Due to his multiple activities, including television programmes, among others, Carlo Cracco decided to hand the daily management of the restaurant to Matteo Baronetto, a young and acclaimed chef he also shares the creative tasks with, which remains as infinite as usual. Fantasy abounds, although three coexisting trends are reflected through the three tasting menus: tradition, innovation and historical classics of the house. The latter is our favourite, as it is composed of about ten famous dishes that have been consecrated by time and customers and that are still in after reaching a milestone. In fact, everything is evolutionary or avant-garde, here, because the traditional recipes are originally reinvented, but respecting the spirit they were created with. We are before a new era of Cracco’s restaurant.
In what way have the constructions changed? They all reflect a distinctive personal identity as well as Matteo’s pertinent and original ideas. Like the minimalist appetizer which consists of rose petals with sugar, tuna roe and mustard leaves; delicacy, freshness, sweetness, florality, contrasts and, of course, genius. Then comes another essential and as moving bite, full of remote flavours: caviar served in two slices of green tea. Like the utterly natural –like no others, really– pieces of sea bream, 7-millimeter thick, raw and lukewarm, lain over a biscuit of sugar and toasted almonds that transmits its heat to the inferior side of the fish and gives a taste of dried fruit oil, of nocciole (hazelnuts) from the Piedmont region –Carlo Cracco and Matteo Baronetto’s homeland–, and is garnished with some anise flowers. Who gives more with less? Like the marinière mussels, steamed, filled with tomato and served on their shells; a real taste of sea, seaweed and ink. Like the immaculate raw scallops, seasoned with some drops of anchovy oil, and served on their shell, covered with green asparagus foam. Like the young almonds with almonds curd and capers; another great and very pure demonstration of boldness, which definitively marks the chef’s style. Like the clairvoyant composition of cod tripe and juice with rabbit threads and salmon roe; a display of exquisiteness, sapid and tactile counterpoints. Like this combination of wood aromas and show which requires the guest’s complicity: grilled red prawns brought on the table so that the guest can cook them the way he/she wants and add his/her favourite touch of yoghurt or coriander sauce. Like the new risotto. Regarding risottos, Cracco is the unquestionable boss, because he is able to keep the identity of the rice, to cook it uniformly, al dente but not raw at all, with a consistency that perfectly matches with the creaminess of the sauce, always full of contrasts, which softens the rice and which, in this case, is sprinkled with some black powder of cuttlefish and marrow. If you sit at a table in this restaurant, you frankly must taste one or two risottos (see below). Like the insolent version of the cotoletta a la milanesa 2012, with raw meat and the breadcrumbs served as an accompaniment; a play that might still need some improvement.
Only a dozen of brilliant dishes that have been consecrated through the years remain on the menu: the very perfect risotto alla milanese, with saffron and grilled marrow; the even more provocative and clairvoyant risotto with electrifying hints of anchovies, lemon and cocoa; the contrasted spaghetti with sea urchins and coffee; the amazing and magical burnt cream with olive oil and murex; the magical egg yolk marinated with some light Parmesan cream; the delicious spit-roasted pigeon breast with cabbage and assortment of fruit and vegetables; and the colossal filleted veal kidneys with sea urchins and white foam.
In short, fertile creativity expressed at its highest.
