over a century, the U.S. government has had significant influence in Honduras, from the era of U.S.-owned banana plantations, to military and economic ties that endure today. Because of that history, the U.S. response carried a lot of weight.
Fulton Armstrong is a former CIA analyst and was working as a senior staffer on the Senate Foreign Relations Committee during the coup. He watched the U.S. response unfold.
"After the coup, a lot of the line taken here by pro-coup people was that the coup was the restoration of democracy, and they sold that in Washington," he says, "but when you look at what was actually happening in Honduras, he really was a continuation of a halting but definitely forward-moving consolidation of democracy."
Despite the call for Zelaya's return by nearly every other country in the hemisphere, Washington chose to back new elections, which were condemned internationally because of widespread violence and repression. Polls were held, and five months after Zelaya's ouster, Porfirio Lobo was elected president. Eventually, the crisis was declared over, but violence has only increased.
Cresencio Arcos was ambassador to Honduras in the early '90s and has been involved in the country for decades. He says the Obama administration failed to take a firm position regarding the coup.
"And I think this stems from the following: that Latin America is an orphan in our foreign policy. I don't think we have a defined policy," Arcos says. "We had one during the Cold War, they were our allies. After the Cold War ended, we never redefined, we never retooled."
Defining The State Of Affairs
Many here say the outcome of the coup is what pushed Honduras to where it is today: the world's most violent nation, according to the United Nations.
Valeriano says it was shocking that in the 21st century, they could pull off a coup. If the president can be taken out of a country and have his rights taken away, the doctor says, without a trial or anything, then what becomes of your average citizen?
(Annie Murphy is a fellow in the Investigative Reporting Program at the University of California, Berkeley's Graduate School of Journalism.)
Annie Murphy
Keep on sending copies of this information, and your own letters, to your own elected Canadian and American politicians and government officials, ... and to your local media. Since the June 2009 military coup, that ousted the democratically elected government of President Zelaya in Honduras, the governments of the USA and Canada are the governments that have most supported and legitimized the post-coup, repressive regimes of Honduras. North American companies and investors have increased their business activities (mining, tourism, maquiladoras, bananas, etc) in Honduras since the coup. In no small part, this illegitimate, repressive regime remains in power due to its political, economic and military relations with the USA and Canada.
- Please re-publish and re-post this article, citing author and source
- Donate to support: victim and survivor, founded human rights organizations, and indigenous and campesino organizations.
- Create your own email and mail lists and re-distribute our information.
- Send this information to your own Member of Congress and Senator, and to your own media and Fund and Support the pro-democracy National Resistance Front in Honduras
for civil society organizations working for the pro-democracy movement in Honduras, make check payable to "Rights Action" and mail to:
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Warner hits out at Fifa for "lies"
Jack Warner has accused FIFA of "devastating lives" and damaging football in the Caribbean in an attempt to clean up their image.
FIFA, who last month charged 16 Caribbean officials over the bribery scandal, have also terminated a multi-million pound TV rights deal with the Caribbean Football Union (CFU).
Warner, who resigned as FIFA vice-president and CFU president in June after himself being charged with bribery, said he had prepared to be the "sacrificial lamb" and had been led to believe FIFA would not pursue the matter.
FIFA last month announced the Caribbean officials who would face ethics committee proceedings in connection to the meeting in Trinidad on May 10 which led to former presidential candidate Mohamed Bin Hammam being banned for life for giving bribes totalling around one million US dollars (£610,000).
Warner told the Press Association: "When I resigned from the FIFA of my own volition, it was because I was prepared to pay the ultimate price and become the sacrificial lamb for alleged wrongdoings prior to the FIFA elections.
"I was led to believe that that would have been the end of the matter as far as I was concerned.
"Never did I believe that the FIFA would have engaged in such an acrimonious battle with the Caribbean Football Union, an organisation, which for 33 years has served the FIFA well and had demonstrated its loyalty not only to the FIFA but its president [Sepp Blatter].
"Such ignoble pursuit has nothing to do with the cleansing of corruption within the FIFA but rather to offer the perception of an aura of cleansing within the FIFA.
"In their pursuit they have devastated the lives of many persons, destroyed many golden friendships which were forged over the years and sadly affected generations of footballers to come within the region of the Caribbean.
"All this has been perpetuated by the men of the FIFA's gentry who were once viewed as friends of the CFU. This is done in the name of seeking to cleanse the FIFA of all corruption."
Warner also criticised FIFA for not investigating Chuck Blazer, the American FIFA member who blew the whistle on the bribery.
Blazer, who worked under Warner as general secretary of CONCACAF for more than a decade, has confirmed he receives a percentage of the federation's sponsorship deals as part of his salary package.
Warner added: "To maintain their whiteness, their whistleblower must never be tainted and so their [FIFA's] bias, their prejudice and their partiality continue unabated favouring a certain kind of people and damning another."
FIFA terminated a multi-million pound 2014 World Cup TV deal with the CFU after discovering the rights had been sub-licensed to a company owned by Warner.
The CFU were told in a letter from FIFA they had not approved the sub-licensing deal with Warner's company JD International (JDI).
Warner sold the rights to Jamaica-based cable TV station SportsMax in 2007 for a fee reported to be between 18million and 20million US dollars, though that included the 2010 World Cup as well.
FIFA were also owed several payments dating back to 2009 for the rights, which covered 29 Caribbean countries.


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'Angela Hewitt's Bach has long been a thing of wonder' (The Daily Telegraph) Angela Hewitt's acclaimed recordings of Bach on the piano have received the highest critical acclaim and found their way into thousands of homes, selling nearly 400,000 copies since her recording of the Inventions burst onto the scene in 1994. Now for the first time Angela's complete solo Bach is available as a boxed set of 15 CDs at a special price. A perfect gift for the few music-lovers left in the world who have not experienced these matchless performances; and for those who have, a chance to fall in love all over again. |
Other recommended albums
Italian Baroque Trumpet Music
Helios (Hyperion's budget label)
Vivaldi: The Complete Sacred Music
11CDs Boxed set (at a special price)
Bantock: Orchestral Music
6CDs Boxed set (at a special price)
Purcell: The Complete Sacred Music
11CDs Boxed set (at a special price)
Introduction |
Ill take it! said Ted Perry, Hyperions managing director over the telephone. But you havent heard it yet! I exclaimed. I dont need toI know it will be good, was his reply. But only if you agree to record the complete Bach. My dream had just come true.
That was in early 1994 when I had taken it upon myself to record a CD of the Two- and Three-Part Inventions, along with the Chromatic Fantasia and Fugue and the C minor Fantasia. Eight years before, Deutsche Grammophon had released a Bach recording I had done for them soon after winning the Toronto International Bach Piano Competition. It sold extremely well, got great press, and was nominated for a Gramophone Award. From what I understood, however, their marketing department decided I was not catchy enough to continue making records for them. So I bided my time, gave a huge number of concerts, learned more repertoire, and continued to grow as an artist and person. That wasnt a bad thing. But by late 1993 I simply was not willing to wait any longer. As is typical of me, I took matters into my own hands. I got some funding from a Canadian investment bank, Wood Gundy (thanks to their London manager who had been a chorister in my fathers choir in Ottawa and had grown up in our neighbourhood), and also from the Canadian High Commission in London. The rest I put in myself. I asked my former producer at Deutsche Grammophon, Otto Ernst Wohlert (who had since taken early retirement; he was best known for working with Karajan on his early Beethoven cycle for DG), to produce it and to find me the rest of the team and a suitable venue. We decided on the Beethovensaal in Hannover where they had a Steinway on which Kempff had made several recordings (including his wonderful one of Bach transcriptions). A young Tonmeister (sound engineer) was recommended by DG as one of their bright lights. His name was Ludger Böckenhoff. The tuner was to be Robert Ritscher who had also done my DG recording, but at the last minute he wasnt available, so Gerd Finkenstein was sent in his place. I remember those sessions as though they were yesterday. Experience at recording came to me as a tiny girl. My father had sophisticated recording equipment for the time (a Magnecorder) and when I was four years old he taped me and my brother playing our respective exam pieces at home and in the hall of Christ Church Cathedral in Ottawa, where he was organist. I still have a copy of those tapes. He always meant to splice them together, taking out the mistakes, but he never did. Instead we get me playing an Andante by Steibelt about ten times in a row until it was perfect. Listening to what Ive just recorded, and then striving to improve on the first version, has always been fascinating to me. To this day I have more or less kept the pattern established in that first recording in Hannover. After listening intently to the first two versions of a complete work (in this case I played all fifteen Inventions in one go), for the third time I make it more like a live performance and invite Ludger and Gerd to sit in the hall. That almost always makes me play better. It had been agreed that I would hand over the finished master of this recording to a small Swiss label for production and distribution. When I was about to do so, something made me stop. I sensed it wasnt the right thing to do. It was still my own property, so I contacted all the major labels to ask if they wanted it. None did. One maintained that Bach on the piano simply wasnt marketable in those days of the authentic instrument craze. Another said they were already committed to another pianist in that repertoire (I never figured out who that was). Yet another didnt reply. Then I thought of Hyperion. I had written to Ted Perry several years before, but Tatiana Nikolayeva had already done the Art of the Fugue and the Goldberg Variations for them, and there was no space for another Bach pianist. Sometimes timing is everything: Nikolayeva had died only a few months before, so I thought I would try my luck again. It took Ted less than ten minutes to respond to the fax I wrote him. It was good of Ted to let me keep my team in Germany. He knew I was happy with them and accepted not to change that, even though it would cost him more. We immediately planned the next release for the following yeara double-CD with all the French Suites, eighteen Little Preludes, the D minor Sonata and A minor Prelude and Fugue. I purposely started with those easier pieces (though nothing is easy in BachI remember performing the Little Preludes in concert and never was I so nervous in my life), because I knew I couldnt ever approach The Well-Tempered Clavier seriously without first having a very thorough grounding in the dance movements of the suites. For all of the Bach recordings (with the exception of the Goldberg Variations) it always was a mixture of pieces I had played beforesome since I was very youngand others that were completely new. That is why I made a point of performing just about everything in the cycle first in public at least once if not many times before recording (and from memory). The recording of the Partitas was a big step for me. I had previously played only the first and fifth while in my teens. I took my time over it, and studied them intensely. I couldnt begin to count the hours I put into each of these recordings. It meant giving up a lot of other things in my life and my careerchamber music for one. Previously I had done quite a bit, but for Bach you need space and perfect concentration, and I remember a moment when I was learning a Trio for piano, clarinet, and bassoon by Glinka and thought: noI have to stop this, at least for the time being. (I am now happily playing chamber music again.) I also remember meeting Trevor Pinnock on a flight from Ottawa to London during these years, and he said he wanted to get back to playing more Bach on the harpsichord but that it required such an enormous amount of time and commitment. I couldnt have agreed more. After the first CD of the Partitas was finished, I realized that I had to make a change in my recording team. My producer, Otto Ernst Wohlert, had become a close friend (in fact I stayed with him and his wife while making these first recordings, and they attended many of my recitals in Germany) and had once said to me that I must tell him when I felt it was time for him to stop (I suppose by then he was already past the normal retirement age). In the sessions I came to realize that there were things he was missing that needed to be fixed. Ludger heard these, and much more, and would come to find me in the break, score in hand, to quickly tell me without Otto Ernst finding out (there was, especially in Germany and for that generation, a hierarchy to be respected). That was the kind of help I wanted and needed, and felt I wasnt getting. It was a sad day for me when I felt I really must say something. I wrote to Otto Ernst and tried to put it as nicely as I could, thanking him for all the wonderful work he had done for me, and very much hoping that we could remain friends. Unfortunately it didnt go down well, and we never had any further contact. These things happen in life, and you move on. The second CD of the Partitas was therefore the first one I did with Ludger as Aufnahmeleiter, which can be translated as record producer, but involves quite a bit more than one might imagine. Ludger had been trained at the famous Tonmeister Institute in Detmold, and apart from all the technical studies, there was a great emphasis on the musical aspects of recording. I found myself being told that my trills werent precise enough, that I could bring out the different voices more clearly, that I was rushing, that yes, something was very good, but perhaps it could be better. He would even scold me for the occasional clicking of my finger nails, and was unerring at hearing extraneous technical noises, whether from the pianos action or in the actual recording. We always had a great mutual respect for each other, and the Bach cycle (as well as all the other recordings we have done for Hyperion) has seen us grow together in knowledge and experience. Ludger was also at the forefront of the advances in digital technology. Already with the French Suites we began doing the editing together in his studio in Detmold. Normally an already finished first edit is sent to the musician for his or her comments before another one is done. That whole process can take ages with constant back and forth. We would get through an entire CD in just a few days, and along the way make important artistic decisions. What I love about working with him is that I never walk out of the studio wondering if we have everything the way I wanted it. I always know we do. That is a great feeling. In 1997, people were already planning concerts for the Bach anniversary year in 2000. Everyone was asking me when I would approach The Well-Tempered Clavier. Now that I had learned so much about rhythmic alterations in Baroque music (not playing exactly what is written in the score), articulation and especially the marked characteristics of each dance movement, I decided to plunge in. Within the next two years, I tackled twelve Preludes and Fugues every six months or soalways performing them in public and working hours on end to memorize them. It turned out to be the biggest challenge of my life. For sure I spent more hours with Bach than any living person during those years. We considered changing pianos and recording venues, but I was comfortable on the Kempff Steinway, despite its slightly nasal tone. It inspired me. I still felt there was great life in its action and it wasnt difficult to play. We did change the position of the piano in the Beethovensaal, however, removing a large portion of the seats and bringing it down off the stage to somewhere in the centre. Im sure the holes we drilled in the floor to make sure we put it in the same place during those two years are still there! The editing of the 48 Preludes and Fugues was a lesson in itself. The slightest difference in tempo or phrasing meant that two versions often could not be put together. And with voices tied over and musical phrases having to make sense, this took a great deal of concentration and musical intelligence. It was unbelievably tiring work, but also immensely satisfying. When I gave my first complete performances of The Well-Tempered Clavier during the 19992000 season, I knew I was well prepared. The next CD had to be the Goldberg Variations. I had learned them for the International Bach Competition of Washington D.C. when I was sixteen years old, and had already performed them for a quarter of a century. It was one of my warhorses, yet to record it was something else entirely. Putting down on tape a work of such monumental proportions would be a huge statement, and of course everyone would compare it to the two recordings of the piece by my compatriot Glenn Gould. I really didnt care about thatI just wanted to do my very best. Previously in concert I had never done all of the repeats, so that was one thing to change as I felt it wouldnt be taken seriously otherwise (although Gould never did). Working up to the recording, I saw how that opened up so many more possibilities for interpretationdoing things slightly differently the second time round. It almost became another piece. The aging Steinway in Hannover simply didnt seem up to the task, so we made a change of instrument and venue. A few years before, Ludger and I had made a brief tour of possible recording venues in England and had visited Henry Wood Hall in Londona former church which is now a rehearsal hall for the major London orchestras as well as a superb recording facility. We used a Steinway that Gerd Finkenstein had in his own collection which was, and I believe still is, a beautiful piano. The only problem was getting it to England. Gerd fortunately loves to drive, so he simply put it in a trailer, hitched it on to his car, and off he went, getting the ferry across the English Channel. I think I even went down to Dover the first time he came over, and he followed me and a friend in his car so he wouldnt get lost trying to navigate south London, let alone confused driving on the left side of the road for the first time! Ted Perry had generously given me five days for the sessions. I am forever grateful to him for that. Otherwise what subsequently happened might never have happened at all. On the first day, after setting up and finding a sound we liked, I played a complete versioneighty minutes without stopping. Ludger and I (and Ted, I think, as he came along to visit us) listened to it all, marking in the score what we liked and disliked, what needed to be re-thoughtso many things. For the next three days, we covered ten variations a day, having it all in the can by the early evening of day four. For a break we went up to Oxford Street and had a Japanese meal, and I had a quick massage with my therapist nearby. Around 9 or 10 p.m. we returned to Henry Wood Hall. Gerd had done something to the action of the piano to make it even more responsive, and Ludger encouraged me to play the opening Aria once more. Nothing is more important than the beginning. So I did. It was good. Keep going, he said. But its 11:15 at nightsurely theyll kick us out of here! I said. No they wont. So between then and 12:45 a.m. I gave the performance of my life of the Goldberg Variations (at least up until then!). I only stopped at the half-way point (after Variation 15) to whisper: Do we have enough tape? (While listening in Ludgers studio to the master CD of the Goldberg Variations that was to be sent to Hyperion, we both suddenly jumped at this point. By some fluke, my whispering that phrase could be heard during the pause between Variations 15 and 16! Of course we took it out immediately, but I still have the one CD with it left in.) I played for an audience of three: Ludger and Gerd, lying on the floor in the hall, and Gerds then wife, somewhere up in the balcony, stretched out on a pew. My body felt good; my interpretation felt liberated from all constraints; and my joy at the end was unbounded. Ill never forget the feeling I had playing the final variationthat wonderful Quodlibet. To this day I try to recapture that every time I perform it. When I finished, we all knew we had something very special. The only problem was that it was so different from what I had done on the previous days that we really couldnt use any of that material for the inevitable patches. So on the fifth day we re-did whatever we thought might need covering. Still, something like 80% of the final recording comes from that one late-night performance. I think it was after this recording that I decided to go back to Germany with Ludger, Gerd, his wife and the pianomaking the cross-Channel trip on the boat, and then driving for hours in the stifling heat at the other end. We only did that once; never again. But it nevertheless remains a fun memory. All of the remaining solo Bach recordings were done with that set-up in Henry Wood Hall: the Italian Concerto and French Overture in 2000, the Toccatas (one of my personal favourites of the whole cycle) in 2002; the English Suites in 20023, and the final mopping up disc of miscellaneous works in 2004. Our days there were made even more enjoyable by the catering supplied by the staff. Full three-course meals were cooked for us at lunchtime, and my dietary needs (no wheat) were strictly adhered to. I stayed away from the rich desserts (the English Trifle was the favourite of the boys) which would slightly dull the senses of my team for about an hour afterwards. I was never good at concentrating when hungry, and as soon as I started making mistakes, we all knew it was time to stop for lunch. Interruptions were not many (which was amazing for central London). I can remember only a few occasions when the rain on the roof was so loud we really couldnt go on, or else days when the typical English weather of sun one minute and clouds the next would result in the roof creaking. And once some computer glitch meant we had to completely redo the Sixth English Suite. I always respond to pressure, though, and the resulting performance was better than what we would have had without the technical intervention. I remember Ludger telling me to give a hair-down performance of that final Gigue, so I really went for it. He was always great at knowing when I could go even further and risk more. Often I would surprise him, though, and do it without prodding. He would be about to declare a piece finished when I wanted to do it one last time. Occasionally that worked for the better. In 2004, just over ten years after the first recording, we had got through all of the major solo keyboard works of Bach. What a journey! It had given shape to my life and my career in a way that nothing else could have done. Of course if you listen to those first recordings and the last ones in the set, you will hear a differencenot just in sound quality but more importantly in the way I play. If I recorded the Partitas again, they would be different still. But does that matter? What was important to me was that after every recording session, when the microphones were taken down and the piano was loaded back into the van, I felt extremely happy. I felt I had done the best I could do. The fact that this set is also a document of my own personal growth as a pianist and person only adds, I hope, to the overall impact. But then
Angela Hewitt © 2010 |
Other albums in this series
Bach: Fantasia, Aria & other works
Archive Service; also available on CDS44421/35
Bach: The Well-tempered Clavier
Studio Master:
4CDs for the price of 3
Studio Master FLAC & ALAC downloads available
Bach: The Well-tempered Clavier
4CDs Boxed set (at a special price)
Angela Hewitt – Bach Performance on the Piano
This album is not yet available for download
2CDs DVD
Bach: The Well-tempered Clavier, Vol. 2
Download currently discounted


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The 2011 Kosherfest confirmed what many in the industry already know – kosher products are in high demand by a growing number of both Jewish and non-Jewish consumers.
Whole Foods is taking the opportunity to reach out to its Jewish consumers by reminding them that it has a number of kosher-certified items for Hannukah, which begins Dec. 20.
Winn-Dixie has completed the remodeling of its Miami-area store in Aventura that wil better cater to the community's Jewish residents with expanded kosher offerings.
Grocer A&P has kicked off a new initiative to expand its Kosher product offerings in time for the Passover holiday season.


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I recently bought the Asus SABERTOOTH X58, Intel X58 from ebuyer, it was only after I had all the other components I noticed the motherboard was faulty. Ebuyer customer service is an absolute disgrace and refused to fix the problem, so I will never shop with them again. Anyway needing a new motherboard I decided to go with Scan.co.uk I received the Asus SABERTOOTH X58, the very next day even though I had purchased it at 5:15pm very good service if you ask me and it was worth the extra money. My computer is now up and running in perfect order. Great product and great service. I hope this service continues in the future.
I've been paying for computer parts from Ebuyer so my Dad can build a PC from scratch, which he has done many time before because this was his job. I finally managed to pay for all the part which did take a while since they cost a fair bit of money. As soon as the last part come Nvidea 560ti which arrived 16th March 2012 my dad started to build what should have been a fun experience, when it was finished we noticed a fault the CPU and MEM LED was red on the motherboard and the PC wouldn't boot up. We sent the motherboard back to Ebuyer who knew these boards were buggy and because we had the motherboard for around 3 months (un opened and sealed) they would not fix the problem even though it was damaged on their end. It's taken a while to pay for all the parts since they are not cheap and it has made what should have been a pleasant experience into a nightmare. They refuse to help in anyway and will not replace the faulty motherboard, so I am now out of £150. My gripe with them is they wouldn't even see reason, they could see from my record that I had bought all the parts from them over a period of time so they could see I was building a computer but they just kept saying "you've had the board for x amount of time you should of know it was faulty" How am I meant to test it if I don't have all the parts? They could have at least met me half way. Not that they will care but they have lost a customer. Why would they agree to pick it up, have it sent to them if they were only going to refuse to fix it anyway.
The motherboard was an Asus Sabertooth X58 Socket 1366 8 Channel HD Audio ATX Motherboard. Ebuyer did say they would send me back the damage motherboard un fixed and if I refused delivery, when they got it back they would burn the motherboard. Surely they cannot do this and even if they could, they have shown themselves to be an extremely bad company.
I now expect Ebuyer to come on here with the usual robot reply
"I would like to offer our most sincere apologies for the trouble you have had." Which does not fix the motherboard that was sent damaged. I will now have to go to another company to pay for a new one.
Edit: Ebuyer will still not replace the faulty motherboard after yet another e-mail to resolution centre. My advice to other shoppers, go with a better company, with a better customer service or face getting ripped off. Wish I had come to this site before and spotted the 6.5 out of 10 before, then I wouldn't be in this situation. I have now bought another Asus SABERTOOTH X58, Intel X58 It cost a little more, but at least the money isn't going into Ebuyers hands and never will again so I'm happy.
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