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Los Angeles Magazine: La nouvelle casino - restaurants at casinos in Las Vegas, Nevada

With superstars like Wolfgang Puck and Jean-Louis Palladin in the kitchen, eating in Vegas is no longer a crapshot.

THE SINGLE BEST thing I have eaten this year so far--a year that has included a dozen or so four-star restaurants on both coasts, a pound or three of barbecue at the Kreuz Market in Lockhart, Texas, and a salad Alice Waters herself put together from ripe avocados, grapefruit and giant spiny lobsters--was probably a salsify soup I tasted last month, an inky goo that practically throbbed with the musky essence of fresh black truffles. Some connoisseurs, mostly Italian men, claim that the white truffle is more sensual than the black, alluding to ardor, unmuted desire, sweaty passion on a summer afternoon. These truffles, this soup, ladled over fried rounds of sweet, smoky andouille sausage and lightened with a truffle-laced quenelle, breathed sensuality of quite a different nature--subtler, more intimate, hinting at the kind of woozier pleasures that turn your knees to water and your afternoons into weeks.

With the soup, the sommelier suggested (from his 1,400-item wine list) a glass of Zind-Humbrecht's Herrenweg pinot noir, a rare red from the great Alsatian white wine producer with a fragrance that suggested mushrooms and decaying leaves and leaned into the truffles; elegant funkiness like a long-lost lover.

This exquisite dish, mind you, was in Las Vegas, a town better noted for Naugahyde prime rib platters and 99-cent breakfast buffets than for truffles; more specifically, it was at Jean-Louis Palladin's restaurant Napa, a floor above the slot machines and crap tables of a hotel--the Rio--most famous for all-you-can-eat seafood and the floral string-bikini bottoms worn by its preening cocktail waitresses.

After the soup, there was a risotto, perfumed with the pure essence of white Italian truffles and studded with sweet bits of fresh Maryland crabmeat (Phelps "Ovation" Chardonnay 1996 with this course), then a plate of roast suckling pig, stretched like crisp pastry around a gently herbed forcemeat and drizzled with a rosemary-infused broth (pinot noir again, Gregory Graham 1996). With the pig came a tiny copper saucepan filled with a buttery sweet potato puree that seemed light enough to hover of its own accord and was glazed with a thin puddle of homemade marshmallow. I hate sweet potatoes, but I couldn't get enough of this stuff. Dessert was the world's best rhubarb tart. If there has ever existed a meal further away from Vegas's once ubiquitous 50-cent shrimp cocktail sluiced down with 25-cent tankards of warm Miller Lite, I would like to know what it is.

In the old days, nobody in his right mind came to Vegas for the food, although the city's hotel restaurants have always featured a kind of attentive, neo-Continental service that otherwise died out in this country about the time the Stork Club shut its doors. The first time I visited Las Vegas, I was so glad to stumble finally upon a California Pizza Kitchen that I practically wept with joy.

But when a Las Vegas branch of Spago opened in the Forum at Caesars Palace five years ago and posted numbers that the hotel must previously have associated with its sports book, hotel owners started to diversify their bets on the gaming tables of American cuisine. The MGM Grand installed a branch of Mark Miller's popular Santa Fe southwestern restaurant Coyote Cafe and hired New Orleans chef Emeril "Bam!" Lagasse to develop a vaguely Creole-themed fish restaurant next to its facsimile of the Hollywood Brown Derby. New York, New York opened branches of mid-range restaurants familiar to the bicoastal community: Chin Chin, Il Fornaio, Gallagher's Steakhouse, Stage Deli.

Then, for about what it would have cost to feature Barbara Mandrell for a couple of weeks, the Rio hired Palladin, widely considered the best chef in the United States at the time, to build its wine arm food program, and when the free-spending Town & Country crowd poured into the restaurant, the food world took notice. So when the Bellagio opened last year, the floodgates opened with it. To complement his de Koonings and Picassos, owner Steve Wynn plundered chefs and concepts from some of the finest restaurants in America--Le Cirque, Jean-Georges, Aqua, Masa's, Olives--and the rush to cuisine had begun. Mandalay Bay is in the process of opening restaurants from superstars Charlie Palmer and Mary Sue Milliken and Susan Feniger; the Venetian will feature versions of Lutece, Valentino, Star Canyon and Pinot. Matsuhisa is coming to the Hard Rock Hotel; Wolfgang Puck is seemingly opening a restaurant in every new hotel in town.

Some of the new stuff is straight from the L.A. Zagat Survey. Victor Drai's eponymous La Cienega restaurant has been reincarnated in the Barbary Coast basement, right down to the jungle plants, the foie gras terrine, the delicious sole meuniere--and the crush of fringe Hollywood guys taking their "nieces" out for a night on the town, Cristal and chocolate souffles included.

If Vegas was built to appeal to your great-uncle Manny, yesterday's family-style Vegas may have been for your folks--unless, of course, you were personally interested in listening to Chicago in concert, walking through an exhibition of Faberge eggs or paying $75 to see a guy segue from a Boz Scaggs impression to a portrayal of Sammy Davis Jr. But this newly sleek, postmodern Vegas is money, baby: Cash is cool again, Frank is the king again (albeit posthumously), and chefs are the new showgirls that lubricate the fun. Bring on the appetizers!

The Bellagio, of course, is the sort of place God might build for Herself if She had the money, a ballooning vision of an kahan villa wedged between the freeway and a glistening artificial lake. The casinos are draped with what passes for lush Venetian silk, and the vast entry hall is lined with boutiques featuring what seems like every designer who has ever bought the back cover of this magazine. The lobby doubles as a Victorian-style conservatory stuffed with more spring flowers than ever bloomed at Versailles. A tour of the hotel's art gallery, famously stocked with Van Goghs and Monets, is a surprisingly moving experience; owner Wynn, who obviously loves his paintings, narrates the recorded tour with a sincerity that has been uncool since Vasari left the scene.

But I was here for an entirely different kind of aesthetic experience, and as I stalked the casino floor, glancing sometimes at the luminous jellyfish that floated in the giant tank at the Japanese restaurant Shintaro, or at the $80 price tag for poached duck liver at Aqua, all I could think of was that my 9:30 reservation for dinner at Prime was still two hours away.

I contemplated sticking the magazine with the check for a beluga splurge at the caviar bar Petrossian, but I slipped instead into Noodles, the hotel's Chinese noodle house, and gawked at the apothecary jars of exotic fungi that lined the paneled walls. This was obviously a serious kitchen, but the chefs and the waitstaff had an odd idea of what non-Chinese people like to eat. An appetizer of seaweed and dried tofu, which is almost always a cold dish, was served steaming hot, and the "chow mein" was distinctly different than the proper chow mein we all know--more, in fact, like a linguine-ish plate of braised e-fu noodles. The Chinese roast duck was ratty and soft. I paid the check and escaped to a roulette table. Red came up. I had bet on black.

Prime, a restaurant conceived by New York chef Jean-Georges Vongerichten (Jo Jo, Vong, Jean-Georges, Mercer Kitchen), is a romantic's version of a great Las Vegas steak house, with martini glasses the size of Louisville Sluggers, jewel-like steak knives from the artisans of Laguiole, France, and a superb view of the Bellagio's shimmering lagoon. The menu reads like a classic steak-house bill of fare, but squeezed between the lines is something like a roster of Vongerichten's greatest hits: potato-wrapped goat cheese terrine perfumed with thyme and served with a beautiful salad of baby herbs; grilled spot prawns with homemade ketchup and saffron mayonnaise (the "shrimp cocktail"); a sweet, soft melange of no less than 27 vegetables that tastes like the essence of spring; white-pepper ice cream. You can get his famous chickpea fries or cumin-scented potato cake with your rack of lamb or five-pepper New York steak; sauces served on the side include his spectacular reduction of red wine with pureed carrots as well as a classic bearnaise. I really liked the pineapple-banana salad with ice cream, but as at any of Vongerichten's restaurants, there is only one dessert you will actually order: the molten, warm Valrhona chocolate cake, which may be the richest possible foodstuff on earth.

Continued from page 1.

The next day, I stopped in at Olives, a brightly painted outpost of Todd English's Boston restaurant, perched just outside the Giorgio Armani boutique. I had an octopus salad that consisted of one giant, charred tentacle and a few stewed beans; something that resembled a broad, superthin pizza with gorgonzola cheese, prosciutto and dried figs; and a tasty chunk of grilled yellowfin tuna atop a roasted onion, filled with polenta, balanced on a wad of steamed spinach and drenched in a sweet, quasi-Asian sauce. Mediterranean or Martian? You decide. It must be a Boston thing. I was happy that I was going to have a big dinner.

If there is a grander restaurant in Las Vegas than the Bellagio's showplace Picasso, I have yet to see it. The vast, hushed dining room has a splendid vista of the hotel's dancing fountains (although nobody really looks at the fountains) and sports giant bouquets that could have been plucked from a Cezanne still life (nobody really looks at the flowers either). The vaulted brick ceilings recall formal Spanish wine caves, although at five times the height. But the restaurant is designed as the ultimate display case for Steve Wynn's collection of actual Picassos--a dozen or so oil paintings and a handful of original ceramics positioned around the room and glowing with the soft nimbus of holy relics. Even the waiters, who are presumably used to them by now, seem to be in constant awe.

To accentuate the provenance of the art, perhaps, Wynn lured to Las Vegas Julian Serrano, the Spanish master of French haute cuisine who was chef at Masa's (possibly the most exquisite French restaurant in San Francisco), as well as much of his staff. To establish the seriousness of the restaurant, perhaps, dinner is available only from fixed-price, multicourse tasting menus (set at $70 or $80 per person), and although the wine list is fairly deep, especially in oldish bordeaux, the staff suggests that you let them pair each dish with a wine served by the glass.

"The squab with the sauce gibier!" the man at the next banquette cried to the maitre d'. "God, how I've missed Julian's cooking."

That night there was a warm lobster salad with tiny greens and a truffle vinaigrette; and roasted day-boat scallops, still wiggly, seasoned simply with salt and pepper, sat on a bed of liquid potatoes that must have been half butter by weight and were anointed with a teaspoonful or so of herb-in-fused meat stock. A crunchy, caramelized slab of seared foie gras was glazed with madeira wine and served with a glass of the sweet Tuscan rarity Castello Di Ama vin santo: heaven. Roast lamb was blackened with bits of truffle; crisped Florida snapper breathed a summery fragrance of basil, tomato and garlic. Picasso is a sober attempt to create a three-star restaurant within the context of Las Vegas, and it pretty much succeeds.

EXCEPT FOR SERBIAN newscasters, Xuxa and possibly Dr. Gene Scott, Emeril Lagasse may be on television more than I anyone on this planet, a leering, spice-flinging presence who seems to hog the Food Network something like five hours a day. With his ubiquitousness, his nervous energy, his willingness to show bellowing frat kids the correct way to kick a spinach quesadilla up a notch--"Bam!"--one can easily underestimate Lagasse's abilities as a chef. Some of the best things I have ever tasted in New Orleans--smoked salmon cheesecake, paneed veal, banana cream pie--have come from his kitchens.

Still, we've all heard the rumors: that Lagasse has overextended himself; that his restaurants NOLA and Emeril's have become tourist traps. The look of Emeril's New Orleans Fish House, a low-ceilinged restaurant decorated in Home Depot Creole and tucked in the MGM Grand between the Brown Derby and a simulated farmers' market, is hardly inspiring. The waiter sneered when I ordered a glass of the house wine--it's made by Jim Clendenen of Au Bon Climat, who makes my favorite California chardonnays. I wanted to taste the stuff, but I was shamed into ordering a bottle of cabernet from the encyclopedia-size list. And the gumbo, which tasted as if it had been plumped out with pureed black beans, was not that great.

But good Creole cooking, even Lagasse's modernized brand, travels pretty well, and the pungent, firm "barbecued" shrimp, simmered in a strong, Worcestershire-enhanced brew, were as good as I remembered them in New Orleans--which is to say mind-bending. A special of crisply sauteed salmon topped with a frizzle of fried leeks was perfectly rare, crusted with the kind of multipepper Creole seasoning that rises over a period of 10 minutes to a glowing, nuanced heat. And the banana cream pie was the stuff of dreams.

But they don't like it when you sleep in Vegas, so I moved on. While the Bellagio is more luxe and the MGM Grand is busier, the public spaces of the new Mandalay Bay Hotel are unmatched in the feeling of sheer massiveness, a slot-filled Beverly Hills living room writ at 100 times scale feeding into a restaurant corridor decorated lavishly enough to make Universal CityWalk look as modest as a country lane. Everything is gigantically proportioned, with yawning ceilings, acres of granite and surreal avant-garde touches blown up to spectacular dimensions. (Not for nothing has Cirque de Soleil become to the new Las Vegas what topless Lido showgirls were to the edition before last.) Even today, with many of Mandalay's restaurants still under construction, the effect is spectacular and Blade Runner-ish.

Visitors are dwarfed at every turn. The Chinese restaurant Shanghai Lilly is fronted by a basalt climbing wall studded with terra-cotta body parts that look like a cross between a sculpture by Robert Graham and the tomb figures at Xi'an. Interior walls at rumjungle spurt fire and live steam. Junior sommeliers, lashed to motorized harnesses like Mary Martin in Peter Pan, flit fairy style around a four-story wine rack at Aureole. A 20-foot statue of Lenin--fabricated, it appears, for the casino, not salvaged from some gray corner of Minsk--stands grim sentinel outside Red Square, a Soviet-chic Russian restaurant that originated, naturally, in Miami Beach.

But alas, I wandered into a cafe with the unfortunate name And Zen Sum, the casual wing of China Grill, a soaring stainless-steel outpost of the Manhattan restaurant of the same name. I settled in with a glass of sauvignon blanc and stared at the conveyor belt propelling potstickers and California rolls on ceaseless orbits of the long bar. The sight was unfortunately more interesting than the leaden spring rolls, the bone-dry calimari, the ultrasweet duck salad--not to mention the techno music that spurted from every possible corner.

"I heard there were supposed to be robots," brayed a New Jersey matriarch occupying a booth with her brood. "Where are the robots?"

"There was a problem," the waitress replied. "I think the robots may be going by August."

"August!" the woman exclaimed. "What possible good does that do me now?"

This time I decided to abuse my expense account. I crossed the plaza to Red Square, ordered caviar with blini and a shot of Belvedere from the massive vodka list and spent the rest of the afternoon trying to bury a silver dollar in the half of the bar lined like a hockey rink in ice.

That's the problem with this town. There's never a Zamboni machine when you need one.

the facts

AND ZEN SUM (Mandalay Bay) 632-7405

AQUA (Bellagio) 693-7223

AUREOLE (Mandalay Bay) 632-7401

BROWN DERBY (MGM) 891-7318

CALIFORNIA PIZZA KITCHEN (Mirage) 791-7357

CHINA GRILL (Mandalay Bay) 632-7404

CHIN CHIN (New York, New York) 740-6300

COYOTE CAFE (MGM) 891-7349

EMERIL'S (MGM) 891-7374

GALLAGHER'S STEAKHOUSE (New York, New York) 740-6450

IL FORNAIO (New York, New York) 740-6403

NAPA (Rio) 247-7961

NOODLES (Bellagio) 693-7223

OLIVES (Bellagio) 693-7223

PETROSSIAN (Bellagio) 693-7223

PICASSO (Bellagio) 693-7223

PRIME (Bellagio) 693-7223

RED SQUARE (Mandalay Bay) 632-7407

RUMJUNGLE (Mandalay Bay) 632-7408

SHANGHAI LILLY (Mandalay Bay) 632-7409

SHINTARO (Bellagio) 693-7223

SPAGO (Caesars Palace) 369-6300

STAGE DELI (New York, New York) 740-6454

All numbers are area code 702.

COPYRIGHT 1999 Los Angeles Magazine, Inc.
COPYRIGHT 2000 Gale Group

Copyright©2005 All rights reserved.
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