Castel di Sangro, Abruzzo: August 2023

Perched at an altitude of 820m on the Apennine Mountains of Abruzzo, Reale’s location might evoke a comparison with Le Suquet, but the food certainly has a language of its own. While Michel Bras evokes an uncanny authenticity and Alain Passard infuses a spontaneous artistry in his dishes, Niko Romito conveys purity of flavour. Indeed, Romito’s philosophy can be distilled into two principles: aesthetic simplicity and a relentless quest for the true essence of the ingredients.

The origin of Reale

The story began in 1970, when Antonio Romito, Niko’s father, opened the Royal Bar, a bar and pasticceria situated in the former premises of the Reale Albergo degli Appennini in Rivisondoli. By 1996, the allure of winter sports was drawing many skiers. Recognising the need for sustenance after a day on the slopes, Antonio transformed the Royal Bar into the Ristorante Reale, a trattoria for skiers seeking to warm up and indulge in hearty meals.

Born in 1974, Niko Romito was to transform this establishment further. Having grown up in Rivisondoli and then moved to Rome at the age of 13, he studied economics at Rome’s Sapienza University, envisioning a career in finance. His life seemed settled, orbiting a world far removed from the family restaurant. However, 1998 brought a twist of fate with the sudden illness of Antonio. Niko was compelled to return to Rivisondoli. Joined by his supportive sister, Cristiana, who till today oversees the dining room, Niko took charge of reins of the trattoria. The goal was to keep the restaurant operative until they could sell it. For a young man, whose culinary repertoire until then was virtually non-existent, this transition was daunting. Yet, a month into this endeavor, he experienced an inexplicable gravitation towards the job. It wasn’t just a sense of responsibility to his family legacy; it was a calling. It was as if the rustic walls of Ristorante Reale whispered tales of family, passion, and purpose.

As a self-taught chef, Niko’s culinary journey had its share of curveballs. His initial approach, deeply rooted in traditional cuisine, was based on his readings about the rich Abruzzo regional heritage. He also took some cooking courses at Étoile Academy in Veneto. But the year 2004 marked a turning point. Drawing inspiration from short stages with chefs like Valeria Piccini, Antonio Sciullo and Salvatore Tassa, he embarked on a transformation. He had started to develop a keen sense of the gastronomic landscape and with an understanding of its potential, Niko felt the need for innovation. The seating was reduced from 50 to 30 covers and the dining room was renovated. The cuisine took a turn for a more modern philosophy led by research and dishes that looked for innovation, while retaining its core of Italian traditions.

Altering the core essence of a well-loved restaurant was bound to have repercussions. Many loyal customers, charmed by the trattoria’s rustic dishes, were shocked by Romito’s new direction – ‘Niko has started doing nouvelle cuisine and has gone mad’. During 2004 and 2005, he recalls many nights when the restaurant would remain nearly empty. It was a time of introspection, as Romito had to not only stay true to his vision, but also convince his family and workers that this evolution was indeed the right call.

His determination, his innovations and dedication did not go unnoticed. This led to him being crowned ‘Best Italian Young Chef’ by the Guida Espresso in 2006. The subsequent year, 2007, crystallised his accomplishments, as Reale was honoured with its first Michelin star. To him, it wasn’t just a star; it was a validation of years of perseverance.

From the first star to Casadonna

Such recognition, in a region where Michelin stars were rare, signified more than just culinary excellence; it heralded the dawn of a gastronomic revival in Abruzzo. Yet, the growing fame also brought advice, often unwelcome. Many Italian journalists and culinary experts urged Romito to leave his native Rivisondoli, seize his newfound success and relocate to more prominent places. They argued that Rivisondoli, being a small quaint town, might limit his immense potential. Romito, however, stood his ground. His reasoning was profound: if he could achieve such recognition in such a short span, why betray the very land that shaped him?

His bold choice paid off. In 2009, in the very place critics deemed restrictive, Reale was awarded its second Michelin star. With accolades came responsibilities and ambitions. Romito dreamed of something greater, not just a larger dining space but a more holistic experience. Through an acquaintance, he discovered Casadonna, a 16^th-century monastery nestled on a hill in Castel di Sangro. Despite the evident challenges and financial burdens of such an acquisition, Romito was drawn to it. There was an ineffable energy about Casadonna, as if it was calling him. By August 2011, Romito moved Reale to Casadonna, and opened the restaurant along with a hotel with two rooms, which has now grown to ten.

The gamble was astronomical. Financially, Romito, backed by his family, invested over 4 million euros, underpinned by a 15-year bank mortgage.

A culinary school as a central asset for Reale

In the subsequent year, 2012, Romito unveiled his own Accademia, a culinary school within Casadonna that would have a profound influence in the rest of the business. He had visited Ducasse’s cooking school and had understood how it was at the crux of Ducasse’s project. He wanted the school to be a centre for the development of his own staff, a place where to break down to the essentials, all the culinary knowledge, to empower their research and innovation. But soon he realised that to make it economically viable, he had to open it to all students.

Niko still wanted to bridge the gap between academic instruction and the demands of the professional world. In 2013, this spurred his first side-project, Spazio, a restaurant housed in the old venue of Reale in Rivisondoli dedicated exclusively to freshly graduated students. This provided them with an opportunity to apply their learnings in real-life scenarios, facing actual customers and managing every facet of the restaurant. A new concept to allow students to transition seamlessly from theory to practice. After passing their exams, students go on a three-month stint in Rivisondoli followed by a six-month professional engagement in the other Spazio establishments that have since then opened in Rome and Milano.

With larger human resources, the research and development in Reale could now progress faster. Indeed, a large number of evolutionary dishes are born between 2009 and 2013, as the culinary language that Niko was developing consolidates. By the end of the year, Reale is awarded its third Michelin star.

The many side-projects of the Romito family

As the finances of the restaurant finally break even by 2014, the number of side projects steadily increases from here. The first, with a fully defined culinary philosophy is the book ‘10 Lezioni di Cucina’ in 2015, a compendium of all his thoughts, now fully verbalised. Soon, in 2016, following the steps of other restaurants like Bras, elBulli or Mugaritz, the restaurant starts closing in the off-season, a period to dedicate themselves to research in what Niko calls his Laboratorio.

In 2017, Reale made its debut on The World’s 50 Best Restaurants list at position 43, ascending from a prior 84th position¹. This year also made official one of Niko’s biggest side-projects – a alliance with Bvlgari Hotels, a branch of the luxury behemoth, LVMH. The collaboration aimed to establish a restaurant within each new Bulgari Hotel worldwide, all named ‘Il Ristorante – Niko Romito’. Romito had been approached by Bulgari in 2009, a time when he had freshly clinched his second Michelin star. However, amid plans of relocating Reale to Casadonna (which he eventually did in 2011 and subsequently earned his third star in 2013), Romito had initially demurred. Yet, by 2017, the timing felt right, culminating in two restaurant launches – Beijing and Dubai.

The strategy for Bulgari draws parallels with Joël Robuchon’s approach to expanding. Robuchon’s L’Atelier de Joël Robuchon chain propagated a singular, consistent culinary experience across global locations. Similarly, Romito’s emphasis on maintaining uniformity in menus and presentation standards ensures a consistent, high-quality dining experience, irrespective of geography. More importantly, it essentially makes the logistics easier and possible. We describe all this and the style of the cuisine in our review of Il Ristorante here.

This international expansion didn’t slow down. In 2018, another of these restaurants opened its doors in Milan and Shanghai, the latter swiftly earning a Michelin star that same year. Beijing would earn one too the following year. Openings continued in 2023 in Tokyo and Rome, while that same year the Dubai venue was awarded with two Michelin stars.

Having secured a stable position across his portfolio of projects, Niko also wanted to try a concept with a more accessible culinary experience and a special nod to Italian traditions. This took the form of Alt Stazione di Gusto. A key highlight is the ‘Bomba’ – an Italian doughnut (bombolone) reimagined with various fillings and even presented as a burger. Having been to Alt, we would describe it as a great ‘fast food’ concept, as it objectively describes the quick and efficient service. Yet, Niko would probably prefer to be more nuanced, since he is a strong participant of the Slow Food movement. Adjacent to Alt, Romito openened a centralised bakery, producing and distributing bread to his various Italian restaurants.

Meanwhile in 2019, Reale effectively dethroned the long-reigning Osteria Francescana as Italy’s top restaurant, obtaining a 96/100 in Gambero Rosso, a position and rating that has kept since then. Even the move to a vegetarian-only tasting menu in 2022 did not shake it off that ranking.

The cuisine

Romito did not follow the conventional path of culinary education or training in prestigious restaurants. Instead, he immersed himself in reading all the gastronomic literature possible during the early years of Reale, when it was still located in Rivisondoli. This self-driven research was his means to crystallise a vision of what he wished to present on a plate. For Romito, his gastronomic philosophy, formed organically, free from the overshadowing influences of prominent mentors. This autonomy in learning allowed him to express his culinary creativity freely, without strong external interference.

But there are still some influences

However, he was not completely isolated. Although he was largely self-taught, he subtly drew inspiration from some mentors and restaurants where he staged briefly. Valeria Piccini, the chef behind Da Caino, is probably the most important of these. Also largely self-taught, the essence of Piccini’s cooking, rooted in simplicity yet bursting with creativity and a commitment to evoking emotions, surely found an echo in Romito’s heart. Piccini also had a keen sense of balance and harmony in her dishes, something that the Abruzzese chef adopted as one of his core principles in his cuisine. In fact, Piccini and him share the same publisher and photographer, so they might share other producers or suppliers too.

Niko also spent time in Salvatore Tassa’s kitchen. His cuisine, deeply Brassian in nature, speaks volumes of an approach that values the simplicity of local ingredients. Its remote location and emphasis on local flora are hallmarks that have, in parts, manifested in Reale’s identity.

By 2004, after his big refurbishment of the old trattoria and new menu, his dishes where already showcasing the local produce like capretto della Majella, tartufo nero molisano or aglio rosso di Sulmona as well as evolutions on Abruzzo dishes like the pancotto.

One of the most significant influences on Romito’s culinary journey was his 20-day experience at El Celler de Can Roca in 2006. There, he learned from the Roca family how to create a system and a culture of research that would later elevate his cuisine to new heights. He also absorbed some indirect influences from other chefs. Michel Bras, for example, inspired Romito with his deep respect for his origins in a remote location, his love for vegetables, his unwavering focus on authenticity and his promotion of local produce. These values are also reflected in Fulvio Pierangelini’s cuisine, whose book Il grande solista della cucina italiana is one of Niko’s favourites. Lastly, the congresses from Madrid Fusión and Lo Mejor de la Gastronomía probably exposed the young chef to the technical innovations of the Spanish avant-garde, as we know that he has always been very keen on sous vide cooking.

Still, it is from 2009 to 2013, that his vision becomes more clear. All these influences get integrated into a well grounded overarching philosophy that feels authentic and unique to Reale.

The core concepts

At the heart of Romito’s cuisine lies a profound search for simplicity. His dishes attempt not to start from the complexities of a pre-conceived idea but from a methodical journey from understanding the raw material to developing a technique that accentuates its very essence. This commitment extends beyond just the cooking processes; it also encapsulates the flavour combinations, presentation, and even the name of the dish. By peeling away the layers of excess and focusing solely on the ingredient, Romito aims to form what he calls a ‘logical empathy’ with it, to understand its true essence.

It’s a philosophy demanding the chef to tread a fine line. While on the surface, the dishes may appear effortlessness, beneath lies a complex web of decisions and techniques that come together harmoniously after extensive trial and error. For Romito, the true art lies in creating a dish that can speak directly to the diner, evoking memories or emotions, all while staying true to the ingredient’s intrinsic character.

Another concept that Romito has managed to verbalise from his approach to food is one that he calls stratification. He draws an analogy to a painter layering hues to achieve the perfect shade, his dishes instead employ layers to accentuate the very soul of the ingredient. Consider his roasted aubergine dish. He cooks the aubergine and then presses it to extract all its juice, to finally reduce it until a concentrated glace is produced. This reveals hidden flavours in the aubergine, such as licorice and caramel, that are often ignored or unnoticed. It is not merely about harnessing the aurbergines primary taste, but discovering these secondary notes. Then he amplifies them – by adding a touch of licorice and sugar in this case – deepening one’s appreciation of familiar ingredients, revealing nuances previously unperceived. This process of extraction and concentration is used similarly across a large range of ingredients in his cuisine (see the carrot, the onion or the escarole).

Yet, it is the principle of equilibrium that ties together Romito’s approach, a quality that he shares with his mentor Valeria Piccini. An equilibrium in gastronomy is akin to the symmetry in a work of art or harmony in music – it feels intangible but at the same time distinctively perceivable.

‘If there were one less ingredient, this dish would be perfect,’ one sometimes hears in a restaurant. Some might be able to pinpoint the out-of-place element, but most will be left with a vague feeling of dissatisfaction.

10 Lezioni di Cucina, 2015

While his cuisine is underpinned by rigorous study, research and technique, only through equilibrium can this complexity be translated into simplicity, enabling every dish to be perceived in its purest form. When a dish is stripped down to its fundamental ingredients, any misalignment becomes starkly evident. This balance in Niko’s dishes was very noticeable in our visit, with the use of his layering (or stratification) of ingredients never overpowering, but more of a symbiotic catalyst to accentuate the flavours of the main ingredient.

Other quirks

There are of course some other quirks to his cuisine, such as his desserts that are not overly sweet, but rather highlight the natural sweetness of fruits without adding any sugar. He also has a great passion for bread, a staple food that he elevates to a separate course in his tasting menu. Another one is his desire to make his meals healthy and nutritionally balanced.

But perhaps the most relevant one on which to focus is his penchant for vegetables. Even if he did not give them much thought initially in his career, he progressively learned to respect and maximize their potential in his dishes, granting them centre stage. His early focus was on legumes, particularly local varieties from Abruzzo. By 2009, as he evolved to a more produce-driven cuisine, vegetables had started to play a central role in Romito’s preparations, eventually leading to dishes where vegetables were the sole ingredient, with the 2010 roasted aubergine being the big revelation. Cooking sous vide, extracting their juice and reducing it became a his standardised approach to them. Then would come his famous artichoke and a version of gargouillou called misticanza in 2014, the cauliflower in 2016 and the broccoli leaf in 2022.

In 2022 he took the decision to change the tasting menu to a single one, vegetable-driven only, no meat. This came right after Daniel Humm’s decision in 2021 to make Eleven Madison Park vegan, which probably gave Romito the ambition to do it too². However, in contrast to the change in EMP – which we felt that it was rushed and forceful – Reale’s transition seems to be more natural. The new menu draws from the last decade of research and experimention of the restaurant with vegetables, all compiled in a single menu where one does not miss the meat. Moreover, Niko is not as radical as Humm, leaving his great carnivorous classics in the à la carte menu. The change towards vegetables seems to be a move to showcase all the work he has done with them, champion their value and – of course, Niko is a businessman, to make some noise.

The venue and the ambiance

Reale is a secluded restaurant that lies halfway between Naples and Rome, in the heart of the Apennine Mountains. It takes about two hours by car to reach it from Naples, and a touch more from Rome. Like Bras’ Le Suquet, Reale is renowned for its remote setting, surrounded by verdant valleys, a Pecorino vineyard, and a breathtaking view of the nearby town of Castel di Sangro. The vineyards, plus the gated entrance that requires ringing through an intercom, evoke a similar sensation to arriving at Da Vittorio.

Reale occupies a former 16^th-century monastery that has been converted into a gastronomic sanctuary. The complex includes luxurious guest rooms, a winery, and Niko Romito’s Accademia. The U-shaped structure encloses a spacious terrace that overlooks Castel di Sangro, a view accompanied by the imposing large canopy of an old chestnut tree. The architecture by Leonardo De Carlo combines historical significance and contemporary minimalism, using natural materials such as wood, iron, and the white stone typical of the region. This creates a harmonious blend of past and present, where the monastery’s heritage coexists with modern elegance.

However, the highlight of Reale is undoubtedly its dining room. A vast window dominates the space, framing the surrounding landscape in a manner reminiscent of Le Suquet. The marble floor tiles, polished by centuries of footsteps, reflect the venue’s history, while the vast white walls create a luminous and airy atmosphere. The space hosts only eight round tables with ornate table legs and meticulously arranged with and tablecloths that don’t drape à la Bras. This interior design is a study in minimalist allure, enhanced by touches of elegance: rustic wood service tables, slender winding individual table lamps, and a curated collection of abstract art. This simplicity and luminosity were very much of our taste, as were the minimalistic and heavy cutlery by Broggi and the Riedel glasses for wine.

The service and the wine

Directing the impeccable service at Reale in Castel di Sangro, stands Cristiana Romito. As the general manager of Casadonna and the maître d’hotel of Reale, she oversees every aspect of the hospitality and the dining experience. She joined her brother Niko, the chef and owner, in 2000, and since then she has developed her own vision of how to welcome and serve the guests.

Cristiana advocates for an authentic and natural reception, one that makes guests feel instantly at ease, regardless of their familiarity or expertise with the restaurant. She avoids pompous or pretentious gestures, opting for more genuine and sincere interactions. Crucially, every member of the service is encouraged to delve deep, understanding the nuances of the dishes, the ingredients, and the techniques, ensuring that the restaurant’s ethos and cultural context are always conveyed. As a diner, one appreciates this, enhancing that sensation of authenticity.

The harmonious ballet of the service around the dining room is equally remarkable. The service staff glide around the dining area with immaculate coordination. Dishes, utensils and crockery are presented with a gracefulness that is as effortless as it is satisfying.

There’s an inherent human pleasure, perhaps even a primal one, in witnessing such symmetry and synchronicity. While on the surface, this pleasure can seem mostly aesthetic, it also evokes a deeper sense of control and order—a subtle indication to the guests that they are in good hands.

The wine selection

The wine list at Reale is curated by Gianni Sinesi, the sommelier who joined the restaurant in 2004 and has been overseeing the wine selection since 2006. The list features around 500 references and 8000 bottles, mostly from Italy and France (in equal parts), with a few wines from Spain, Germany and California (mainly Tondonia, Vega Sicilia, Egon Muller, Prum, Molitor and Kistler). The list showcases the diversity of Italian wines, with remarkable references from lesser known regions such as Abruzzo, Marche, Campania or Basilicata. However, the prominence of Nebbiolo, Burgundy white and reds and Sangiovese also reveals Gianni’s personal preferences.

Considering the vegetable-oriented tasting menu, the number of bold reds in the list is surprising. These wines might have been more suitable for a more omnivorous menu in the past, but they seem out of place with the current dishes. For instance, who would pair a Taurasi with a cauliflower dish? This might explain why the aged Taurasi are the best value option in Reale. Otherwise, the markups are fairly high, ranging from 200 to 250%. Apart from the bold reds, we also found good value in the older Brunelli and Chianti. We had hoped to find some bargains among the Abruzzo wines, but Valentini and Emidio Pepe’s wines were priced at similar levels as in the retail market.

In the end, we went for a delicious Castell’in Villa – Chianti Classico Riserva from 2006.

The summer tasting menu

In Reale, diners can choose between an à la carte option or a single tasting menu that costs 190€ and features no meat or fish dishes. However, they can also add up to three dishes from the à la carte selection, which includes many of Romito’s classics (some of which contain meat or fish). We opted for the tasting menu with the addition of his renowned pigeon dish and an extra dessert, Essenza. As we explained in our description of the cuisine, the dishes are usually named after their main ingredient, already trying to hint that each dish aims to highlight the essence of that product.

As an aperitif, we were served the Aspretto di pomodoro e fragole, a dish that combines tomato and strawberry extracts with olive oil. The deep red colour of the extracts and the shiny droplets of oil evoke the essence of summer. The name ‘aspretto’ means ‘something tart’ in Italian, and the flavour was indeed a little sharp, ideal to awake our tastebuds.

The tomato extract had a velvety texture and a fruity and floral aroma that recalled the scent of the freshly pressed passatta that we had witnessed nonne making in the villages of the Amalfi coast. The tomato provided sweetness, while the strawberry added a tangy note, creating a perfect balance between the two. These two fruits also enhanced each other’s flavour, a simple but effective technique that few chefs seem to employ. The dish was simply delicious, it reminded us of Dani García’s fruit gazpachos.

The Misticanza alcolica con le mandorle (Mixed wild greens with almond and gin) is a dish that reflects the Brassian approach to the culinary landscape of Abruzzo. It is a cold salad of local herbs, such as wild fennel, oregano, and mint, which can have dark, intense, and slightly bitter flavours. These herbs evoke the region’s natural scenery, which can be admired through the large windows of the dining room. The salad is paired with a base of smooth almond paste, made with a Pacojet to achieve a perfect texture and flavour. This paste pays homage to the region’s fondness for almonds, which are also used to make confetti, or sugar-coated almonds. The contrast between the fragrant herbs and the sweet almond paste is remarkable. Served cold, the initial aroma was surprisingly captivating, with the scent of herbs wafting through even before taking the first bite. While the original gargouillou does this trick by being served hot, the misticanza was seasoned with Monkey 47 gin, whose volatility and herbaceous notes gave off a similar sensation.

In theory, this Bras-inspired dish, could also be replicated in any other remote restaurants. It’s a great way to start a meal by introducing the guests to the region, giving them an authentic mix of ingredients this unique to this landscape, all while gaze at it from their seats.

Carota is a dish that showcases the multifaceted nature of carrots through five different preparations. The foundation of the dish is a fermented carrot juice, flavoured with olives and grapefruit zest. This juice has a tangy and refreshing quality that was reminiscent of the style of Polish fermented cucumbers. The juice provides a contrast to the smooth carrot purée, which contains dices of grilled carrots that add a smokey dimension. On top, the dish is garnished with carrot petals that have been marinated in a concentrated carrot extract to intensify their flavour. As a final layer, the natural sweetness of the carrots is further amplified by a drizzle of carrot caramel on top.

The Carota dish was accompanied by bread and grissini. The bread was presented as a pizzetta made with Saragolla flour, an ancient wheat variety grown in Abruzzo and Sicily. This flour gave the bread a warm, intensely nutty flavour and a dense crumb that felt low in hydration. The bottom crust was very crisp, while the top was softer, creating a pleasing contrast. Meanwhile, the grissini were made with chestnut honey and Solina flour – another old wheat strain native to Abruzzo and the Apennine Mountains. These grissini were remarkably thin, no more than 2mm in diameter, and exhibited exquisite craftsmanship. They were likely produced by a meticulous technique of stretching and cutting the dough, similar to noodle-making. They had a very savoury, whole grain taste that made them irresistibly addictive.

Travelling to Italy often enables us to encounter a new type of pasta that we had never known before. One such speciality is cazzarielli, a bite-sized pasta from Abruzzo which Romito serves as Cazzarielli, bieta e limone. These small cylinders have a firm texture and are coated with a silky sauce made from Swiss chard. Some of the Swiss chard is also finely chopped and mixed with the pasta. This dish resembles trofie al pesto in its appearance, but has a distinct flavour profile. To enhance the often bland taste of Swiss chard, Romito adds some peppercorn oil on top, which gives a hint of spice, and grates some lemon zest. This dish exemplifies the essence of cucina povera, where a humble ingredient is transformed into a complex and delicious dish. It is one of those dishes that are highly addictive, and one could easily consume a whole bowl of it.

The Pane con alloro reflects Romito’s respect and understanding for bread, elevating its cultural and historical significance by presenting it as a dish in its own right. It even comes on a specially designed plate that displays the slices (cut to a precise thickness) in a vertical position, highlighting their beauty. The aroma alone is captivating, with the impressive crunch of the crust revealing a palate of intricate flavours. What stands out is the subtle yet aromatic presence of bay leaf, melding seamlessly with the yoghurty nuance of fermentation. With a hydration level approximated at 85%, the crumb is commendable. On the other hand, the bottom is crust notably crunchier while the top remains crispy. In this case it was made with a mix of flour and einkorn, but one can find his recipe for one with potato here. Its quality is undeniably on par with bakeries like Tartine and Poujauran, making it one of the best breads we have had in a restaurant. It even remains excellent as it cools down.

The Cocomero e pomodoro presented itself as a beautifully crafted salad, drawing inspiration from the vibrant shades of summer. A thick slab of watermelon acting as the foundation of the dish, was neatly topped with halved cherry tomatoes. The flavours of of the two intensified each other, similarly as in the classic strawberry-tomato pairing. In between, the inclusion of a caper sauce was a savvy move. Savoury, with a hint of brine, it offered a contrast to the fruity sweetness.

The dish wan enticing to the palate, but it was also visually pleasing. The deep, vivid hues of red colour were certainly a deliberate choice to evoke the summer at its best.

The Filigrana di cipolla (Onion lace) translates into something fragile, delicate, something akin to lace. This dish is a gratin made primarily from finely shredded red onions that visually evoke the patterns of lacework. Beyond its intricate appearance, the aroma is equally captivating. As it arrived, the smokey essence of the onions emanated from the plate. The dish consisted of three ingredients: red onion, Montepulciano and Angostura bitters, showcased in multiple forms. As one gets closer, the aromatic smell of dehydrated onion powder and camphor-like scent of the Angostura bitters was captivating. The gratin was very thin, which allowed for deep caramelisation with some pieces on the verge of charring. The lace of onions was topped with dots of Montelpulciano gel, for some fruity acidity. Beneath lied a smooth onion purée punctuated by dots of thyme gel.

When compared to the onion gratin by Alain Passard, one can observe shared inspirations, but divergent executions. While Passard leans into the sweet onion nuanced tones, Romito choses bolder, more intricate flavors. Again, his approach relies on accentuating every facet of the primary ingredient by pairing it with complementary elements.

Next came a dish that we introduced before when explaining Reale’s cuisine, the Melanzana e caramello di pesca (Eggplant and peach caramel). It consist of a roasted aubergine, whose taste is accentuated by its own glazed extract, accompanied by tomato and peach. The tomato concentrate, perhaps derived from the rich-hued pomodoro riccio, possesses an unexpectedly bold flavour, evoking hints of oil paint. Meanwhile, the peach caramel, likely a reduction of peach juice, really stands out – resembling the consistency of an apricot marmalade, yet smoother and more intense. A layer of sugar caramelised with a blow torch adds a touch of bitterness that harmonises well with the aubergine. It reminded us of the lacquered aubergines from El Celler de Can Roca. Dotted atop the dish, the rosemary extract acts as a fragrant link, tying together the pure and precise flavours of aubergine, tomato, and peach – a summer trio elevated to perfection. The pairing with the Chianti was excellent.

Romito also plays with the texture in this dish. The aubergine is cooked just enough to retain some firmness, rather than becoming soft and mushy. This gives it an impression of a steak, presenting the vegetable as something more refined.

As the menu progresses, the complexity of the dishes rises and so the flavours become even more absorbing. A new dish of this season Riso, mela e pepperone verde (Rice, green pepper and golden apple) proves to be one of them. All the ingredients in this line up already signalled that the dish would be far form anything traditional, and so the cooking technique was. Many Italian chefs, from humble pizzerias to three-Michelin-star establishments, seem to be obsessed with the digeribilità. Sometimes, it seems like they give more attention to this topic than to the dish itself. Romito comprises both of the aspects. His rice is cooked with a minimal amount of fat, and it is served cold. By reducing the amount of fat, he relies solely on the presence of starches in the rice and potato water to achieve a risotto-like texture, but lighter. That technique allows him to serve the dish cold, otherwise the fat would congeal and create a dense texture. The result yields a summer redemption of risotto, but better than the traditional version.

When it arrived, the dish quickly reminded us of the aesthetics often associated with Le Calandre. The vivid green lines frivolously drizzled on the mustard colour single-layer of rice, similar to paella. It was a strange combination at the first glance. Each spoonful was a the combination of sweet and sour apples, tangy fermented green peppers, and the milky side of the rice. The green peppers came through in two forms: fermented and roasted. The preserved peppers were mild allowing for the herbal aroma to float up and tie the dish together, making it quite refreshing. On the other hand, the nearly smokey nature of the peppers mingled well with the fruity nuances of apples, while the rice provided some sweetness. This dish comprises of many layers with a remarkable depth of flavour, and it is highly addictive. We wish all the rice dishes were as good as this one!

Experiencing the Piccione fondente e pistachio proves that beyond any elaborate rhetoric or culinary theory, the food can sometimes speak by itself.Here, it truly showcases Romito’s quest for essence of the ingredients, using techniques that enhance their natural flavours with simplicity and precision. Among all the pigeons we have tasted, this dish probably the best, rivalling even Can Roca’s 1989 version or César Ramírez’s.

The first thing that strikes the senses is the aroma of the dish, which reveals a subtle hint of the Maillard reaction, even though the pigeon breast shows no signs of browning. It’s however the stock made out of pan-fried pigeons that produces that aroma. Beneath the perfectly cooked pigeon lies the reduction of this same stock, lending deep, almost licorice-like notes that enrich the dish’s complexity. According to the original recipe, this might be from the thyme in it.

The pigeon’s flesh, thanks to a meticulous cooking process that combines pressure cooking and pan-frying, offers a unique texture: dense and compact muscle fibres, yet tender and juicy, with a flavour that evokes liver but has a distinctive sweetness. The skin, meanwhile, is crisp on the outside and soft and gelatinous on the inside, akin to Hainanese chicken.

The accompanying pistachio cream echoes the untoasted flavour and consistency of the almond cream of the misticanza. Inspired by the classic pairing of foie gras and pigeon, Romito opts for pistachio cream to provide similar a rich and fatty contrast.

Moving on to the more hearty dishes, at least flavour-wise, the Insalata di funghi was presented to us. The waiter explained that the dish was made with cremini champignons which are very similar to chestnut mushrooms, but they are characterised by its lower water content. The ‘salad’ was presented as two bite-size mounds. They were both made with caramelised slices of mushrooms that adhered together with a mushroom glaze. Beneath a base of mushroom pâté provided a strong fresh mushroom flavour. To enhance the earthy flavours, the dish was enlivened with drops of a clove extract.

The final savoury course of the meal was Scarola arrosto (Roasted escarole), a version of Romito’s classic versa e patate. The dish features a cut of crispy fried escarole on a bed of its own reduced extraction. A hint of rosemary oil, echoing a previous dish with aubergine, fills the air with its aromatic scent. Texturally, the dish is a marvel. The outer layer is delicately crisp, almost airy in its lightness like a tempura. Inside, layers of escarole reveal themselves, with the stems – the white sections of the vegetable – adding an additional crunch. This auditory sensation only further enhances the enjoyment of the dish. The taste is complex for a humble escarole, balancing the natural bitterness of the extract at the bottom and the varied nuances of the green itself—each mouthful uncovering different aspects of the vegetable from its snap to its bitter green notes.

Our meal concluded with a series of sweet treats, showcasing Romito’s tendency to blend sweet and savoury flavours in his desserts. The Prugna, panna e alloro (Plum, whipped cream and bay leaves) exemplified the potential of such approach, far surpassing the common combinations of salted caramel or chocolate with sea salt.

Its presentation was unlike any traditional dessert. Bright colours contrasted with ambiguous shapes, much like an abstract artwork. It consisted of two mounds that concealed confited prunes, topped with a tart prune sorbet and some drops of bay leaf extract. A light siphon-whipped cream floated above them, resembling a drifting cloud. To tie it all together, a fermented prune juice surrounded the prunes, reminding us of our experiments with lacto-fermented blueberries. The flavour profile was both audacious and robust, oscillating between acidity, sweetness, bitterness, and salinity. To appreciate the dessert in its entirety, all its elements were meant to be eaten together; separately, they could have been perceived as excessively intense. We found the dessert delightful, but we could imagine that some might find it too daring. Neither the flavours nor the form were familiar.

The second dessert was our second à la carte addition – Essenza, conceived in 2009. Despite initial scepticism from his peers, the dish holds a special place in Romito’s repertoire. It is a celebration of the regional ingredients. The dish unfolds as a constant contrast of textures and combination of flavours. It all depends on how one swipes the spoon through the plate: a crunchy hazelnut praline, a tangy passion fruit caramel, gentian ice cream garnished with saffron and tarragon, all set against a backdrop of earthy coffee soil. It was the passion fruit caramel that first got the attention of the palate, its tart flavour acting as a contrast to the dish’s richer components. The tarragon added a sudden burst of intensity, while the coffee soil provided a dark and deep note.

With its design untouched since 2009, the aesthetics feel like a throwback to the early 2000s looks of elBulli, where each ingredient commands its space, and perhaps today it feels a bit out of fashion. Did he pick this style during his twenty days in El Celler de Can Roca?

The Piccola Conclusione of the meal offered a trio of petits fours: a piece of almond cake, a melon soup and a wedge of peach. The highlight was undoubtedly the torta alle mandorle, a cake made with a blend of sweet and bitter almonds and a touch of lemon zest, inspired by the traditional parrozzo abruzzese. Glazed with a decadent layer of chocolate, the cake had a grainy texture that was neither too sweet nor too moist, striking a pleasant balance between the almonds’ natural flavour and the rich glaze.

Alongside the almond cake was a melon soup, presented with a drizzle of pink peppercorn oil. A subtle hint of fermentation in the soup added an unexpected twist, introducing a slightly salty aftertaste that made the concoction distinctly savoury.

To finish off, the compressed peach was slightly unripe and offering a firm bite. While its flavour was impeccable, capturing the essence of a summer fruit, it was poorly cut, with irregular edge. The conclusion of the meal is both fresh and light, fulfilling the idea of a fine dining experience without becoming too overbearing. A great ending that leaves one with a lingering sense of satisfaction and curiosity.

Unfortunately, as it tends to be the case in most great restaurants, the espresso was a disaster. A dark roast, very bitter and over-extracted. Pity, we had been enjoying our coffees in Naples, mostly at the Mexico cafés, but this was one of the worse in the trip.

Conclusions

Despite some traces of external culinary influences, Reale is a restaurant that does not follow trends or fashions, but rather expresses the personal vision of Niko Romito. This individuality manifests as an elegant simplicity, where elements are layered judiciously, amplifying the distinct flavour profiles of the selected ingredients.

The tasting menu strikes a perfect balance in its lightness; neither an excess of fat nor an overload of food. The only risk is to succumb to the temptation of overindulging in their generous bread offerings. Unlike other research-centric restaurants (think Disfrutar or Mugaritz), Niko Romito does not change his dishes every season. Reale’s menu relies on the consistency of the principles that have guided his cuisine over the years. This constancy has resulted in a collection of dishes that seamlessly integrates into a coherent menu narrative.

From the perfectly blended sauces that glisten with their impeccable smoothness to the meticulous plating of every dish, the precision in his cooking is obvious,. One could nitpick some minor details, such as the precision of the cuts of the aubergine and the peaches, but they were insignificant compared to the overall experience. The impeccable service and the well curated and very Italian wine list, with plenty of hidden gems for the most observant oenophiles, also deserve a mention.

Footnotes

1. By 2023, it was the 16^th.
2. Even if he declares that he does not do it to follow a trend.