Rome has plenty of marvelous views, but the most encompassing of all is the newest. That would be from the previously inaccessible Quadriga terrace on top of the huge white Vittorio Emanuele II monument in Piazza Venezia, next door to Rome's Michelangelo-designed Piazza del Campidoglio, in the dead center of the city. After more than twenty-five years of living here, I'm still awed by Rome's skyline of cupolas and bell towers from centuries past, so I recently decided to take the newly built glass-and-steel elevator up the back of the monument to see this almost-360-degree panorama. (The bronze chariots, each driven by four horses, on either end of the terrace cut off a few degrees.) As I began to look for my personal landmarks — the Trevi Fountain, near the tiny studio I rented for my first five years in Rome; the cupola of the Francesco Borromini–designed church, Sant'Andrea delle Fratte, near Piazza di Spagna and next door to the apartment where my children were born — I was struck by what lay beyond the historic center (centro storico). With so much going on in the heart of the city, it's not always obvious how much Rome's cultural life is spreading outward. But from this vantage point, I could place in the distance the trendy neighborhoods that are pulling people beyond the ancient areas. Rome's energy level is now at an all-time high, and the excitement in the air is finally about the new, albeit interlaced with the glory that makes this ancient metropolis so beloved.
A quarter century ago, the Rome that visitors came to see was delineated by remnants of the walls that once surrounded the city's historic center, from Villa Borghese and Piazza del Popolo in the north to below the Colosseum and the Circus Maximus in the south. In the last decade, though, pioneering artist colonies have begun to draw cutting-edge cafés, restaurants, shops and pubs beyond these walls to the outer reaches. First came San Lorenzo, a formerly anarchic working-class neighborhood near the Termini Train Station, where an enormous pasta factory had been taken over by artists who eventually became known as the school of San Lorenzo. In 2000, after the city started using the vast old slaughterhouses in Testaccio, across the Tiber River from Trastevere, for social and community initiatives, the area became a hip nightlife district. One of its main attractions is the Villaggio Globale, a concert-and-event space in the former livestock holding pens; it was founded by squatters but is now run with city hall's blessing.
Eight years on, the city is finally reaping the rewards of investments put in place for the new millennium and the Great Jubilee year at the Vatican. "The jubilee was the turning point," says Tomaso Radaelli, president of Mondo Mostre, a top organizer of cultural events in Italy. "It was the moment the city realized it could be a magnet." Couple that with the election of charismatic mayor Walter Veltroni and the rest is history. He understood how overextended the centro storico had become and how providing cultural alternatives in other parts of Rome would attract both people and private investment elsewhere. With savvy urban planning, the city council launched art and music centers to the north and south, and new museums to the east and west.
From the Quadriga terrace, I could see the next set of new neighborhoods — those that have emerged in the past three or four years — crystallizing before me. The Piazzale di Ponte Milvio, accessed by Rome's oldest (now pedestrian) bridge on the Tiber, has become a converging point for young revelers. It is packed with cafés and theaters and sits across the river from the phenomenally successful Auditorium Parco della Musica, north of the city center. To the south, below Testaccio, Ostiense is home to the city's newest university, Roma Tre, as well as to the Città dei Giovani cultural center, designed by Dutch starchitect Rem Koolhaas. The $375 million project encompasses twenty-five acres (once the municipal wholesale produce markets) and will include a sports center, an open-air stadium and plenty of green space. Although the venture is still in its infancy, already the freshly minted restaurants and shops springing up in the neighborhood are causing property values to spike. Turning east and looking past the Piazza Venezia, just outside the Porta Maggiore entrance to the ancient city, I could almost make out Pigneto, Rome's newest must-see district. Once a down-at-the-heels hangout of writer-director Pier Paolo Pasolini, the neighborhood is sprouting galleries and cafés around its pedestrian core.
Several months ago, Veltroni declared his intent "to multiply the zones in the city where people can live a cultural experience." In that, he has certainly succeeded. Although Italy has recently been in an economic slump, and polls indicate that many Italians are fed up with the political class and its recurring scandals — Veltroni, in fact, resigned as mayor in February to run in this month's election for prime minister — Rome somehow rises above the controversy. Last October the number of visitors to Rome was 40 percent higher than in the same month three years prior — a record unmatched by any other city in Italy. The local administration credits Rome's vibrant cultural life and invigorated restaurant-and-café scene for drawing both Italians and foreigners. I have to agree. A decade ago, when my family lived at the foot of the Spanish Steps, I would walk up to the Pincio Hill and through the Villa Borghese park to my office off Via Veneto, passing umbrella pines, crossing grassy lawns to the Galoppatoio stables and strolling beside a few architecturally interesting but abandoned buildings in the park. Today, on the same route, I see lines forming at the Casa del Cinema, where students and fans can hear invited directors like Mel Brooks and Ken Loach discussing their movies. Nearby, the round, wooden Globe Theatre, inspired by the Elizabethan original, offers everything from Shakespeare's plays in Italian to an Argentine tango revue. The restored Aranciera (orangery) of the former Borghese estate is now home to the contemporary Carlo Bilotti Museum, showcasing works by de Chirico and portraits by Andy Warhol and Larry Rivers. And the Casina di Raffaello has become a neverland of free creative play for children aged three to ten (how mine would have loved it!), with a magical birch forest that changes with the seasons, dress-up closets filled with costumes from Rome's Teatro dell'Opera, and collage-making classes using recycled materials. "Veltroni is hugely popular for making Rome a vibrant city of free concerts, films and cultural events," said the London Times in a profile last year. Along with embracing peripheral neighborhoods, Veltroni sprinkled case (houses) focused on art, architecture and history around the city. My personal favorite is the Casa del Jazz, near the ancient Baths of Caracalla, to the south of Piazza Venezia. This former villa of a convicted Mafia member has been reinvented as a jazz venue with a concert hall, a bookshop, a restaurant and space for itinerant jazz artists to stay when they play.
To be sure, foreigners, both transient and permanent, are producing their share of the fresh energy in town. "For me, it was an aesthetic decision," says Soledad Twombly, an Argentine-born fashion designer (and the wife of artist Alessandro Twombly, Cy Twombly's son) who relocated to Rome with her family. "I was seeking a level of aesthetics I couldn't get in New York anymore." Lured from London, contemporary-art dealer Lorcan O'Neill, who counts Anselm Kiefer and Francesco Clemente among those he represents in his Trastevere gallery, finds his artist friends coming to Rome more frequently. "There's a little 'scene' here now," he says. In the past few months, O'Neill has befriended writers like Colm Tóibín; Zadie Smith and her husband, poet Nick Laird; and New Yorker writer John Seabrook during their long sojourns in Rome. In the two years Carmela Vircillo Franklin has presided as the director of the prestigious American Academy, applications for the Rome Prize have increased. Current fellows include photographer Tim Davis and writer Junot Díaz. And only a few months ago, one of the most influential tastemakers in the art world, Larry Gagosian, opened his first gallery on the Continent in a magnificent marble-pillared building in Rome's center. Why Rome? "He feels Rome is a sleeping giant," says gallery director Pepi Marchetti Franchi, formerly with the Guggenheim Foundation. "Larry understood the real power of Rome and its appeal to artists, collectors and visitors." Perhaps as a result, North Carolina–born Georgia Spogli, wife of U.S. ambassador Ronald Spogli, has noticed a change in the quality of the city's art shows. "People used to go to Paris; now they come to Rome — not only for ancient art but for contemporary art."
Places to see art are multiplying by the month. The MAXXI (National Museum of Art of the XXI Century) is taking its Roman time to be completed, but the shows, in both contemporary art and architecture, do go on. Every time I pass by, another ramp or fold in Zaha Hadid's futuristic building becomes startlingly visible as the work progresses. Meanwhile, MACRO (the Museum of Contemporary Art of Rome), near Piazza Fiume, east of the city center, will expand to three times its current space in September. French architect Odile Decq's design eliminates the barriers between museum and community, with street-level windows into the exhibition halls bringing contemporary art into the city. Its edgier, experimental alter ego, MACRO Future, occupies two pavilions of the cavernous former slaughterhouses south of the city center in hip Testaccio. And in the northern reaches of town, Renzo Piano's Auditorium Parco della Musica, with flashes of travertine and red brick, is home to the new Rome Film Fest, in October (one of Veltroni's personal projects), as well as to the prestigious Santa Cecilia Symphony Orchestra. Piano's flexible exhibition and concert spaces host every genre, from Ladysmith Black Mambazo to an annual flamenco festival; in fact, the park is the most-visited performing-arts center in all of Europe — outranked globally only by New York's Lincoln Center.
With all the attention focused beyond Rome's ancient walls, only one new structure has been built within them during the past seventy years, and it's still a minefield. Richard Meier's controversial enclosure and museum for the ancient Ara Pacis, Emperor Augustus's altar of peace, is either loved or hated ("It's too big! Too white!"). Before it opened, in 2006, art critic Vittorio Sgarbi deemed the design worthy of a gas station in Dallas. Environmentalist groups balked when the museum was used last summer for a tribute to the iconic designer Valentino on his company's forty-fifth anniversary, with hundreds of mannequins in the Roman maestro's gowns encircling the sacred altar.
Such publicity is not entirely bad. Well aware of the media's fascination with Rome's sacrosanct ancient monuments, authorities have unabashedly used them as spectacular backdrops for events, though not to everyone's satisfaction. "We consider this a very risky trend," says Italian aristocrat Carlo Ripa di Meana, president of Italia Nostra, Italy's oldest environmental association. "Everything has become background. It's a shortsighted and very debatable management of our heritage." Nevertheless, one of the most successful events on Rome's new cultural calendar is La Notte Bianca, held in September, when most of the city's monuments are open all night long and historic piazzas host everything from Latino concerts to the Cirque de Soleil. Last year, 2.5 million Romans and visitors invaded the city streets to attend more than 400 events, with thousands of artists participating.
From atop the Vittorio Emanuele II monument, I gazed down on the Palatine Hill toward the site of a recently discovered, unexcavated shrine believed to be devoted to the city's legendary founders, Romulus and Remus. As I realized that I was standing above the very point from which all distances were measured in the Roman Empire — Caput Mundi — I recalled MACRO director Danilo Eccher's words to me when he described the museum's expansion: "Rome may be the Eternal City, but it is still very much alive."
Rome's classics — from the Colosseum to the Pantheon — will always be loved by locals and travelers alike, but the following are the best of the city's latest openings.
Hotel Eden Eden's roaring lobby fireplace is a favorite with upscale business travelers who long for the comforts of home. The 121 guest rooms come with high-speed Internet access, dual phone lines and überdesigned work areas. An experienced staff offers nearly psychic service, and the romantic rooftop restaurant has one of the best views of Rome. Doubles from $545. 49 Via Ludovisi; 011-39-06-478-121; lemeridien.com/eden.
St. George Hotel Renaissance architect Donato Bramante designed this building on elegant Via Giulia for Pope Julius II in the early 16th century — with travertine blocks in the facade that may have been pillaged from the Colosseum. The sixty-four rooms are contemporary and comfortable; their beds, piled high with pillows; their windows, stretching nearly from floor to ceiling. A small spa and a roof terrace add to its appeal. Doubles from $435. 62 Via Giulia; 011-39-06-686-611; stgeorgehotel.it.
The Inn at the Roman Forum What distinguishes this new twelve-room boutique hotel is the striking decor, especially the bronze and black silk-moiré stripes covering the walls in the upstairs salon. Rooms have four-poster beds swathed in shimmering organza, and the fourth-floor common area includes a panoramic terrace and an enclosed garden. Behind the ground-floor reception area, an ancient passageway that once led to the Forum is yours to explore. Doubles from $310. 30 Via degli Ibernesi; 011-39-06-6919-0970; theinnattheromanforum.com.
Portrait Suites The Ferragamo family has opened an exclusive town-house hotel with fourteen suites and studios above its Rome flagship on Via Condotti. Stylish gray pin-striped carpets and pearl-gray furnishings are splashed with flashes of color, but the real draw is the expert attention to detail — impeccable lighting, a pile of faux wood on the terrace to simulate a fireplace, a dedicated outlet to recharge your cell phone. Rooms from $550. 23 Bocca di Leone; 011-39-06-6938-0742; lungarnohotels.com.
Villa Laetitia Anna Fendi's passion for Art Nouveau led her to this gracious villa with a rambling garden on the Tiber River just north of the historic center. The fifteen rooms in the guest quarters opened in 2007 and are furnished with antique tiles and unique pieces that Fendi has collected on her travels. By the end of the year, eight senior suites will open in the grand main villa, whose basement will house an Henri Chenot spa. Guest-villa doubles from $225. 22–23 Lungotevere delle Armi; 011-39-06-322-6776; villalaetitia.com.
Hotel de Russie This neo-classical structure, designed by Giuseppe Valadier at the turn of the 19th century, is still the hottest address for celebrities and fashionistas. Its terraced gardens and 122 rooms on the Piazza del Popolo are an oasis in Rome's hectic center. Doubles from $875. 9 Via del Babuino; 011-39-06-328-881; hotelderussie.it.
Trattoria Celebrity chef Filippo La Mantia reigns at this modern Sicilian restaurant near the Pantheon. The tables to snag are the ones in the room near the open kitchen, where ladies love to watch La Mantia chopping, prepping and whipping up his personal interpretations of Sicily's traditional dishes, like caponata (a piquant eggplant dish), and couscous with braised lamb, chickpeas and gingered raisins. 25 Via Pozzo della Cornacchie; 011-39-06-6830-1427.
Il San Lorenzo Dark wood, moody lighting and three levels decorated with contemporary art from the school of San Lorenzo create a sophisticated atmosphere. Fish is the focus of the menu, so order the catch of the day from Ponza, an island southwest of Rome. 4–5 Via dei Chiavari; 011-39-06-686-5097.
'Gusto al 28 'Gusto has built its own empire with a fusion restaurant, a pizzeria, a wine bar, an enoteca, a gourmet shop and an osteria—all in the huge Piazza Augusto Imperatore. Now the owners have taken over No. 28, where the white two-story restaurant — designed to look like a cruise ship — serves only fish, greens and grains to a stylish clientele. 28 Piazza Augusto Imperatore; 011-39-06-6813-4221.
Grano Essential Mediterranean cooking is what Grano is all about. Most entrées include some grain or legume paired with simple ingredients (meat, fish or vegetables) of the highest quality, illustrating the genuine character of the cuisine. The roast suckling pig with white beans and the lamb chops on a purée of peas with zucchini flowers are standouts, and the homemade bread and pasta are fresh every day. 53 Piazza Rondanini; 011-39-06-6819-2096.
Casa Bleve The buffet of top-quality salumi and specialties like tiny sweet peppers stuffed with tuna is always enticing with a glass of wine for lunch. At dinner the menu includes a hearty soup or braised meat. Renowned sommelier (and owner) Anacleto Bleve personally selects the list of more than 200 wines, and you can request a visit to the cellars below, which were excavated around an ancient Roman wall. 48–49 Via del Teatro Valle; 011-39-06-686-5970.
If a peek into the Roman social scene has priority over the food, try these new restaurants of the moment. At Met (34 Piazzale di Ponte Milvio; 011-39-06-3322-1237), soccer stars, top models and entertainment executives schmooze on ecru sofas in the spacious, leafy front garden. Rhome (46 Piazza Augusto Imperatore; 011-39-06-6830-1430) attracts the city's young movers and shakers, who do deals over classic Italian pasta, veal and fish at low tables or on a terrace amid boxy designer lamps. The aperitivo con buffet, a northern Italian invention, has recently caught on big-time in Rome. Instead of dinner, groups of friends meet for a drink and indulge in the (usually) complimentary buffet before hitting the town. The most popular aperitivo bars are Salotto 42 (42 Piazza di Pietra; 011-39-06-678-5804), which has cushioned armchairs, a library of books and CDs, and a view of an ancient temple; ReD (12–16 Viale Pietro de Coubertin; 011-39-06-8069-1630),at the Auditorium Parco della Musica; Freni e Frizioni (4–6 Via del Politeama; 011-39-06-5833-4210), a former car mechanic's shop in Trastevere; and Société Lutèce (17 Piazza di Montevecchio; 011-39-06-6830-1472), set in a charming square near Piazza Navona.
Soledad Twombly Twombly is known for one-of-a-kind clothes that are always feminine and easy to wear. Her Sole label uses incredible fabrics, often bordered with antique appliqués or lined with silk printed in her artist husband's patterns. A visit to her fourth-floor atelier is by appointment only. 34 Via Gregoriana; 011-39-06-6992-4512; soledadtwombly.com.
Lucia Odescalchi In her small showroom in her family's palazzo, Odescalchi designs soft and flexible contemporary jewelry. Brown pavé diamonds, silver and gold plating, chain mail and mother-of-pearl are her signature materials. 81 Piazza SS. Apostoli; 011-39-06-6992-5506; luciaodescalchi.com.
Indoroman Gaia Franchetti imports handwoven and hand-embroidered fabrics from India and sells quilts, bedcovers, table linens and other home items crafted by Italian artisans. Bright Indian colors are combined with Franchetti's more subdued Roman taste to create original designs blending the two cultures: a cotton sari becomes a curtain; a bamboo mat makes perfect window blinds. 36 Via Gregoriana; 011-39-06-6919-0908; indoroman.com.
Materie Proprietors Viviana Violo and Simona de Cubellis search the globe for artisans who produce one-of-a-kind purses, costume jewelry, hats and vases in unusual materials. Curated to look more like an art gallery than a shop, this small boutique is a completely new experience with every visit. 73 Via del Gesù; 011-39-06-679-3199.
Enigma Gianni Bulgari, who split from his brothers years ago to pursue his own designs, recently opened this shop on Via Margutta. His jewelry is modern, bold and colorful, incorporating pavé diamonds, emeralds and rubies, often set in fossilized wood or jet. His reversible ring has his arrow motif in pink gold and black bronze; it flips over to become an arrow of diamonds set in black bronze. 61A Via Margutta; 011-39-06-321-8358; enigma.info.
The telephone number in Rome for information and tickets for all public venues listed below is 060-608. Press 2 for English.
Ara Pacis Museum, Lungotevere in Augusta; arapacis.it.
Auditorium Parco della Musica, 30 Viale Pietro de Coubertin; auditorium.com.
Carlo Bilotti Museum, Villa Borghese; museocarlobilotti.it.
Casa del Cinema, Villa Borghese; casadelcinema.it.
Casa del Jazz, 55 Viale di Porta Ardeatina; casajazz.it.
Casina di Raffaello (for ages three to ten), Villa Borghese; casinadiraffaello.it.
Città dei Giovani e dell'Innovazione, Via Ostiense.
Gagosian Gallery, 16 Via Francesco Crispi; 011-39-06-4208-6498; gagosian.com.
Globe Theatre, Villa Borghese; globetheatreroma.com. Open June through September.
Rome Film Fest, romacinemafest.org. From October 22 to 31.
Lorcan O'Neill Gallery, 1E Via Orti d'Alibert; 011-39-06-6889-2980; lorcanoneill.com.
MACRO (Museum of Contemporary Art of Rome), 54 Via Reggio Emilia; macro.roma.museum.
MACRO Future, 4 Piazza Orazio Giustiniani; macro.roma.museum.
MAXXI (National Museum of XXI Century Art), 2 Via Guido Reni; maxxi.darc.beniculturali.it.
Palazzo delle Esposizioni, 194 Via Nazionale; palazzoesposizioni.it.
DAL BOLOGNESEIt's probably harder to get a table at this restaurant today than it was twenty years ago, when the Agnellis favored it. Dal Bolognese still serves excellent traditional dishes from Emilia-Romagna, such as tagliatelle with truffles, and has a wonderful, classic trolley of boiled meats with mostarda and green sauce. 1–2 Piazza del Popolo; 011-39-06-361-1426.