eveluna reviews
The human mind and body requires at most 8 hours of sleep. Why? It is the time in which the body recuperates from the endeavours experienced during the day. When consumers experience sleep deficiency, they are likely to undergo reduced mood, cognitive abilities and productivity levels, and in severe conditions, heart-related risk.
Eveluna – Dinosaur Nutrition Natural Sleep Aid Supplement?
The human mind and body requires at most 8 hours of sleep. Why? It is the time in which the body recuperates from the endeavours experienced during the day. When consumers experience sleep deficiency, they are likely to undergo reduced mood, cognitive abilities and productivity levels, and in severe conditions, heart-related risk.
What can consumers do to improve and attain the essential hours of sleep? This is where Eveluna may come into play.
The Eveluna Natural Sleep Support is said to help consumers who have a hard time either falling sleep or maintaining consistent sleep through natural means. In other words, its uses can help to achieve restful sleep needed in order to be energized the following day.
The purpose of this review is to look closely at the Eveluna Natural Sleep Support with respect to its intentions, its key ingredients, its directed uses and its current going price.
Chicken on restaurant menus are kind of like bars in the East Village. When it’s good, we tell all of our friends and come back a lot, but we rarely go in expecting anything special. Our expectations were confirmed with this entree. It’s a big portion and the skin is nice and crispy, but the breast was dry and the jus didn’t add much flavor. Skip this and order another pasta.
Food Rundown
Rosemary Bread
A few long pieces of warm bread over mashed lentils and ricotta. The parts of bread drenched in olive oil are particularly good, but if you’re going to go big on pastas later on, which you definitely should, then you can skip this.
Squash Tempura
The rings of squash are deep fried and covered in spicy honey and cheese, but technically this is a vegetable. Healthy or light or not-greasy? No. But it is a vegetable, so we suppose you can take comfort in that if you need to.
Persimmon and Beet Salad
You should consider coming to Evelina just to try this. The chopped persimmons and beets come with stracciatella cheese and hazelnuts, which makes this savory, but it’s still a fairly light dish. This is our favorite appetizer here, and one of the best salads we’ve had in a long time.
Octopus
You won’t be disappointed with this octopus. It’s not the best version we’ve ever had, but the fairly large portion is wood-fired and comes with roasted peppers and a white bean puree that we enjoyed.
Beef Tartare
One way we like to make ourselves feel like early 20th century business tycoons is to eat raw beef, truffle, or bone marrow. This appetizer combines all three. We imagined ourselves enjoying this tartare in our own train car on our way to shut down some factories after another hostile takeover. Unfortunately, it comes loaded with capers and the saltiness ruined the dish.
Squid Ink Malloreddus
One of the better seafood pastas around. The malloreddus (a denser version of pasta shells) is dyed with squid ink and served with a lot of uni and shrimp. A lot meaning we actually finished the pasta before the chunks of seafood. It’s a little spicy and should definitely be on your table.
Paccheri
This is very good, but know that it’s probably the heaviest pasta on the menu. The thick cylindrical noodles are loaded with wild boar ragu and ricotta cheese. Like all the pastas here, they don’t skimp on the amount of meat. You get pieces of boar in just about every bite. If you’re looking to share a pasta, this would be the one.
Chicken
Chicken on restaurant menus are kind of like bars in the East Village. When it’s good, we tell all of our friends and come back a lot, but we rarely go in expecting anything special. Our expectations were confirmed with this entree. It’s a big portion and the skin is nice and crispy, but the breast was dry and the jus didn’t add much flavor. Skip this and order another pasta.
Whole Fish
A whole fish can be festive to have on your table during a group dinner. There’s just something fun about being served an animal with its head still attached. Maybe it makes us feel closer to nature, or maybe it’s just morbid entertainment. Either way, our branzino was pretty bland and certainly not worth the price. We’ll say it again – stick to the pastas.
Chocolate Tart
Dark chocolate topped with creme fraiche and sea salt. The chocolate is very dense, so this should probably be shared. If you’re a fan of bitter chocolate, this is a good way to end the meal.
Seafood occupies its own section, too, featuring octopus, halibut filet, whole grilled black bass from local sources, and king crab. The preparations are various, some seeming like entrées and others like warm salads. Putting a meal together can be a head-scratching experience. All I can say is to either ask the waiter a lot of questions, or order less than you think you need and add a dish or two at the end.
Evelina Beautifully Represents a New Wave of Brooklyn Italian Bistros
A new type of bistro is sweeping Brooklyn. Instead of being inspired by French cooking, its menu tends to be more Italian, while preserving the easygoing ambiance, small scale, and mid-range prices of the classic neighborhood French bistro. Depending upon wood-burning ovens and sometimes making pizzas as a sideline, some of these places have been influenced by the borough’s wildly popular Neapolitan pizza parlors.
These new bistros emphasize vegetables, seafood, and boutique meats, often presented as small plates at least partly cooked in those wood ovens. Thus, the menus often contain six or more sections, making meals flexible in size and sequence, but also presenting something of a challenge to one’s ordering abilities. Alcohol programs are uncommonly diverse, and may emphasize aperitifs, vermouths, mezcals, ciders, and other more niche beverages in addition to the usual beers, wines, and creative cocktails.
The dining room of Evelina Photo via Evelina
Examples of this new genre include Faro and Fausto. Now Evelina has joined their ranks. It occupies the former corner space of Chez Oskar, a stone’s throw from Fort Greene Park at 211 Dekalb Ave., between Adelphi Street and Clermont Avenue. Laid out the same as its predecessor, the interior has an improvised feel about it, with tables and chairs that might have come from an elementary school jumbled close together. An L-shaped bar occupies one side of the restaurant; the best and most commodious tables are nested in the front windows.
Delicata squash tempura with spicy honey
Charred octopus with fava bean puree
Discomfort aside, the food is often spectacular. Just look at the short vegetarian dishes for a moment. On my first of two visits the delicata squash tempura ($9), listed among the snacks, was my favorite — four rings lightly crusted, doused with honey and crumbled pecorino of the salty kind that comes from Sardinia. The next visit, it had been promoted to the section called “vegetables” for a dollar more.
Other vegetable highlights included a warm mushroom salad with homemade ricotta and chestnuts (though maybe not quite enough of them), and peeled and grilled asparagus heaped with cheese, with the usual wobbly egg perched on top. This dish has become an Italian bistro commonplace but is rarely done so well, or so generously.
Chef Lanfranco Paliotti is at his best when wildly improvising, such as in a weird salad — not really a salad, because the elements seem like disparate items — featuring persimmons, stracciatella, and pumpkin seeds fenced off with radicchio in the lightest of dressings.
This being an Italian bistro, pastas are prominently featured in large enough portions to make an entire meal for one, or a shareable course for two. The malloreddus in a white pork ragu ($19) is fundamentally Sardinian, but even better was a soupy bowl of strangozzi (like malformed spaghetti) with cockles and sea urchin, the latter added at the end so it provided little explosions of bright orange sweetness.
Of the six menu divisions, there’s lots of action in the Meat section, and some real bargains, including a dish of poached veal tongue in a Milanese tuna sauce, garnished with shavings of actual black truffle ($15). It was gone on a second visit, on a menu that changes regularly. Another entrée of sliced lamb loin and two lamb chops ($32), sufficient for two diners, arrived mounded with crushed potatoes, artichokes, and olives in a vast heap. Disentangling the elements proved half the fun.
Bitter chocolate tart
Seafood occupies its own section, too, featuring octopus, halibut filet, whole grilled black bass from local sources, and king crab. The preparations are various, some seeming like entrées and others like warm salads. Putting a meal together can be a head-scratching experience. All I can say is to either ask the waiter a lot of questions, or order less than you think you need and add a dish or two at the end.
Alternately, try one of the multi-element desserts, which are larger than expected for $7 each. One is plenty for two diners. A wedge of bitter chocolate topped with crème fraiche and sea salt is so dense that you’ll be scraping it off your teeth. A nice glass pot of caramel pudding comes with polenta cookies. These taste very good dipped in espresso, so at this point in your meal, it may be a good idea to leave off the alcohol and end with the coffee.
Really, whatever crazy sequence of dishes you manage to put together at Evelina, you’ll shoot back into the icy street satiated and happy with your choices.
Не делитесь личной информацией других людей. Booking.com будет стараться скрывать электронные адреса, телефоны, адреса сайтов и страниц в социальных сетях и т. п.
Комментарии на Booking.com отражают мнения наших гостей и партнеров, и мы с уважением к ним относимся.
Мы будем как можно быстрее публиковать каждый отзыв целиком, независимо от того, негативный он или позитивный, при условии, что он прошел проверку на соответствие правилам Booking.com. Мы также будем четко отображать статус отправленной информации.
После того как вы отправите отзыв, вы можете исправить его, связавшись со службой поддержки Booking.com.
Мы будем применять одинаковые правила и стандарты ко всему пользовательскому контенту, а также соответствующим ответам от представителей объектов.
Мы считаем, что мнения пользователей и представителей объектов не нуждаются в комментариях. Мы не беремся оценивать их объективность. Booking.com — только канал распространения комментариев от гостей и партнеров.
As she describes her heroine’s entry into society, womanhood and, inevitably, love, Burney exposes the vulnerability of female innocence in an image-conscious and often cruel world where social snobbery and sexual aggression are played out in the public arenas of pleasure-gardens, theatre visits, and balls.
Book Review: Evelina: Or, the History of a Young Lady’s Entrance Into the World
First published in 1778, Frances Burney’s first and most enduringly popular novel is a vivid, satirical, and seductive account of the pleasures and dangers of fashionable life in late eighteenth-century London.
As she describes her heroine’s entry into society, womanhood and, inevitably, love, Burney exposes the vulnerability of female innocence in an image-conscious and often cruel world where social snobbery and sexual aggression are played out in the public arenas of pleasure-gardens, theatre visits, and balls.
REMEMBER, MY DEAR EVELINA, NOTHING IS SO DELICATE AS THE REPUTATION OF A WOMAN: IT IS, AT ONCE, THE MOST BEAUTIFUL AND MOST BRITTLE OF ALL HUMAN THINGS.
Fanny Burney’s Evelina is a genuine delight. A 3-volume epistolatory novel that never has a dull moment despite being quite predictable in terms of plot. It’s a salacious romp full of comedy and drama – tugging firmly at the heartstrings in the third and final volume.
It’s undoubtedly one of my favourite pieces of eighteenth-century literature with Eliza Haywood’s terrific and scandalous Fantomina just beating it to the number one spot. Burney’s prose is just so precise and elegant! After the disappointment that was Samuel Richardson’s Pamela, I groaned upon realising Evelina was an epistolatory novel. However, the voices of the various characters penning the letters are incredibly delineated and individualised that it was so easy to follow the story and get lost in all the dramatic and chaotic antics.
While naïve, you cannot help but root for our heroine, Evelina, and I found myself fretting over the many difficulties that rose to obstruct her happiness. Burney so accurately captures the misogyny of eighteenth-century Britain and the rigid class and social heirarchy.
Characters such as Captain Mirvan and Madame Duval are both entertaining and abhorrent. Duval is somewhat underutilised by Burney towards the middle of the novel and could have been roped into cause some serious chaos along with the Braghtons, but they were all ridiculously irritating and jeopardised Evelina’s good name. Yet, while fun to mock, I was glad to be rid of Duval & Co if meant Evelina’s happiness. Sir Clement Willoughby, however, was the worst! He was like that annoying fly trapped in your house that simply won’t leave no matter how many windows you open. One of my least favourite characters in literary history? Absolutely.
I will admit that there’s an awful lot of build for what feels like quite a rush reveal and climax. I spent much of the second volume wondering where exactly Burney was going to take us and if Evelina was to reunite with her estranged father after all. Spoiler alert: she thankfully does, but she has to jump over many a hurdle and persistant icky man to get there! The ending itself is probably not the most realisitic. It is very Disney Princess fairytale, but it’s sweet and I can’t fault that. Evelina and Lord Orville are just too cute for me to root against them even if I had my suspicions and anxieties about a dramatic twist… If there’s one thing Evelina taught me, it’s that men are indeed trash.
For me, the only time Burney’s epistolatory format fails is at the end as my heart was yearning to see Mr Villars and Evelina renuite. It’s shocking that there’s not been many – if any! – adaptations of Evelina as it’s such a fun story!
Evelina is extraordinary as a document of social history. C omic and shrewd, it is at once a guide to fashionable London, a satirical attack on the new consumerism, an investigation of women’s position in the late eighteenth century, and a love story.
Moving to better-known repertoire, the pianist gave an excellent account of Rachmaninoff’s “Six Moments Musicaux”, Op. 16. The first of these gems, the soulful B-flat Minor Andantino, had much to offer in this pianist’s hands, including some delicate voicing and finely woven filigree. One loved the freedom in Ms. Puzaite’s playing, though occasionally the license seemed a bit much, obscuring some distinctive changes in meter; through generous bending, a 7/4 measure sounded like 8/4, and a 5/4 bar sounded like 6/4, basically squaring off Rachmaninoff’s beautiful irregularities. Such liberties enhanced other pieces in the set, though, and the Allegretto in E-flat minor shimmered; Puzaite played in the original version, not the 1940 revision, which I actually prefer, but I enjoyed it. The Andante Cantabile in B Minor had breathed pathos, while never losing melodic direction as it easily can; some dynamic liberties were again well planned to help add focus and shape to the musical meditation, and some creative articulations heightened the conception. The fourth piece, the Presto in E Minor was brilliant, using to maximum effect the resonant Weill Hall Steinway, and the fifth, Adagio Sostenuto in D-flat Major, was lovingly shaped and expressed (though one wanted perhaps less bass here). The final Maestoso was a tad underplayed, explaining perhaps why Ms. Puzaite chose not end the first half with it as one might expect; it seemed she was trying more for lyricism and judicious pacing, but one missed some of the heroic feeling.
Evelina Puzaite is a young Lithuanian-born pianist currently based in London and winner of various distinctions and prizes including the Rubinstein Piano Competition in Paris (First Prize). She has recorded for Landor Records in the UK and has performed widely in recital, chamber music, and with orchestra; she is not, however a run-of-the-mill contest pianist. Her biography lists that she is also a published composer (and winner of the Grodno composition contest) as well as a writer of short stories (having had her first book published in 2008). It is always exciting to see this sort of multi-faceted artist – bringing to mind Lera Auerbach and an elite group of others – as that extra dimension can lead to memorable performances.
Ms. Puzaite’s New York Debut was indeed memorable, and the interesting programming was a large part of it. Aside from Rachmaninoff, Prokofiev, and Liszt, much of her program consisted of rarely heard works. She opened with Three Preludes by Ciurlionis (1875-1911), the Lithuanian painter and composer, and it was a refreshing adventure off the beaten path. The first Prelude, while reminiscent of Scriabin, showed an original voice, while the second one, sharply rhythmic and dissonant, reflected more folk influence. Perhaps most interesting was the third, of dreamlike shifting harmonies and timbres, very sensitively rendered by Ms. Puzaite.
Moving to better-known repertoire, the pianist gave an excellent account of Rachmaninoff’s “Six Moments Musicaux”, Op. 16. The first of these gems, the soulful B-flat Minor Andantino, had much to offer in this pianist’s hands, including some delicate voicing and finely woven filigree. One loved the freedom in Ms. Puzaite’s playing, though occasionally the license seemed a bit much, obscuring some distinctive changes in meter; through generous bending, a 7/4 measure sounded like 8/4, and a 5/4 bar sounded like 6/4, basically squaring off Rachmaninoff’s beautiful irregularities. Such liberties enhanced other pieces in the set, though, and the Allegretto in E-flat minor shimmered; Puzaite played in the original version, not the 1940 revision, which I actually prefer, but I enjoyed it. The Andante Cantabile in B Minor had breathed pathos, while never losing melodic direction as it easily can; some dynamic liberties were again well planned to help add focus and shape to the musical meditation, and some creative articulations heightened the conception. The fourth piece, the Presto in E Minor was brilliant, using to maximum effect the resonant Weill Hall Steinway, and the fifth, Adagio Sostenuto in D-flat Major, was lovingly shaped and expressed (though one wanted perhaps less bass here). The final Maestoso was a tad underplayed, explaining perhaps why Ms. Puzaite chose not end the first half with it as one might expect; it seemed she was trying more for lyricism and judicious pacing, but one missed some of the heroic feeling.
A quiet breather came next with “White Scenery” from the piano cycle “The Seasons” by Latvian composer Peteris Vasks (b.1946). It is a mesmerizing and moving work, with minimalist elements, gentle chord clusters, liberal pedal, and a doleful long-breathed melody suggesting infinite absence. The Prokofiev Toccata rallied the energies back for the most virtuosic playing of the evening. It was a clean, sterling performance, with plenty of power, suggesting that any holding back in earlier works was probably perfectly intentional.
Ms. Puzaite introduced her own Piano Sonata in C Major (1999) to open the second half. Judging by the year of composition, this compact sonata must have been an extremely youthful endeavor, but it reveals a musician of tremendous versatility and pianism. A circus-like profusion of sounds emerged, from repeated fifths and motoric syncopations to music box effects and flirtatious slides (think Bartok and Rebikoff dancing to Carmen’s Habanera). It is always a joy to hear a pianist play his own work, and this was a refreshing novelty.
Liszt’s “La Leggierezza” and “Un Sospiro” were a break to Romanticism before Kodály’s “Dances of Marosszek” closed the evening. The Kodály is an exciting work, better known as an orchestral piece than in its original piano scoring. I’d previously preferred the second version, but with the enormous contrast and energy that Ms. Puzaite gave, it possibly surpassed the color of a typical orchestral performance! It was a rousing close to a scintillating evening. Rhythmic applause was acknowledged with an encore of the Bach-Siloti Prelude in B Minor.