《全球美食地圖》（美國國立博物館季刊）
Does the Classic Paris Meal Still Exist?
何處尋覓地道巴黎美食煤蚌？
Two food lovers set out to learn whether the Paris dining experience of their youth can still be found
兩位老饕打算去尋覓年輕時的巴黎味道豪嚎。
原文鏈接：http://www.smithsonianmag.com/travel/smithsonian-journeys-travel-quarterly-copy/
By Don and Petie Kladstrup
作者：唐納德&佩蒂·克蘭德斯特拉普
Smithsonian Journeys Quarterly
《美國國立博物館旅行季刊》
February 9, 2017
2017年2月9日
It happened in MontMartre. One quiet afternoon, on a cobblestone street where Toulouse-Lautrec, Utrillo, and Picasso once trod, an oil painting caught our eye in the window of Galerie Roussard, one of the oldest, most famous art galleries on the Butte. The dream-like restaurant scene featured indistinct black-suited waiters in long, white aprons passing among tables draped in red cloths, a bottle of wine on one, a carafe of water on another. It evoked a long-vanished era, a moment frozen in time.
就在一個寧靜的下午，在巴黎蒙馬特一條鵝卵石鋪就的街道旁厢塘，便是在布特（Butte）地區(qū)名聞遐邇茶没，經(jīng)營最久遠(yuǎn)之一的魯薩德畫廊。透過櫥窗晚碾，里面的一幅油畫吸引了我們抓半。畫面是夢幻般的餐廳場景：侍者們幾乎都一樣的穿著，黑衣服格嘁，前面系著白色的長圍裙笛求。他們在鋪著紅色桌布的餐桌間穿梭往來。時而給這桌擺上瓶紅酒糕簿；時而給另一桌添上一瓶水探入。而我們腳下踩著的鵝卵石街道，那些當(dāng)年著名的畫家懂诗，如圖魯斯·勞特累克（注：十九世紀(jì)蜂嗽，法國后期印象主義著名畫家），郁特里羅（注：法國風(fēng)景畫家）和畢加索都曾在上面走過响禽。此情此景喚起了那些久已被時間塵封的記憶徒爹。
“Impressive, isn’t it?” The question startled us. We looked up to see the bearded but youthful face of the gallery owner, Julien Roussard, who then invited us inside. Up close, the painting came alive, waiters scurrying from table to table bearing steaming bowls of pot-au-feu and platters of roast chicken. A napkin tucked under his chin, a diner tore apart what looked like a lobster. At another table, a man and woman held hands, their food ignored on the table before them.
“畫面挺感人的是嗎？”這句問話把我們拉回了現(xiàn)實芋类。我們端詳著畫廊主人隆嗅，朱利安·魯薩德先生留著胡須，但臉龐年輕侯繁。他邀請進畫廊欣賞胖喳。靠近觀賞贮竟，剛才油畫般的景象立刻變得鮮活了：侍者們托著熱氣騰騰的砂鍋燉菜和烤雞在餐桌間不停穿梭丽焊。一位顧客脖子下夾著餐巾较剃，切開了一只類似龍蝦的菜品，另一桌上技健，一男一女正牽著手写穴，完全無視桌上的美食。
“Bouillon Chartier,” noted Roussard, “is still a working restaurant,” first opening in 1896 and now classified a monument historique. “Nothing has changed there in the last hundred years, and nothing is likely to change in the next hundred.”
“這就是夏提耶餐廳（Bouillon Chartier）”魯薩德說“一個還在經(jīng)營的百年老店雌贱“∷停”這家餐廳1896年開業(yè)，現(xiàn)在已成為一個歷史景點欣孤〔雒唬“過去百年，餐廳一點兒都沒變降传，接下的一百年估計也會保持原樣篷朵。”他說婆排。
The painting by Serbian artist Marko Stupar took us back to those exhilarating days in the fall of 1978 when we first arrived in Paris and Don took a post as a foreign correspondent for CBS News. Nothing then disappointed us: The Eiffel Tower, houseboats and barges on the River Seine, the Cathedral of Notre Dame, and the majestic Champs-élysées were just as we had imagined. But it was the restaurants that truly dazzled us. We’d heard, of course, so much about the glories of French cuisine, but nothing had prepared us for the experience. We plunged into the dining scene with unending appetites, worshipping at such temples of haute cuisine as La Tour d’Argent, Ledoyen, and Taillevent, but not forgetting either to pay tribute to the smaller, more modest cafés and restaurants. We were hooked.
這幅塞爾維亞藝術(shù)家馬可·斯圖帕的畫作声旺，把我們帶回到了1978年秋天的美好時光。那時泽论，我們剛來到巴黎艾少，唐納德在哥倫比亞廣播公司謀得了一個外籍記者的職位。巴黎的一切沒有令人失望：埃菲爾鐵塔翼悴；塞納河上往來的游船缚够；巴黎圣母院，以及宏偉的香榭麗舍大街鹦赎，都和我們之前想象的那般谍椅。但真正讓我們眼花繚亂是巴黎各式餐館。雖然來之前古话，我們聽聞了很多對法國餐飲贊譽雏吭，但并未真正品嘗過。來到巴黎后陪踩，我們敞開肚子一頭扎進了當(dāng)?shù)孛朗痴让牵チ说钐眉壍母邫n餐廳，如銀塔餐廳（La Tour d’Argent）肩狂，樂朵頤餐廳（Ledoyen）摘完，大伊風(fēng)餐廳（Taillevent）。同時傻谁，對那些不起眼的小咖啡館和小飯店的美食也念念不忘孝治，我們中了法國美食的毒。
In France, eating has traditionally been something more than satisfying hunger pangs. “A profound love of great food and wine has always permeated French society and the country’s identity,” says Alexander Lobrano, author of Hungry for Paris: The Ultimate Guide to the City’s 109 Best Restaurants, one of the most thoughtful guide-books currently available. “The French phrase les arts de vivre (the arts of living) includes good cooking and conveys the deep seriousness with which the French shop, cook, and consume food. They talk and think about it constantly.” Stupar’s painting articulated les arts de vivre perfectly. The motion and energy of a restaurant, the color, taste, and texture of the food, and the care with which it was prepared. The celebration and sensuousness of the act of eating.
在法國的傳統(tǒng)中，飲食的意義遠(yuǎn)不止果腹那么簡單谈飒∑褡“對美食和紅酒的深愛滲透到法國社會的每個角落，它們也成了法國的象征杭措》咽玻”亞歷山大·洛布拉諾說。他是《老饕終極指南：巴黎109家最佳餐廳》一書的作者手素。該書也是目前最詳盡的巴黎美食指南吕喘。“法語中刑桑，生活的藝術(shù)包括了廚藝。在法國的餐廳募舟，廚師和消費者看來祠斧，可是件嚴(yán)肅的事。也是他們常常談?wù)摵退伎嫉氖鹿敖浮琢锋！眽ι纤箞D帕的畫作清晰而完美地詮釋了生活的藝術(shù)。繁忙且充滿活力的餐廳呢灶，食物的色香和紋理吴超，以及周到的服務(wù)，完全是一場舌尖上的盛宴鸯乃。
But the painting also reminded us how Paris restaurants have changed over the years since our first visit. And in many cases for the worse. Certainly we had become more selective if not more finicky with age: Now authors of a couple of books on wine and veterans of 35 years living in the city, we were no longer ingénues. Eating in Paris had become for us an expensive, often disappointing trial. We had grown tired of having to call weeks or months in advance for reservations. Prices had skyrocketed. The proprietors of small, cozy places, whom we’d come to know as good friends, had retired or passed away. In time, we drifted away too.
然而鲸阻，油畫場景也提醒著我們，自打我們一次接觸巴黎餐飲后缨睡，多年來的發(fā)生變化鸟悴。當(dāng)然，在巴黎生活了35年奖年，而且寫了幾本有關(guān)紅酒的書以后细诸，我們在美食方面不再是菜鳥了。因此陋守，口味也愈發(fā)挑剔≌鸸螅現(xiàn)在，在巴黎去餐廳吃飯變得越來越貴水评，并且試過后口味常令人失望猩系。對于那些需要提前數(shù)周或者數(shù)月訂位的餐廳早已心生厭煩。菜品價格飛漲之碗。同時蝙眶，那些溫馨的小餐館老板們，曾經(jīng)的老朋友，卻退休的退休幽纷，離世的離世式塌。看來友浸，我們也得離開江湖了峰尝。
But that painting of Bouillon Chartier had tantalized us with thoughts of lost pleasures. When a friend compared our habit of not eating out in Paris to visiting the Louvre and not seeing the “Mona Lisa,” we knew that something had to change.
那幅描寫夏提耶餐廳畫作，讓我們對失去的好時光唏噓不已收恢。而當(dāng)一位朋友聽說我們生活在巴黎武学，卻不再習(xí)慣上館子，就說我們像是到了盧浮宮伦意，卻沒有參觀《蒙娜麗莎》一般的遺憾火窒。我們突然明白要改變一下了。
圖為2013年時的夏提耶餐廳
But where to start? Much like a first-time visitor, we felt lost and confused. We dusted off our trusty red Michelin, albeit out of date, but how could it compete now with the stack of much newer guidebooks, slew of blogs, and dozens of Internet crowd-sourced sites? We decided to start with a few places we remembered from the old days.
但一切從哪里開始? 我們很像是是初來乍到巴黎的游客驮肉，感到不是所措了熏矿。拿起曾經(jīng)信賴的紅色封面米其林餐廳指南，撣去上面的灰塵离钝。然而票编，這本老舊的指南，真能夠和現(xiàn)在一大堆新出版的餐廳指南卵渴，美食博客慧域，還有那數(shù)十個資源豐富的美食網(wǎng)站媲美嗎？我們決定憑著舊時的記憶浪读，從記憶中的餐廳開始尋覓美食昔榴。
First stop, Val d’Isère. As the first place we ate when we arrived in Paris, it was our sentimental favorite. Just off the Champs-élysées, near the Arc de Triomphe, the charming, old-fashioned brasserie featured ancient wooden skis on the walls along with photographs of ski champions of yesteryear. The same waiters always served and took great care of us. Aside from the plat du jour, the menu never changed. Val d’Isère felt eternal.
我們的第一站是“溪谷”（Val d’Isère）。當(dāng)年碘橘，剛來巴黎時第一次嘗試的餐廳论泛，也是我們情感上的牽掛。餐廳就在香榭麗舍大道蛹屿，靠近凱旋門屁奏。記得這家老派的啤酒屋的墻上用古老的木制滑雪板做裝飾。旁邊是一排去年滑雪冠軍的照片错负。那里的侍者也都是我們熟悉的面孔坟瓢，而且對我們照顧很周到。除了推薦的當(dāng)日特色菜犹撒，他們家的菜單從來沒有變化過折联，那時感到，溪谷啤酒屋好像會永遠(yuǎn)存在下去识颊。
To our dismay, we found that it wasn’t: Val d’Isère had been transformed into an African-themed bar called the Impala Lounge. We couldn’t bear to go inside.
但令人沮喪诚镰，我們發(fā)現(xiàn)現(xiàn)在“溪谷”已變成了一家名為“黑斑羚”非洲主題酒吧奕坟。我們實在不想進去了。
We then approached Jamin, which we remembered as a simple, yet elegant, small restaurant—not far from the apartment we first lived in near Place du Trocadéro—that the equine-loving owner had decorated with engravings of famous horses. Since our first visit in 1978, ownership had changed, with the restaurant at one point becoming the home of celebrated chef Jo?l Robuchon, who had earned his third Michelin star there.
隨后我們?nèi)チ搜琶鞑蛷d（Jamin）清笨。記憶中月杉，它是一間裝修簡單但雅致的小餐廳。離開我們當(dāng)時居住的夏樂宮附近的公寓不遠(yuǎn)抠艾。餐廳的老板鐘情馬匹苛萎，餐廳也用那些名駒的雕刻來裝飾。自1978年我們首次造訪后检号，餐廳幾番易主腌歉。一度它還成了名廚布松的家。期間齐苛，他第三次獲得米其林之星翘盖。
Much to our relief, Jamin had reverted to its more humble roots as a solid neighborhood restaurant, serving delicious food in a relaxed, warm, and friendly atmosphere. Don’s delicately grilled coquilles Saint-Jacques (scallops) were served on a bed of crème de poireaux (leeks), while Petie’s cannelloni aux légumes (vegetable cannelloni) was surprisingly rich and bursting with flavor.
慶幸的是，雅明餐廳現(xiàn)在還是一家低調(diào)的街坊餐廳凹蜂。餐廳的菜品可口最仑，氛圍愜意溫馨。唐納德點的烤扇貝炊甲，制作精致，扇貝底下鋪滿了大蔥末欲芹；我點的意大利蔬菜卷令人齒頰留香卿啡，令人稱奇。
Now, feeling more confident, we returned to La Tour d’Argent, where we had enjoyed one of the most spectacular meals of our lives. Seated at a table overlooking the Seine and the Cathedral of Notre Dame, we had celebrated our 25th anniversary, gorging ourselves on foie gras, scrambled eggs with truffles, and roast duckling, all washed down with glasses of champagne and a sublime bottle of Burgundy.
我們現(xiàn)在變得更有自信了菱父。我們再次去了銀塔餐廳（La Tour d’Argent）在那里颈娜，曾經(jīng)嘗到了我們生平最難忘的美味。坐在餐廳浙宜，你可以俯瞰塞納河官辽，遠(yuǎn)眺巴黎圣母院的美景。在那里粟瞬，我們慶祝了結(jié)婚25周年紀(jì)念日同仆。記得那天，我們盡情享受著鵝肝醬裙品，混合著松露的炒雞蛋俗批，法式烤鴨。暢飲了幾杯香檳酒市怎，外加一瓶頂級的勃艮第紅酒岁忘。
On the way to our table, we passed photographs of patrons that included kings, queens, and movie stars. Nothing seemed to have changed.
就在侍者領(lǐng)位時，餐廳的墻上滿是曾經(jīng)來這里用餐的名人照片区匠，其中有國王干像，皇后，影星。似乎一切都和當(dāng)年一樣麻汰。
But the magic had faded. The restaurant had shed two of its coveted three Michelin stars and taken harsh criticism in the press. Lobrano believes many high-end restaurants have lost their way and become distant and patronizing. “The rites and rules of traditional three-star dining weren’t making people happy anymore,” he told us. “Prices had become astronomical, and everything was too formal.”
然而速客，餐廳已風(fēng)光不在，因為備受媒體批評什乙，它已經(jīng)從令人垂涎的米其林三星級餐廳降級為一星餐廳了挽封。洛布拉諾相信很多高端餐廳都迷失經(jīng)營方向，對顧客變得冷漠且自我感覺高人一等臣镣「ㄔ福“在這些傳統(tǒng)的米其林三星餐廳用餐時的繁文縟節(jié)不再讓顧客感到愉快。菜價也高的離譜忆某，里面的一切都讓人感到拘謹(jǐn)不已点待。”
A chef who once worked at La Tour d’Argent agreed. “Before the current problems, gastronomic restaurants were lively places, jovial places for enjoying yourself. But then we created museums—that’s what went wrong—museums with heavy atmosphere. People want warmth. We have to make everything lighter, including the bill.”
一位曾在銀塔餐廳工作過的廚師也贊同這一看法弃舒●海“當(dāng)年，這些餐廳是生機勃勃的場所聋呢。置身其中苗踪，每個人都能感受到愉悅。后來削锰，我們把這些餐廳經(jīng)營成了博物館通铲，死氣沉沉。我們走錯路了器贩。顧客需要溫馨的體驗颅夺，我們應(yīng)該讓一切變得輕松，包括賬單蛹稍“苫疲”
Yet despite these dire observations, there’s never been a better or more exciting time to eat in Paris. “In the last ten years, there’s been a pretty spectacular renewal of the Paris landscape,” says Lobrano, who has eaten in more Paris restaurants than practically anyone else. “A new generation of really talented young chefs has created a new type of bistro. That’s where the best eating is in Paris today.”
盡管這些現(xiàn)實很骨感，但巴黎餐飲仍有不少可圈可點的地方唆姐∞挚“過去10年間，巴黎的美食地圖經(jīng)歷了巨變奉芦。新一代的大廚確實富有才干胆描，他們重新定義了小酒館。這就是現(xiàn)在城中最佳的餐飲場所仗阅〔玻”洛布拉諾說。他品嘗過的巴黎餐廳可能比任何人都多减噪。
Parisians call it bistronomie, from the mashing together of bistro and gastronomie. Whereas bistros traditionally featured limited menus and a casual dining environment, bistronomie boasts a range of rich, inventive dishes, often reflective of globalizing forces. New chefs are coming from Spain, Scandinavia, Japan, Australia, and the United States. Antoine Westermann, who earned three stars at a restaurant in Alsace and now runs Mon Vieil Ami, summed up the bistro world when he told us, “My goal is not to impress but to bring out emotion, like a nice soup, a really nice soup, so nice that you can’t remember when you last had the same.”
這就是巴黎人說的“小酒館運動”短绸，傳統(tǒng)小酒館和美食充分融合车吹。以前，傳統(tǒng)小酒館特點是用餐氣氛休閑醋闭，但能提供的菜品有限窄驹。而今的小酒館能做出大量創(chuàng)新菜品滿足客戶需要，這也是拜全球化力量所賜证逻。新一代大廚群體來自世界各地：西班牙乐埠，斯堪的納維亞，日本囚企，澳洲和美國等丈咐。安東尼·韋斯特曼就是其中之一。他以前在阿爾薩斯工作的餐廳贏得了米其林三星的榮譽×辏現(xiàn)在棵逊，他在巴黎經(jīng)營一家名為為“老友記”（Mon Vieil Ami）餐廳。他總結(jié)道：“我希望這里的菜品能喚起客人的情感银酗，而不是留下個印象辆影。好像一碗真正的靚湯，讓你感到這碗美味好像在你人生中初相見黍特⊥芗ィ”
Four years ago the American couple Braden Perkins and Laura Adrian opened Verjus, a restaurant and wine bar near the Palais-Royal in the heart of Paris. “It’s been exciting to discover French products for the first time and to be cooking with them,” Perkins says. “It’s thrilling to be in the kitchen.”
四年前，美國夫婦布雷登·帕金斯和勞拉·艾德里安在巴黎市中心的皇宮附件開了間“酸葡萄汁”（Verjus）的餐廳兼紅酒吧灭衷〈温“當(dāng)見到這些法國食材并進行烹飪時，我們真是感到激動今布。”
But it didn’t start out that way. “Center of Paris Under Attack by Americans!” screamed one French headline. Today it’s much different. Most of the French press now raves about their cooking, and that of other foreign chefs as well.
事情一開始并不順利拭抬，“巴黎市中心被美國人攻陷部默！”當(dāng)時有法國媒體頭條這樣報道。而現(xiàn)在不同了造虎，大部分法國媒體都對他們的廚藝贊不絕口傅蹂，包括其他外國大廚的手藝也被熱議。
“There’s a real brotherhood among the guy and gal chefs in Paris,” says Wendy Lyn, creator of The Paris Kitchen, a website that serves as the true insider’s guide to the culinary scene. “They are very open and welcoming.”
“巴黎的男女大廚之間的關(guān)系如同手足算凿，他們之間非常包容和熱情份蝴。”溫迪·琳說氓轰。她創(chuàng)辦了名為“巴黎廚房”（The Paris Kitchen）的網(wǎng)站婚夫，為烹飪工作提供真正的內(nèi)行指引。
Now even the French chefs, many of whom had left the country after becoming disillusioned with the stultifying traditions, are returning, armed with new ideas and more experience. “French cooks are excited to be cooking in their own country again,” Perkins said. “They are thrilled to be doing something different.”
而今署鸡，那些曾經(jīng)對老一套烹飪傳統(tǒng)感到乏味案糙，進而遠(yuǎn)走他鄉(xiāng)的大廚們也紛紛回來了限嫌。他們有著各種新點子和更豐富的經(jīng)驗。帕金斯說：“在自己國家烹飪法國菜更帶勁时捌，他們充滿激情地嘗試新的菜品怒医。”
圖為：克里斯丁·勒·史奎爾在五號餐廳
圖為：雅尼克·阿賴諾站在樂朵頤餐廳門口奢讨。
圖為：安東尼·韋斯特曼在德魯昂餐廳的廚房工作稚叹。這是他負(fù)責(zé)的幾家巴黎餐廳之一。
圖為：菲利普·拉貝在其工作的銀塔餐廳拿诸。
We asked Westermann whether Paris still stands at the epicenter of world-class cuisine.
我們問韋斯特曼巴黎是否仍是世界級美食之都?
“No, no,” he responded vigorously. “It was, but it isn’t now. To a large extent, French cuisine has become world cuisine.” He challenged us to go to another country, close our eyes while eating, and try to identify where we are. “You can eat fabulously in so many different places.”
“當(dāng)然不是扒袖。”他迅速答道佳镜，“曾經(jīng)是僚稿，如今法國菜在很大程度上已遍布世界各地◇吧欤”他讓我們可以去個其他國家蚀同，閉上眼睛去嘗嘗當(dāng)?shù)氐姆▏耍茨懿荒艹猿鲞@個國家的味道啊掏〈缆纾“世界各地能做出可口法國菜的餐廳多不勝數(shù)〕倜郏”
Still, it came as a shock when the New York Times last year reported that a hefty percentage of French restaurants relied on ready-made meals produced offsite in large industrial kitchens. “Can Anyone Save French Food?” the paper asked.
盡管如此刹孔，《紐約時報》去年刊登了一篇令人瞠目的報道，稱不少法國餐廳都是采購工業(yè)化廚房里制作的成品來充數(shù)的娜睛∷柘迹“誰來救救法國菜？”報紙問道畦戒。
The primary reason for the reliance on mass-produced food appears to come from diminishing profit margins brought about by new labor laws, which cut work hours to 35 a week. The article deeply embarrassed France’s culinary establishment. Soon afterward, authorities launched a promotional campaign encouraging restaurants that prepare food on the premises to display a fait maison, or house-made, label.
而發(fā)生這事的主要原因在于法國的新勞動法方库。新法規(guī)定雇員每周工作時間不得超過35小時。這大大壓縮了餐廳的利潤空間障斋∽萘剩《紐約時報》的報道令法國餐飲業(yè)界十分難堪。沒多久垃环，當(dāng)局就推出了一項活動邀层，鼓勵那些自制菜品的餐廳，能掛上“自制菜品”的標(biāo)志遂庄。
But when most of the country’s restaurants turned up their noses at the program, the government quickly dropped it and said it would try something else. The “kerfuffle” over industrial kitchens has not, says Lebrano, “impinged on the quality of French food.” Paris is still the ultimate destination for those seeking that classic meal. “I don’t think there’s a pyramidal hegemony of dominance in the realm of gastronomy anymore, but France remains the ultimate gastronomic reference.” Top among the reasons are the country’s extraordinary produce and rigorous system of culinary education, as well as the presence of a food-educated public with a keen interest in good food.
當(dāng)法國大部分餐廳準(zhǔn)備這么做時寥院，政府又迅速終止這項活動。洛布拉諾認(rèn)為涛目，圍繞工業(yè)化廚房的這場風(fēng)波只磷，沒有影響到法國餐飲的質(zhì)量经磅。巴黎仍是尋覓經(jīng)典美食的老饕們的終極目的地∨プ罚“餐飲界如金字塔般的森嚴(yán)等級已不復(fù)存在预厌。但法國仍是終極美食的標(biāo)桿≡模”主要原因在于法國獨特而嚴(yán)格的烹飪教育體系轧叽，以及受過烹飪教育的公眾對于美食的熱情。
Still, the question we dread the most when a friend comes to France is “Where should I go for a classic French meal?” We tossed that question to Lyn, who advises many Paris restaurants and leads food tours for professionals and private individuals. She laughed. “It’s all about expectations,” she said. “Recommending a restaurant is almost like setting up a blind date. You hope it works out.”
每每被來法國的朋友問及“去哪里才能嘗到經(jīng)典法國餐刊棕？”時炭晒，我們就會怕得要命。把這個棘手的問題丟給溫迪·琳來回答吧甥角。她向?qū)I(yè)人士和個人推薦過很多巴黎餐廳网严。她笑著說：“這都要看顧客的心理預(yù)期。推薦一家餐廳嗤无，猶如替人做媒震束，你只能盼著有好結(jié)果〉狈福”
While bistros may claim much of the inventive energy now in Paris cuisine, the high-end restaurants should not be written off. “A three-star is not the experience people are looking for in the way they used to,” Lyn points out. “People were hit in the wallet too hard, but I think the creativity is still there.”
雖然巴黎的小酒館不斷積極推出創(chuàng)新菜品垢村，但高端餐廳的魅力仍不能被一筆抹殺『课溃“在米其林三星餐廳的美食體驗嘉栓，可不是隨便就能獲得的。雖然價格不菲拓诸，但那些餐廳仍有其獨到之處侵佃。”溫迪·琳指出奠支。
In restaurants like Le Cinq and Ledoyen, new young chefs have taken over, bringing a creative and provocative flair to high cuisine. It’s still possible to come to Paris and enjoy that blowout, once-in-a-lifetime experience of fabulous food, presented with great service in elegant surroundings.
如在五號餐廳（Le Cinq）和樂朵頤（Ledoyen）這樣的高檔餐廳馋辈，新一代主廚已開始當(dāng)家。他們在制作高端菜品中胚宦，不斷發(fā)揮他們的創(chuàng)造力和天分首有。因此燕垃，來巴黎枢劝，你仍能在優(yōu)雅的氣氛中，享受優(yōu)良的服務(wù)卜壕，還有一輩子難忘的美食體驗您旁。
For that kind of meal, we like Epicure, a chic, discreet restaurant that focuses on traditional French haute cuisine, in the renowned Bristol Hotel. “It’s the hardest level to cook at,” says chef Eric Frechon, “because at its best, all of its complexity should be invisible.”
品嘗這種高水準(zhǔn)的佳肴，我們愛去布里斯托酒店（Bristol Hotel）里的“老饕”餐廳（Epicure）轴捎。餐廳時尚而又低調(diào)狠毯，專攻法國高檔美食释牺。餐廳主廚艾里克·福瑞雄告訴我們：“要做好頂級菜品十分困難芙盘。因為，廚藝的最高境界就是將所有食材的味道融為一體驼鞭。”
But most of the time we find ourselves these days at bistros. Top on our list is Le Grand Pan, a neighborhood spot advertising cuisine sans chichis, a meat-lover’s paradise. Our marvelous c?te de boeuf pour deux (rib steak) was enough to feed an entire rugby squad.
當(dāng)然尺碰，這些天我們大部分時間在光顧各式小酒館挣棕。首選就是“大潘”（Le Grand Pan），就在我們家附近亲桥，餐廳廣告牌寫著“本色餐廳”洛心。“大潘”是“肉食動物”的天堂题篷。他家的牛肋排足夠喂飽整支英式橄欖球隊词身。
We are also fond of Mon Vieil Ami, Westermann’s little bistro on ?le Saint-Louis. Vegetarians can eat well there (and carnivores too). One of us had paupiettes de veau with fricassée de légumes (stuffed veal with vegetable fricassee); the other ordered velouté de potiron and risotto aux épinards et champignons (a pumpkin soup with spinach and mushroom risotto). Both dishes elicited sighs of pleasure. Other bistros drawing rave notices include Paul Bert, Akrame, Le Chateaubriand, Frenchie, and Septime.
我們也挺喜歡位于圣路易斯島上，韋斯特曼打理的小酒館“老友記”番枚。我們品嘗了燉小牛肉時蔬卷法严；菠菜蘑菇燉飯和南瓜湯。菜品都做得賞心悅目户辫。還有些小酒館也口碑不錯渐夸，如：保羅·伯特（Paul Bert）,阿克雷米（Akrame）,大牛排（Le Chateaubriand），法國佬（Frenchie）和七分位（Septime）渔欢。
In our journey through Parisian cuisine, we had, of course, one place we had to visit: the restaurant in that painting, Bouillon Chartier. Gallery owner Roussard offered to call the artist and arrange a lunch there. “It’s the best I can do, because Marko won’t sell the painting. He’s decided he wants to keep it for himself.”
尋覓巴黎美食之旅我們豈能錯過夏提耶餐廳墓塌，也就是油畫中描繪的餐廳。畫廊老板給那位畫家打了電話奥额，安排一起在夏提耶餐廳午餐苫幢。“我只能做到這些垫挨，馬可不會出售這幅畫作韩肝，他想自己留著【爬疲”
Stupar, a 79-year-old who sported a ponytail and a Vandyke, had captured the place beautifully, down to the waiters in black vests and white aprons pirouetting expertly among the tables, writing orders on the paper tablecloths. Complimentary glasses of champagne arrived at our table. As the waiter turned around, he knocked a glass into Stupar’s lap. Before we could blink, a replacement sat in front of him and a thick wad of napkins appeared to soak up the spill. Stupar laughed as he dabbed at his shirt. “I’m glad I wasn’t sketching.” The hubbub, happy diners in animated conversations, the waiters moving too quickly among tables crowded closely together—they were all part of the dining experience.
畫家馬可已經(jīng)79歲了哀峻，留著馬尾辮，下巴蓄著尖髯哲泊。餐廳和他畫作中表現(xiàn)的一樣漂亮剩蟀，侍者們穿著黑背心，前面系著白圍裙切威，在餐桌間輕盈而熟練地穿梭育特，在紙桌布上點單。侍者給我們端來了贈飲香檳酒先朦。當(dāng)其中一位侍者轉(zhuǎn)身時缰冤，不小心把一杯香檳灑到了畫家的膝蓋犬缨。我們還沒有來得及看清，旁邊一位侍者已經(jīng)用一大塊厚毛巾把灑出來的香檳吸干了棉浸。馬可拍了拍襯衣大笑了起來怀薛。“好算好迷郑，剛才我沒有在寫生乾戏。”餐廳里的喧嘩三热，顧客們愉悅的交談鼓择，侍者們在擁擠的餐桌間飛快地穿梭，這些都成了我們用餐體驗的一部分就漾。
The food? Let us put it this way. The restaurant is a place where atmosphere is truly everything.
美食呐能？這么給您說吧，餐廳的用餐氛圍真的是最重要的抑堡。
