Roland Trettl meets Claus-Peter Lumpp

Roland Trettl in Germany

THE THREE-STAR CHEF FROM THE BLACK FOREST IS A MASTER OF THE CLASSICS, BUT LONG BEFORE HIS FOOD REACHES THE PLATE HE PROVES TO BE INCREDIBLY CREATIVE WITH HIS SKILLS.

Claus-Peter Lumpp and Roland Trettl together in the kitchen – what a picture, what a duo in the kitchen. Put us side by side and you could hardly imagine a greater contrast. Whatever you care to think of – attitude to life, lifestyle, preferences – Claus-Peter and I are very different.

But what's that got to do with anything? What counts amongst chefs is quality, craftsmanship and taste! Or, to use a Lumpp phrase, "It has to taste good!" And without a doubt that's exactly what happens at "Bareiss", where there's a proper cook in the kitchen. A Swabian, who can't imagine a decent course without a proper sauce, or gravy. Someone who doesn't seek the spotlight of some food event or other, but who cares about being in touch with diners, day in, day out. Someone who doesn't constantly follow the latest trend, but who has the courage to stick to the classics.

And the classics come at a – well justified – price. Foodies occasionally carp about main courses costing around 60 euros. Perhaps these gourmets should give three-star dining in Paris a try. They'd easily pay twice as much for a main course. I doubt whether they would be served a course like this though. Take scallops with caviar, for example which, when served proves to be a sensational quartet of scallops, a scallop soup, a roasted scallop, a seared rosette of scallop carpaccio and scallop tartare. Each individual preparation method is perfect and the composition an explosive feat of craftsmanship. The four variations would easily form four courses on any surprise menu. The same goes for the trio of langoustines – langoustine carpaccio, langoustine ragout with foam, and a Granny Smith brunoise and pan-fried langoustines in an incredible langoustine reduction.

The places where Lumpp received his education and training are testament to his subsequent greatness: Winkler's "Tantris", Witzigmann's "Aubergine", Petermann's "Kunststuben" and Alain Ducasse's "Louis XV", but only for a few months at a time. If Claus-Peter was away from his home for long, he developed mysterious allergies. They quickly reached a conclusion at "Bareiss" – permanent employment combined with brief excursions to widen Lumpp's horizons. Lumpp's current work makes you mull over principles. What is food about? Do I want to celebrate creativity as an abstract concept or perfect flavour? Can I only get enthusiastic over great cuisine if I'm serving something that has never existed before? Or is tradition perfected not equally valuable? The first thing that strikes me is Lumpp's lamb. A braised rack, with a gravy which strikes you dumb. Not a flash of creativity, but joyful perfection.

If Claus-Peter talks about his food he doesn't wax philosophical. His thoughts are clear, structured and Swabian. His cooking is clear, structured and classic. What he classes as his trade in the kitchen subsequently proves to be art on the fork. I consider it a massive honour that Claus-Peter Lumpp has agreed to temporarily forsake his home kitchen for Hangar-7!