The first big thing V and I have done since I moved over to Paris eleven days ago was to plan a Thanksgiving dinner for our (read: chiefly her but also becoming my) friends. In theory, it seemed kind of complicated to me: I had in my mind visions of Sinister House galas, twenty-five people spread out across living room and kitchen happily devouring a plethora of pot-luck meals, and I didn't really know how we could equal that glory, especially in our smaller dining space (which is not small by Parisian standards, but is easily dwarfed by the SH kitchen, which dwarfs many things, including elephants). Thankfully, V insisted a week before I moved over that if we were to do it at all, we needed to plan it now.
So Thanksgiving it was going to be. I felt that we couldn't fit many people in the house (the dining table only holds 6 to 8) and imagined an intimate dinner with 5 or 6 close friends chatting face to face across the table. But the guest list expanded as we created it and we discovered that there were no less than 14 people we couldn't not invite. So be it--we could figure out space later.
Initially, too, we tried to arrange for a pot-luck affair in order to divvy up the cost and labor of foodmaking, but since many of our friends don't get out of work until at least 7pm and for some reason the French government hasn't set aside holiday time for Thanksgiving, this didn't work out. In the end, our friend Nusha, a pastry chef in training, made the desserts (wow, did she ever!) and V and I planned and cooked the main meal with a bit of later help from Nusha and Marie.
To sum up so far: the initial idea, a small potluck dinner for 6 doubles in size and becomes a feast for 13 (1 couldn't make it) cooked by 2 with dessert by a 3rd.
Now, I know my stepmother frequently manages large gourmet meals for family and guests completely on her own, but she's a very practiced and dedicated amateur chef. I love cooking, but I do not have her experience or skill. So what surprised me tremendously, after researching recipes (thanks, AllRecipes.com!), was how amazingly doable a Thanksgiving feast is (given, of course, time).
Granted, desserts would have required a good deal of additional planning, and perhaps another day of preparation, but in the end, the process wasn't bad. I made the cranberry sauce (actually, sauce aux airelles because we couldn't find cranberries) the night before because it was easy and needed chilling. I also cut up some baguettes for stuffing and laid them out to air-dry a bit. Thursday, while Virginia was at work, I made the rest of the stuffing (celery, onion, herbs & spices, chicken stock) and began to prep the mashed potatoes. When V got home, she set about making corn bread and I seasoned the turkey and set it in the oven. Then she finished the potatoes while I cleaned. Nusha came over and made a salad and then I made gravy.
By this time, most of the guests had arrived and were getting hungry so we let the turkey out of the oven to play with some carving knives before serving everything. Along with the several bottles of wine that showed up with the invitees, we had a pretty savory meal. Thirteen people crowded around two tables stretched between dining and cooking areas, the room filled with banter and conversation.
Chef's Review
As I noted above, most of the recipes came from AllRecipes.com, and practically all of them were both good and fairly uncomplicated.
Cranberry sauce is pretty much just cranberry sauce--the recipe I found didn't differ significantly from the one printed on the backs of Ocean Spray cranberry packs, and we only added orange zest at the end because we could and to account for the slightly sweeter taste of the airelles. (I added a little extra sugar at first because V found a source on the Web that suggested airelles were a bit sourer than cranberries. In retrospect, I think this wasn't necessary. Also in retrospect, more flavor might be pulled from the orange zest if it's added before cooking the cranberries.)
The mashed potatoes were excellent: light, fluffy, and full of flavor. Virginia got amazing compliments on them and many questions about what went into them.
The homemade stuffing turned out well, but possibly could have used some more salt or broth to flavor it. Maybe if we had found space inside the turkeys....
The turkey was probably the best Thanksgiving turkey I've ever had. Due to issues of availability and oven size, we used two 3kg birds, frozen and prestuffed with some sort of giblet-and-chestnut mixture. They thawed easily and cooked simultaneously in 1h40m. I think their small size helped them cook well without losing too much moisture; the herb and oil rub specified by the recipe became a sauce that we used to baste the birds, and probably also contributed a lot to their moistness. And the flavors...wow.
The gravy was also good, but it started off very liquidy and reducing it took a long time. We shortened the process by adding in a "dry roux" (thanks, Nusha!), basically a tablespoon or so of butter and the same of flour mixed together, moistened with a few spoonfuls of the gravy, and then mixed in. I used chicken stock instead of turkey, but added pan drippings from the turkey for extra flavor.
Only the cornbread disappointed me and V, though no one else offered complaint. It was a decent recipe but not spectacular, just slightly too salty and powdery, not sweet enough for me and too sweet for Virginia. We chose the recipe because we couldn't find vegetable shortening in the stores here.
Even with 13 people, we still have leftovers, though by now they're down to some remaining stuffing and a little bit of turkey. Last night we took care of most of the meat by making a delicious turkey pot pie. (That's your cue to get jealous.)
Showing posts with label dinner. Show all posts
Showing posts with label dinner. Show all posts
Friday, November 23, 2007
Sunday, July 1, 2007
After-dinner Conversation
Gmail Chat with Gary Ploski
7/01/07 at 9:43 PM
me: So you know, I just made some awesome guacamole.
Sent at 9:43 PM on Sunday
me: And what's more, I used a recipe from the Nile delta region. I made guac like an Egyptian!
Sent at 9:44 PM on Sunday
me: Sigh. Nobody around to appreciate my puns.
Seriously, though, I did make some pretty good guac.
*For those who are interested, I diced a medium/large pearl onion (perhaps half the size of a golf ball), two or three decent-sized cloves or garlic, two and a half Hass avocados (one half was rotten), and a green jalapeno and mashed them all together till I had a nice lumpy, gooey consistency. Then I squozed [sic]** in the juice from one lime and added salt and pepper to taste, and mixed thoroughly. I suppose if you like tomatoes in your guac, you could add two diced medium Roma tomatoes here. I don't, so I didn't.
**It's a verb. Just ask my mother. She's an editor.
***Fine, I admit it. I got the whole idea from a Trader Joe's "guacamole kit" that I bought for $2.50 today. But it's a simple thing to put together and it had ideas that went beyond my own for making yummy avocado paste, and all the necessary ingredients came in one little container.
7/01/07 at 9:43 PM
me: So you know, I just made some awesome guacamole.
Sent at 9:43 PM on Sunday
me: And what's more, I used a recipe from the Nile delta region. I made guac like an Egyptian!
Sent at 9:44 PM on Sunday
me: Sigh. Nobody around to appreciate my puns.
Seriously, though, I did make some pretty good guac.
*For those who are interested, I diced a medium/large pearl onion (perhaps half the size of a golf ball), two or three decent-sized cloves or garlic, two and a half Hass avocados (one half was rotten), and a green jalapeno and mashed them all together till I had a nice lumpy, gooey consistency. Then I squozed [sic]** in the juice from one lime and added salt and pepper to taste, and mixed thoroughly. I suppose if you like tomatoes in your guac, you could add two diced medium Roma tomatoes here. I don't, so I didn't.
**It's a verb. Just ask my mother. She's an editor.
***Fine, I admit it. I got the whole idea from a Trader Joe's "guacamole kit" that I bought for $2.50 today. But it's a simple thing to put together and it had ideas that went beyond my own for making yummy avocado paste, and all the necessary ingredients came in one little container.
Wednesday, April 11, 2007
Birthday Opera
A few weeks ago (3/28/07), Virginia took me out to dinner and the opera for my birthday (which was 3/26/07). Neither of us had been before, so it was a new evening for both of us. We ate at a very nice Chinese/Japanese restaurant near Lincoln Center called Empire something-or-other. Delicious food! We shared shrimp shiu mai and a honeydew bubble tea that tasted like it was made with fresh honeydew melon. (Mmmm!) We each ordered a different entree. Mine was a chicken dish with slices of mango and a mango sauce; Virginia's was (I think) some sort of Empire or Imperial chicken or maybe Phoenix something; both were delicious.
Afterward, we walked four blocks to Lincoln Center and the Metropolitan Opera House, the architecture of which is stunning. (One thing I must say in New York's favor is that it is filled with beautiful, modern architecture. I don't put those two descriptors together lightly, either--usually, I am very turned off by what passes for architecture these days. But this city, being one supposed center of everything, seems to get the good architects at their best, so that even if there are boring skyscrapers and ugly buildings, they fade into the background behind the structures that surround them.) The Met is, I think, five stories tall at least, and its exterior sides and roof (except for the front) are constructed of pale gray stone. The front of the building is clear glass supported by several evenly spaced black posts or frames (probably metal) that run from ground to roof. The first floor has a ceiling, mostly, except for part that is open to two large grand staircases that ascend to the second floor. The second floor and above are open--without ceiling at the front half or so. The third, fourth, and fifth floors do not stretch to the front of the building, but rather gracefully hug the walls and the area outside the auditorium. The whole thing is lit by many glass chandeliers designed to look like three-dimensional snowflakes or crystals and glass wall lamps of somewhat similar look. At night from the outside, one can look in and see the whole beautifully lit space beckoning. The opera house installs artwork of various sorts--often translucent or of a shape that makes an interesting silhouette--on the second floor near the front glass wall.
The opera auditorium itself is equally beautiful, with level upon level of comfortable velvet-lined seating and railings that look down over a large stage and orchestra pit. V and I estimated (by rough count) that perhaps 800-900 people could sit on most levels, and that the first could probably hold more. So verging on 5000 people can fit in the auditorium/theatre. The walls of the house are lined with angled wood (?) panels that reflect sound toward the farthest reaches of seating, so that even sitting on the topmost level, as we were, you can hear the performers with amazing clarity--even when they sing from backstage.
The opera we saw performed was La Traviata, a Romantic piece with music by Giuseppe Verdi and libretto by Francesco Maria Piave, and based on the novel La dame aux Camélias by Alexandre Dumas, fils (Alexandre Dumas, Jr., the son of the Alexandre Dumas who wrote The Three Musketeers). The plot, as V will tell you also, is rather silly: a courtesan and party girl named Violetta Valéry comes home with a crowd of her 30 best friends to dance away what's left of the night. She has fainting spells due to her early-stage tuberculosis, and so her friends leave her alone for a bit; they go dance in the other room. One of her guests, Alfredo Germont, stays behind to confess his love to her. She denies her ability to love, but warms quickly to him, and suddenly (Act II), they've been living together for a few months in a country house outside of Paris, shunning Violetta's old life. However, she's been selling her belongings to support them, and when Alfredo discovers this, he races off to Paris to set things right, presumably by burning through his own fortune. This leaves an opening for Alfredo's disapproving father to appear and sell Violetta a crock, saying that her relationship with Alfredo has destroyed the fortunes of Alfredo's sister. (?!) Daddy leaves, Alfredo returns, and Violetta steals away, sacrificing her love for her love's family. Alfredo decides she has left him for another man, pursues, wins a small fortune from the man in a gambling match, and still doesn't get Violetta back. Then, some months later (Act III), Violetta is dying alone (save for her servants) in her original home. Alfredo returns to her, having been told about her sacrifice by his father. Her hope renews, she feels like living again. Alfredo's father returns, apologizes, and welcomes her as his daughter; Violetta and Alfredo confess their love again, and then she dies. Everyone is sad.
The music is lovely, however. The orchestra at the Met is excellent, and the singers are phenomenal! Apparently, too, many performers practice one part in particular and perform it all over the world, rehearsing for many operas at once. Principals are often booked years in advance. Pretty amazing.
We managed to sit next to two lovely people, Leonda and Arnold Finke. They were very kind and generous, explained much about opera to us (they've been going for 25 years at least). We managed to chat more in the lobby during one of the intermissions; Leonda sculpts and does all sorts of art (she's very good, too--we looked up her work later), and Arnold is immensely proud of her. (He told us privately about the awards and recognition she has received; it was really cute and sweet!)
So really, we had a wonderful evening, and I'm tremendously lucky to have the love of a woman like Virginia who is amazing in her own right and goes out of her way to set up things like this for me. Thank you, Virginia! I love you!
Afterward, we walked four blocks to Lincoln Center and the Metropolitan Opera House, the architecture of which is stunning. (One thing I must say in New York's favor is that it is filled with beautiful, modern architecture. I don't put those two descriptors together lightly, either--usually, I am very turned off by what passes for architecture these days. But this city, being one supposed center of everything, seems to get the good architects at their best, so that even if there are boring skyscrapers and ugly buildings, they fade into the background behind the structures that surround them.) The Met is, I think, five stories tall at least, and its exterior sides and roof (except for the front) are constructed of pale gray stone. The front of the building is clear glass supported by several evenly spaced black posts or frames (probably metal) that run from ground to roof. The first floor has a ceiling, mostly, except for part that is open to two large grand staircases that ascend to the second floor. The second floor and above are open--without ceiling at the front half or so. The third, fourth, and fifth floors do not stretch to the front of the building, but rather gracefully hug the walls and the area outside the auditorium. The whole thing is lit by many glass chandeliers designed to look like three-dimensional snowflakes or crystals and glass wall lamps of somewhat similar look. At night from the outside, one can look in and see the whole beautifully lit space beckoning. The opera house installs artwork of various sorts--often translucent or of a shape that makes an interesting silhouette--on the second floor near the front glass wall.
The opera auditorium itself is equally beautiful, with level upon level of comfortable velvet-lined seating and railings that look down over a large stage and orchestra pit. V and I estimated (by rough count) that perhaps 800-900 people could sit on most levels, and that the first could probably hold more. So verging on 5000 people can fit in the auditorium/theatre. The walls of the house are lined with angled wood (?) panels that reflect sound toward the farthest reaches of seating, so that even sitting on the topmost level, as we were, you can hear the performers with amazing clarity--even when they sing from backstage.
The opera we saw performed was La Traviata, a Romantic piece with music by Giuseppe Verdi and libretto by Francesco Maria Piave, and based on the novel La dame aux Camélias by Alexandre Dumas, fils (Alexandre Dumas, Jr., the son of the Alexandre Dumas who wrote The Three Musketeers). The plot, as V will tell you also, is rather silly: a courtesan and party girl named Violetta Valéry comes home with a crowd of her 30 best friends to dance away what's left of the night. She has fainting spells due to her early-stage tuberculosis, and so her friends leave her alone for a bit; they go dance in the other room. One of her guests, Alfredo Germont, stays behind to confess his love to her. She denies her ability to love, but warms quickly to him, and suddenly (Act II), they've been living together for a few months in a country house outside of Paris, shunning Violetta's old life. However, she's been selling her belongings to support them, and when Alfredo discovers this, he races off to Paris to set things right, presumably by burning through his own fortune. This leaves an opening for Alfredo's disapproving father to appear and sell Violetta a crock, saying that her relationship with Alfredo has destroyed the fortunes of Alfredo's sister. (?!) Daddy leaves, Alfredo returns, and Violetta steals away, sacrificing her love for her love's family. Alfredo decides she has left him for another man, pursues, wins a small fortune from the man in a gambling match, and still doesn't get Violetta back. Then, some months later (Act III), Violetta is dying alone (save for her servants) in her original home. Alfredo returns to her, having been told about her sacrifice by his father. Her hope renews, she feels like living again. Alfredo's father returns, apologizes, and welcomes her as his daughter; Violetta and Alfredo confess their love again, and then she dies. Everyone is sad.
The music is lovely, however. The orchestra at the Met is excellent, and the singers are phenomenal! Apparently, too, many performers practice one part in particular and perform it all over the world, rehearsing for many operas at once. Principals are often booked years in advance. Pretty amazing.
We managed to sit next to two lovely people, Leonda and Arnold Finke. They were very kind and generous, explained much about opera to us (they've been going for 25 years at least). We managed to chat more in the lobby during one of the intermissions; Leonda sculpts and does all sorts of art (she's very good, too--we looked up her work later), and Arnold is immensely proud of her. (He told us privately about the awards and recognition she has received; it was really cute and sweet!)
So really, we had a wonderful evening, and I'm tremendously lucky to have the love of a woman like Virginia who is amazing in her own right and goes out of her way to set up things like this for me. Thank you, Virginia! I love you!
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