The Rossini Tournedos in a 3 Michelin stars French Restaurant with Martino Ruggieri - Allenò Paris

Good morning everyone, I'm Martino Ruggeri and I'm happy and honoured to be here once again for the second time at Pavignon Le Douayen after the Ratatouille. Today we're making another great classic of French cuisine which is actually based in Italy, which is the Tourne de Rossigny. I'll explain how it's made. A recipe born between France and Italy, or Italy and France is thanks to Rossigny, this composer who, in the 18th century, frequented the Parisian mansions, including the Maison Dorée, a historic Parisian mansion, where it's said that Rossigny asked to make this dish for him, this Tourne d'Eau, which was so opulent that he wanted the waiters to make it in front of him. The waiters were almost embarrassed to put truffle, foie gras, beef, and he said he wanted to do it with his back turned. Tourne d'Eau, Now that we've introduced today's recipe, I'd say we can go to the kitchen where the brigade is waiting for us to start the recipe. The first guy who will be at work is a very dear person to me because we've been sharing the kitchen together for many years. Vincenzo is a sous-chef of the Maison, so he's one of the ones who manages the kitchen with me and he's also in charge of creating new dishes. He's going to start cleaning this Normande beef fillet. It's not very fatty, so we needed something that wasn't very fatty, because there's already foie gras and many other elements that bring a lot of sweetness and fat to the dish. So, as you can see, Vincenzo is taking care of removing the surface because it's meat that has matured for about a month, so we have some crusts, some hardened fat. Vincenzo is removing all this part and then he'll remove the cord and now, slowly, he's removing this little skin because we need to create something round. At this point, we're cutting off the head and the tail. We'll use these things later to make the base. And we're left with the Chateaubriand, which is another French dish, but we'll see it another time. We're tying it a little with the string to give it this round shape because, in reality, these are just the elements that need to be put together, so we need everything to have more or less the same shape. As I said before, this is a tourne-d'eau, so the tourne-d'eau is done with the central part of the beef, the fillet, which is the juiciest part, the best part. Now that Vincenzo tied it, we have this tourne-d'eau roll and now he'll start cutting two slices, nice and thick, I'd say 4-5 cm, more or less. As you can see, he's cutting two, we'll choose the best one. After the meat, with all the waste, we need to do the most important thing of this dish, perhaps, which is its smadea, so we'll start by making a brown fond in our own way. Here, too, I wanted to put two important people in the wine brigade, because one is the last one to arrive, Simon, a 16-year-old boy, who we care a lot about because we're teaching him the trade and we want him to grow up. In this binom, there's also Doréon, one of the sous-chefs of Maison, so a very important figure. I'd say we can start making the fond as Doréon is doing right now. First, pan, wine vinegar oil. We're using wine vinegar oil because it's perhaps the most neutral oil available at the moment. We're coloring it well, once colored, we're wetting it with water. We're not using broth because we want the pure taste of the beef, so water, we're letting it dry and caramelize everything, then we're wetting it a second time and then a third. This step is very important because the pieces of meat must be shiny. If they're shiny right now, our fond will also be shiny and shiny. It's very important that, right now, this water, this fond, boils as fast as possible or else it'll oxidize. It's a very strange thing, but sometimes they tell us to make the sauces very gently, very gently, slowly, but I think it's exactly the opposite because the slower they go, the more they oxidize, the more they're in contact with the air, so it has to go very fast. This, in reality, the brown fond is probably the base of all the sauces French or whatever we can find on the skewers. It's a jus de boeuf, so a meat juice, a beef juice, and our mission is really to extract the taste of the meat. It's fundamental because then, with this base, we can make the source madeira. Once this is done, I'd say we can start with the vegetables. We can see Simon, who's there, cutting the vegetables. So, we cut the carrots, the onions, the shallots, the leek, the bouquet garni, a very classic thing, leek leaves, and inside we put what we want, but we need thyme, more than anything else, this taste of thyme that we'll also find while panning. Once these vegetables are cut, pan, or pan, we add butter, we add the vegetables, salt and pepper, we let them cook slowly. This step is very important because the vegetables must be cut regularly and cooked in the same way. So, it must be a confit of vegetables, but not too much, not a purée, but they must be cooked. We put them in the oven at 180-190°C for about 10 minutes, to cook them. What's fundamental to do now is the base of the source madeira. We take the shallots, we cut them in small pieces, we cook them with a bit of butter and deglaze them with madeira. It's very important that before deglazing the shallots, the shallot must be really cooked, then we can dilute everything with madeira. At this point, we made our bases. We have the base that is cooking, the madeira sauce that is reducing, and we can take the vegetables out of the oven, because they should be cooked. We put them in the brown base, in this brown base base. At this point, it must go really fast, it must cook for 3-4 hours, very fast. While the brown base is cooking, while it's reducing, I'd say we can start now with Juli, who is another person I care a lot about. Juli is our responsible for the gammonge, very young, 22 years old, very good. She'll show us how to cut the bread. The bread is a pandémie, a bread in cassettes that we make here in our boulangerie. We have to cut slices, I'd say half a centimeter, not thicker, otherwise they would be too invasive. And then, we make them colour with some vinaigrette oil, basically. We use vinaigrette oil, as I said before, because here too, in this case, it makes everything crunchy, but not invasive in terms of taste. We need something crunchy, so the cooking must be soft, but reach the heart of the bread. And I'd say we can move on to the main thing of this dish, which is the black truffle. Usually, we use the French one, but here too, the tradition of linking Italy to France, even in Italy, we don't have black truffle, which is really good, we only have white truffle, even if it comes from the same area as white, so we're in Piedmont, where there's a house we take care of, this big house, this big resort, called Reva, where we take care of the menu and the management of this house, which is very important for me. Thanks to them, I got to know this company, Tartuffe Lang, one of the historical Piedmontese companies, who gave us this beautiful truffle, which we'll use today. We won't make it thin slices, I like to have this feeling of chewiness of the truffle, so we'll make thicker slices. Here too, we'll cook them a bit differently, because I really want the taste of wood to reach the heart of the truffle, so we'll cook it quite long, but it's good for the truffle, as the French would say. I'm doing it with Thomas. Thomas is one of our guys who takes care of the meat garniture. So, what do we do? We put a pot of copper, butter, and we brown the truffles a bit, we fry them a bit, we let them cool down, always salt and pepper. And then we start deglazing, it's like three deglazings, as if it were a brown background, but the first one is wood, so we deglaze with wood to have this taste inside the truffle, so sweet on sweet. Then, we deglaze again with black truffle water, and then white fond, which is a classic white fond. White fond is needed because it has glue, and the glue makes the sauce stick around the truffle, otherwise it wouldn't stick. It's an important point, as we need to filter our fond, as it's cooked for a couple of hours, three hours, and then we let it reduce, very quickly, as I said before. Dorion will now filter it. We don't mash it too much, as we don't want the impurity of the meat to come out, but we mash it a bit, we press it. This meat juice, this jus de viande, we let it reduce, as it will serve as a base for the Madea sauce. The reduction will still take a couple of hours to reduce, as we need an ideal consistency to be able to soak the beef, foie gras and truffle. So, let's move on to foie gras, which is another excellent product we'll use for this dish. Daniele will simply cut a couple of slices of foie gras. Daniele is a guy who works with us and has meat, so he knows what foie gras is. Just a nice thick slice is enough, and then we'll cook it, always leaving it at room temperature. Let's start with the beef, as it's the main ingredient, and then it needs to rest. Salt, on both sides of the beef, also around it, vinaigrette oil, and we color it as if it were a normal piece of meat. We give it a nice crust all around it. And then, thyme and garlic, as it's part of the cooking of a beef, the French way of adding aromas and smells, and butter. Butter is the best flavor conductor, so we need it to soak, to brown this beef. This cooking will take 3-4 minutes, 5 minutes. Once the meat is colored, it's already at room temperature, so the heart is already blue, we'll place it on a tray and let it rest peacefully. Then, it's time to cook the foie gras, so a very hot pan, salt on the foie gras and on the pan, to prevent the foie gras from sliding and moving a bit in the pan. And we're making a very fast cooking, really 30 seconds per side, as it needs to stay raw inside. At this point, the bread is ready, the meat is ready, the foie gras is ready, the truffle is ready. Let's say we have all the elements ready to plate them, but there's a very important thing we need to do before plating, the finishing of the sauces. I kept aside the pan where I cooked the meat, with its butter, as I wanted to cook all the parts of the truffle we peeled and chopped, I wanted to cook them in this fat, so same pan, still thyme, still garlic, truffle chopped, and then still glacage with madère, with truffle juice, and a bit of white fondant to bind it all. Then I'm adding a bit of brown fondant, which is what we reduced, and I'm keeping it aside. This base here will be less aesthetic, but we'll really need it to glaze all the elements and to have every bite the taste of the truffle, because we'll put two slices on the surface of the meat, but we'll need more. The truffle is one of the main elements, so every part of this dish must be glazed with truffle. A very important thing, we're still missing a part of the dish, which is the sauce, which will cover the pietanza. First we cooked the shallot with the butter deglazé with madère. Now we're reducing it, these aromas of madère, shallot, the shallots that are assembled. We're adding the brown fondant we made before, another part of the brown fondant. We're letting it cook and then we're filtering it. So, we have our two sauces, let's say. The first is the one with the truffle inside, the other is the one with madère, which we'll use at the end. This sauce, the black truffle we made, where there's this meat juice and the colored black truffle, buttered and deglazed with madère, I'm using this sauce to dip all the products. So, now we're putting in the pan the beef, already cooked, the two truffles, and I'm spreading this sauce until it really soaks up everything and I'm leaving it on the salamander to rest. And then, when I removed the beef and the truffle, I'm adding the foie gras so it also smells of truffle and fat of the beef. We're plating, so first we're adding a bit of sauce to the minced truffle underneath hot crostone, beef, a piece of beef, nice and hot, and then truffle and foie gras. The order is not essential for the last two. Some add foie gras and then truffle, some add truffle and then foie gras. It doesn't change much, the only thing is that if we have thick slices of truffle, it's better to add them underneath the foie gras because otherwise, during the cutting, we'll destroy the foie gras. We're covering it with sauce, nice and smoky, and we're tasting it. Let's taste it. I'm really happy today to have had here with me Italia Squisita. For the second time, by the way, I like this exercise of revisiting the classics. These are things we do very little in today's cuisine, but the other time it was your turn. Today we did this tour of Rossini that allowed me and my brigade to go deeper, to study, to open books and understand why Carême, it's said, made this Rossini fillet or some other chef. But it really allows us to rediscover our chef's history and how much these two countries, France and Italy, are actually linked, because a dish created by the French, thought, probably conceived by an Italian, a great genius composer. I hope you liked this great classic of French cuisine. Try to make it at home, because it's really, really good. Greetings from Martino Ruggeri, see you next time! Ciao!