![Racing Back To ‘Normal’ At Lime Rock Park](https://millertonnews.com/media-library/cars-vintage-and-new-are-once-again-competing-fiercely-on-the-race-track-at-lime-rock-park.jpg?id=48215370&width=980&quality=90)
Cars vintage and new are once again competing fiercely on the race track at Lime Rock Park.
Photo by Lans Christensen
Lime Rock Park race track in Salisbury, Conn., has three premier events on the calendar for its 65th year with all promising a full weekend of racing entertainment.
As reported in The Lakeville Journal’s April 8 edition, the track is under a new ownership group. Skip Barber, whose name is synonymous with Lime Rock, will remain a stockholder and will continue to be a significant part of Lime Rock’s planning and future. But majority ownership is now in the hands of Dicky Riegel, Charles Mallory and Bill Rueckert.
Motor racing fans and Lime Rock devotees can rejoice, as the familiar hillsides will be fully open after a yearlong COVID-19 hiatus. Blankets and chairs are all that will be needed to see top professional racing cars and drivers doing their utmost to conquer this challenging 1 1/2 mile circuit.
Riegel, who is Lime Rock’s new CEO, has been a fan of the track for years, and he feels the same way that everyone else feels after a year of quarantine: It’ll be great to get out of the house again.
“Lime Rock Park,” he said, “is the perfect venue for spectators to finally get outside after too many months of confinement.”
Back to the races! The first event of the year was the Trans-Am races on Memorial Day weekend. Trans-Am has always been one of Lime Rock’s favorite events, and has a great history of great drivers and great competition. Mark Donohue, Peter Revson and, of course, Sam Posey of Sharon, Conn., thrilled fans for many of these classic races. Posey is a Northwest Corner, Conn., native and in addition to being a respected racer and then commentator on television’s Speedvision, he also designed many of the buildings that surround the track.
The Trans-Am is the big battle of “muscle cars” — Ford and Chevy are the two defining gladiators every year and 2021 was no exception. In addition there were Porsches, Aston Martins, BMWs and more.
Still to come is the summer’s second premier event: the IMSA Northeast Group, on July 16 and 17. These are the closed-wheel, closed cockpit, prototype pure race cars, that compete in the classic 24-hour races such as Daytona and, of course, Le Mans.
Acuras, Ferraris, McLarens and Porsches will race in their respective groups while the top of the competition will be the GTLM and GTDaytona classes in a 2-hour 40-minute race.
The third event, and always a highlight at Lime Rock, will be the 39th Historic Festival on Labor Day weekend, Sept. 3 to 6.
The weekend traditionally kicks off with the parade of the exquisite historic treasures around the local roads, from Lime Rock (which is one of the five villages of Salisbury, Conn.) to nearby Falls Village, Conn., giving everyone along the 17-mile route a chance to see these cars roll through the neighborhood.
Vintage marques from the 1930s through the 1950s, with many even older than that, participate in the weekend’s “races.”
Fierce, fender-bending competition may not be quite as evident between these drivers, many in historically significant, irreplaceable examples.
“Sunday in the Park” is one of the best parts of the weekend: Literally a thousand cars of every marque line the track and can be examined and enjoyed “up close” and with informative owners ready with history and anecdotes about their cars. The judging of the cars entered in the Concours d’Elegance takes place that day, with prizes awarded in many categories — with, of course, a “Best In Show” that is always an important and historically significant automobile.
Rest assured that all health and safety protocols are in place to ensure your enjoyment. If you’re a “sports car” or motor racing enthusiast, there just is no better way to enjoy yourself than a comfortable spot on the hillside enjoying the best that Lime Rock has to offer.
For information on tickets and dates, go to www.limerock.com.
Panacea’s Rockaway oysters on the half-shell are procured daily and served fresh. Accompanying the oysters is a classic bowl of vinegar and a house-made raspberry mignonette.
Arriving at Panacea feels like arriving at a friend’s house. A charming blue exterior, with a large patio and string lights, surrounds a welcoming and warm interior. Since the restaurant opened a little over two weeks ago, I have made not one, but three trips, and every time has been just as enjoyable as the first.
Upon entering, one is greeted by a host’s stand in a small front dining room, as well as a handful of tables and a little bar tucked into the corner. Moving back through a small hallway, hosting two gender non-specific bathrooms, there is another dining room, larger but still just as cozy. The entire place is made up of dark, caramel colored wood, with beams stretched across a white ceiling, a fireplace tucked in the back dining room and eclectic artwork smattered around. From the back dining room diners enjoy a glimpse into the kitchen, clean and busy, and an enclave where one can see the finishing touches being put on dishes before being whisked away. All of these parts, clearly lovingly curated by Jake Somers and his fiancee/co-chef Khendum Namgyal (who is responsible for the absolutely unmatched pasta), come together into a very pleasant whole.
I was pleased to see a wonderful cocktail list, the absolute champion of which is the Chef’s Slightly Dirty Martini (which I ordered extra dirty, my personal preference). Expertly made, served in a chilled glass, it was well worth the $18 price tag. I had no fewer than two on every visit, and will be going back for a solo martini/oyster date. The wine selection, though respectable, remained untouched on my end due to an unfortunate sulfite allergy. Panacea also has a mocktail list, which I believe should be the norm, including a very interesting take on a Shirley Temple. Their beer list is regrettably small, considering the availability of craft beers in this area, but I think that can be forgiven.
That being said, the food is the absolute standout. Panacea prides itself on locally sourced produce — right now Paley’s, Maitra, Hepworth and 5 Acre farms, but soon to include others — and they use it in masterful ways. Their heirloom tomato appetizer with housemade whipped ricotta is outstanding — the ricotta alone had us discreetly licking the plate, not even to mention the glory that is the tomatoes. Other appetizers include Rockaway raw oysters with a breathtaking raspberry mignonette — the waitress had barely set them down before they had been finished off — and the Fire Fritto! a shrimp and calamari dish with local veggies that was so delicious our entire party of six was ordering their own. One of whom, bizarrely, is on an entirely protein diet, and was quite pleased to find that the appetizer was more than generous with the shrimp and calamari.
The appetizers give way into a limited but far reaching entree list, the star of which is the house made pasta. The Malfadine was perfect. Long, curlicue noodles perfectly al dente, a generous portion of shrimp (halved, making them fold perfectly into every bite) and a subtle crunch of fresh basil all enveloped in an incredible tomato sauce. Also on the pasta list is a rigatoni- perfect noodles, melt in your mouth pork shoulder, and sauce I would happily eat all on its own. I did find myself wishing for maybe one piece of crusty bread, but only because it seemed too tragic to leave any of the sauce on both dishes behind. On my last visit, I managed to tear myself away from the pasta and ordered the Catch of the Day, which was a Bronzino. Crispy, delicate skin, flavorful and juicy meat, beautifully served with tender beans and a sauce which rendered me speechless.
Dessert is necessary in every form, and Panacea does not flounder at the finish line. Every dessert went above and beyond, but the chocolate mousse is a must have, even for those lacking a sweet tooth. It is the definition of decadence, and I found it best paired with their espresso martini, which is also a thing of beauty. Made with fresh espresso, it has a wonderful bite with an edge of liquor and a hint of sweetness to ease the palate.
All in all, Panacea is a star. The entire experience is perfectly curated, the staff are knowledgeable and warm, and the owners are welcoming and friendly. They’ve recognized us on every return visit, and seem to make a point to personally greet every table. Their skill in crafting these dishes is both a breath of fresh air for Amenia and something we should all be thankful to experience. I cannot wait until my next visit, and I especially cannot wait to see what they do in the coming seasons.
Bottle of Spring Hill cabernet franc with watercolor label art by Barcelona native Santi Moix.
Wine finds its perfect pairing in art at Spring Hill Vineyards in New Preston, Conn., where site-specific sculptural installations function as the visual feast to complement a focused lineup of thoughtfully crafted wines.
Guided by an ethos for quality over quantity, four wines—a light, bright estate-grown cabernet franc, sippable unoaked chardonnay, lean and refreshing Cayuga white, and a sweet rose of pinot noir—make up Spring Hill’s current wine list.
“We don’t want to be big, we want to be good,” said winemaker and farm manager Andrew Johnson as he swirled a glass of 2017 cab franc, currently being poured for tastings. Echoing with a teasing laugh the late-70s Masson vow to “sell no wine before its time,” Johnson explained that the winery’s best product—a deep, velvety Marquette—is still awaiting ‘its time’ since being vinted in 2021 and spending 14 months maturing in Hungarian oak barrels.
A similar impetus has driven—and continues to drive—the careful curatorial decisions that built a compelling outdoor art exhibit of the wooded glade that serves as Spring Hill’s gathering space.
Before founders Stephanie and Tim Ingrassia planted their first grapevines or artworks, the site that would become Spring Hill Vineyards was a hay farm that dated back to the 18th century; reinterpreted vestiges and suggestions of this history represent the core aesthetic being cultivated.
View of Spring Hill through a window in the Bee Brook Grotto, housed inside a 1940’s grain silo.Sava Marinkovic
“Everything here has had a past life,” according to Stephanie Ingrassia—the modernized barn was built from 150 year old beams and siding, the restrooms from a train car. Over the main space towers a refitted 1940s silo, original to the site, whose cracked doors invite visitors to make the thirty foot climb to its crown grotto—a scintillating surprise of sinuous forms and gleaming materials that is meant to feel, according to artist Randy Polumbo, “like a shared memory from the future.”
And the facilitation of sharing—of memories, moments, and the space provided—is what Wine Tasting Program Manager Emma Terhaar describes as Spring Hill’s true mission.
“It’s a community space to be shared,” said Terhaar, summarizing the Ingrassias’ vision for a place where residents of rural Connecticut could gather and mingle with their community. “It’s a destination worth coming to, for whatever reason,” Terhaar averred, whether for a glass of wine, a gander of art, or just to relax with friends and family.
Spring Hill Vineyards is the annual host of Spring Hill Arts Gathering (SHAG) and maintains SHAG’s permanent collection. Upcoming events include dancing and drinks for Salsa Night on Sunday, Aug. 25; a croquet tournament guided by United States Croquet Association’s Preston Stuart on Sunday, Sept. 8; and a celebration of Sept. 22’s autumnal equinox featuring food, yoga, meditation, live music, and—a given for all things coming into balance—plenty of wine.
Attendees mingle at the opening exhibit at Cary Institute of Ecosystem Studies in Millbrook, N.Y. on Friday, Aug. 16.
The Cary Institute of Ecosystem Studies in Millbrook, renowned for its cutting-edge environmental research, recently unveiled a new art installation, showcasing the vibrant synergy between art and science. On Friday, Aug. 16, a small group of invited guests that included patrons, donors, trustees, board members, and other friends of the institute, were led through a private tour of the exhibition by Cary Institute President Joshua Ginsberg. The exhibition features work from staff, programs run off-site through the institute, and the work of artists from the Canoo Hills Creative Arts Residency, a program that has nurtured creative expression at the intersection of art and ecological science since its inception in 2009.
The residency program has hosted 11 artists over the years, but was paused during the COVID-19 pandemic as the institute underwent significant renovations. The building was originally designed by Malcolm Wells, regarded as the father of modern earth-sheltered architecture. The renovations led by Bruce Becker, an expert in energy efficiency and historic restoration, incorporate principles from LEED and the Living Building Challenge, achieving Zero Carbon, Zero Energy, and Core Green standards. The building now boasts an Energy Use Intensity Rating of 61 kBtu/ft², making it 48% more energy efficient than a typical office building. In other words, the building itself is a work of art and has restored Wells’ original vision of creating a near-zero energy building. It is a perfect complement to the art it now houses.
Curated by Susan Burks, a recommendation from Jack Banning, husband of former Board Chair, Irene Banning, the exhibition is thoughtfully designed to resonate with the institute’s mission and vision. Burks aimed to incorporate “local where possible, artists who worked with scientists, scientists who were artists, and artists inspired by ecological science.” The result is a collection that is both approachable and profoundly connected to the natural world.
The Cary Institute’s commitment to integrating art into its scientific mission is a reminder that knowledge and creativity are not separate endeavors, but intertwined paths towards a deeper understanding of our world. This ethos is reflected not only in the individual works that now adorn the walls and halls of the institute but also in the overall atmosphere of the newly renovated building — a space where art and science coalesce to inspire thought, dialogue, and action. As Ginsberg aptly shared his vision for the exhibition: “What we didn’t want is things that were literal. We wanted it to be inspirational. Because in the end, I think both art and science should be inspirational.”
To arrange a tour of the Cary Institute, contact Joshua Ginsberg at ginsbergj@caryinstitute.org.