echoes of italy | osteria vibrato

Courtesy of Osteria Vibrato

There’s long been a love affair between London’s food scene and Italian cuisine. Soho’s Osteria Vibrato is a pleasant new comer with a story to tell. Opened by restauranteur Charlie Mellor and partner Cameron Dewar, its ambience is shaped by Mellor’s background as a classically trained opera singer. The cosy and inviting restaurant has a classic old school feel with white table tops, vintage inspired interiors, and if you come on the right day, live music. If you’re keen to try hearty classics that stay true to their Italian roots, Osteria Vibrato delivers. Its menu is rustic, regional and follows the seasons. The undressed style of each dish allows the quality of each ingredient to sing. When it comes to drinks, their wine and cocktail menu is one of the most extensive we’ve seen. In its opening weeks, Schön! spoke to Mellor about how he composed a restaurant experience that mirrors the harmony of a symphonic performance.

You trained as a classical opera singer before becoming a restaurateur, when did you realise those two worlds weren’t as separate as they might seem?
As a classical singer, you’re an interpreter of other people’s material. That is true in many ways in restaurants, particularly as a sommelier where the wine is already in the bottle and you need to guide people into the right one. At Vibrato, we are very respectful of traditional recipes and the provenance of ingredients so it applies there too. You curate other people’s work to tell a story.

Courtesy of Osteria Vibrato

You’ve compared conducting a piece of music and running a floor service in the past. Can you walk us through that analogy?

In service, like in performance, you have your staff, the music, the lighting, your own energy. They’re your light and shade, your dynamics. However, service isn’t a performance of an entirely pre-composed work. You can’t set your lighting the same way every day. The sun is brighter some days, the guests are raunchier some evenings. You have to improvise with the instruments you have to hand. 

When it came to composing Osteria Vibrato’s menu, where did you begin?
I think it was probably the season, what ingredients will be available when we open. From there, what are the memories of eating these ingredients in Italy? Then you connect the dots. Will this work for our London audience, and will these dishes, when curated together, form a cohesive menu?

Courtesy of Osteria Vibrato

You have an extensive wine and cocktail menu. What is a particular stand out for you personally?
I am very proud of everything and believe each drink, dish or bottle we list has a place for the right person at the right moment. I do enjoy how many people are going in for the grower champagne list. That is a big thing in Italy, particularly in the North, and it’s fun to see a beautiful antipasti misti and a bottle of Jérôme Prévost on the same table. I also love the uptake on our martinis. That feels very old Soho. We put a lot of care into their preparation. It’s been rewarding to collaborate on this opening menu with our bar manager Kevin Price Houghton. He’s a talented guy.

Can you share some of the inspiration behind the art and interiors of the restaurant?
Making romance and nostalgia functional was the aim. There are design cues that feel typically Italian, like our terrazzo floor and Murano glass object d’art and lighting. The wood panelling could be Italian, but also old Soho. The art we hang and the music we play are just things we love: timelessness, romance.

Courtesy of Osteria Vibrato

We didn’t have a performer on our particular night, but can you share what would usually be playing at the restaurant?
I don’t tend to restrict the performers’ repertoire when we invite them to play, but I do love it when they find space for some quiet samba or bossa nova. It often feels like a perfect fit.

If Osteria Vibrato were a piece of music, what would it be?
Huge question, so I will give you a hugely, hugely aspirational answer. If it felt like the Liebestod finale of Tristan und Isolde by Wagner, I could die a happy man. A joyous resolution of complexity, beauty, pain, and love.

photography. Courtesy of Osteria Vibrato + Tommaso Serra
words. Shama Nasinde