Last Updated on July 6, 2026

A Modern Hotel in the Heart of Seminyak, Bali

Seminyak is one of Bali’s most popular beach areas, located on the island’s southwest coast. If you want to stay in the heart of the action, just a short walk from the beach, you might want to consider Cross Paasha Bali Seminyak, a 5-star contemporary hotel situated on the town’s main strip.

Seminyak is 10 km from Ngurah Rai International Airport, which, depending on traffic, takes about 30 minutes by car. Just north of Kuta and Legian, facing the Indian Ocean, this upscale beach area is part of the island’s main tourist belt, with long, wide stretches of beach populated by resorts and beach clubs. It’s an ideal spot for those wanting to experience Bali’s thriving beach scene and nightlife.

However, the roads do get really congested, especially at peak times. The locals and many tourists get around on motorbikes; alternatively, it’s easy to get a taxi. We used a taxi service called Grab, much the same as Uber; just download the app. It was very efficient and remarkably inexpensive.

Upon entering the hotel, you are met by an ultra-modern foyer with soaring ceilings; its sleek design lends it a city-hotel feel. They run a 24-hour check-in service, which is especially convenient if you are arriving on an early or late flight. The service is friendly and welcoming. You are offered a choice of a double or twin room, both of which are similar in size.

The 99 rooms are set over four floors. Our room on the third floor was spacious, with simple modern décor, a cool stone floor, and a feature white brick wall, furnished with a desk, a large circular rattan lounge chair scattered with bright coloured cushions, and mirrored wardrobes, where you’ll find the bathrobes.

Also included are a TV, coffee and tea-making facilities, and WiFi. The glass doors opened onto a slim balcony with a view over the rooftops. The spacious bathroom featured double sinks, a walk-in rain shower, and a selection of complimentary products. The beds are super comfy, and the linen is fresh and crisp.

High above the bustle of Seminyak, the hotel’s rooftop pool is undoubtedly its standout feature, flanked by cabana daybeds, palm trees, and a spectacular view above the rooftops and out to sea. Our visit fell during the rainy season, and the weather wasn’t kind to us, so I don’t think my photos really do it justice. But come high season, this is sure to be a great spot to hang out.

The Kiki Rooftop Dining Restaurant and Bar are also on this level. But the bar was closed due to the rain; it really was unusually torrential during our stay, so we didn’t get to experience open-air dining and cocktails at sunset, which must be glorious with such sweeping rooftop views.

The menu offers a selection of salads and Indonesian classics such as Nasi Goreng, as well as international dishes including gnocchi, pasta, pizza, and toasted sandwiches. Breakfast is also served here with a good buffet.

Location is one of Cross Paasha Bali Seminyak’s greatest strengths, as is its easy access to shops, spas, bars, nightlife, and the beach. Step outside and you’re already there in the heart of it. We found the shopping and bars became more interesting as we wandered down the side streets, where we discovered lots of small boutiques, jewellery stores, authentic eateries and bars.

Seminyak Beach is a 10-minute walk from the hotel, a long, open, sandy strip dotted with hip beach clubs. We visited Potato Beach Head Club, where guests can pay for a day’s access and enjoy its stylish facilities. Alternatively, relax at the hotel’s spa, Elevation Wellness, or head to their well-equipped gym.

Cross Paasha Bali Seminyak makes an excellent base for exploring Seminyak. With modern amenities, a fabulous rooftop pool and an unbeatable location. While it lacks the traditional Balinese styling found at some of the island’s resorts, its contemporary design and central location will appeal to travellers who want to be in the hub of the action.

Cross Paasha Bali Seminyak

A: Jl. Kayu Aya No.78, Seminyak, Kec. Kuta, Kabupaten Badung, Bali 80361, Indonesia
T: +62 877 3838 7766

Check our feature on Uluwatu, Bali for more hotel recommendations

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Last Updated on July 6, 2026

A superb stay at the Old Quay House Hotel

The boutique hotel, The Old Quay House, situated in the heart of the picturesque town of Fowey, offers luxury rooms, ideal for those looking for accommodation in this beautiful part of South Cornwall.

The hotel has been extensively refurbished to a high standard; many rooms have stunning views over the estuary of the River Fowey.  You can’t get more central than this as a holiday base in this stunning Area of Outstanding Natural Beauty. The Old Quay House is located on narrow Fore Street, the town’s main road, surrounded by shops, bakeries, cafes, and restaurants. Within The Old Quay House is the restaurant Samphire, serving a selection of delicious dishes throughout the day. It is open to all; you don’t have to be staying at the hotel, and it is popular with locals as well as visitors to Fowey.

Right on the waterfront, at the back of the hotel, accessible by going through the Samphire restaurant, is a terrace where you can enjoy the estuarial views and watch the boats go by whilst enjoying a refreshing drink from the bar or sampling some of the delectable food available at Samphire.

There are several public car parks close by; the hotel does not have dedicated parking. However, you can briefly stop to unload your luggage before driving on to park your vehicle.

The charming rooms are arranged over three floors. My room was on the third floor at the top of this historic building. The room was flooded with natural light, the delightful window framing a stunning view of the estuary, much better than any picture. Blackout curtains were a great addition to ensure a good night’s sleep.

The Old Quay House is an adult-only hotel; children under twelve and pets are not allowed. It is very peaceful, given its proximity to local amenities.

The bed looked very welcoming, and tea and coffee facilities are provided along with bottles of sparkling and still water. A nice touch is proper mugs, great for a cuppa at any time of day.  My room had a door leading out onto a tiny balcony, with a view over the rooftop.

The internal bathroom was beautifully appointed with quality fittings, a toilet, a sink, and a shower. Bathrobes were provided, as well as heavenly White Company toiletries.  

I was booked in for dinner at the Samphire on the Quay restaurant and was seated at a table by the window looking out over the terrace. Recently opened Samphire aims to provide year-round dining, sourcing ingredients from the surrounding area. When I arrived, the restaurant was already full of other diners. Booking your table in advance is essential to secure your reservation.

The menu is heavily biased towards seafood dishes using fresh local produce. With an extensive selection of dishes available either as a starter or a larger main course option. This is designed to be a sharing menu where you can choose several dishes to split between your party.

To start with, a glass of one of my favourites, Camel Valley Reserve sparkling brut. The Camel Valley vineyard is not far from Fowey and is well worth a visit if you are in the vicinity. The wine was bright and citrusy, perfect as an accompaniment for fish.

With so many tasty-sounding options on the menu, I asked my waitress which were the best showcases of fresh local seafood. Unfortunately, the crab salad, which would have been my first choice, wasn’t available that day. This didn’t limit me, as I would have happily tucked into multiple dishes.

After deliberation, I plumped for the seared king scallops served with brown butter, bacon jam, and sherry vinegar for my starter. This was a generous portion of succulent, sweet scallops with the contrast of the salty bacon jam working perfectly.

For my main course, I chose the half Cornish lobster, which came with miso butter, Koffman fries, and a side salad of cucumber and fennel. This was a delicious combination, and the lobster was mouth-meltingly soft; the salad was light and refreshing, set against the richness of the lobster. The fries were a bit too salty for my taste.

I ordered a glass of Chenin Blanc to accompany my lobster.

I didn’t need a dessert, but couldn’t resist the temptation. I was intrigued by the pistachio tiramisu, so I decided to try it. It was a generous portion; the mascarpone and double cream were not too heavy, and the coffee liqueur was subtle. Crunched pistachios topped the dessert. It was too big for me to manage.

My room was very quiet, and the blackout curtains kept the morning sun out. I slept well and woke to the sound of gulls outside.

Breakfast is served in the Samphire restaurant. It is available for walk-ins as well as hotel guests. The breakfast buffet section has small muffins, bread, jams, granola, and fresh fruit. 

Freshly made coffee in a cafetiere and a selection of juices are on hand. The extensive hot options include a full Cornish breakfast, omelettes, poached eggs, and avocado on sourdough or thunder and lightning pancake stack, buttermilk pancakes with Cornish clotted cream & golden syrup. I plumped for poached eggs on toast, which set me up for the day.

I had an excellent stay at The Old Quay House hotel and hope to return one day. This stylish and comfortable coastal hotel is perfect for a short break in Fowey. There is lots to see and do nearby. You can take the ferry across the estuary to Polruan, browse in the artisan shops and galleries, and visit Fowey Aquarium. The Eden Project and The Lost Gardens of Heligan are a few of the attractions easily reached by car.

I was hosted overnight by The Old Quay House, with dinner and breakfast at Samphire restaurant.

Old Quay House Hotel,
28 Fore Street,
Fowey,
Cornwall,
PL23 1AQ.

Tel: 0172 683 3302

For more details of the Old Quay House and special offers, click here.

The Hotel’s restaurant, Samphire on the Quay, is open for breakfast, lunch, dinner, and refreshments during the day. To reserve a table and view sample menus, visit Samphire Fowey.

Check our roundup for more boutique hotels in Cornwall and the rest of the UK

The post The Old Quay House Hotel, Fowey, Cornwall appeared first on London Unattached.

Last Updated on July 5, 2026

World-class sports live on the big screen at iconic Bluebird Chelsea

Bluebird Chelsea has been on the iconic King’s Road in Chelsea for over a hundred years, serving as an Art Deco emblem of London, taking its name from the original Bluebird Motor Company Garage building that stood on this site. With a striking, airy, architectural restaurant interior and a gorgeous outdoor courtyard, Bluebird Chelsea is a perfect venue to visit whatever the weather.

To mark the extensive calendar of sporting events in the summer of 2026, Executive Head Chef Owen Sullivan has developed a new summer menu. Diners can order from the menu or sample refreshing drinks in the stylish setting of Bluebird Chelsea, where the big screen in the spacious al fresco courtyard is showing live sporting events.

The outside courtyard runs along the length of the building. Foliage and pots bursting with blooms give the space a garden ambience. Giant tennis balls are perched on the roof of the central awning, adding a Wimbledon theme to the space.

We visited for lunch and to sample the Bluebird Chelsea Summer of Sports menu. We dined mainly from the new lunch set menu, which is reasonably priced at two courses for £30, three courses for £35. 

Whilst perusing the menu, we started with a refreshing Hugo Spritz cocktail, made with St Germain elderflower liqueur, sparkling wine, sparkling water, and sprigs of fresh mint. It was the perfect cooler for a very hot day.

The summer set menu has a selection of lighter dishes, ideal for summer dining.

For me, the Marmite tart starter was an obvious choice. This is one of the signature dishes at Bluebird Chelsea. It may be divisive, given the love-or-hate relationship people have with Marmite. As I am in the former camp, I was more than happy to try the dish. It was not disappointing: a light pastry flan with a soft, creamy marmite interior. The balance was spot on, with the crunchy morsels of fresh cauliflower giving texture and the zingy addition of a lemon sauce. I could have happily taken an extra portion home with me.

My companion decided on the Bluebird chopped salad, a vibrant bowl of kale, fennel, radish, radicchio, seeds, and carrots, tossed in an orange-and-ginger dressing. It was a crunchy, refreshing plate of food, an ideal dish for the warmer summer months.

For my main course, I opted for the rope-grown Scottish mussels. They were served in a bowl with a smooth, vibrant parsley and wild garlic sauce, topped with sparkling wine foam. On the side, a warm, buttery flatbread topped with anchovies. This was a delicious and light dish with a summery feel. The tasty flatbread was perfect for mopping up the herby sauce.

My companion plumped for another salad from the menu. Her grilled chicken Caesar salad with baby gem, parmesan, and croutons was excellent and was also served with the same delicious flatbread. 

To accompany the main courses, we chose a glass of Chenin Blanc Reserve Kustard Pie from South Africa. An elegant dry white, a good match for seafood and salads.

For dessert, I had to try another Bluebird Chelsea signature dish from the à la carte menu. This was the recommendation of our excellent waiter. The Bluebird golden egg -an outstanding example of inspired pastry skills. A shiny golden egg was resting on a bed of sauce with chocolate soil and fresh raspberries. Warm raspberry sauce was theatrically poured over the egg.

The sauce’s heat melted the top half of the egg, revealing the inner filling. Inside was a combination of white chocolate and vanilla mousse, honeycomb, and tart passionfruit gel. It was a delightful dessert, though on the sweet side.

My companion opted for the sticky toffee pudding, one of the most popular dishes on the dessert menu at Bluebird Chelsea. The sponge was soft and moist, the toffee and bourbon sauce gooey and delightful.

In what is an action-packed summer, diners can watch live tennis from Wimbledon during the championships, running from 29 June to 12 July. The Wimbledon men’s final will be shown live on the big screen on 12 July 2026. This is a ticketed event, so tables will need to be reserved in advance.

The Formula 1 Pirelli British Grand Prix, on Sunday 5 July, will be broadcast live from Silverstone.

Taking centre stage in the global football calendar, all the FIFA World Cup matches will be shown throughout the tournament, from 11 June until 19 July 2026.

Sports fans will love the setting at Bluebird Chelsea, where they can relax and enjoy their favourite sport whilst sampling delicious food and a selection of delightful summery drinks.

Bluebird Chelsea, 350 King’s Road, London, SW3 5UU.

Tel: 020 7559 1000

For more information on Bluebird Chelsea.

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Dim Sum at St Katherine’s Dock

Banquet 88 opened in May from the group that also runs the dim sum restaurants Good Fortune Club (Wimbledon and Ealing), as well as Canton Blue and Tao Tao Ju in Chinatown. This light, open and airy spot is a stone’s throw from the Tower of London and nestled nicely in St Katherine’s Dock, an area that, despite its location, is relaxed and almost like a village in feel.

Banquet 88 also has air conditioning, which will continue to be useful as the summer rolls on. The interiors balance the vibes of a futuristic airline lounge with ancient Chinese wall art and knick-knacks. Of course, complete with the ubiquitous large, round, polished tables that spin, giving a large group access to all the goodies across their surfaces.

We started with a lovely glass of Francoise Monay Brut with notes of apricot and sultanas. We were impressed then with the speed of the service, especially as the dim sum started to arrive.

We started with a smoky, crunchy Turnip cake coated in seafood XO sauce. Who knew turnip could be so tender and flavourful! The vegetable had been reconstituted into toothsome cubes which readily absorbed the umami goodness of the XO sauce. We also had Wagyu beef inside a ‘1000 layer’ pastry. Hong Kong is well known for its egg-glazed pastries, and much like those, this casing was mildly sweet and burnished with egg yolk. The Wagyu was soft and peppery and reminded us most of a Cornish pasty.

We then had a Seafood Cheung Fun. The bright red steamed rice-flour batter exterior hides a perfectly crunchy, fried prawn, benefiting from its string-like pastry coating.

Banquet 88 also has a respectable cocktail menu. They were all £9, which is a very good price for London. We started with a Tea Martini, which was mildly sweet, boozy, smooth, and not too tannic, and a Strawberry Margherita, which was strawberry-sweet with that tequila bite. Our second round was a Manhattan with classic Bitter orange, smoke, tobacco, and leather flavours, and a Cosmopolitan, which was sweet, syrupy, and not too dry.

Next came the stars of the show, the steamed dim sum, which all arrived promptly and ready to be enjoyed. The texture of the dough and filling also made clear that these had been handmade, not a certain thing these days when frozen factory-made alternatives are so easily available. We had Cuttlefish and crab dumplings, which were light and bouncy and a little sweet from the crab. We also had pork and prawn Siu mai; the true test of a dim sum, these were delicate but substantial with large chunks of juicy prawn inside.

We also had Har gao prawn dumplings, translucent and bursting with juice. This is a dim sum classic for a reason. And extra special, black truffle siao long bao, which were steamy and sophisticated, filled with truffley soup, each could be delicately lifted with chopsticks from its top knot, drop onto your tongue where they would burst with the broth trapped inside.

We next had pork belly with lettuce wraps; these were lovely and crispy and spiced with cumin, surrounded by cooling, crunchy lettuce. This dish was clearly influenced by the spice trade from the Silk Road, where Middle Eastern ingredients would make it across to East Asia.

Another special dish, black truffle king prawn fried rice. With its short-grain rice and juicy prawns, it was not sticky at all, as it should be, with a decent dollop of proper truffle aroma. It could probably have been served on a slightly smaller plate, however.

And how could we leave without trying the Roast duck? Toothsome, spiced with five-spice, saucy yet still with a crispy skin. This is not to be missed on a visit to Banquet 88.

Our final savoury was highly garlicky garlic greens and had maintained their structure instead of dissolving into mush.

We finished with a refreshing pot of jasmine tea and mango and strawberry mochi, an import from Japan filled with fresh strawberry/ mango and whipped cream inside the rice dough casing and thankfully, not too sweet. We also had a Date and coconut jelly, which were very cute, shaped like rabbits. It was a firm, mild jelly; the coconut tasted most like Thai coconut rice.

We had certainly enjoyed our fill at Banquet 88; the service was delightful, and there is plenty of space for a big gathering, with the location being highly accessible if people are coming from outside of the capital. The menu is also extensive enough to satisfy all sorts of tastes.

Banquet 88, Unit 2, Commodity Quay, St Katherine’s Docks, E1W 1AZ

www.banquet88.com

020 3951 4389

Check out our New Restaurants in London – Tried and Tested

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Last Updated on July 3, 2026

Budding Ballet Dancers Charm and Delight

Picture this: a hard-boiled critic, who has seen a lot of dance and over many years has been privileged to marvel at the talent of some of the greatest dancers in the world, sits in a darkened theatre with a goofy smile of sheer pleasure on her face.  She is completely absorbed in the story that develops before her eyes, notebook opened on her lap but untouched, lest her attention be taken away from the stage for even a minute.  She is enjoying herself enormously.

She is watching the first night of London Children’s Ballet production of Anne of Green Gables, this year’s offering by one of the most remarkable companies around.  And if the mention of ‘children’ suggests end-of-year school show targeted at doting parents and indulgent friends, forget it – this show at the Peacock Theatre is a thoroughly professional affair on a par with anything the West End has to offer.

All 54 dancers on stage were aged nine to 16, all at differing levels of their ballet training, all picked at audition from literally hundreds of hopefuls to be this year’s cohort of London Children’s Ballet and work through weekends and intensive half-term sessions towards a summer show, a process that has been going on since the company was formed in 1994.  

It’s an opportunity all grab with both hands, making for a performance that blends total commitment with obvious enjoyment and an awful lot of talent, and where many of the cast play a variety of roles with equal élan.

The ballet Anne of Green Gables is based on the eponymous novel by the Canadian author Lucy Maud Montgomery, a staple of childhood reading for successive generations.  It tells the story of Anne, an orphan sent to help on the farm run by two middle-aged siblings, Matthew and Marilla.   Feisty, resourceful, mischievous and touchingly vulnerable, at first Anne is shunned by the small Avonlea community, but after various adventures, she is accepted and loved.

Originally choreographed in 2022 by Jenna Lee, company co-director and highly experienced dance-maker, Anne of Green Gables was tweaked and spruced up for this revival and looks box fresh.    Gus Nicholson’s specially commissioned score is played live (hurrah!) under Philip Hesketh’s sympathetic baton; Elin Steele’s multi-purpose set, sensitively lit by Mark Jonathan, adapts easily to a bustling train station, a gossipy town square, a school classroom, and an intimate family home.

All this frames dancing of great quality.  Jenna Lee’s choreography is intelligently crafted to meet the abilities of her cast without appearing simple or basic; the dancers impeccably marshalled into glorious ensembles.  The extensive use of mime and individual expression adds an extra dimension – those kids really are telling their story and relish doing so.  In the opening scene at the train station, it was fascinating to note that even while one couple was performing centre stage, the rest of the cast remained entirely in character, going about their lively business in their own groups.

Anne was danced by 15-year-old Amelie French, a truly delightful and immensely talented young dancer, with a lovely arabesque line and huge ability to convey the mercurial moods of her character.

Dancing the role of her best friend, Diana, was Berte Lesmes, 12, she, too, a natural, engaging dance actor; and the obvious connection between the two girls made their characters’ deep friendship totally believable and very endearing.

John Holden, 17, was invited back as a guest artist this year, having appeared in the ballet’s original outing, to take on the role of Matthew, his movement effortlessly conveying a gentle, affectionate, middle-aged character, easily won over by Anne, and whose accomplished partnering included a demanding one-arm lift.

Little Folashade Marah, 10, was a charming Bluebird, a character made up by Lee to symbolise hope and enliven the front-of-curtain action that hides the various scene changes; and Gilby Morell, 15, already looking very much the male dancer, owned the new role of Guardian Angel, created on him for this revival.

And so this hard-boiled critic found herself totally won over and, even with all critical faculties in place (needs must), couldn’t find anything at all that would eat away at a perfect five-star rating.  Do yourself a favour: go!

London Children’s Ballet, Anne of Green Gables is at the Peacock Theatre 3 – 5 July. Friday at 7 pm, Sat & Sun at 12.30 and 4.00 pm

Peacock Theatre
Portugal Street
London WC2A 2HT

Check our West End Theatre Previews for next season

The post London Children’s Ballet, Anne of Green Gables appeared first on London Unattached.

Last Updated on July 3, 2026

Indian Hospitality meets Classic London

St. James’ Court, A Taj Hotel, brings a touch of Indian Hospitality to central London. Part of the prestigious Taj group, which traces its roots back to the opening of the iconic Taj Mahal Palace in Mumbai in 1903, the hotel occupies a grand Victorian building in the heart of Westminster, arranged around a particularly charming courtyard.

St. James’ Court boasts a prime location within easy reach of Victoria Station, the West End and Mayfair, while some of London’s most iconic landmarks, including Buckingham Palace and St James’s Park, are right on its doorstep. Blending Victorian architecture with the Taj brand’s own heritage style, it offers an ideal base for travellers seeking a classic London experience with all the modern comforts.

We arrived on what felt like one of the wettest days of the year, greeted by door attendants in top hats who whisked us from the rain beneath umbrellas and through the revolving glass doors.

Inside a slick lobby, with a marble floor, brass touches and a striking red floral display. The reception staff were professional and helpful, and our bags were swiftly delivered to our room.

But what sets this hotel apart is its beautiful central courtyard, framed by tall red-brick Victorian buildings, with an ornate foundation at its centre, surrounded by seating areas and plenty of greenery, and offering direct access to the hotel’s main dining room. When the sun chose to break through and the skies turned blue, it looked glorious.

Accommodation
The hotel’s 329 rooms and suites are spread across eight floors, all accessible by lift, and range from Classic and Executive rooms to spacious Premier categories. We stayed in a Classic corner room on the third floor, overlooking the courtyard.

Elegantly designed in calming shades of sage green, with jewel-coloured cushions, floor-to-ceiling drapes, plush carpeting and a comfortable double bed with a leather headboard. Amenities included tea- and coffee-making facilities, a desk, a television, wardrobe space, and an upholstered armchair. The contemporary bathroom, finished in sleek grey tones, was stocked with luxurious Molton Brown toiletries, soft bathrobes and slippers.

Restaurants & Bars
St James‘ Court offers a host of different dining venues. For those seeking something special, Quilon looks amazing, a Michelin-starred restaurant that takes diners on a culinary journey through southwest India. The House of Ming also looks rather good; it serves refined Sichuan and Cantonese cuisine in a smart restaurant. However, it’s closed on Tuesdays, which happened to be the night of our stay.

Kona is home to the hotel’s popular afternoon tea and has also recently launched Le Petit Chef. This fun, immersive dining experience uses 3D projection mapping and storytelling to bring a miniature chef to life. The experience is available from Friday to Sunday. The hotel is also set to unveil a stylish new bar, 1897.

TH@51 Restaurant & Bar is the hotel’s main dining venue, serving international cuisine and open for breakfast, lunch, and dinner. You can walk in without a reservation, and when the weather is good, tables extend into the pretty courtyard. Breakfast was bustling during our stay, with a generous buffet alongside made-to-order dishes.

With just one night to enjoy the hotel, we quickly settled into our room before heading out to explore, admiring the grandeur of Buckingham Palace and strolling through St James’s Park in the rain. Returning to the comfort of the hotel, we made our way to TH@51 for dinner.

First, though, perfectly mixed dry martinis at the bar set the tone for the evening.

The restaurant has a relaxed atmosphere, with pale green walls, wooden tables and floor-to-ceiling glass doors opening onto a terrace for alfresco dining in warmer weather.

The à la carte menu caters to all tastes, from steaks and pasta to English classics, salads and Indian specialities. Keen to sample the restaurant’s signature Indian dishes, we followed the staff’s recommendations and were rewarded with an excellent meal.

We began with samosa chaat, featuring crisp samosas, crunchy apple, and pomegranate, with sweet tamarind, gentle spice, and cooling yoghurt. Next came charred chicken in a creamy coronation sauce, alongside plump prawns in an aromatic Malabar-style curry with lime pickle and sweet mango.

A yellow dal tadka, tempered with cumin, garlic and red chilli, was perfect for scooping up with garlic naan and fluffy rice. And to hit the sweet spot, a couple of classic Indian desserts, syrup-soaked gulab jamun and delicate rasmalai, served in fragrant saffron milk.

Facilities
For guests looking to unwind, the hotel’s Wellness Circle Spa combines Taj’s own Hospitality with treatments from British lifestyle brand Temple Spa. Facilities include treatment rooms, a vitality pool, a steam room, and a sauna, providing a peaceful retreat from the city’s bustle. For those keen to keep fit, the well-equipped Fitness Centre is just the place, with a range of Technogym equipment for a full-body workout.

St. James’ Court, A Taj Hotel, is ideally located for exploring London’s notable sights and is a wonderful choice for those seeking a touch of sophistication and life’s little luxuries in the heart of the city.

St. James’ Court, A Taj Hotel,
54 Buckingham Gate,
London SW1E 6AF

Tel: +44 20 7834 6655
stjamescourthotel.co.uk

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A sanctuary in the city

Kyoto is perennially popular, both for its exquisite temples and exemplary food. While still a vast city, it is smaller than Tokyo and much easier to navigate, being set out on a grid. During my first visit to Kyoto, I reviewed the Dhawa Yura Kyoto Hotel by Banyan Tree in the centre of town. On my second trip, I returned to this excellent brand without hesitation when invited to visit Banyan Tree Higashiyama. Kyoto is a very stylish city with magnificent temples, museums, local crafts, music, geisha culture and renowned cuisine. Banyan Tree Higashiyama reflects Kyoto’s sophisticated aesthetic. From its perch high in the Higashiyama hills, the hotel, designed by acclaimed architect Kengo Kuma and opened in 2024, exudes five-star luxury.

Higashiyama means ‘eastern mountains’, and the hotel is located above Gion, one of the most popular tourist areas. Yet, due to its position at the top of the hill, Banyan Tree Higashiyama is a true haven of peace and tranquillity. Within a 10-minute walk, we could access many tourist sites, then head back up to the hotel afterwards to rest. Because there is so much to see in Kyoto, it is wise to stay centrally, and this hotel combines a convenient location with a sense of being away from the fray.

Facilities

Arrival at Banyan Tree Higashiyama was a perfect antidote to the traffic below. The taxi left all this behind as it wound up the hill. We entered a chic and calming space, greeted by a bowl of matcha tea and wagashi (traditional Japanese sweets), and gazed out over the hotel garden through floor-to-ceiling glass. The peaceful garden is found at the back of the hotel, overlooking the communal areas and some of the rooms. Visitors can walk amongst its stone walls, mature trees and pond.

On an upper level, guests can explore a small bamboo grove leading up the hillside, which is densely forested. Pride of place is given to a re-imagined Noh theatre stage designed for the site, which creates a beautiful focal point when sitting in the Ryozen restaurant for breakfast or dinner, or relaxing on the patio with a drink. Cultural events take place on the stage at points during the year. Noh theatre occupies a central place in Japanese culture, and this is the only Noh stage in a Kyoto hotel. It is a stunning sight, and cultural events are held here throughout the year.

All around the hotel, we found displays of beautiful crafts in wood, fabric, basketry, and metalwork, along with ceramics. These are specially commissioned from village artisans and the communities benefit with funds for the education of students and the empowerment of women.

Accomodation

The hotel’s interior design is a stylish fusion of Japanese craftsmanship and minimalist aesthetic with Western furnishings, the calling card of designer Yukio Hashimoto. The hotel’s scale creates an intimate feeling with only 52 rooms. There are eight Onsen Retreat rooms with the luxury of a private onsen bath fed by 40-degree hot water from the natural spring running beneath the hotel. Our Onsen Retreat room had a city view, from which we watched the sun set behind the mountains to the west of the city. The tatami-mat room had a large king-sized bed, resplendent with a golden-hued wall behind it that blazed in the late afternoon sun. The bedside tables had a lustrous, golden sheen. There was a large, deep sofa perfect for lounging and reading. This felt particularly luxurious as the previous two weeks had been spent predominantly in traditional Japanese rooms on futons. Needless to say, I had my best sleep of the holiday in this bed. Much as I enjoy traditional Japanese furniture, it was a treat to be welcomed into a bedroom with a Japanese aesthetic and some Western furnishings.

Pride of place in this gorgeous room was a deep, Hiba (Japanese cypress) bathtub. One of the joys of travelling in Japan is the presence of onsen (hot springs) in many hotels, especially those located in hot spring towns which proliferate around the country. These hot springs are full of natural salts and minerals, and the soothing and softening effect on the skin is clearly felt after travelling around for a few weeks. While the hotel has its own beautiful communal onsen – separate for men and women – there is something both romantic and relaxing about having a private onsen in one’s room. It is worth booking this hotel for that aspect alone.

The bathroom was beautifully designed and could be enclosed with traditional shoji sliding screens, which added an evocative atmosphere. Japanese interiors pay exquisite attention to how light enters a space, and these sliding screens – and the timber latticework on the windows – enabled us to enjoy the play of light and shadows.

Alongside the large windows, there was a platformed tatami mat area with two zaisu, traditional legless chairs, and a table set into a foot well, which makes this seating arrangement comfortable. This area had the traditional alcove – a most important feature in a Japanese room – along with a wooden plinth on which sat a monochrome ceramic piece.

Activities

The Banyan Tree Higashiyama takes wellness seriously and encourages guests to participate in activities to boost wellbeing. Your day might begin with yoga overlooking the Japanese gardens and meditation in the bamboo grove. In the evenings, we took a lantern into the bamboo grove where we found special coloured paper on which to write our wishes, which we then tied to a tree. This typically happens when visiting Shinto shrines in Japan, and it was a welcome way to connect with the spiritual side of our stay.

The hotel has a Spa and a communal onsen with both indoor and outdoor sections. Soaking in an outdoor onsen is particularly evocative, putting you in touch not only with the natural hot water but also with rocks, plants and the sounds of nature. The Spa offers a range of treatments that draw on traditional Japanese healing practices and are guided by eight pillars of wellbeing.

Cuisine

Kyoto is renowned for kaiseki – the multi-course Japanese haute cuisine meal that originated in this city in the 16^th century.  At Ryozen restaurant, we were treated to a superb Kaden Kaiseki dinner with course after course following the traditional structure of the kaiseki meal. With a view over the illuminated Noh stage and a sake pairing to accompany our dinner, we were in heaven.

Kaiseki meals adopt three principles which are seasonality of the ingredients, regionality,  and aesthetics. Food is served on exquisite ceramic dishes that change with the seasons. Each kaiseki menu includes five flavours, five colours and five cooking methods. The menu begins with appetisers, and moves on through soup, sashimi, grilled fish or meat, a simmered dish and dessert. Each course brought vibrant colours and subtle flavours to the table. The standout course was meltingly tender, grilled Japanese Wagyu beef served with black pepper salt, fresh wasabi and akegarashi, a Japanese mustard seed matured in soy sauce and mirin, all of which balanced the deep richness of the marbled meat. The rice course is served towards the end of the kaiseki meal so that diners are not overly full. There is always far too much of it to finish, and the chef kindly offered to make us onigiri (rice balls) with the leftovers, which we ate as a tasty snack the following day.

When we returned to Ryozen restaurant for our breakfasts, we were treated to an exceptional spread. One morning, we were served Wagyu shabu shabu, which we cooked while we ate eight beautifully presented appetisers, an artwork in themselves. With dishes including sashimi, steamed crab with soy milk and seasonal dishes with rice and Japanese pickles, the day began with a gustatory feast.  Guests can order a Western or vegetarian breakfast if they prefer.

There are many luxury hotel brands, where no matter what city you are visiting, the aesthetic is much the same. Banyan Tree hotels ground themselves in the city where they are located so that guests can enjoy the local culture, traditions and cuisine. Customer service was outstanding. We encountered a few difficulties with our return flight, and the staff went out of their way to assist. From the warmth of their engagement to the beauty of the hotel and the standard of the facilities, the location and the sense of peace, Banyan Tree Higashiyama was a hotel that we were genuinely sad to leave. Rest was what we needed. We had been on the road for over two weeks; our minds were saturated with new experiences, while our legs were tired out from 20,000 daily steps that are easy to rack up when travelling in Japan. We arrived exhausted, and left feeling restored. Rather than simply finding a luxury hotel for a couple of nights, Banyan Tree Higashiyama felt like a sanctuary.

Banyan Tree Higashiyama Kyoto, 7 Seikanji Ryozan-Cho, Higashiyama Ward, Kyoto 605-0861

Looking for something different? Check our feature on Palermo, Sicily

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Last Updated on July 2, 2026

Alfresco Dining with a City View

Hot summers seem to be here to stay, and with a heatwave currently running across the UK, now is the time to seek out some of our best alfresco dining venues, especially those with a view. Coq d’Argent is in the heart of the City, and this summer guests can experience an Endless Lunch with a 4 -course lunch menu with Mirabeau rosé pairings served in their lovely rooftop gardens.

Just a minute’s walk from Bank Station at No.1 Poultry, Coq d’Argent has one of the City’s most enviable locations. From the terrace, sweeping views take in landmarks including the Bank of England, Mansion House, the Royal Exchange, the Cheesegrater and the Walkie-Talkie. Bathed in sunshine and overlooking London’s iconic skyline, it felt like a little slice of the Riviera in the heart of the City.

I was there with a friend who was celebrating her birthday. The setting itself already felt special, and it turned out we weren’t the only ones marking a birthday. Tables were set with white linen tablecloths, and sunshades were available for those who wanted them.

The chef at Coq d’Argent was busy live-fire cooking on the BIG Green Egg (a top-notch BBQ). The service was warm and friendly, and our waiter, Caroline, looked after us beautifully throughout our leisurely lunch.

We started with a glass of Mirabeau Pure Rosé, Côte de Provence – pale pink, and refreshing, with notes of summer berries and citrus, and a mineral finish.

Fabulous flambé skewered prawns arrived straight off the grill, wonderfully fresh and meaty, seasoned for the summer, on a bed of rocket.

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Next was a sea bass fillet en papillote, with the delicate white flesh, baked in parchment with leek and orange, gently sweet, and finished with a vibrant salsa verde.

All this was paired with Mirabeau Etolie, Côte de Provence, a premium dry, lychee-pink wine with notes of grapefruit and mango and a spicy finish.

Moving on to the main course, from grill to table: half a smoked baby chicken, tender flesh, marinated in garlic and lemon, lifted with tarragon and a sweet honey glaze.

Our main courses were paired with Mirabeau La Réserve Côte de Provence, an excellent premium rosé made from grapes grown at Domaine Mirabeau, Maison Mirabeau’s own estate in Provence. A more structured wine, with a darker shade of pink, it had a floral nose and notes of red fruit, spice, and brioche.

The finale was a beautifully balanced dessert of roasted pineapple, drenched in rum and served with spiced ice cream, one of those dishes that immediately has you thinking, “I need to try making this at home.” A surprise birthday plate of rich chocolate truffles and a personalised message for my companion added a lovely finishing touch to our alfresco lunch.

So, if you’d like to experience one of the City’s best views along with great food inspired by the South of France, special occasion or not, Coq d’Argent might be just the place.

Endless Lunch by Mirabeau – 4- course at £95 pp
Available every Wednesday – Saturday from 12 pm – 4 pm throughout summer 

Coq d’Argent
No. 1 Poultry,
City of London
EC2R 8EJ
Tel: 020 7395 5000

The Endless Lunch is available every Wednesday – Saturday from 12 pm – 4 pm throughout summer, or available to book any day of the week for larger groups of 13 or more.

For more restaurants to try, check our Best of British Restaurant

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Last Updated on July 1, 2026

Oropesa is Transcendent as Elvira at Covent Garden

It’s been 35 years since The Royal Opera last staged Vincenzo Bellini’s three-act I Puritani, a key work in the bel canto canon, so last night’s opening of Richard Jones’ new production was a big moment in the Royal Opera’s season. One of the key reasons for the opera’s rarity of performance is the extreme, demanding vocal writing for the main soprano and tenor roles, with Bellini’s long, fiendishly high and technically challenging vocal passages making the casting of the opera problematic.

I Puritani was Bellini’s final opera before his premature death aged just 33 in 1835, the same year that the opera was premiered in Paris. It was an immediate hit but then only appeared sporadically in the repertoire, not becoming popular again until Maria Callas’s incendiary 1949 performances at Teatro la Fenice in Venice. These not only made Callas’ reputation as a bel canto singer par excellence but also brought the genre, which had fallen out of critical favour, back into fashion.
I Puritani’s libretto, written by Italian poet Count Carlo Pepoli, was based on an English Civil War drama entitled Têtes Rondes et Cavaliers authored by Jacques-François Ancelot and Joseph Xavier Saintine. I Puritani is set around 1650 in the Puritan stronghold of Plymouth, centring on the love between Elvira, a Puritan noblewoman, and Arturo, a Royalist, and the story stretches even the extraordinarily loose bonds of operatic credulity at times. But no matter, this is bel canto, and we are just here for the singing.

Elvira is initially promised to Cromwell’s general Riccardo, but her uncle Giorgio supports her wish to marry Arturo, creating a fragile peace between family duty and personal desire. At the wedding celebration, Arturo is ordered to escort the escaped Charles I’s widow Queen Henrietta Maria to safety; to do so, he uses Elvira’s veil as a disguise, which makes Elvira believe she has been betrayed.

From there onwards the plot turns on misunderstanding and emotional collapse. Elvira sinks into a PTSD type of madness, while Arturo is condemned as a traitor; I Puritani then builds towards the couple’s reconciliation when he returns and explains the truth, only for his execution to seem imminent once more. In the final and extremely fortuitous twist, news arrives that Cromwell has pardoned the Royalist prisoners, allowing the lovers to reunite in what is a rare happy ending for an opera of this period. Richard Jones subverts this denouement with a gratuitous though dramatically satisfying final twist that elicited boos from some of the less Tarantino-inclined audience members at the curtain call.

Jones and set designer Hyemi Shin have placed the drama inside a stark grey castle furnished only with sandbags and the occasional cannon. Lighting designer Adam Silverman conjured up an oppressive atmosphere with dark greys, blues and browns being echoed in costume designer Nicky Gillibrand’s outfits for the Puritans, natty fatigues for the soldiers and traditional Puritan style togs for the good burghers of Plymouth.

In a trademark Jones absurdist ploy, the Cavalier soldiers look like a hybrid of the Laughing Cavalier and the Milky Bar kid. On occasion, a box is wheeled onto the stage acting as a chapel or mausoleum and creating a point of focus for the more personal interactions. The larger scale choral numbers have a pleasingly Wes Anderson-ish symmetry, and there is some clever business with the text from Arturo and Elvira’s letters being projected onto a black curtain. Jones has created a space designed to push the focus onto the performers whilst acknowledging the silliness of the plot. I don’t mind this approach. It’s neither overly intrusive nor particularly enlightening, but it certainly has its detractors.

With this Royal Opera production coming on the heels of one at the Met in New York, Cuban-American soprano Lisette Oropesa has staked a claim as the undisputed heavyweight champion of Elviras. The character transforms from a charming ingénue to a haunted wraith, wandering in her wedding dress carrying her withered bouquet in a transcendental performance that to this set of ears shows the influence of Callas. Her voice veers between the ethereal and the ecstatic, devouring the twists and turns of Bellini’s scalar patterns, octave leaps and coloratura extremes without ever sacrificing the dramatic imperative. Her “Qui la voce sua soave… Vien, diletto” encapsulated all these elements, a highlight of a career-defining performance,

Sardinian tenor Francesco Demuro, in black and white striped trousers and maroon jacket, played Elvira’s boyfriend Arturo. Demuro looked and acted the part convincingly, but his Act 1 signature aria “A te, o cara” felt strained. His voice seemed to relax as I Puritani progressed, and by his Act III “Credeasi, misera!” the vocal tightness had morphed into something more mellifluous.

Polish baritone Andrzej Filonczyk gave us a Riccardo full of gruff, self-righteous macho anger, waving a knife around with impunity and bullying Elvira. Combining vocal heft with expressivity, his “Ah! per sempre io ti perdei” was an exercise in fully ornamented despair.

Bass-baritone Ildebrando D’Arcangelo was an avuncular Uncle Giorgio with a warm, rich tone and Brazilian mezzo-soprano Marcela Rahal as Charles’ Queen Enrichetta di Francia, in full mourning black with a mantilla, brought a sense of regal trepidation to her cameo role.

Conductor Riccardo Frizza was making his long-awaited debut with The Royal Opera. From the opening brass fanfare, he created a highly controlled and colouristic dynamic that created a series of shimmering choral and instrumental textures. With splendid choral singing and an ensemble that was tight but elastic enough to bring out the full range of emotions, his reputation as one of the leading bel canto conductors can only have been enhanced by this performance.

This production of I Puritani is a must for fans of bel canto opera; with Oropesa, channelling the spirit of Callas, we have an Elvira for the ages.

I Puritani

30 June–19 July 2026

Royal Opera House, Bow Street, London, WC2E 9D

Check our previews of this summer’s opera festivals!

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Last Updated on July 2, 2026

ENB School/John Cranko School – Two Schools, One Mission

Collaborations often work by throwing up the unexpected.  We saw an example of great cross-fertilisation in the previous Next Generation 2026 programme, when ZooNation Youth Company joined forces with dancers from Memphis, USA, and Memphis Jookin’ pioneer Lil Buck to reimagine history through the lens of hip hop in the pulsating, highly emotional piece 1776.

Next Generation Festival followed that with a different kind of collaboration: a partnership programme by two prominent ballet institutions, London’s English National Ballet School and the Stuttgart-based John Cranko Schule.

Made up of seven pieces that ran the gamut from impeccably neo-classical to contemporary, fast-moving, nervy expressionism, the programme proved tremendously enjoyable, and on the whole highlighted the strengths of each school.  Founded in 1988, ENB is a finishing school with a three-year graduation programme, after which the best have a chance of joining ENB.  The John Cranko Schule was founded in 1971 by one of the defining personalities of ballet in Germany to train young dancers in close contact with the company Cranko himself had founded ten years earlier, the Stuttgart Ballet.  Today Stuttgart Ballet is central to ballet in Germany, and the school is one of the most renowned ballet schools in the world.

Its excellence became immediately apparent when the first dancer walked on stage – you can tell a lot about technique and schooling simply by the way a dancer walks.    His poise and elegance were remarkable.   He was one of the male cast of Variations for Four, a piece created in 1957 by Anton Dolin, one of the founders of what was to become English National Ballet, to show off the art of the male dancer.   To music by Marguerite Keogh, the dancers performed a series of variations of increasing difficulty, either in individual solos or together.  Their technical assurance was remarkable.  I particularly liked their soaring elevation followed by the softest of landings, and their clear awareness that they weren’t just dancing – they were performing for an audience.

Variations for Four was set against Pas de Quatre, also choreographed by Anton Dolin from the original mid-19th century Romantic ballet, which was created to showcase the specific talents of four of the great ballerinas of the time: Lucile Grahn, Carlotta Grisi, Fanny Cerrito, and Marie Taglioni. Set to music by Cesare Pugni, this piece, performed by ENBS, is very difficult – it requires an uber-Romantic style, all poise and demure lightness, with elbows out and very soft wrists for the delicate port de bras.  I felt it was a very big ask of such young dancers, and occasionally it came across as simply mannered, rather than period.

The programme ended with Marco Goecke’s rousing All Long Dem Day set to Nina Simone’s goosebumps-raising  Sinnerman.  A very fast moving piece, using expressionist gestures of crisped hands, angular arm movements, shaking heads, and frenzied, yet controlled, runs, it explored inner guilt and humanity’s search for redemption.   Performed with tremendous power by a mixed 11-strong cast from John Cranko Schule, it elicited a prolonged standing ovation, and rightly so.

John Cranko Schule also performed two small-scale pieces, both solos for women: Xenia Wiest’s At Last, danced by Wiktoria Kielbasinska in eye-catching elbow-length red gloves to one of Etta James’s most iconic songs; and Jordan Pellitari’s When Light and Dark Meet, depicting contrasting emotions and expressively performed by Macie Miersch.

ENBS students showed their mettle in two very pleasing classical pieces: Winter, set to Vivaldi and especially choreographed by Demis Volpi, and Fleeting by Bridget Breiner, set to the resonant bass of the Russian Boris Shtokolov singing Anton Rubinstein’s musical setting of a poem by Mirza Shari.  All three young women offered cogent interpretations.

Winter was danced by three couples in snowy white unitards, and showed off the young dancers’ mastery of pair work, with difficult, intricate lifts, all of which came off assuredly.

So, as Next Generation Festival 2026 draws to an end, it leaves strong memories and, with so much talent on display, a lot of optimism as to the future of the art form. I am already looking forward to Next Generation 2027…

ENB School/John Cranko School is at the Linbury on 30 June & 1 July at 7.15 pm
Duration: 1 hour 35 minutes, including one interval. Tickets: £5 – £23

Linbury
RBO
Bow Street
London WC2E 9DD

Check our previews for more Dance in London

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