A steamer is a great thing. I call that a one-pot wonder, because you can cook your whole meal in it. Asian cooks know that better than anyone, as they use bamboo steamers frequently to cook vegetables, fish, etc…

Here is a good source to add a steamer to your kitchen tools:

Link to affordable steamers.

Link to affordable bamboo steamers.

Here is the first segment of the cooking demonstration we shot with Russel Rhodes. We concentrate on cooking fish, especially salmon, using a steamer as a cooking technique:

Healthy cooking for 2012: MyFoxTAMPABAY.com

Then, Russel Rhodes and I talked about cooking vegetables properly, and I gave a few tips to bring color and contrast, while keeping nutrients and vitamins in. Here is the second video:

Healthy cooking for 2012: MyFoxTAMPABAY.com

Finally, we concluded our demonstration focusing on plated presentation. We talked about what plates to use, plating food like chefs do, etc…

Healthy cooking for 2012: MyFoxTAMPABAY.com

If you followed me on Fox Channel 13 this morning and missed the recipe, here it is.

Steamed salmon with spicy vegetables

For the salmon :

• 1 lb salmon fillet, cut in half (to fit in a steamer basket)

• 1 tsp ground cumin

• Juice from 2 lemons (about 1/4 cup)

Season fish with salt, pepper, cumin, and lemon juice and steam in a bamboo steamer or a pot with a steamer insert until tender, about 3 minutes per side. Set aside 10 minutes to cool.

For the vegetables:

1 lb of vegetables (broccolini, asparagus, carrots, etc…)

• Kosher salt

• 2 tablespoons plus 1 teaspoon toasted white sesame seeds

• 1/2 teaspoon crushed red pepper flakes plus more to taste

• 2 tablespoons plus 1 teaspoon vegetable oil

• 1 tablespoon toasted sesame oil

• 1 tablespoon lemon juice

• 2 teaspoons minced garlic

• Freshly ground black pepper

Cook vegetables in a steamer until crisp-tender, about 3 minutes. Transfer to a large bowl of ice water. Drain and dry well. Halve vegetables if desired. Place in a large bowl.

Finely chop 2 tablespoons sesame seeds and 1/2 teaspoon red pepper flakes in a spice grinder (or finely chop with a knife). Transfer to a small bowl; stir in both oils, vinegar, and garlic. Season with salt and pepper. Drizzle over vegetables; toss to coat. Transfer to a platter; sprinkle with remaining 1 teaspoon sesame seeds and more red pepper flakes, if desired.

Link to affordable steamers.

Link to affordable bamboo steamers.

Not many chefs write about food presentation. However, when someone writes about it with authority and knowledge, I love to report that.

Here is a very interesting and authoritative essay on food presentation, written by Chef Tony Adams, through the egullet community.

“Welcome to the food presentation and plating course of the eGullet Culinary Institute….I have been lucky enough to work at some of the world’s best restaurants both as a stagier and as a paid employee. But there is a lot of food that I cook and present which I am not happy with. I make mistakes every day, and when I create a dish, very rarely do I get it right the first time. I will play and play until I get it right. Working in a place where I have a pretty unlimited supply of various produce and proteins, with one of my goals to teach students how today’s industry works, I have been blessed with the perfect opportunity to find my own style, through my constant experimentation with plating and presentations.

I have identified three areas that have a direct correlation to food presentation. The first is, of course, the proper cooking of the food. This is the only element that is controlled by the chef, directly related to his skill; it is also the most important. If it is not done correctly, there is no need to present the food nicely; it will certainly be a disappointment upon consumption. The second element, equipment, is the least important variable, but I will cover a few pieces that I find helpful when it comes to making food look great. The third and final element, plate selection, is based upon the chef’s artistic foresight. It is partly controlled by the chef, although he or she has to choose from what is available on the market (unless his name is Thomas Keller, in which case, he would design his own)…”

Read more of Tony Adams’ article on food presentations.

Food needs to taste good. It also needs to look good.

Most humans recognize unity and good composition. This is why we are so sensitive to culinary presentations. We respond to stimuli and psychological perceptions influenced by our background, education, trends, etc…

In a restaurant kitchen, when they plate food, chefs influence that perception by effectively following a set of guidelines and bring harmony to the look of a culinary presentation. In other words, chefs engage diners.

While it took me 6 years of culinary school and 17 years of work experience to figure out some presentation conundrums, there are also a few easy chef tips that will dramatically improve your plate presentations. And lucky you, you just happened to visit the right page for that. Here they are. Don’t forget to leave a comment and let me know what you think.

1. Use large, simple, white plates.
   Round, square, or rectangular; the choice is yours (Read my post on plates). But colored, funny shaped plates or bowls usually distract the eye from the star of the show: your food. Center your food and leave the rest clean; that’s the principle of ”white” or “negative” space. White space allows the elements to exist at all and is key to composition. It reinforces the elements of the presentation.
   In culinary arts, chefs use white space to strengthen their presentations in much the same way. By subtracting elements and increasing the amount of space, the featured elements of prepared food seem visually stronger. Crowded food looks horrible.
   
   
2. Work with the right tools.
   Plating needs its own tools. I have listed some essential items here.

3. Add color!
   Respect natural colors. Enhance color by cooking; don’t destroy it! (See my post on how to cook vegetables)
   Increase color saturation by cooking with the appropriate techniques (Again, see my post on that).
   Small, high contrast elements usually have as much impact as larger, duller elements.

   

4. Know that guy: Louis Camille Maillard.
   He’s the inventor of the “Maillard reaction”, which may very well be the quintessential phenomenom in the kitchen. Take the time to sear meats, fish or vegetables in order to make a nice crust. (See my post on the Maillard reaction)

   

5. Free-form it!
   Free-form plating is in. Forget about height. Forget about structure. Make it looks like you’re taking a walk in the forest and you happen to stumble upon the ingredients naturally. I call that “organized randomness”. Free-form plating is meant to be more fluid, more natural.

   

6. Keep it simple.
   Complicated presentations usually miss the point and distract from the wholesomeness of the food. Simplicity is hard to achieve. But trust me, there is beauty in it.

7. Rule of odds.

   The rule of odds is used in many art disciplines, in particular painting, photography and advertising.  It states that objects displayed in odd numbers seem to bring unity to a composition.  The logic behind this rule is that by displaying, three, five, seven, etc… items instead of even numbers, there is always one item that looks framed by the surrounding ones, which looks harmonious. Even numbers tend to bring symmetry in the composition, which appears less natural.

   When slicing a grilled chicken breast to place atop a salad, for instance, it is best to make five slices instead of four or six. Likewise, when plating asparagus in combination with other vegetables, it is best to place three or five instead of four or six.

8. Add freshness!
   Always choose the freshest products (It always shows).

9. Create focus.
   Playing on the unusual color of ingredients creates a focal point. For instance, using green tomatoes, or yellow raspberries or blood orange brings creativity to the plate and engage the diner.

10. Resting time.
    Meat needs to rest. A rule of thumb is to let it rest 1/2 of the cooking time. If you grill a tenderloin steak for 10 minutes, let it rest for 5 minutes. This will allow for the meat fibers to rehydrate from the inside out (since searing pushes the juices in), make it way more tender, and your steak won’t leak on the plate.

11. Use clean plates.
    It sounds like an obvious one, but I see way too many fingerprints and towel streaks on the edge of plates. Not appetizing.
    You may want to prepare a little bowl filled with white vinegar, and a clean towel to clean the edge of the plate.

12. Fluff. Don’t squish.
    The best example to illustrate this is greens. When plating a salad of fresh greens, make sure you don’t squish it down against the plate. Work with your hands (use gloves) and give it height. Fluff it! Make it look light and airy and big; Not flat.

13. Visualize the end result.
    It’s easier to get somewhere if you know where you’re going. Visualize your finished plate will help you with the process.
    You may want to read my post on “The Creative Process“.

14. Use edible, relevant garnishes.
    Enough rosemary sprigs stuck straight into the mashed potatoes!

15. And pluuh-ease… stop that stupid 90′s trend of sprinkling chopped parsley on the rim of the plate, or drizzling sauce in a “Z” pattern. You’re showing your age.

Here is a sketch by one of the masters of our craft: Grant Achatz of Alinea restaurant in Chicago. He is of course known for his avant-garde cuisine and whimsical presentations. To achieve stunning presentations like this one, chef Achatz starts with an idea, a concept, then brainstorms with his team of chefs, with a professional assigned to create the support (aka the plates), and goes to the drawing board.

sketch courtesy of Grant Achatz/Alinea

The sketch then becomes a reality (see below).

photo courtesy of Grant Achatz/Alinea

Sure, Grant Achatz is Grant Achatz. What can I say? Rarely in the history of Gastronomy have we seen such a perfection in the creative process. He really pushed the envellope when it comes to dedicating brain cells to the creation of a dish.

But that should be our process too. Thinking things through. It doesn’t have to be that involved, but each plate coming out of our kitchens must be the result of some kind of carefully thought process.

Among the factors to take into consideration is our target audience. We want to be aware of what our customers are looking for. For instance, the food you see below may be more suitable to sophisticated urban diners in Chicago than early birds in Naples, FL.

sketch courtesy of Grant Achatz/Alinea

photo courtesy of Grant Achatz/Alinea

The importance of FUNCTION is also a serious factor. Dishes must be functional; they must work for us. They must make sense. If we work for a fast casual restaurant for instance, it doesn’t make sense to create a dish that require 7 or 8 plating steps. 3 will be plenty.

Another example would be the purpose of garnish. Are garnishes necessary?.. If so, what
is acceptable to put on a plate?..

These are all good questions to ask during the creative process.

I remember when I started as a chef, I was more worried about the presentation of a dish than its flavor or functionality. It’s important to always remember that when it comes to plating food, that food must taste good, and it must be functional enough. Flavor and function must always overpower the presentation.

As a side note, I found out that most culinary students try to improve their plated food presentations by adding
stuff. They try to add because they think that by adding something, anything, like an extravagant garnish for instance, their plate will
always look better. They think it can only add to the presentation.

Unfortunately, the overall beauty of a food presentation most often relies on the specific beauty of each of its elements. No need to add
anything. In other words, if you want to plate a chicken breast, some mashed potatoes and a few sauteed vegetables, you’d better FIRST pay attention to how the chicken breast, the mashed potatoes and the sauteed vegetables look individually, BEFORE you even pay attention to the overall presentation.

FUNCTION, then, is an important factor.

As it turns out, there are many, many factors influencing the beauty of that painting, and there are many, many factors influencing the beauty of a photograph, or a food presentation. The big underlying
principle is the principle of  ‘UNITY’.

This is a dish plated by a beginner culinary student.

Many things can be said about this plate of food, but let’s just say that it looks… unprofessional.

I know how to plate my food. But at that point I wasn’t really sure, as a chef
instructor, how to provide my students with the tools they needed to make
successful, professional presentations, other than showing them how I would do
it.

So I became interested in food design and I realized something peculiar. While
there is much literature on interior design, painting or photography, there is
absolutely nothing out there explaining how to plate food once it has been
prepared. In other words, ‘my food is done, how do I plate it now”?

I then started to think about what makes good photography, and what makes a good
painting, and I realized that the ‘rules’ dictating the aesthetics of an art
painting or photograph are the same as the ‘rules’ I was using to plate my
food.

There are many, many rules to obey if you want to plate good looking food. But there
is one rule, the absolute, overriding principle behind every visual art, and
that is the principle of UNITY.

Without ‘unity’, no design will ever look complete.

How to define ‘unity’?.. Well, we humans respond very well to it. We like ‘unity’. It’s what makes it feel complete. It’s you standing in front of a fine artwork in some international museum, and you look at the painting and you don’t really know why but you feel good about looking at it. It all feels ‘united’.

From ‘unity’ depends a bunch of satellite concepts such as composition, color, trend, texture, focus
& emphasis, support (the plate), simplicity, and many, many others. All that big puzzle is also a delicate balance. For instance, if I plate my food in such a way that I include a lot of these factors, but lack color, it is fair to say that my plate of food will look like it lacks something; it will feel incomplete.

As in painting or photography, the overall beauty of the end result depends on the interaction between all those concepts. Some presentations will have more colors than others, or more texture, some will be very simple or more complex, but once balanced, the sum will result in something we respond well, something we like, and that is ‘unity’.

I have come up with a recipe that I think it might work and I wanted to share it with you, it uses the same principles of the chocolate souffle. I haven’t tried it with the flour. Anyways, as you can see this is a recipe in progress, I am going to try it this weekend. But I wanted to know your input as I have no access to anybody with the experience that you have.
I apreciate the opportunity you give your readers to ask questions.

Looking forward to your imput.

Sincerely,

Vanessa Galindo-Aka
The Cube Restaurant

 A: Souffle’s are fascinating. Airy, hot and like “eating a cloud”. The principle behind it is simple. When you beat egg whites, what you’re really doing is adding air. Microscopic bubbles of air, which turns an otherwise heavy, gooey element into a light-textured, more pleasant ingredient. If you were to look at whipped egg whites under a microscope, you would see thousands of tiny air bubbles.

Heat makes air expand. So when you put a whipped egg white based mixture into a ramekin and add heat, the air in the tiny air bubbles expand. In a ramekin, there is only one way out: up. Your souffle’ rise.

It rises, and then it falls. That happens if the air bubbles explode and release air, or when they cool down and go back to their initial volume. There is one ingredient that would make them stay up: flour. But then you have a muffin, not a souffle’!

Also, when you whipp egg whites, they usually tend to fall in a few minutes or hours. Chocolate souffle’ is the only souffle’ that you can prepare in advance, because the chocolate sets and prevents the delicate, whipped egg whites from breaking and falling before the baking time. That’s why you can prep a chocolate soufffle’ on day 1 and bake it on day 2.

I don’t know any other ingredient that would help. And I’m not sure it’s even possible to make a pumpkin souffle’ on day 1 that you can bake on day 2.

Thank you for the recipe. I will try it and will let you know if it works.

RECIPEIngredients:

• 1 ½ cups of fresh pumpkin puree (may be 1 cup I am not sure, what do you think?
• 1/2 cup heavy whipping cream
• 2 large egg yolks
• Pinch of salt
• 6-8 large egg whites, room temperature * I am not sure about the amount
1 tsp of cinnamon
½ tsp of ginger
¼ tsp of nutmeg
1/8 tsp of cloves
• ½ cup sugar
1 vanilla bean

Cook the puree on a stove top (I feel like cooking it would get rid of some of the moisture) , add the heavy cream, spices and vanilla. Let cool slightly. Add the egg yolks. Set aside
Whip the egg whites to soft peaks and then slowly add the sugar untill glossy.
Fold the 1/3 of the mixture and then the other 1/3 and then the other 1/3.
Poor into prepared remikins, bake for 16 min or refrigerate up to 1 day . Bake for 16-19 min at 375-400 not sure about the time…

The CIA (the chef school, not the spies!) is coming to Tarpon Springs High School’s Jacobson Culinary Arts Academy (where I teach) for a unique symposium. 3 chef ambassadors will lead world-class culinary demos on Friday November 12. This is cool. Check out the press release below.

Contact: Chef Katie Stanzione                                                                                                           FOR IMMEDIATE RELEASE
Ph: 727.943.4900 ext 189
Email: alinatg@pcsb.org

CIA leads world-class culinary demonstrations at Tarpon High

In a unique partnership, Jacobson Culinary Arts Academy at Tarpon Springs High School welcomes “the world’s best culinary school” for the pleasure of teenage culinary students.

Iconic French chef Paul Bocuse once praised the Culinary Institute of America as “the world’s best culinary school”. So it’s with high fanfare that TSHS announces next week’s first CIA’s Student Symposium.

Next Friday, culinary students from all over Pinellas (Osceola High, Northeast, PTEC, Dixie Hollins) and Hillsborough counties (Wharton High, Sickles, Chamberlain) will gather in the state-of-the-art kitchens of Tarpon Springs High School to follow demonstrations from well-seasoned international chefs.

Emmanuel Gombos, Assistant Principal at TSHS, early proponent of the culinary program and initiator of the symposium says: “It’s a fantastic opportunity for our students and all culinary students in the region. They will learn, interact with the chefs and hopefully that will open some doors once they pursue their culinary career.”

Superintendent Julie Janssen is expected to attend the event, as well as Gus Bilirakis, Vice-Mayor of Tarpon Springs Robin Saenger, Principal Clint Herbic, the Tarpon Springs Chamber of Commerce and other local dignitaries, along with about 600 guests.

When: November 12, 2010 from 9.30 am to 3 pm
Where: Jacobson Culinary Arts Academy (Tarpon Springs High School)
Who: Invitations + limited open participation
RSVP: Dianne Gary, 727-943-4900, ext 105

Menu is as follow:

Demonstrations by:
Chef James W. Heywood, CHE
Chef Paul Jean Prosperi
Chef Arnym P. Solomon, CCE, CFBE

Demonstrations at:
9.30 am-10.30 am
10.40 am- 11.40 am
11.50 am- 12.50 am

Lunch will be served

If you’d like more information about this topic, or to schedule an interview with Chef Katie Stanzione, Culinary Director, please contact us at 727.943.4900 x189 or alinatg@pcsb.org.

The printed copy of The Chef’s Repertoire already is a great tool for your kitchen at your fingertips. I wrote the book and I use it in my kitchen pretty much every day!
The electronic version takes it one step further. Having that information in the kitchen with you, or anywhere else for that matter, is a good news for all chefs and home chefs. Furthermore, the iversion is only a third of the price of the book. That’s a good incentive if you ask me.

Thank you to my publisher, American Technical Publishers for their forward thinking and dedication.

The Chef’s Repertoire for iPad is available on iTunes.

Chef Gui – “The Chef’s Répertoire” from RT Miller on Vimeo.

I’m just done working on a great story for the prestigious American Culinary Federation magazine “Sizzle”. The article is called “Classic vs. Modern” and consists on making two versions of the same dish; one classic, of course, and one modern. There is a twist to it. The classic version is to be prepared by a culinary student, and the modern one by his/her culinary instructor. It is, of course, a good exercise for the student who must first learn how to walk (the basic techniques of classical cuisine) before they can learn how to run (the creative techniques of modern cuisine).
It is also interesting for me and other chefs because the process of creating something new often is inspired by Classical cuisine.

Our recipe was Canard a l’Orange, and to describe it, I will now post the interview that were conducted during the story. You will also find both recipes below. Enjoy!

Transcript of actual interview:

Questions for Jordan (who prepared the classical version of Canard a l’orange):

Culinary student Jordan Guevara works on Canard a l'orange

1. Why is it important for students to learn classical dishes, such as canard à l’orange?

It is very important for everyone to learn classical dishes. It’s good to know the history of cuisine in general. Once you know the history you are able to learn the techniques and build off of the classics

 2. In your blog, you described how wonderful these flavors are separately, and even more so combined. What else do you like about this dish?

Canard a l’orange is such an admirable dish. I adore how the simplicity of the dish effuses off of it. The techniques used in this classic are not complex and are fairly easy to accomplish. The flavor contrasts are divine and really give off such a home-style feeling.

3. Was this your first time preparing this recipe? If no, describe the occasion you first prepared it for.

 To be honest, these tasty words (Canard a l’orange) never slipped into my ears until about three months ago. Two weeks later, my chef instructor offered me the opportunity to be portrayed in the ACF magazine making that recipe. The first time I was shown by chef Brett Gardiner at Restaurant Hapa. His version of Duck a l’orange was completely different from the recipe I ended up using. This duck was roasted, than lackered with honey, than roasted again. The sauce was served beneath the duck, instead of being basted on. It’s a success at his restaurant. And then my chef instructor, Gui Alinat, showed me how to braise the duck.

 4. You also noted in your blog looking for several classical recipes. Was there a particular book/source you used as a reference?

 Oh man, I can honestly say I researched this recipe from the time I heard of it. It was extremely difficult to find something up to par. Now, don’t get me wrong, I have no doubt that all of these dishes I searched were equally delicious. It just wasn’t what I was delving for. I wanted something that looked and tasted right from the Escoffier’s time frame. I ended up looking through Escoffier’s book and finding almost exactly what I was searching for. So I propose, when in doubt, refer to Escoffier.

 5. What techniques did you learn that you will use again in the future? (i.e. braising, knife skills, etc.)  

 There is a plethora of techniques to be learned through this dish, truly. Personally, I gained more experience in the tourné technique, caramelizing pearl onions, blanching the bitterness out of food, how to blanch potatoes,  and how to make a gastrique sauce. Those are just some of the things I learned throughout the dish.

6. Take me through the process of preparing this dish. What challenges did you face that you would warn students about? Give any pointers you can. Let us know what went wrong, what you had to pay attention to, etc.

Things really did go smoothly, I prepare the mirepoix and the duck, I then sear the duck and sauté the mirepoix in the same pot, deglaze with stock (I’m a high-school student so no wine here!) cover and braise in the oven. I then prepare the pommes cocotte, a simple syrup for the orange julienne, caramelize onions “a brun”, the caramel for the gastrique sauce, all the while basting the duck every 20 minutes. I could tell fellow students to really watch your timing and stay on top of the temp on the duck, because you can really lose track of time on this dish. Make sure you’re tourné potatoes are as remarkable as possible, and when blanching the orange julienne and making the caramel, make sure you watch it very closely, because they will go wrong in the blink of an eye.

7. How many times did you have to prepare this dish until you got it just right?

It was demonstrated twice before.The first time I made it, it came out impeccable, if I do say so myself. I would say the research I put into the dish really helped the outcome of it.

 Questions for Chef Gui (who prepared the modern version of Canard a l’orange):

1. Describe the history behind this dish that you know of. Do you have any memories of eating this dish growing up in France? Please share.

Canard a l’orange is part of the repertoire of Classic French cuisine. To my knowledge, you can find 2 versions in “Le Guide Culinaire”. One braised and one roasted. Canard a l’orange gained popularity in the French bourgeoisie, and then became a classic of traditional French cuisine.
It is, however, one of those iconic dishes you hear about but rarely see. Duck is somewhat uncommon, except in Southwest France and the Rouen region. Growing up in France, I recall it was only made for special occasions, and always presented whole. Then the man in the household would usually slice it at the table. It was very solemn and traditional, as most food stuff is in France.
Here in America, Canard a l’orange got popularized by Julia Child, after she came back from France in the early 60s. It invokes tradition, classicism and sophistication.

2. When did you learn to prepare it? Did you prepare it in French restaurants early in your career?

I remember preparing it at chef school back in 1986. At that time, even if Nouvelle cuisine was in the process of revolutionizing gastronomy, culinary students were learning Classic cuisine. One of our first dishes to prepare was Caneton Braisé a l’orange, which is the dish Jordan prepared.

3. As an educator and chef, why is it important for students to master classical dishes such as canard à l’orange?

First you learn how to walk; then how to run. It’s all about mastering techniques and acquiring solid foundations. While it’s essential that young chefs bring a wind of freshness into the kitchen, they can only be relevant if their techniques are built on solid foundations, and classical dishes are known and accepted foundations for our craft.
Now, arguably, Classic vs. Modern is an old yet interesting debate.

4. Describe the process students should take when they put their modern interpretation on a classical dish.

Like all creative process, one must start with a deep thinking. In our case, we researched Canard a l’orange. Its history, the techniques involved, the relevance, the purpose, the essence, etc… Understanding tradition is an essential part of building on it, modernizing it, or downright wiping it out if that is what you’re trying to do!
After research and understanding, that’s where the process truly gets fun: creation. How can I improve on this? What can I add without losing relevance? How can I transform the different elements of the classic dish without losing its identity? This step is a very difficult step. A classic dish is a solid, solid dish that has empirically improved over time. There is little room for improvement, by definition.

Most importantly, the entire process MUST be orchestrated with a deep sense of purpose. In other words: why am I doing this?
And finally, in my experience, simplicity is the key. I believe all successful chefs focus on simplicity, and so should culinary students. I work with culinary students all day and they hear me say it often enough. So let me repeat this one more time: Simplicity!

5. Discuss the specific alterations you made to the recipe and why.

Using duck magret and cooking it rare to medium-rare is probably the most radical change from the classic. A magret is the breast of a Moulard duck raised for foie gras. It has a darker flesh (comparable in color and texture to beef), and the fatty skin is just outstanding when semi-crisp to crisp. I went with magret because I love the taste and texture, and because it reminds me of the South of France. I think that the essence of Canard a l’orange is the contrast in the fat/meat/fruit pairing, so of course I kept that and even tried to enhance it, for instance by increasing the acidic taste in the orange elements, keeping the meat slightly rare, and making the skin crisper. I also identified the gastrique sauce as being essential, so it plays a big role in my dish too, although I made a variation with the addition of balsamic vinegar for depth, balance and flavor.

6. What other possible adjustments could one make to this classical dish?
That is up to the chef or student. Adjustments to a dish are very personal.

7. What difficulties might students face with the modern version of this recipe? What advice do you have for them?

Here is an interesting point; In terms of techniques, there is little challenge in the modern dish. In fact, you find the tourné, the gastrique sauce, the searing, etc… I think the complexity comes in the balance of it all. Sure, there is the sous-vide that requires skills, but with some practice, it’s totally achievable. This dish is meant to be fresh, playful, elegant but simple. Again, what is more difficult, is to reach a balance, an equilibrium that brings harmony to the dish.

Canard a l’orange (Classical recipe)

 Canard à l’orange
Yield: 6 servings

Ingredients:

1 Pekin duck, excess fat removed
3 oranges        
1 lemon
7 Yukon gold potatoes
10 oz. pearl onions
18 oz. mirepoix 
2 cups of white wine
4 quarts brown duck stock
1 2/3 cup sugar, divided (1 cup for simple syrup +2/3 cup for gastrique)  
1 cup of water 
½ cup red wine vinegar

1. Salt and pepper duck; place zest of two oranges in back cavity. Truss duck with butcher twine. Sear in duck fat. Reserve.
2. Sauté mirepoix. Deglaze with white wine. Reduce. Add brown duck stock.
3. Braise duck for 45 minutes.
4. Julienne orange and lemon. Blanch twice. Create simple syrup by cooking 1 cup of sugar and 1 cup of water until clear; boil for 1 minute. Confit orange/lemon in simple syrup. Cut half-slices of remaining orange; reserve for garnish.
5. For pommes cocotte, tourné potatoes 2 inches in length. Blanch. Sauté. Reserve. Glaze onions à brun. Reserve.
6. When fully cooked, reserve duck. Rest duck for at least 15-20 minutes.
7. Reduce fonds de braisage (mirepoix/wine/stock mixture). For gastrique sauce, make light caramel with 2/3 cup sugar and vinegar. Add orange juice. Add to fonds de braisage. Reduce until the sauce is a la nappe. Finish the sauce: salt and pepper to taste, check consistency and flavor.
8. To plate: Break down fully cooked duck into 8 pieces. Place in middle of large platter. Coat with gastrique sauce; decorate with orange and lemon julienne. Place pommes cocotte and onions as garnish. Decorate platter with half-slices of orange.

Canard a l’orange (Modern version)

Canard à l’orange
Sous-vide duck with crispy skin, balsamic-orange gastrique, orange confit gellan, beet tourne’, sage oil, blanched asparagus, micro-greens and baby carrots.

 Yield: 6 servings        

Ingredients:
3 duck magrets        
4 oranges        
1 lemon           
1/3 cup salt                  
1 2/3 cup of sugar, divided (1 cup for simple syrup +2/3 cup for gastrique)         
1 T. white pepper          
2/3 cup balsamic vinegar          
2/3 cups orange juice 
2 cups of brown duck stock  
1 cup of water
½ t. white wine vinegar
1 gr gellan
6 oz of beets
6 oz of Yukon gold potatoes
6 oz of baby carrots
6 oz of asparagus
½ cup of olive oil
1 oz of fresh sage
Micro-greens for garnish 

1. Create citrus marinade by combining 4½ t. orange zest, 1 t. lemon zest, salt, 2 T. sugar and white pepper; set aside.
2. Remove skin from duck meat. Leave skin intact; reserve. Rub meat with citrus marinade; vacuum-pack. Cook in a water bath at 135°F for at least 30 minutes. Just before plating, take off bag, dry; flash-sear.
3. For gastrique sauce, make light caramel with sugar and balsamic vinegar. Add orange juice and duck stock. Reduce until the sauce is a la nappe. Finish the sauce: salt and pepper to taste, check consistency and flavor.
4. For gellan: Create simple syrup by cooking 1 cup of sugar and 1 cup of water until clear; boil for 1 minute. For orange confit, segment 2 oranges. Combine other 2 oranges, 2 cups of simple syrup and white wine vinegar; bring to a boil. Strain. Measure liquid and mix in gellan at 15% to obtain a firm gel. Pour over orange segments. Cool at room temperature. When set, cut a medium dice.
5. For vegetables: Tourné beets; Glaze. Reserve for garnish. Tourné potatoes; steam. Reserve for garnish. Prep baby carrots; steam. Reserve for garnish. Blanch asparagus. Reserve for garnish.
6. For sage oil: Heat olive oil; add sage. Remove from heat, allowing to infuse to room temperature. Process with hand blender. Pass through chinois. Reserve in micro squeeze bottle.
7. For crispy skin, dry duck skin; salt. Flash-sear until dark brown and crispy. Reserve.
8. To plate: On a rectangular plate, fan duck. Drizzle with gastrique sauce. Place crispy skin on top. Randomly place all vegetables and orange confit cubes. Spot with sage oil. Add a few micro-greens. Serve immediately.