On Saturday, November 20, Rome — a city not particularly known for its live music scene — will host free concerts in no fewer than 47 museums and institutes city-wide. Don’t miss it!
Some top choices:
Milonga (the Latin American predecessor to tango), played by the Orchestra Buenos Aires Cafè Quintet. They’re livening up the Galleria Alberto Sordi (yes, that big neoclassical shopping gallery) at 11pm.
At the edgy MACRO Testaccio, folk music: Greek at 8pm, Estonian at 9pm, Norwegian at 10pm, and Italian at 11pm.
The Quartetto del Teatro dell’Opera, performing Puccini and Delibes, at the Corte di Cassazione at Piazza Cavour. The concerts are at 8m, 9pm and 10pm, and this one’s expected to be so popular, reservation is obligatory (call 060608).
Hebrew music at the Jewish Synagogue, including “liturgical Hebrew music of an Italian rhythm” at 10:30pm.
For those looking for sounds of the American South, the New Orleans Jazz Quintet plays at the Accademia Belgica at 8pm, 9pm and 10pm.
There will be an Egyptian dance performance at the Museo dell’Ara Pacis at 8pm, 9pm and 10pm.
At the Castel Sant’Angelo, Vivaldi’s “The Four Seasons” by the renowned Orchestra Arcus Caelestis. (Reserve in advance for the concerts at 8pm, 9:30pm or 11pm by calling 3313946149).
Guitar concerts at the National Museum of Musical Instruments (pretty appropriate, no?), at 8:30pm, 10pm and 11:30pm.
Art is great, and music is great. But art plus music? Well, that’s even better.
If you agree, then you’re in luck this fall: A number of museums in Rome are hosting concerts and other nighttime events.
The most-touted is Rome’s “Musei in Musica,” offering free concerts at museums all over Rome on Saturday, November 20. (More details are forthcoming, so check back in a few days). (Click here for more information about the 47 different concerts occurring). But there’s lots else going on, too — some mainstream, some quirky, all incorporating music and visual art.
This Sunday, the Museo di Roma hosts its last Aperitivo ad Arte. Go at 7pm for the aperitivo, take in a jazz concert (Alice Ricciardi and Enrico Bracco) at 8pm, and at 9pm, take the guided tour (in Italian) of the museum’s exhibit “Il Risorgimento a Colori,” featuring 19th-century paintings of patriotism in the time of Italy’s reunification. The cost is €11, and the museum, at Palazzo Braschi, is located right on Piazza Navona.
Want more jazz? On November 27, check out Jazz Noir at the Museo di Roma in Trastevere. On November 27, jazz guitarists Fabio Zeppetella and Umberto Fiorentino will perform as actors read out noir literature. Admission to the concert is free with your €5 ticket to the museum. Reservations are recommended (call 060608).
If you want something a little less heavy, then try the Budapest Bar-Urban Gipsy concert at the Museo dell’Ara Pacis. On November 17, the band — which blends contemporary and traditional Hungarian music — will play, the elaborate, ancient monument in honor of Emperor Augustus in the background. The concert is at 9:30pm. Reservations are required (call 060608), and the concert is free.
The Museo dell’Ara Pacis is also hosting a multimedia show called “Dedicated to Sara…” on Nov. 26, 27 and 28. The show incorporates music, dance and images, along with poetic verses by Joseph Manfridi. The performance costs €12; you can book in advance by calling 06 70493826. The performance begins at 9pm.
For something even more imaginative, don’t miss the Villa Torlonia’s “A Bell from the Owls,” a surrealist performance inspired by the Villa Torlonia’s House of the Owls. The performance, which takes place Nov. 27 at 11am and 3pm and Nov. 28 at 11am, is included with your €3 entrance.
And, every weekend through December 17-18 (and again on Jan. 7-8), the Centrale Montemartini, Rome’s former power station turned museum of ancient art (London’s Tate Modern with a twist!), hosts its “Central Notes” concerts. They range from orchestral film scores (like Stelvio Cipriani’s concerts on Nov. 12 and 13, or Nicola Piovani Cyrano’s Film Quintet on Nov. 19-20), to blues (Paul Millns and Butch Coulter, Dec. 3-4), to rock (American Elisabeth Cutler plays on Dec. 10-11). The food and wine tasting, plus concert, costs €8. The showings are on Fridays at 8pm and Saturdays at 10pm. For a full list of concerts, click here.
In Rome, it's the Italian Renaissance that gets the glory. In a city filled with paintings and sculptures by the likes of Michelangelo and Raphael, that's how it should be.
But with such larger-than-life pieces, it can — ironically — be easy to forget in Rome just how influential Italy's renaissance was beyond its borders. After all, the importance of the art isn't just that every tourist flocks to the Sistine Chapel to stare at more than 10,000 square feet of fresco. The real question is: Why do they? And, in no small part, it's because the Renaissance launched in Italy would go on to shape art both up until today — and across the entire European realm.
Unless you're stopping in Germany and the Netherlands and England along with Italy, that can be tough to get your mind around on one trip. Until now.
The Galleria Borghese is showing an excellent exhibit on the work of Lucas Cranach. Appropriately titled "Cranach: The Other Renaissance," it brings together, in one space, the pieces of one of the foremost artists of the German Renaissance with Italian Renaissance masterpieces… and the ancient sculptures that inspired both.
Born into the same era as Michelangelo and Raphael, Cranach became a court painter to Saxony's Frederick the Wise in 1504. He would remain a court painter until his death in 1553. With his status, he had access not just to the rulers of the realm, but also to their art — which included pieces from the Italian masters.
The relationship between his art and that of his Italian peers (or, in many cases, predecessors) is highlighted again and again. There's no looking at his "Primitive Man (The Golden Age)," for example, and not seeing the Florentine Botticeli's "La Primavera," executed some fifty years earlier. (Sadly, Botticelli's piece isn't in the Borghese exhibition, so you'll still have to go to Florence's Uffizi Gallery to get the full picture).
"Primitive Man (The Golden Age)," Lucas Cranach, 1530
"La Primavera," Botticelli, 1482
Even while Cranach drew on Italian models, though, his style was all his own. His figures are less proportionate, the clothing more sumptuous, the messages more moralizing. And his Protestantism — a close friend of Martin Luther, he introduced Luther to his future wife and painted a widely-reproduced portrait of the couple (included in the exhibit) — significantly influenced his paintings, too.
Just take his "Centurion at the Cross," a stark contrast to Pinturicchio's crucifixion scene. Hung side-by-side in the exhibit, the two paintings highlight the widening divide between Luther's followers and the Roman Catholics. Cranach's crucifixion scene is stark, bare, the centurion's sighting of Jesus unmediated by anyone — or anything — else. His conversion is a lonely one, undertaken because of inner faith alone.
"Centurion at the Cross," Lucas Cranach, 1539
Not so in Pinturrichio's piece. Here, the saints Jerome and Christopher mediate, praying both with — and on behalf of — the viewer. That's exactly what the Protestants rejected.
"The Crucifixion," Pinturrichio, 1473
The exhibit isn't perfect. Some of the rooms seem to be reaching: While you could certainly have a conversation about various types of Renaissance portraiture from looking at a line of unrelated portraits of unrelated men, for example, the resulting jumble overwhelms. The exhibit is far clearer, and more effective, when it picks more precise themes to compare.
Still, it's a treat even to just see so much of Cranach's work in one place. You can see both his style developing, and can tell when he hits on a marketable idea — like his "Ill-Assorted Couples," a humorous but moralizing theme he repeated more than 40 times in his workshop's output.
It's neat, too, to see the influence he and other German Renaissance painters may have had on other artists in the collection. Take one of Cranach's "Ill-Assorted Couples," for example, and then take a look at Gerrit van Honhorst's "The Concert" (in the Borghese's permanent collection). Yes, van Honhorst's piece is explicitly Baroque, not Renaissance. Yes, it's Caravaggesque in its realism and dramatic lighting.
But van Honhorst also seems to draw something from his fellow northern painter — particularly in showing a joyful scene debased and warped, both humorously and with a moralizing intent. In Cranach's piece, is the old woman paying off the young man for love? In Honthorst's, is the young woman stealing the man's earring and about to pass it to the old woman behind her? How else are the scenes similar… and how, separated by 100 years and their respective art movements, do they differ?
"Ill-Assorted Couple," Lucas Cranach
"Concert," Gerrit van Honhorst, 1623
It's exactly those kinds of conversations you can have at the Borghese's newest exhibit.
"Cranach: The Other Renaissance" is on at the Borghese Gallery until February 13. For more information about the exhibit, click here. For more information on the Borghese, including how to book (you must book in advance), click here. All Borghese tickets include entrance to the Cranach exhibit; the price for a ticket is now €13.50.
All images above except for "La Primavera," "Venus and Cupid" and "Concert" courtesy of the Borghese Gallery. Images of the other pieces courtesy of the Web Gallery of Art.
I wrote an article for the Guardian's travel section, published today, on what it's like to take one of the first tours of the Colosseum's newly-unveiled hypogeum, third floor and arena. You can check the story out here.
And some more photos, because, well, why not. (Top and bottom: the third levels of the Colosseum; middle: the hypogeum).
I've gotten a lot of messages asking more about how to access the subterranean and third levels of the Colosseum, which officially opened to the public today.
Well, I've been there, done that (I was actually lucky enough to be on the very first public tour of the newly-unveiled areas at 9:40am this morning!), so I'm happy to share!
Update, July 2011: It's been confirmed that the Colosseum's underground is now open through September… but possibly no later! Click the link for info on the three major (and only) ways to get to the Colosseum underground. (The post below gives you info on how to book by taking a tour with the Colosseum directly — but that's not necessarily, or always, the best way).
Update, March 2011: The Colosseum's underground has reopened! Some things, including the exact price and the ability to pay in cash on the day of, have changed. Click the link for more info.
Why is this special? It's the first time since antiquity that the hypogeum and third levels have been officially, safely open to the public. (Actually, even better than that, since even in antiquity the hypogeum would not have been open to the public). And it's the first time the arena has been open to the public during the daytime.
Do I have to book in advance to see the hypogeum and third levels? Yes, you must book in advance.
But why? Because the areas are archaeologically sensitive, they don't want the Colosseum's 19,000 or so daily visitors clambering around on their own. Instead, the Colosseum's official guides are taking groups to those areas, with a maximum of 25 people per group.
How do I book? The best (and, I think, so far only) way to book is to call Rome's cultural association, Pierreci, directly. Their phone number is +39 06 39967700. Websites might start cropping up soon, if they haven't already, offering to sell you these tickets online; they'll charge you a surcharge for this, so just call Pierreci instead.
Do they speak English? Yes, they should. If you can't follow the rapid-fire Italian for your options through the automated system, press 0 the first time you're asked a question, 3 the second time. (Assuming, of course, you're an individual booking for a group tour). That should bring you to an operator. Once you speak to someone, if you just ask, "Parla inglese?", you should be able to communicate with them in English fine. They are, after all, offering English guided tours!
But I don't want to make an international call. That's expensive. Download Skype (www.skype.com). It's a free voice-over-internet program and takes thirty seconds to download. It's intuitive, it's easy, and you can call phones internationally for much less than what most phone cards would cost you. Plus, calling Skype to Skype is free.
How much is it? It costs €12 (the normal entrance price, which includes your entrance to the Forum and Palatine), plus €8 for the guided tour, plus a €1.50 reservation fee. You do not pay in advance.
What times are the tours? I don't know, and I'm not sure there's a regular schedule. But it seems like lots of tours in both Italian and English (perhaps other languages, too) are being given. The operator will give you a list of times that you can choose.
Should I book now, or wait till I get to Rome and have more of an idea of my schedule? Book now. Seriously, everyone and their mother will want to do this. You need to get a slot as soon as possible.
How long are they doing this for? So far, till November 30. But I can't imagine they won't continue it after that.
So I have my reservation number, and I'm in Rome. Now what? When you go to the Colosseum, you'll see a long line on your right. Don't stand in it–that's for people without reservations. You also might see a long line on your left. Don't stand in that one, either, which is for big group tours. Instead, go down the middle. When a guard asks you for your ticket, say you have a reservation. He'll let you through to the ticket windows at the end. Get in the line for reservations ("prenotazioni"), which should be very, very short. At the window, present your reservation code. You're then given your ticket, plus a little sticker saying you're one of the chosen few for the tour. The meeting point is currently in front of the elevator, but that may change (like everything does!), so make sure to ask.
What if I have a RomaPass? If you tell the person at the reservation window that you already have a ticket to the Colosseum, you can pay just the reservation and tour fee and use your pass.
Can I use my ticket for something else? Yes. It's a normal, combined Colosseum ticket, so you can use it for entrance to the Forum and Palatine for the rest of the day and the following day (the deadline will be printed on your ticket).
What does the tour cover? The tour includes the hypogeum (subterranean area), arena, Porta Libitina, and third level.
How long is the tour? This morning, it took us an hour and a half to get through it all. I don't know if that's how long they'll all be.
Can I sightsee more around the Colosseum after the tour? The tour ends inside, so yes.
Is it worth it? Yes. It's incredible. And this is absolutely how the Colosseum is meant to be seen. Once you see the Colosseum from its almost-top, and peer up at the seating from where gladiators and animals would have waited for their turn, and walk through the gate where gladiators' dead bodies were taken out, you'll feel badly for those who "only" got to see the Colosseum's first and second levels.
Whew! I hope that covers everything, but let me know if I left anything out!
A guard allowing us up to the third level of the Colosseum.
La Campana, a restaurant tucked away a few steps from Piazza Navona, claims to be Rome's oldest dining establishment. It was recorded as being on the same street all the way back in 1518 — a tough claim to match.
But since these kinds of claims are everywhere, particularly in a city as overrun with old establishments as Rome, that's not really why you should go.
You should go if you want to experience good, classic Roman food, or cucina romana, at not-bad prices, in the heart of the center. In an area where culinary mediocrity is so thick on the ground, that's pretty tough to find. Oddly enough for the neighborhood, it's not even fair to call La Campana touristy: While there are always tourists there, a number of businessmen are always taking up the tables as well, particularly at lunch.
That said, not all of my experiences at La Campana have been perfect. One more-mediocre experience included my rigatoni all'amatriciana (€8), a dish that was undone by the long strips of not-very-crisp-or-smoky guanciale, or pork jowl, each of which were at least two-thirds white fat.
But I've also had a juicy saltimbocca (veal wrapped with prosciutto, €12, shown below) and an excellent coda alla vaccinara (€12), at top, in a rich, delicious sauce and with the meat falling off the bone. That coda alla vaccinara, alone, made me vow to pay more visits to Rome's (maybe) oldest restaurant. Other classic dishes on the menu to try include the fettucini al ragu (€10), trippa (€12), and artichoke (€5).
Something else I'll say for La Campana: The service is excellent. That's not something you tend to see in many moderately-priced Roman restaurants, particularly not those that have been written up as often as this one. But the black-vested waiters are unfailingly polite, and the service (usually) pretty fast.
La Campana. Vicolo della Campana 18. Closed Mondays. For more information, click here. For a map, click here.
Unless you're a Mannerist art fan, don't visit the Galleria Spada until you've seen the Vatican museums, Galleria Borghese, Capitoline museums, Villa Farnesina, Palazzo Massimo, and Palazzo Barberini.
But. Once you've done those — or if you're in the mood for just a half-hour art stop, instead of the longer slog the other galleries entail — check out the collection of Palazzo Spada.
Located just around the corner from Campo dei Fiori and Piazza Farnese, in one of Rome's lovely and quieter neighborhoods, the palazzo got its start as a cardinal's palace in the 16th century. Seventy years later, it was built by another cardinal (Cardinal Spada, of course!) who commissioned none other than Borromini to modify it.
Borromini's main contribution? The courtyard's colonnade, a trick of perspective that makes the gallery look 37 meters long, when really it's just 8 (shown above).
The "ah-ha!" you get when you catch just how small the gallery really is (aided by one of the workers, who will come out and stand at the back of it to show you that it's all just a trick) is one that must have been shared by guests to the palazzo for nearly four centuries. But that's not the only way in which you experience the gallery much as 17th-century visitors would have.
In all four (yes, only four) of its rooms, the museum seems frozen in time. The collection — which boasts paintings by Guido Reni, Orazio and Artemisia Gentileschi (Artemisia's "Santa Cecilia" is shown below), and Domenichino, plus one piece thought to be a Titian — is still displayed much as it would have been. The walls are hung with painting upon painting; the floors are bordered with ancient busts and statues; the ceilings are frescoed. It all feels a bit musty, and you're likely to be the only person there.
Sound good? Then go. After all, it's one of the few things you can do in Rome that almost no other tourist has.
For more information (in Italian), click here. For a map, click here. The Galleria Spada costs €5, with reduced options for E.U. members.
When I want cucina romana, Rome boasts one restaurant I can always count on for high-quality ingredients and top-notch dishes: Il Pommidoro.
Located in the student-heavy, graffiti-spotted San Lorenzo neighborhood (half-jokingly referred to by Roman residents as the “communist quarter”), Il Pommidoro isn’t on the track for most tourists. The clientele, almost always exclusively Italian, reflects that. But when it only costs €6 to take a cab before 10pm to Il Pommidoro from, say, the Colosseum, it’s a worthwhile venture. Especially when it’s for classic Roman dishes the way Il Pommidoro cooks them up.
One of Rome’s classic family-run restaurants, Pommidoro dates back to 1926, when the current owner’s grandmother turned her wine shop into an eatery. Aldo, the grandson, started working here at seven.
Although the menu does have plates inspired from beyond the Lazio region, most of the food reflects those older Rome traditions. All of your classic offal is on the menu, from animelle alla cacciatora, or stewed sweetbreads (€12) to spiedone di pajata, the intestines of unweaned calves(€10). Try the porchetta as an antipasto; the sliced pork, shown below, is melt-in-your-mouth. Roast partridge, rabbit and duck also are on the menu, and much of it was shot by the Bravi family themselves on their hunts. (This was, perhaps, never made more real to me than when I took a bite of their pheasant last night, only to chomp down on something hard. It was shot.)
Pastas include all the classics, too, from carbonara (€8) to amatriciana (€8). And while a recent amatriciana was the only dish I’ve ever had there that I haven’t been completely impressed with — it was a little too watery — Il Pommidoro has made it up to me in the past with their other pastas. Most notable: The best pasta alla gricia I’ve ever tasted, complete with perfectly al dente pasta and smoky, just-crunchy-enough bits of guanciale, shown at top.
Always ask about their specials, too; you might come across something like the orange mushrooms, or amanita caesarea, shown above.
Il Pommidoro tends to be popular with locals, so make sure you book in advance. Unlike most other Rome restaurants, it has long lunch hours — until 3pm — so it’s a good midday stop, too.
The wood oven at Il Pommidoro, perfect for roasting those suckling pigs and rabbits.
Il Pommidoro. Piazza dei Sanniti 44, in San Lorenzo. Open for lunch and dinner daily except for Sunday. 064452692. For a map, click here.
Palazzo Barberini, home both to the powerful clan that produced Pope Urban VIII and to paintings by greats like Raphael, Caravaggio, Titian and El Greco, hasn’t been a proper museum in years. Plans to create a central space for its collection were stalled for decades; until 2006, the palazzo even served as an administrative office for the Italian military. Paintings were split between various galleries across Rome, and even more of them remained in storerooms, hidden to the public.
I paid a visit to the newly-restored Palazzo Barberini today, and all I can say is: what a difference a few more rooms make.
(Note: This post was last updated with current information in April 2017).
The piece-de-resistance of the whole collection long has been Pietro da Cortona’s Triumph of Divine Providence (shown above), the fresco on the ceiling of the Grand Salon, mind-boggling for its size, its spot-on execution of trompe l’oeil, and its sheer over-the-top-ness. Under restoration for months, it’s now viewable in all its Baroque glory. A plus: Two comfy, long sofas let you stretch out on your back to take it in without hurting your neck.
But there are other jewels in the collection that are only now being shown off, too. Medieval pieces that had been undisplayed, including 14th-century scenes of crucifixions and sad-eyed Madonnas, now take up several rooms. A hall of landscape paintings includes several sweeping works by Paul Brill. And one room just opened to the public features a rushing fountain, a little piece of indoor theatricality in a time that loved everything unexpected and dramatic in art.
As well as the art itself, the museum experience has improved. A description in English and Italian greets you in each room, giving an overview of how the pieces link together (usually, by period and geography), and the flow of your visit is set up so that you progress from the 14th century all the way up until the 17th. And because there’s more room, the pieces aren’t as crammed in together.
With its new rooms, the Palazzo Barberini should take you about two hours to get through.
The Palazzo Barberini is located just steps from the Barberini metro at Via delle Quattro Fontane, 13. It’s open every day but Monday from 8:30am-7pm, making it an ideal early-evening stop. The entrance price is currently €10. For more on Palazzo Barberini, click here.
Also: a good reason to head “outside the walls,” books about Italy to put on your must-read list and an answer to the question: is Rome really safe?
If you liked this post, you’ll love The Revealed Rome Handbook: Tips and Tricks for Exploring the Eternal City, available for purchase on Amazon or through my site here! I’m also free for one-on-one consulting sessions to help plan your Italy trip.
Back in May, the ministry of cultural heritage said it would open the subterranean level of the Colosseum — the section below the arena where gladiators and animals would have waited for their turn to fight — by the end of the summer.
That didn't exactly happen on time, but it is happening. The (still-provisional) opening date, which was just announced, will be Monday, October 11. Update, Oct. 14: On October 14, the ministry announced that the subterranean and third-level area is now open to the public. (Yay!) You can access the subterranean area via guided tours, which start on Oct. 19. To book, click here.
The hypogeum, as the underground area is called, has never been open to the public before. A series of two-level passageways and rooms beneath the area, it would have been dark, dank, and filled with terrified animals and (perhaps also terrified) gladiators. If walking through where bloodthirsty spectators would have sat doesn't give you chills, exploring these underground chambers certainly should.
The restoration of the hypogeum is part of a much bigger plan for the Colosseum, which the ministry plans to restore by 2013. That is, if they can find private sponsors for the $33 million renovation. Hey, you get advertising space on one of the world's most iconic monuments in return. Anyone? Anyone?
You should go if you want to experience good, classic Roman food, or cucina romana, at not-bad prices, in the heart of the center. In an area where culinary mediocrity is so thick on the ground, that's pretty tough to find. Oddly enough for the neighborhood, it's not even fair to call La Campana touristy: While there are always tourists there, a number of businessmen are always taking up the tables as well, particularly at lunch.
Something else I'll say for La Campana: The service is excellent. That's not something you tend to see in many moderately-priced Roman restaurants, particularly not those that have been written up as often as this one. But the black-vested waiters are unfailingly polite, and the service (usually) pretty fast.
.
