If god is in the details, then Santa Clara, our favorite hotel in Lisbon, is truly blessed. We arrived on a Friday afternoon, weary from a bumper-car-like ride through the city’s busy streets. As soon as we entered Santa Clara, a sense of calm embraced us.
We climbed the stairs slowly, savoring each step. The old lioz, the marble of Lisbon, turned pale by the passage of time blends seamlessly with the soft pink of the newer lioz, creating harmony between past and present.
Our bedroom felt like home. A spacious foyer welcomed us with a plush sofa and a generous bowl of ripe cherries. From the west-facing windows, Lisbon unfolds in all its grandeur: the Pantheon’s majestic dome rising above a sea of orange rooftops, its white stone luminous against the blue shimmer of the Tagus River. More than three centuries in the making, the Pantheon reminds us that some things are worth the wait.
To the east, the bathroom windows open to a tranquil garden planted with lemon trees, where a small choir of birds greeted us.
The walls and closets are painted in a soft grey that is the perfect frame for the Pantheon’s radiant white. A simple geometry gives the room a sense of serenity. Pine planks draw the eye outward, to views framed by curtains that sway like skirts of ballet dancers caught in a gentle breeze.
In the bathroom, a grand bathtub, hewn from a single block of marble, stands beside two cylindrical basins sculpted from solid stone. Handmade tiles catch and scatter the light, while a thin line of marble placed at eye level evokes a far-off horizon, separating earth from sky.
After dinner, we retired to our room with the sense of being where we belonged. In the morning, sunlight poured in—joyous and bright. We made our way to breakfast—coffee, fresh bread, sweet fruit, creamy yogurt, eggs, and wild mushrooms. We lingered at the table, reluctant to part with this place that is so quietly beautiful.
Santa Clara 1728 is located at Campo de Santa Clara, 128 in Lisbon, tel. 964 362 816, email booking@silentliving.pt. Click here for the hotel website.
Virgílio Loureiro is a renowned professor of enology and microbiology whose lectures inspired generations of students. A holder of several wine-related patents and the author of numerous scientific publications, he is also a masterful practitioner of the art he teaches. Virgílio champions unique wines crafted in small batches, often made from rare indigenous grape varieties on the brink of extinction. His deep knowledge of the wine’s biochemistry is matched by an equally profound passion for the history of wine.
Though officially retired, Virgílio remains as active as ever. One of his most fascinating projects is the revival of winemaking traditions in the region once known as Banda d’Além, the “other side” of the Tagus River, just across from Lisbon.
In the 14th century, the region became famous for a sweet wine known as Bastardinho do Lavradio. Initially made as a passito from sun-dried grapes, it retained this style until the 18th century, when it began to be produced as a fortified wine. In both styles, the wine preserves its natural sweetness because the yeast dies before converting all the fructose into alcohol, due to the high sugar concentration in the passito and the addition of alcohol in the fortified version. Crafted from the Bastardo grape variety, Bastardinho do Lavradio was known in England as ‘Bastard wine,’ and admired for its remarkable balance of sweetness and acidity.
Viticulture thrived in Banda d’Além until the 19th century. The vineyards endured the oidium blight of the 1850s thanks to sulfur treatments and were protected from the ravages of phylloxera by their sandy soils. Yet industrialization proved more destructive than any pestilence: factories replaced vineyards, and the winemaking heritage slowly vanished into oblivion.
Virgílio believes that this forgotten region may be the birthplace of Port wine. In the Middle Ages, Franciscan monks produced here passito wines for sacramental use. By the 16th century, similar wines began to appear in the Douro Valley—likely influenced by these monastic practices. These early sweet wines, he suggests, were probably the first expressions of what we now know as Port wine.
In the last few years, Virgilio has been working with Teresa and Adelino Martins, owners of Quinta da Estalagem, one of the region’s last remaining farms. The estate is situated in a place of rare natural beauty and rich historical significance. It is near the Roman port of Aquabona on the Coina River, and not far from the shipyard where Paulo da Gama, brother of the famed navigator Vasco da Gama, built some of the ships used by Portugal during the Age of Discovery. Scattered through the region are vestiges of 15th-century ovens once used to bake hardtack, the hard biscuits consumed by sailors on their long sea voyages.
When we arrived at Quinta da Estalagem, Adelino was busy in the vineyard, harvesting grapes with a team of workers. Bastardo ripens early and must be picked before the birds help themselves to the fruit. Teresa and Virgílio joined us in the farm’s cellar for a wine tasting.
We began with Vinho do Pote, a vibrant white wine made from Fernão Pires, following Roman techniques dating back to the 5th century: the grapes were fermented in clay pots sealed with pitch and beeswax. Served in simple tavern glasses from Alentejo, the wine exudes a rustic elegance, with smoky notes, a textured palate, and bright acidity.
Next came Equabona, named for the ancient river route that once connected the Coina port to Mérida in modern Spain. Made from the same Fernão Pires grapes, this wine is delicately infused with fenugreek—an herb cherished by the Romans for both its flavor and medicinal properties. The result is an aromatic, amber-hued wine with notes of spice and a long, curried finish.
Our third tasting was a white wine gently scented with poejo (pennyroyal), which lends an herbal character reminiscent of a refined vermouth.
Then came a striking contrast: a white wine made using the curtimenta method of fermenting white grapes with their skins. The wine has a textured body and gentle tannins that lend both depth and character. This 17th-century technique is making a comeback — wines produced in this way are now popularly known as “orange wines.”
We then tasted a red made from Castelão, which pays tribute to the honest, everyday wine enjoyed across the region in the 20th century. It is light, fresh, and direct, with the grip of youthful tannin and the aromatic clarity of this hardy grape.
Finally, we tried the precious Bastardinho do Lavradio. Lost since the 1940s, this legendary wine has been resurrected through Virgílio’s tireless research and Adelino and Teresa’s steadfast dedication. It is a rare privilege to savor a stunning wine that history had almost forgotten.
Our visit to Quinta da Estalagem was far more than a wine tasting. It was a journey through centuries of winemaking, guided by one of Portugal’s most extraordinary wine scholars.
Click here for the Banda d’Além website. To schedule a visit, email adega@bandadalem.pt
In Lisbon, pastéis de nata inspire near-religious devotion. And with good reason–these delicate tarts, made of flaky layers of puff pastry and filled with a luscious cream of eggs and milk, offer a glimpse of heaven on earth.
Some Lisboetas are devoted to a neighborhood pastry shop that proudly displays the words Fabrico Próprio on its façade, signaling that its pastries are made in-house. But the city’s most revered pastry sanctuary is the Antiga Confeitaria de Belém, which has been drawing pilgrims since it first opened its doors in 1834.
Manteigaria is a more recent cult whose crisp, lemon-kissed tarts have earned a loyal following. Its original Chiado location has become a popular pastry shrine.
There is also Pastelaria Aloma, a bakery in Campo d’Ourique, which rose to fame after winning national competitions in 2012 and 2013.
Just when we thought we had tasted all the city’s holy pastries, we stumbled upon a new revelation, hidden in plain sight at the recently renovated Hotel do Bairro Alto. Its pastéisare extraordinary. The custard, radiant yellow and delicately scented, has just the right touch of sweetness. The crust is golden, crisp, and exquisitely flaky with seven layers that echo Lisbon’s seven hills.
When we asked the servers about the recipe’s ingredients, they nodded politely and walked away. But on the final morning, a waitress slipped us a handwritten note with the ingredients. The secret? The filling is made not with cream, but with milk and cornstarch, lending it an ethereal lightness. The crust’s sublime texture is achieved through a blend of butter and pork lard.
So here is an insider’s tip: if you find yourself near Chiado, step into the Hotel do Bairro Alto and take the elevator to the fifth floor. Settle into the serene terrace overlooking the Tagus River and order somepasteis de nata. As you sit there, savoring these sweet devotions, you’re likely to find yourself at peace.
Hotel do Bairro Alto, Praça Luís de Camões 2, Lisbon, tel. 213 408 288, email: reservations@bairroaltohotel.com. Click here for the hotel’s website.
We recently attended a Moscatel wine tasting led by enologist Frederico Vilar Gomes and fell in love with these remarkable dessert wines. Crafted in Setúbal, near Lisbon, by José Maria da Fonseca, they are made from Muscat of Alexandria—one of the oldest grape varietals still in cultivation. Enologists are unsure whether this ancient grape hails from Egypt or Greece. But its versatility is undisputed, producing both elegant table wines and rich dessert wines.
Muscat vines offer generous yields and a remarkable genetic diversity that protects them against disease. The grapes are intensely aromatic, resistant to heat, and naturally rich in sugar.
Like Port, Madeira, and Sherry, Moscatel (the Portuguese spelling of Muscatel) is a fortified wine. Brandy is added to halt fermentation before the yeast converts all the grape sugar into alcohol, preserving a lush natural sweetness.
The Moscatel made in Setúbal has been cherished for centuries for its remarkable aging potential. As it matures in oak casks, approximately 2 to 3 percent of the wine evaporates each year—a phenomenon whimsically known as the “angel’s share.” This gradual loss intensifies the wine, concentrating its sugar and acidity and deepening its character.
José Maria da Fonseca, founded in 1834, is one of Portugal’s most famous wine producers. In 1849, it introduced Periquita, the first branded Portuguese red wine. Just a few years later, in 1855, it earned a gold medal at the Paris World Exposition for its Moscatel de Setúbal. Today, the company has over two million liters of Moscatel patiently waiting in barrels for their moment to shine.
In the 19th century, José Maria da Fonseca shipped barrels of Moscatel by sailboat to Brazil, India, and Africa. Occasionally, unsold barrels made their way back, and, to everyone’s surprise, the wine had improved. The heat and humidity of the sea voyage had accelerated the aging process, delivering in just one year the complexity that would have taken a decade to develop on land. Since 2000, the winery has revived this maritime tradition. Its “torna viagem” (roundtrip) Moscatel now sails aboard the Sagres, a majestic Portuguese Navy training ship, before being bottled as a coveted limited edition.
Unlike table wines, which are bottled in dark glass to protect them from light, Moscatel de Setúbal comes in clear bottles. Light exposure helps foster the oxidation that is key to its unique aging process.
We tasted three Moscatel wines from José Maria da Fonseca’s Alambre brand. The first was the classic Alambre Moscatel: a liquid dessert with a vibrant orange hue and flavors of orange, honey, and caramel, seasoned with a hint of lemon zest.
Next, we tried a five-year-old Moscatel made from a rare regional mutation of Muscat—the purple muscat—a grape unique to Setúbal. The wine had a deeper hue and a complex profile: tangerine, apricot, lime, melon, honey, and caramel woven with exotic hints of incense, red pepper, and turmeric.
Our tasting ended with the forty-year-old Alambre. It has a deep color and a taste infused with the distinct aroma of Brazilian oak. The aging process adds complexity to this extraordinary wine, enriching the caramel and honey notes with dried fruits, figs, cloves, and cinnamon flavors.
Whenever we crave an effortless dessert, we reach for a chilled bottle of Moscatel. As the legendary jazz singer Jon Hendricks once put it, “I can’t get well without muscatel.” We couldn’t agree more.
We first met Eduardo in 2019, when he was the head enologist at Herdade da Calada. His life had been marked by tragedy—his wife had passed away, and he found himself raising their three young daughters alone. Seeking a fresh start, he returned to his roots in the Douro Valley and purchased Quinta da Peónia, a historic one-hectare vineyard planted in 1930. It is an estate with a human scale, allowing Eduardo, with the help of his daughters, to handle every step of production—from grafting vines to foot-treading grapes and bottling the wines.
He named this deeply personal project Grande Desafio, meaning “great challenge.” His goal is to create the ultimate handcrafted wines. In 2023, after years of dedication, Eduardo bottled his first vintage—5,000 precious bottles.
Perched on a plateau 550 meters above sea level, Quinta da Peónia is blessed with schist and clay soils. Unlike the famed, fast-draining schist of Foz Côa, Peónia’s porous schist retains water through the winter, naturally sustaining the vines during the dry summer months without irrigation. The altitude brings freshness, while the old vines add remarkable depth and complexity.
Eduardo’s winemaking philosophy focuses on low alcohol and minimal extraction, resulting in light, elegant wines that dance on the palate with remarkable finesse. These wines are rare finds—if you come across a bottle, take it home and treasure it.
When we were young, we spent our summer vacations camping by the sea. We packed cans of berbigão- small, flavorful cockles- and used them to make rice dishes that tasted divine after a swim in the ocean.
Over the years, canned berbigão nearly vanished from store shelves. Fortunately, Miss Can has brought it back, along with various other delicacies. In addition to classics like sardines and tuna, their selection includes razor clams, squid, mussels, octopus, and more.
The brand’s origins date back to 1911, when Alberto Soares Ribeiro established two canning plants—one in Setúbal, near Lisbon, and another in Olhão, Algarve. Like many others, these plants closed their doors during the years of economic turmoil that followed the 1974 revolution. Almost a century later, Alberto’s great-grandson, Tiago Soares Ribeiro, brought the family’s canning legacy back to life. Together with his relatives, Tiago launched Miss Can, a brand dedicated to high-quality, artisanal canned fish.
The rebirth began in 2013 when Tiago started producing small batches of canned fish and selling them from a yellow Piaggio motorcycle in Lisbon’s St. Jorge Castle neighborhood. In 2015, Miss Can received two prestigious awards, enabling Tiago to open a charming eatery near St. Jorge’s Castle, where visitors can experience the exceptional quality of his products.
All the fish, except cod, are sourced from the Portuguese coast. The canning process follows the same traditional method used a century ago. The fish are gently steamed to preserve their texture and natural flavor.
With Miss Can, we can effortlessly create a delicious salad, a rich pasta, or a comforting rice dish that brings back the taste of our carefree vacations by the sea.
You can sample Miss Can’s products at Largo do Contador Mor, 17 Castelo in Lisbon. Miss Can is available in the U.S. at World Market stores. Click here for Miss Can’s website.
Since the dawn of civilization, Babylonians, Egyptians, and Greeks have studied the skies to chart the stars. But these luminous bodies shined whether or not they were included in celestial atlases.
Last Tuesday, Marlene received a Michelin star—a richly deserved honor that celebrates her extraordinary talent and dedication. But long before this important accolade, her light had already illuminated the world of gastronomy. What fuels her radiance is the belief that cooking is an act of love. Each time we dine at her Zun Zum restaurant, we feel not just deeply satisfied but cared for.
Now, at the restaurant that bears her name, Marlene is elevating Portuguese cuisine to new heights. The space exudes serenity, with the kitchen at its heart—an altar where ingredients are transformed into a transcendent gastronomical experience. The menu evolves constantly, and once a recipe leaves, it does not return, making each meal a singular experience.
Guiding this culinary journey alongside Marlene is Chef Mário Cruz. He searches land and sea for exquisite treasures—sea urchins, Algarve red shrimp, wild mushrooms, cuttlefish, mullet, octopus, and partridge.
The food is visually stunning, but, more importantly, it is delicious and it has soul. The irresistible cornbread, kneaded from white corn, wheat, and rye, follows Marlene’s grandmother’s recipe. The Azorean bluefin tuna, cured as if it were prosciutto, accompanied by gazpacho served in a bowl lined with sumac, transported us to the Algarve, to a sunlit table by the sea.
The partridge is cooked according to a famous recipe. During the Napoleonic invasions, General Junot’s troops looted the library of the Alcântara Monastery. Among the stolen manuscripts was a recipe for partridge stuffed with foie gras and truffles. Junot sent it to his wife, who introduced it to France as “Partridge, Alcântara style.” The renowned chef Auguste Escoffier declared it one of the finest spoils of the Napoleonic wars. Marlene’s reimagined version of this historic dish is so extraordinary that it might provoke another French invasion.
Marlene Vieira is a star–not because she has been recognized among the constellations of fine dining, but because she has always shined. If you find yourself in Lisbon, take the time to sit at her table to savor the brilliance of her cuisine.
Marlene is located at Av. Infante D. Henrique, Doca do Jardim do Tabaco, Lisboa, tel. 351 912 626 761, email marlene@marlene.pt.
Located in Arruda dos Vinhos, 20 miles north of Lisbon, Fuso is a restaurant from another era. It opened its doors, in the space once used as a winery and a tavern, on March 9, 1973.
The concept for the restaurant was created by Fernando Guerra Cardoso, a successful car salesman who enjoyed socializing over food. He persuaded his friend, Armindo Mera Dominguez, to open a restaurant serving oversized portions that encouraged people to bring their friends. Today, the restaurant is run by the great-grandchildren of both founders.
Diogo Coucello, Fernando’s great-grandson, leads a team of 30 waiters and kitchen staff, ensuring seamless service for up to 300 guests. Reservations are essential—Fuso is always full.
Since 1973, the menu has remained unchanged, focusing on two signature dishes: charcoal-grilled codfish and bone-in rib steak. Your meal can begin with delectable appetizers such as prosciutto, savory sausages, or grilled shrimp and end with various desserts, ranging from roasted apples to egg puddings and chocolate cake. But the main attractions are grilled codfish and steak.
You can find these dishes in many other restaurants, but Fuso’s renditions are exceptional. The codfish, imported from Norway, is meticulously selected for its succulence and rich flavor. The rib steak, consistently tender and tasty, has been sourced from the same butcher since the restaurant’s inception.
Fuso’s rustic décor has remained untouched since its opening. The restaurant’s name refers to the fuso, or spindle—a large wooden screw—attached to the wine press that still occupies the center of the dining room. The entrance is dominated by towering wine barrels made from exotic wood and a grand charcoal grill glowing with embers.
In a world where everything feels fleeting, it’s a privilege to eat at a restaurant that has been a gathering place for friends who love food for over half a century.
Fuso is located at Rua Cândido dos Reis, 94, Arruda dos Vinhos, tel. 263 975 121, 263 978 547.
Francisco Melícias, the general manager of Quinta de São Sebastião, invited us to visit the estate. So, we traveled along narrow roads that wind through villages where houses are nestled among vineyards until we arrived at Arruda dos Vinhos. This historic town, established in 1160 by Portugal’s first king, owes its name, “wine route,” to its role as a transit point for wines transported by horse-drawn carts to Lisbon.
Arruda’s soils, predominantly limestone and clay with patches of sand, create ideal conditions for viticulture. Limestone promotes deep root growth and imparts minerality and acidity to the wines, while clay retains water, adding richness and structure. The region’s rolling hills and refreshing Atlantic breezes lend complexity to its wines.
The town is steeped in history and faith. São Sebastião, its patron saint, is credited with three miracles. First, in the 14th century, Arruda was spared from the bubonic plague that devastated much of Portugal. Second, in 1755, the town escaped the earthquake, tsunami, and fires that reduced nearby Lisbon to ruins, prompting King José I and his family to seek refuge in Arruda. Third, in the late 18th century, the region’s sand patches protected its vineyards from the phylloxera pest that devastated European vineyards.
Our journey continued up a steep hill to Quinta de São Sebastião, an estate established in 1755. We visited the chapel, once part of a monastery founded by monks who sought peaceful retreat. Francisco tells us that during the Napoleonic invasions, the estate played a role in the Lines of Torres Vedras, a network of fortifications built in 1809–1810 to defend Lisbon against Napoleon’s troops. Today, the remnants of these fortifications are a reminder of the estate’s historical importance.
In the 1980s, António Parente, an industrialist, bought Quinta de São Sebastião and invested in its future. The vineyards, planted on steep hills with different exposures, offer diverse terroirs that allow winemaker Filipe Sevinate Pinto to create distinctive blends. These wines combine traditional local varietals like Touriga Nacional with carefully selected French grapes.
We sampled some remarkable wines in the estate’s tasting room, which overlooks a picturesque riding arena where horses are trained. The 2022 Reserva Branco, a blend of Arinto, Cercial, and Sauvignon Blanc, has a pleasurable intensity and minerality. The Sauvignon Blanc provides a seasoning touch that allows the blend to shine. A surprising single-varietal made from Cercial, a grape known as Esgana-Cão in the Douro Valley, impressed us with its elegance and freshness. The Provence-style rosé, Dona Aninhas, pays tribute to António Parente’s mother with its delightful balance and vibrant acidity.
We also tried three reds. The first, a Reserva, is a blend of Touriga Nacional, Merlot, and Sousão. The aromatic Touriga complements the delicate Merlot, while the lively Sousão provides a touch of exuberance. The second, a blend of Alicante Bouschet and Syrah is intense, offering a beautiful harmony of flavors. Finally, the Grande Reserva—a daring mix of Merlot and Sousão— captivated us with its depth, complexity, and character. This wine is an ode to joy!
Quinta de São Sebastião is building on its rich heritage to create wines that are distinctive and deeply enjoyable.
Quinta de São Sebastião is situated in Arruda dos Vinhos. Click here for their website.
“When my father came home from work, he would spend hours studying military maps,” recalls Jorge Rosas, the CEO of Ramos Pinto, a port wine house founded in 1880 by his great-grandfather, Adriano Ramos Pinto. “He was searching for the perfect farm in the Douro Superior, a region he believed could produce exceptional wines like the legendary Barca Velha.”
Sitting on the floor with an old magnifying glass that had lost its handle, Jorge’s father, José António, pored over contour lines in search of flat land. He wanted to find terrain that was easier to cultivate than the steep slopes that dominate the Douro Valley. From Friday to Sunday, José António drove through rustic roads, to visit locations he had marked on the maps.
One day, crossing a remote mountain path, he found his dream farm. “Shangri-La!” he exclaimed. The estate, then planted with cereals, was called Ervamoira. It was love at first sight—a love so strong that his wife often felt jealous of the farm. Determined to buy it, José António contacted the owners in Lisbon. Despite having little attachment to the estate, they hesitated to sell a property that had been in their family for generations.
An avid trout fisherman, José António donned his fishing gear to fish in the rivers that cross Ervamoira, the Coa, and the Douro, even though he knew they had no trouts. Fishing was merely an excuse to immerse himself in the landscape, imagining the vineyards he might one day plant.
In the aftermath of the 1974 revolution, many farms were nationalized. Fearing expropriation, the owners of Ervamoira agreed to sell. Despite his family’s concerns about buying an estate amid so much uncertainty, José António seized the opportunity. “My father is a cereal killer,” jokes Jorge, alluding to how the cereal fields were soon replaced with vineyards.
At Ervamoira, José António introduced innovative viticultural practices. He assigned each grape varietal to a separate plot. Instead of using traditional terraces, he planted vines on platforms that facilitate mechanization. High-density planting forced roots to delve deep for nutrients, enhancing quality through higher polyphenol content and increasing drought resistance.
But a shadow loomed over paradise. In the early 1990s, plans resurfaced to construct a hydroelectric dam that would flood the estate. Horrified, José António fought tirelessly against this project. The discovery of a Roman tomb and ancient coins on the property provided fleeting hope, but archaeologists deemed the finds insufficient to halt the dam project.
Desperate, José António entered his wines into international competitions, receiving numerous awards. But not even these accolades could stop the project. “What now?” he wondered. “Only a miracle can save the farm,” his cousin, João Nicolau de Almeida, remarked.
Then, a miracle happened. Archaeologists discovered prehistoric cave engravings near Ervamoira. An expert who secretly evaluated the site revealed that the engravings are about 30,000 years old. It was widely assumed that outdoor prehistoric art couldn’t survive millennia of exposure to the elements. Ervamoira proved otherwise.
The discovery attracted the attention of the Portuguese media but failed to sway the government. Deliverance came from an unexpected source. A Portuguese émigré, who had been Jacqueline Kennedy’s butler, read about the engravings in a local newspaper. He shared the news with an acquaintance at The New York Times, and the newspaper published an article titled “Vast Stone Age Art Gallery Is Found but Dam May Flood It.” The story sparked an international outcry that led to the abandonment of the dam project.
Today, Ervamoira thrives. Its grapes contribute to the iconic Duas Quintas wines, made from a blend of grapes from two farms—Ervamoira and Bons Ares. The schist soils of Ervamoira, at 150 meters altitude, lend structure, while Bons Ares, perched at 550 meters with limestone soils, adds refreshing acidity.
Ervamoira’s magic is unmistakable. Nestled in the remote Douro Superior beyond the Cachão da Valeira—a region inaccessible until Queen Maria I spearheaded efforts to make the Douro River navigable—it is a gem of the Douro Valley, a dream that a miracle made come true.
Please click here for information on how to visit Ervamoira.
Salt of Portugal 